Zoë Wicomb

"A tremendous achievement and a huge step in the remaking of the South African novel."--J. M Coetzee

David's Story

"A novel that tells the story of an author struggling to write a biography of long-forgotten Scottish poet Thomas Pringle, whose only legacy is in South Africa where he is dubbed the "Father of South African Poetry.""--

Still Life

Panashe Chigumadzi

Sisonke Msimang

Zukiswa Wanner

Yewande Omotoso

Barbara Boswell

Pumla Dineo Gqola

Desiree Lewis

Gabeba Baderoon

Grace A. Musila

Zethu Matebeni

Yvette Abrahams

gertrude fester-wicomb

Mary Hames

jackï job

Ingrid Masondo

Patricia McFadden

Danai S. Mupotsa

Leigh-Ann Naidoo

Fatima Seedat

Sa’diyya Shaikh

The first collection of essays dedicated to contemporary Black South African feminist perspectives What do African feminist traditions that exist outside the canon look and feel like? What complex cultural logics are at work outside the centres of power? How do spirituality and feminism influence each other? What are the histories and experiences of queer Africans? What imaginative forms can feminist activism take? Surfacing: On Being Black and Feminist in South Africa is the first collection of essays dedicated to contemporary Black South African feminist perspectives. Leading feminist theorist, Desiree Lewis, and poet and feminist scholar, Gabeba Baderoon, have curated contributions by some of the finest writers and thought leaders. Radical polemic sits side by side with personal essays, and critical theory coexists with rich and stirring life histories. By including writings by Patricia McFadden, Panashe Chigumadzi, Sisonke Msimang, Zukiswa Wanner, Yewande Omotoso, Zoë Wicomb and Pumla Dineo Gqola alongside emerging thinkers, activists and creative practitioners, the collection demonstrates a dazzling range of feminist voices. The writers in these pages use creative expression, photography and poetry in eclectic, interdisciplinary ways to unearth and interrogate representations of Blackness, sexuality, girlhood, history, divinity, and other themes. Surfacing is indispensable to anyone interested in feminism from Africa which, the contributors show, is in vivid and challenging conversations with the rest of the world.

On being black and feminist in South Africa

Surfacing

South African-born Wicomb's second collection sub tly portrays the shifting relations among family, friends and servants in a transformed South Africa.

Short Stories

The One that Got Away

“In her ambitious third novel, Wicomb explores South Africa’s history through a woman’s attempt to answer questions surrounding her past” (The New Yorker). Set in a beautifully rendered 1990s Cape Town, Windham Campbell Prize winner Zoë Wicomb’s celebrated novel revolves around Marion Campbell, who runs a travel agency but hates traveling, and who, in post-apartheid society, must negotiate the complexities of a knotty relationship with Brenda, her first black employee. As Alison McCulloch noted in the New York Times, “Wicomb deftly explores the ghastly soup of racism in all its unglory—denial, tradition, habit, stupidity, fear—and manages to do so without moralizing or becoming formulaic.” Caught in the narrow world of private interests and self-advancement, Marion eschews national politics until the Truth and Reconciliation Commission throws up information that brings into question not only her family’s past but her identity and her rightful place in contemporary South African society. “Stylistically nuanced and psychologically astute,” Playing in the Light is as powerful in its depiction of Marion’s personal journey as it is in its depiction of South Africa’s bizarre, brutal history (Kirkus Reviews, starred review). “Post-apartheid South Africa is indeed a new world . . . With this novel, Wicomb proves a keen guide.” —The New York Times “Delectable . . . Wicomb’s prose is as delightful and satisfying in its culmination as watching the sun set over the Atlantic Ocean.” —The Christian Science Monitor “[A] thoughtful, poetic novel.” —The Times (London)

A Novel

Playing in the Light

A collection of ten connected short stories portrays the experiences of Frieda Shenton and her family and depicts the problems of life in South Africa

You Can't Get Lost in Cape Town

Mercia Murray est une femme de cinquante-deux ans qui vient d'être quittée. Nous le savons, elle aussi, d'ailleurs, cette situation pour le moins banale équivaut à une forme de mort... Son cœur est en mille morceaux, elle verse un nombre incalculable de larmes et se repasse chaque geste, chaque mot prononcé sur le moment en quête d'une ambiguïté possible. Cela ne révèle aucun indice qui aurait pu lui échapper... L'homme qui a parlé et agi n'était pas le Craig qu'elle connaissait, c'est un inconnu. Ce qui devrait signifier que son chagrin a quelque chose d'irréel, sauf que cela n'empêche pas les larmes de couler et son cœur d'exploser. Effondrée, Mercia s'interroge. Professeur de littérature à l'université de Glasgow, elle vient de loin, d'Afrique du Sud. Métisse, née sous le régime de l'apartheid, elle a eu un parcours exemplaire, fait de brillantes études, obtenu un poste prestigieux. Est-ce à cause de ses origines, de sa couleur de peau, que Craig est parti ? Lui qui, elle l'apprend vite, va avoir un enfant d'une jolie Écossaise blonde. Alors, où est sa place ? Sa vraie place ? On est en octobre, l’automne en Écosse, le printemps "au pays" – mais est-ce encore tout à fait le sien ? Recevant une lettre de son frère qui ressemble à un appel au secours, elle décide de repartir au moins pour une longue visite, de renouer avec ses racines. De trouver où elle peut se dire vraiment "chez elle". Mercia ira d'espoirs en déconvenues, de découvertes en interrogations, un peu à l'image de cette Afrique du Sud qui se cherche encore, entre progrès, certes, mais aussi flambées de violence.

Octobre

The author explores a range of human relationships: marriage, friendship, family ties, and relations with those who serve us. Wicomb's fluid, shifting technique questions conventional certainties and makes for exhilarating reading, full of ironic twists, ambiguities, and moments of startling insight.

The first collection of nonfiction critical writings by one of the leading literary figures of post-apartheid South Africa The most significant nonfiction writings of Zoë Wicomb, one of South Africa’s leading authors and intellectuals, are collected here for the first time in a single volume. This compilation features critical essays on the works of such prominent South African writers as Bessie Head, Nadine Gordimer, Njabulo Ndebele, and J. M. Coetzee, as well as writings on gender politics, race, identity, visual art, sexuality, and a wide range of other cultural and political topics. Also included are a reflection on Nelson Mandela and a revealing interview with Wicomb. In these essays, written between 1990 and 2013, Wicomb offers insight on her nation’s history, policies, and people. In a world in which nationalist rhetoric is on the rise and diversity and pluralism are the declared enemies of right-wing populist movements, her essays speak powerfully to a wide range of international issues.

South African Essays, 1990-2013

Race, Nation, Translation

These short stories from the award-winning South African author “combine the coolly interrogative gaze of the outsider with an insider’s intimate warmth” (J. M. Coetzee). Zoë Wicomb’s debut short story collection, You Can’t Get Lost in Cape Town, won critical acclaim across the globe as well as high praise from fellow authors including Toni Morrison, J. M. Coetzee, Bharati Mukherjee, and Gayatri Chakravorty Spivak. Now, after two novels, Wicomb returns to the genre that first brought her international acclaim. Set mostly in the South African city of Cape Town, where Wicomb is from, and the Scottish city of Glasgow, where she now lives, this new collection of short stories straddles two worlds. With an array of expertly drawn characters, these twelve tales explore a range of human relationships: marriage, friendship, family, and the fraught yet often intimate relations between those who serve and those who are served. Full of ironic twists, ambiguities, and moments of startling insight, The One That Got Away showcases this Windham Campbell Award–winning author at the height of her powers. “An extraordinary writer . . . seductive, brilliant, and precious, her talent glitters.” —Toni Morrison

Stories

The One That Got Away

The South African novel of identity that "deserves a wide audience on a par with Nadine Gordimer."

A South African academic returns to her homeland in this novel by the award-winning author of You Can’t Get Lost in Cape Town—“an extraordinary writer” (Toni Morrison). Winner of the Windham-Campbell Literature Prize, Zoë Wicomb is an essential voice of the South African diaspora, hailed by fellow writers—such as Toni Morrison and J. M. Coetzee, among others—and by reviewers as “a writer of rare brilliance” (The Scotsman). In October, Wicomb tells the story of Mercia Murray, a South African woman of color in the midst of a difficult homecoming. Abandoned by her partner in Scotland, where she has been living for twenty-six years, Mercia returns to South Africa to find her family overwhelmed by alcoholism and buried secrets. Poised between her new life in Scotland and her South African roots, Mercia recollects the past and assesses the present with a keen sense of irony. October is a stark and utterly compelling novel about the contemporary experience of a woman caught between cultures, adrift in middle age with her memories and an uncertain future.

October

A San Francisco Chronicle Best Book of the Year. “An urgent invitation to care for all children as our own.” —Adrian Nicole LeBlanc, author of Random Family In this “moving condemnation of the U.S. penal system and its effect on families”, award-winning journalist Nell Bernstein takes an intimate look at parents and children—over two million of them—torn apart by our current incarceration policy (Parents’ Press). Described as “meticulously reported and sensitively written” by Salon, the book is “brimming with compelling case studies . . . and recommendations for change” (Orlando Sentinel). Our Weekly Los Angeles calls it “a must-read for lawmakers as well as for lawbreakers.” “In terms of elegance, breadth and persuasiveness, All Alone in the World deserves to be placed alongside other classics of the genre such as Jonathan Kozol’s Savage Inequalities, Alex Kotlowitz’s There Are No Children Here and Adrian Nicole LeBlanc’s Random Family. But to praise the book’s considerable literary or sociological merit seems beside the point. This book belongs not only on shelves but also in the hands of judges and lawmakers.” —San Francisco Chronicle “Well researched and smoothly written, Bernstein’s book pumps up awareness of the problems, provides a checklist for what needs to be done and also cites organizations like the Osborne Society that provide parenting and literacy classes, counseling and support. The message is clear: taking family connections into account ‘holds particular promise for restoring a social fabric rent by both crime and punishment.’” —Publishers Weekly, starred review

Zoë Wicomb

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