Antjie Krog, Self and Society: The Making and Mediation of a Public Intellectual in South Africa Doctoral thesis by Anthea Garman Supervisors: Professor Carolyn Hamilton Professor David Attwell The Constitution of Public Intellectual Life Research Project 2004-2008 Graduate School for the Humanities and Social Sciences University of the Witwatersrand, Johannesburg February 2009 This thesis is submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirements for the degree of Doctor of Philosophy. I declare that this research is my own work. It has not been submitted before for any other degree or examination in any other university. Anthea Garman Student number 7802001 Senior Lecturer School of Journalism and Media Studies Rhodes University Box 94 Grahamstown 6140 South Africa Tel:046-6037100 Fax: 046-6037101 Email: a.garman@ru.ac.za 1 Marshall Street Grahamstown 6139 Tel: 046-6228622 Cell: 083-4095591 Contents Acknowledgements ..............................................................................................i Preface.....................................................................................................................iv Abstract ................................................................................................................... 1 Chapter 1: Who Speaks? Or: Who can Speak ............................................. 2 Krog the public figure...................................................................................... 4 Public intellectual activity as a focus of study................................................. 15 Public intellectual activity in post-apartheid South Africa .............................. 17 The questions that guide this study.................................................................. 25 Appendix A ? Media coverage of plag iarism accusations against Krog ......... 223 Appendix B ? Texts dealing with the debate on public intellectuals............... 224 Appendix C ? South African media debates about types of intellectuals........ 227 Chapter 2: Public Sphere and Public Intellectual, Field and Agent .... 30 I. The Habermasian public sphere as the normative understanding............ 30 Redrawing the private-public boundary....................................................... 34 The Others of the liberal, bourgeoi s, democratic public sphere .................. 38 Bracketing the commercial .......................................................................... 40 Public sphere as conversation writ large...................................................... 41 The emergence of mass subjectivity ............................................................ 45 Approaches to conceptualis ing public sphere today.................................... 50 II. The public intellectual as a distinctive persona in the public sphere ...... 52 The public intellectual, a lineage ................................................................. 52 Edward Said, the representation of an intellectual....................................... 53 The public intellectual as trope .................................................................... 55 The political economy of ?public intellectual? ............................................. 57 Public intellectual as democratic proxy individual ...................................... 58 The market of sentiment and affect ............................................................. 61 Proxies of agency......................................................................................... 63 The intellectual and power ? Foucault?s warning........................................ 64 A more adequate conception of the public intellectual................................ 68 III. Field theory, a nuanced explication of agency and creativity ................ 69 Field ............................................................................................................. 70 The literary field .......................................................................................... 74 The political field ......................................................................................... 76 The media field ............................................................................................ 77 Using field theory ........................................................................................ 82 IV. Self-fashioning: the writer and subjectivity ............................................. 83 Conclusion....................................................................................................... 85 Chapter 3: Self: the Creation of Poet Subjectivity ..................................... 86 ?Digter, Christen, Afrikaner?........................................................................... 86 Telling an autobiographical story as a claiming of authority .......................... 98 [Trajectory] Entry and emergence as a poet in the Afrikaans literary field ................................................................................................ 100 [Subjectivity] ?The cartography of the self?; the production of distinction ............................................................................................... 102 Conclusion....................................................................................................... 108 Chapter 4: Self-Othering ................................................................................... 110 [Trajectory] The attention of important political field consecrators ............. 113 1. Consecration by Kathrada...................................................................... 113 2. Consecration by the ANC in exile ......................................................... 114 3. Consecration by the comrades ............................................................... 116 4. Achieving the literary hei ghts ? the Hertzog Prize ................................ 119 5. Krog?s increasing salience for the news media...................................... 123 [Subjectivity] Self-othering usin g Lady Anne Barnard as a guide ............... 125 Anne Barnard ............................................................................................... 128 Barnard the writer ........................................................................................ 131 Barnard, the Other in Africa ........................................................................ 136 Lady Anne: Krog?s interlocutor................................................................... 139 Lady Anne: the text...................................................................................... 142 Krog the Other in South Africa.................................................................... 148 ?Woman? as Othe ring position..................................................................... 151 Conclusion....................................................................................................... 154 Appendix D: ?Genadendal? by Antjie Krog .................................................... 229 Appendix E: ?Tour into the Interi or?, letter by Anne Barnard ........................ 231 Chapter Five: Second-Person Performances .............................................. 156 [Trajectory] Into news journalism proper ...................................................... 157 1. Afrikaans radio reporting....................................................................... 157 2. Writing in Engish for the Mail&Guardian ............................................ 161 3. International non-fiction publishing ...................................................... 164 The authority to write................................................................................ 165 The reaction to Country of My Skull......................................................... 167 The enabling global context ...................................................................... 171 1. ?Truth? commissions world-wide.......................................................... 172 2. The rise of confession ............................................................................ 173 3. The ?transnationalising? of the public sphere........................................ 176 4. The burgeoning market for ?life-narrative? ........................................... 177 [Subjectivity] The second-person performance ............................................. 179 The encounter with ?amazing otherness?................................................ 179 The first-person, second-person transaction ........................................... 180 1. Saying ?I?, hearing ?I?........................................................................... 182 2. The beneficiary position ........................................................................ 184 3. The assertion of the body....................................................................... 187 4. The assertion of a woman?s body as the bearer of truth ........................ 188 A new public for Antjie Krog ................................................................... 190 Conclusion....................................................................................................... 192 Appendix F: SABC Sound Archives on Antjie Samuel TRC reports ............. 233 Appendix G: Reviews of Country of My Skull ................................................ 245 Chapter Six: Authority and Authenticity in the New South Africa ...... 193 Authority.......................................................................................................... 193 Authenticity ..................................................................................................... 198 Conclusion....................................................................................................... 203 Chapter Seven ? Conclusion: Speaking Poetry to Power ........................ 208 The sources of Krog?s authority ..................................................................... 211 Krog?s distinctive work as a So uth African public intellectual ..................... 218 Appendix H: Blog posts on Antjie Krog.......................................................... 248 Bibliography ............................................................................................................. 262 Antjie Krog Bibliography........................................................................................ 296 Media Archive on Antjie Krog ............................................................................... 300 South African News Media Archive on Intellectuals............................................ 334 Antjie Krog Biography ............................................................................................ 343 Antjie Krog Awards and Accolades ....................................................................... 359 Antjie Krog in the SABC Sound Archives............................................................. 360 Note on the organisation of the thesis supporting documents In order to be able to consult all the texts on a particular issue at once I have gathered the following into appendices, references to which appear in the footnotes of the thesis: ? Media coverage of plagiarism accusations against Krog (Appendix A) ? Texts dealing with the debate on public intellectuals internationally (Appendix B, these also appear in the main bibliography) ? South African media debates about types of intellectuals (Appendix C) ? Reviews of Country of My Skull, excerpts and interviews (Appendix G) ? Blog postings on Antjie Krog (Appendix H) I have also included two sections on Krog called Antjie Krog Biography and Antjie Krog?s Awards and Accolades. Acknowledgements A great debt of thanks is ow ed to: My supervisors: Prof Carolyn Ham ilton and Prof David Attwell. My fellow PhD students in the Constitution of Public Intellectual Lif e research cluster: Rory Bester, Yvette Gresl?, Litheko Modisane and P ascal Mwale. Our funders: Atlantic Philanthr opies and the Ford Foundation. The larger Public Intellectual L ife collegiate community: Lesley Cowling, Dr Windsor Leroke, Alan Finlay, Dr Sue van Zyl, Dr Ulrike Kistner, Xolela Mangcu, Lenore Longwe (adm inistrator). Prof Jane Taylor for putting me in touch with Prof Carolyn Ham ilton. Wiser, and its director Prof Deborah Posel, for its very stimulating theory seminars aimed at postgraduate students and its wonderful array of public seminars and conferences. Prof Malcolm Purkey, then at the Wits Sc hool of Arts, and Prof Anton Ha rber, head of the Journalism Programme at Wits, for giving me work. The Rhodes University School of Journalism and Media Studies and especially m y various heads of department, Prof Guy Berg er, Prof Larry Strelitz and Prof Jeanne Prinsloo as well my colleagues Rod Am ner, Si mwogerere K yazze, and Jeanne du Toit. Rhodes University and especially form er Dean of Humanities Prof Ian MacDonald and former Director of Human Res ources Br uce Sm ith who enabled me to take three years? unp aid leave. Tim Huisamen who read Lady Anne to me. Joan Hambidge for insight into the ?Bons mara? Afrikaners Leonore Mackenzie, Neil Sonnekus and Jeanne du Toit who helped m e with translation. Janet Trisk and Gillian Rennie f or careful chapter reading and advice, Lind a Schwartz for proof-reading. The librarians and archivists: Eileen She pherd, Anne Moon and De bbie Martindale at Rhodes, Hester van den Bergh at the Univer sity of the Free Stat e SA m edia archive, Ann Torlesse at the National English Literary Museum in Gra hamstown, the Cory Library, Bernard Monyai at the SABC Sound Ar chives, the librarians at Johnnic (now Avusa) and Media 24. i My fa mily: Brian Garman and Gemm a Gar man. My friends: Janet Trisk, Linda Schwartz, Gillian Rennie, Theresa Edlm ann, Tracy Witelson, Megan Knight and Lesley Cowling. Thanks also to Angie Kapelianis m y fellow South African Menell fellow at Duke University in October 2000 for the conve rsations which started this process. And to Antjie Krog for her gene rosity and non-interference. ii Parts of th is thesis have already appeared in the following publications: 2006. ?Confessions and Public Life in Post -apartheid South Africa: A Foucauldian Reading of Antje Krog?s Country of My Skull ? in Journal of Literary Studies, 22 (3/4): 323-45. 2007. ?Antjie Krog and the accum ulation of ?m edia meta-capital?? in Current Wr iting 19(2): 1-23. 2008. ?The m ass subject in Antjie Krog?s Country of My Skull? in Hadland, A. et al (eds) Power, Politics and Identity in the South African Media . Cape Town: HSRC Press. 2008. Book Review of Xolela Mangcu?s To the B rink: South African Democracy at the Crossro ads in Safundi The Journal of South African and Am erican Studies , 9(4): 475-485. Forthcoming: ?Global r esonance, local amplification: Antjie Krog on a world stage? in Social Dynamics. ?The new South African citizen, a transn ational, affected, damaged subject? in Critica l Arts . Papers out of the thes is research were presented at these conferences: ?The Mass Subject in Krog?s Country of My Skull at the ?At the End of the Rainbow: Power, Politics and Identity in Post-a partheid Sou th African Media? conference, organised by the HSRC Society, Culture and Identity Res earch Programme in Stellenbosch, 6-7 July 2006. ?Rethinking the Media-Public Sphere Relationship? at th e Media Chan ge and Social Theory Conference hosted by the Centre for Re search on Socio-Cultur al Change at St Hugh?s College, Oxford, 6-8 Septem ber 2006. ?Antjie Kro g, the TRC, and the Eth ical Performance of Listening? a t the Mem ory, Narrative and Forgiveness Conference at UCT, Cape Town, 22-25 November 2006. ?Global r esonance, local amplification: Antjie Krog on a world stage? at the Paradoxes of the Postcolonial Public S phere: South African Dem ocracy at the Crossroads Conference at University of the Witwatersrand, 28-31 January 2008. ?The new South African citizen: a transnat ional, affected, damaged subject? at the CRESC Conference on Cultural Citizenship St Hugh' s College Oxford, 3-5 Septem ber 2008. ?Antjie Kro g, the ?Af rican?, Af rikaans, S outh African Inte llectual? at the Af rican Intellectuals and Decolonisation Conference at O hio University, Athens, US, 2-5 October 2008. iii Preface It is a great privilege in academic life to work in a research group instead of in splendid, but terrible, isolation, as is the usual practice in the humanities. This individual research project was located in a larger project set up by Prof Carolyn Hamilton in the Graduate School for the Humanities and Social Sciences at the University of the Witwatersrand in 2004. The project se t out to investigate the ?Constitu tion of Public Intellectual L ife? in response to a growing literature about intellectual activity in the public spheres of democracies all over the world. South Africa, itself a new dem ocratic nation, had no shortage of interest in the subject and, in the news media as well as in academia, the subject was ho t and topical. I came into the project as one of two peopl e located in a jou rnalism and media studies department; the other was Lesl ey Cowling. Both of us had been practising journalists and were now located in universities teaching both journalism practice and media studies theory. We both bore a particular interest in the media?s power in the world and their complex and very fascinating effects on public life. We joined two philosophers (W indsor Leroke and P ascal Mwale), two art histor ians/art theorists (Rory Bester and Yvette Gresl?), and a film studies theorist (Litheko Modisane), as well as Hamilton, a historian and anthropologist now increasingly exploring the role of archives in the public domain. With that combination of interests and theoretical locations, our initial conversations about our shared reading material were full of contestation and challenge. But we also f ound ourselves using our reading material to engage with the media, our interactions with daily public life in South Africa and to reflect on our location in a new democracy at the bottom tip of Africa. As the project evolved with some researchers leaving (Ler oke and Gresl?) and others joining us (in particular Alan Finlay, locat ed in literary studies), our artistic, literary and media influences and interests meant we started as a group to have particular questions about how the visual, the artistic, the affective and the performative found space and were allowed into the public domain. We were most interested in the practices that are not easily absorbed into public, the activities that draw censure, contestation and debate. We questioned under what conditions they operated best, and what particular kind of work they did in public. At points we drew on Wits? very rich resource of other researchers and invited many other academics from a variety of disciplines to jo in us to think through these issues. The Public Intellectual Life project becam e a wide, collegial, inspiring and stimulating space in which to work. This is the matrix out of which my own particular project em erged, and which coalesced into an investigation of personal agency and performance in the public domain. It is difficult to locate myself in a discipline or even theoretically, and I suspect this might also be the case for this research project. As a practisin g journalist and writer myself, I have a great interest in media products and the role the media play in our world, but I am not solely a media studies theorist. My undergraduate work was in English literature, m y honours and masters degrees in feminist and poststructural theory and I draw strongly on all those for my academic roots. While the label ?inter- disciplinary? is certainly true of our project and the research in this thesis, the word is too easily used as a catch- all, and therefore often means little. I have endeavoured in this work to combine an interest in media power, with an interest in the ongoing value of the literary and a location in the public domain, as well as a connection with iv altering subjectivity form ation. I have drawn widely on literature and theoretical work which seemed most appropriate to achieve a satisfactory answer to my question. Perhaps the best way to describe my resulting theoretical location is as working from within media studies ? and in particular, journalism studies ? with connections to literary studies and political sociology. I do hope I do our project justice by adhering to the very rigorous and self-questioning norms set by our group in all our conversations and critiques of our progressing work, and that the resulting thesis is a coherent and convincing piece of research that makes a valid contribution to investigations of the public domain, to understandings of the media, and to considerations of agency and subjectivity. Anthea Garm an Graham stown 23 February 2009. v Antjie Krog, Self and Society: the Making and Mediation of a Public Intellectual in South Africa Abstract In post-colonial, post-aparth eid South Africa, the avowedly Africanist, nationalist government has taken seriously that as part of the functioning of democracy, this new nation needs a vibrant public space for the airing of ideas and the formation of public opinion. Thus, a crucial priority for the functioning of the public sphere is the widening of the public domain, beyond the participation of the bourgeoisie, to facilitate the inclusion of the voices of the black majority. But, an interesting ? and volatile ? dim ension of the South African public sphere is the rhetoric about its parlous state, and a strong concern with who populates this public sphere and what ideas they put into public. A great m any ?cal ls? have been made for vario us types of intellectuals to take up public positions and contribute to the healthiness of public life. Coupled with these calls are statem ents invoking Edward Said?s style and ideas about public intellectual representation, and the phrase ?speaki ng truth to power? (with a multiple interpretations) has becom e a familiar one in these debates in South Af rica. There are furious discussions about styles of engagement, suitable subject m atter, sources of authority, vested interests and arguments about degrees of independence. A notable feature of these debates is that they are often couched in the language of ?crisis? which, I argue, point s not to the overt dangers being espoused, but another one entirely ? a cris is about what constitutes authority to speak in public and to be a proxy for those who cannot or do not speak. This sense of ?cris is? in the South African public sphere has echoes all over th e world where similar debates about the public domain and public intellectuals are also taking place. A sserting that these debates are evidence of a deep anxiety about authority and legitimacy, I have chosen to focus on one particular public figure in South Africa, Antjie Krog, the poet, journalist an d book author, who for four decades has found a public and a hearing for her ideas. In a time when white Afrikaners have been dispossessed of social and political power, it is remarkable that Krog has both platform and voice, when who speaks for whom and on what issues in the South African public space is so fraught. I argue that the study of Krog s hows that the ability to speak in public is more than simply a matter of agency and the acquisition of skilled speech and the facility of representation (as in Said?s form ulation of what makes a public intellectual). This thesis asserts that the agency to speak is powerfully connected to accumulated authority and that an investigation of the makers and markers of authority enables an understanding of how a particular person comes to have a platform in public, despite dramatically shifting social and political circumstances. The case study of Krog shows that the literary aesthetic, and an adaptive subj ectivity responsive to the ethical, combined with accumulated authority acquired across fields and married to the power of media attention, is what gives this white, Afrikaans-speaking wom an poet her voice and hearing in South Africa today. 1 Chapter One Who Speaks? Or: Who can Speak? In his State of the Nation address fo r the opening of Parliament on the 8 th of February 2002, President Thabo Mbeki said: ?Urging us to start anew as one people, ?to shiver in the colour of human?, the poet and writer Antjie Krog has written? Hoe word jy heel Hoe word jy vrygem aak in begrip Hoe maak jy goed Hoe sny jy skoon Hoe na kan die tong tilt aan teerheid Of die wang aan versoening ?n Punt ?n lyn wat s?: van hier af van die moment af gaan dit anders klink want al ons woorde l? naas m ekaar op die tafel bibberend van die kleur van mens ons weet nou mekaar mekaar se kopvel en reuk, mekaar se bloed ons weet die diepste geluide wat mekaar se niere maak in die nag ons is stadig mekaar opnuut nuut en hier begin dit1 [how do you becom e whole how do you get released into understanding how do you make good how do you cut clean how close can the tongue tilt to tenderness or the cheek to forgiveness? a moment a line which says: from this point onwards it is going to sound differently because all our words lie next to one another on the table now shivering in the colour of human we know each other well each other?s scalp and s mell each other?s bloo d we know the deepest sound of each other?s kidneys in the n ight we are slowly each other anew new and here it starts] 2 1 A fragment from ?Land van genade en verdriet? i n Kleur Kom Nooit Alleen Nie 2 000 : 4 3 . See th e Ant j ie K rog B ibliography for her published works. 2 Mbeki said: ?It is as South Africans, who share a common nationhood and destiny, that we have to continue to address the issue of national reconciliation and the building of a non-racial S outh Africa??. This rhetorical tactic ? an anointing of a poet laureate of the moment3 ? to speak the words a nation needs to hear, at points of consolidation of the past and forging of the future ? is one that South Africa?s politicians have employed again and again at times of heightened political sensitivity and media attention4 . But, it is this choice of poet/j ournalist/author Antjie Krog, as the voice to put into public a set of words to carry the freight of a political intention at this point in South Africa?s ongoing, complex transi tion to democracy, that I am interested in investigating. This thesis examines why Krog, a white wo man poet, journalist and book author, of Afrikaans descent, is often positioned and us ed as the voice of ethical response in the context of the nation-building and democratis ing project that is South Africa since the end of white domination in 1994. My focu s on a single person, a writer, and her words, is a deliberate attempt to understand why certain public figures (loosely ?intellectuals?), with speaki ng powers, play a key role in society. What is their relationship to democracy, the imagined national public sphere and the interplay of ideas in public domains? What is the influence of the literary as an enabling background? Why are so many who are considered ?intellectuals?, also writers? How is a platform to speak with authority in public crafted? By what m eans does a person come to have the capacity to take on such a role? What role d oes the news media play? How is a public generated for a speaker?s words? By what authority does a ?public intellectual? gain a sym pathetic hearing, that weighs and takes account of her statements? And finally, in a country that has undergone enormous political and social 2 From Krog?s English tra nslation ?C ountry of grief and grace? in Down to My Last Skin 20 00 : 1 0 0 . 3 The So uth African government has since instituted an official system of poets laureate. In 2 005 the Department of Art s and C ulture held the first So uth A frican Li terary A wards and M azi si Ku nene received the National Poet La ureate Prize. In Decem ber 2006 Keora petse Willie Kgositsile was named Poet La ureate. 4 A t the very first State o f the N ation address of the new democratic So uth A frica on 24 May 1 994 , President Nels on Mandela re ad Ingrid Jonker?s poem Die Kind is nie dood nie, and then urged the nation to ? define for ourselves what we want to make of our shared destiny? . M andela was understood by jou rnalist commentators to be making ?co nciliatory? gestures towards white and Afri kaans-sp eaking South Africans . See t he Cape Times report of 22 July 200 5 at www.capetimes.cp.za/g eneral/ print_ article.php? fArticleId =2 634 516 accessed 27 Se ptember 2007. Kr og has been used this way to heightened, dramatic effect more than once. 3 upheavals, how does such a person traverse dramatically-cha nging situations and continue to speak into the public space with authority? Krog the public figure Krog, a white, Afrikaans wom an born in 1952 in Kroonstad in the Free S tate into the heart of Afrikaner privilege, burst into the Afrika ans literary world in 1970, with a set of poems in her high school year book. The sexual and political content of the poetry caused a furore among the parents at the school and this drew the attention of an Afrikaans Sunday newspaper and then the English-language papers. The Afrikaans paper and then the publisher Human&Rousseau drew two major poets (E tienne van Heerden and DJ Opper man) in to the fracas who commented approvingly on the standard of the poetry, and this resulted in her first volume of poems ( Dogter van Jefta) being published at the age of just 17. At university Krog continued to produce more volumes in quick succession ( Januarie Suite in 1972, and Mannin and Beminde Antartika in 1974) and to win awards for this work 5 . By 1975 she was m arried with a child, living in Cape Town and studying with acclaimed poet DJ Opperm an at Stellenbosch University, who had becom e her mentor. By this tim e the Afrikaans press had her firmly on their radar and, like a very few who actually achieve this, Krog was set on a trajectory to beco me a career poet. Over the next seven years Krog divorced, remarried (to John Sa muel), had tw o more children, moved to Pretoria and continued to write attention-getting poetry ( Otters in Bronslaai in 1981), which showed a distinctive use of colloquial language with emphasis on experiences of sexuality and the body. By this tim e literary academics were taking note and beginning to study Krog. In th e Afrikaans newspapers her every shift in personal life and her growing progress poetically were recorded with detail in news reports, in reviews of her work and in interviews about her life, family and career. In 1980 the Sa muel family moved back to Kroonstad. In the com ing years Krog enrolled for a masters degree through Pretoria University, focusing her thesis on family figures in DJ Opperm an?s poetry. She also started teac hing at the Mphohadi Technical College in Maokeng, the townshi p, as she was unable to get work in a white school as a teacher because she was unqualified. Her stature as a poet grew (in 5 In 1 977 she won the Rei na Prinsen- Geerlig Prize for Literatu re for Mannin and Beminde Antartika. 4 1 9 8 5 she produced the prize-winning Jerusalemgangers6 ) and she started receiv ing invitations to speak publicly about poetry and literature. From her stance of increasing dissidence from the Nationalist Party regim e, she began to use these events ? and the resulting media attention ? to denounce the Afrikaans cultural institutions? imbrication in the apartheid structures. Until now the attention on her by journalists had been somewhat confined to the Afrik aans press. But Dene Sm uts, editor of Fair Lady magazine (an English-language m agazi ne aimed at women but owned by a major Afrikaans publishing group), invited Krog ? whom she had interviewed for Beeld (an Afrikaans daily supportive of the National Party regim e) in 1975 ? to join the invited authors at the magazine?s book week in 1986. Krog was introduced to English-speaking and black South Afri can authors and photographers and was disarmingly honest in public about her ignorance of these ?new na mes? and their work. She marked this week in an essay for Die Suid-Afrikaan (a m agazine run by dissident Afrikaans intellectuals) by saying it had provoked the crossing of ?boundaries of language, genre and politics? 7 . In the final years of the 1980s Krog?s dissidence deepened; she becam e more involved with township activists (through he r engagement in the lives of the pupils she was teaching now at the ?coloured? Bren t Park High School) and she becam e ever more outspoken in public about the devastating impact of apartheid on culture and literature. S he became a member of the anti-gov ernment Congress of South African Writers and joined Miriam Tlali and Nadi ne Gordim er in Soweto for a ?Wom en Speak? event in Novem ber of 1988. In 1989 sh e marched with her township pupils in demonstration against the government, joined a group of Afr ikaner intellectuals and authors who crossed the border into Zim babwe to meet an ANC delegation and produced Lady Anne, the volume of poetry which was to win her Afrikaans literature?s h ighest award, the Hertzo g Prize. In O ctober of the same year, Ahm ed Kathrada, a Rivonia treason trialist jailed for life on Robben Island in 1962, was released. At his reception rally before a crowd of 80 000 in Soweto, he read a fragment of a Krog poem from that school year book of 1970. The offending poem , which had never been published in her first volume of poetry, caused a media storm 6 Which was awarded the Rapport Prize of 198 7. 7 ?Wh at book week meant to me, by best-sellin g poet An tj ie Kro g? Fair Lady 4 A pril 1987 reprinted from Die Suid-Afrikaan January 198 7. 5 with journ alists scuttling to find out how the poem had reached Kathrada in jail, why it had never been published, and for the Eng lish press, just who Krog was. Krog was all over the papers that year: not only did she visit the ANC in July at Victoria Falls, but she was part of a second delegation in November to Paris to further their talks which endorsed the cultural boycott against South Africa. And the contents of Lady Anne (which was blatantly postm odern in structure and shockingly carried a menstrual chart) were being debated furious ly by poets and critics in the Afrikaans press and on radio. As soon as the ANC was unbanned in 1990 Krog joined the liberation m ovement. She also resigned from the white branch of the Dutch Refor med Church and began attending the Sendingkerk in the township. Despite winning the Hertzog Prize, for which she was acclaimed as having ?arrive d? as a poet and as dem onstrating her independence and maturity (particularly fr om Opperm an who had been her mentor and editor), and even though she was now c onsidered one of the Afrikaans literary establishment leading lights, Krog k ept up the barrage of accusations against the Afrikaans literary institutions for their hol d over writers and the language. This year she was also interviewed by Pippa Green for Leadership magazine, and in a lengthy focus, the story of Krog?s early start as a poet, her activism in Kroonstad and her encounters with the ANC were all relayed to the magazine?s influential business readership. In 1992 Krog?s involvem ent with the Kroonsta d township comrades was to become complex and dangerous. A local gang lead er was murdered by ANC activists who then turned up at Krog?s house asking her to drive them from town to the township. They secreted a gun and a bloodied T- shirt on her premises and she became embroiled in their subsequent murder trial as a state witness. When, in 1993, as the trial was proceeding, she was offered the job in Cape Town as editor o f Die Suid-Afrikaan she took it with alacrity. While she had still been teaching in Kroonstad she had continued to keep up a strenuous programme of writing poetry, speaking in public, attending an international poetry festival in Rotterdam and reviewing and writing about literature for the Afrikaans press. While she conti nued to be a favoured contributor to the mainstream press she also had a regular column in the dissident paper Vrye Weekblad. 6 In 1994, as the country m ade its major tran sition through elections to majority rule, Krog became involved in Idasa 8 -inspired conferences and m eetings about the need for national reconciliation. Her speech ?Foc us on healing? to the Truth and Reconciliation Conference was excerpte d and commented on in a number of publications around the country, both Eng lish and Afrikaans. Despite confessing herself to be too busy with the details of running a magazine to write poetry, Krog produced Gedigte in 1995 and an account of her i nvolvement in the murder of the gang leader in Kroonstad, Relaas van ?n Moord ( 1 9 9 5 ). It becam e clear through the autobiographical details in the book that Krog had been on the receiving end of aggressive right-wing attenti on in her last years in Kroons tad. In January, tired of the arduous work of keeping a magazine solvent, Krog took the job offered by the new editor of radio news for SABC, Pippa Green, and joined the reconstru cted parliamentary journalistic t eam as its Afrikaans reporter. As soon as the new government passed the law making a commission into the atrocities of the past a reality, Green and head of radio, Franz Kr?ge r, constructed a reporting team to focus solely on this commission, and offered the leadership of the team to Krog. As the Truth and R econciliation Comm ission undertook its first hearings in East London in April of 1996, Krog was there. By May th e horror of the content surfaced by the hearings started to affect the jou rnalists covering them. When Anton Harber, editor of the Mail&Guardian, asked various authors to ?celebr ate the second birthday of our democracy and explore the nuances of a changing society? in a series called ?Two years of transition? , Kro g, one of those invited to write, blurted out the toll on her personally of covering the TRC: Voice after voice; accou nt after account ? the fou r weeks of the truth commission hearings were like travelling on a rainy night behind a huge truck ? im ages of devastation breaking wave upon wave on the window. And one can?t overtake, because one can?t s ee; an d one can?t lessen speed or stop, because then one will never progress9 . The essay touched a chord with editor and readers and she was invited to write more in this vein about the experience of being an implicated witness to the hearings10 . 8 The Institute for a Democratic Altern ative for Sou th Africa started by Frederik van Zyl Slab bert and Alex B oraine, opposition members of parliament who resigned in 1 986 to work for a political settlement outside of government. 9 ?Poc kets of humanity? Mail&Guardian 24 May 1 996 . 10 ?Truth t rickle becomes a flood? Mail&Guardian 1 No vember 1 9 96; ? O verwhelming trauma of the truth? Mail&Guardian 24 December 1 996 ?9 January 1 997; ?Th e parable of the bicycle? 7 These essays won Krog the Foreign Corre spondents? Award for 1997 (shared with Justice Ma lala, a senior writer on the Financial Mail) and the SABC radio reporting team won the South African Union of Journa lists? Pringle Award for the ir efforts. The essays, however, had caught the eye of Stephen Johnson, m anaging director of the South African branch of publisher Rando m House. He approached Krog to turn the writing and experiences into a book. In 1998 Country of My Skull was published..Its blend of journalistic reportage , verbatim testimony, poetry and other literary material made it a work reviewers found difficult to categorise. Literary theorist Mark Sanders called it ?a hybrid work, written at the edges of reportage, memoir and metafiction? (2000: 16) and fellow Afrikaans author Rian Malan ( My Traitor?s Heart ) called it ?a great im pressionistic splurge of blood and guts and vivid imagery, leavened with swathes of post-m odern literary discourse and fragments of brilliant poetry? (1998: 36). The book propelled Krog into the international arena as an authority on the South Af rican transition. It won the Sunday Times newspaper?s Alan Paton Award; the BookData/South African Booksellers? Book of the Year prize; the Hiroshima Foundation for Peace and Cu lture Award; the Olive Schreiner Award for the best work of prose published between 1998 and 2000; and received an honourable mention in the 1999 Nom a Awards for Publishing in Africa. It also appears as one of ?Africa?s 100 Best Books of the Twentieth Century? 11 and has been adapted into a film, In My Country, 2005, directed by John Boorm an. Country of My Skull is widely prescribed at universities in the US and Europe in curricula dealing with South Africa and is often the single textbook on the post-apartheid situation. The book has made Krog a nationally- and intern ationally-recognised public figure whose opinions and ideas are sought for input into a variety of forums on the subject of dealing with the past, transition, healing and change. She has received offers from Mail&Guardian 7 Fe bruary 1 9 9 7 and ? Unto the third or fourth generation? Mail&Guardian 13 June 1 997 . 11 When the M odern Li brary B oard in the US published a list of the ?1 0 0 great En glish books of the 20t h C entury? , none were written by Af rican writers and the continent? s three N obel La ureates, Wole So yinka ( 198 6) , N aguib Mahf ouz ( 198 8) , and N adine G ordimer ( 1 9 91) were ignored. In response African aca demic Ali Mazrui announce d a project in 20 00 to compile a list of ?Af rica's 1 0 0 best books of the 2 0 th C entury? . The project was officially launched at the 2 0 0 2 Zim babwe International Book Fair in collaboration with the African Publishers' Ne twork, the Pan- Af rican B ooksellers Ass ociation, and the Pan-African Writers Ass ociation. From http://africanhi story.about.com/ library/wee kly/aa100BestB ooks.htm accessed 23 J uly 2008. See http://www.co lumbia.edu/ cu/lweb /ind iv/ africa/cu vl/Afbk s.html# list for the list. 8 various governments, universities and international agencies to visit, read and speak as a representative writer and witness of the South African transition to democracy 12 . Af ter writing Country of My Skull, Krog returned to parliam ent as editor of the SABC radio journalists in 1999, but left journalism soon afterwards. Since then she has become a person of such stature that she can self-choose projects and causes to involve herself in. Her public engagement is now multi-faceted: the first aspect of this being a renewed commitment to poetry, writing, speaking about poetry/writing, and translating. Her literary output since the publication of Country of My Skull has not only intensified but has also been singled out for awards and praise13 . Since 2000 she has focused her energy on the reclamation of poetry in indigenous languages and the translation of poetry and important literary works into Afrikaa ns14 . For Random House she followed up in 2003 with a second non-fiction book about the South African transfor mation called A Change of Tongue ( 2 0 0 4 Bookseller?s C hoice Award), in which again, she used a m ix of reportage and autobiography to investigate how present-day South Africans are copi ng with political and social change. The publication of these two books in E nglish have made Kr og internationally desirable as a speaker and commentator on the writing of change and transition15 . In 12 Sh e was invited by the Malian Min ister of C ulture to be one of 1 0 poets on the La Caravan e de le Po?sie which retraced the slave route from Gor?e Is land back to Timbuktu in 1999 and i n the same year she gave the keynote speech at the Zimbabwe B ook Fair. In June 200 0 she led th e Eng lish session at a conference on ?Writing as a Duty of Mem ory?, h eld in Rwand a. Sh e has given lectures on aspects of the Truth and Reco nciliation C ommission at the University of Lon don, the University of Glasg ow, the universities of Esse n and Dortmund in Germ any, the University of Utrecht and at the Nethe rlands Institute for Sou thern Africa i n Holland, the universities of Bish ops, Con cordia, McGill, Carleto n and Toronto in C anada, Ne w Yo rk University and B ard C ollege. 13 Kleur kom nooit alleen nie (2000 receive d the RAU Prize in 2001); Down to My Last Skin ( 2 0 0 0, FN B V ita Poetry Aw ard 20 01) ; Waarom is die wat voor toyi-toyi altyd vet ( a play, 200 0) ; w ork on a three-pa rt TV s eries ?La ndscape of Mem ory? (2000); re-release of Eerste Gedigte: Dogter van Jefta en Januariesuite (2 004 ) ; Nuwe Stemme 3, new poetry edited by A ntj ie Kro g and A lfred Schaf fer (20 05) ; ?n Ander Tongval ( 2 00 5, A frikaans version of A Change of Tongue); Body Bereft and Verweerskrif (released at the same time in both Eng lish and Afrik aans, 20 06); ?Von kverse? proj ect involving Litn et, Kro g and writer Ch arles J Fourie, launched at the Klein Kar oo Nasi onale Ku nstefees with six Cape poets and video, music and dance (2 0 0 6 ) ; and Fynbosfeetjies/Fynbos Fairies ( in both En glish and A frikaans 20 07 ). 14 Kr og did the Af rikaans translation of M andela?s Long Walk to Freedom (2 001 ) and translated indigenous language pieces into Afrikaa ns in Met Woorde soos met Kerse: Inheemse Verse Uitgesoek en Vertaal deur Antjie Krog (2 002 , SA Translato rs? In stitute prize 200 3). The stars say ?tsau?: /Xam poetry of Di?!kwain, Kweiten-ta-//ken, /A!k?nta, /Han#kass?o and //Kabbo, was selected and adapted by Kr og from the Ll oyd Bleek C ollection of |x am and ! kun documents and drawings. It appeared in both E nglish and A frikaans in 20 0 4 . 15 In 20 0 4 , she was keynote speaker at Winternachten Li terature Festival in Den Haag; keynote speaker in defence of poetry at the Poetry International Festival in Ro tterdam; k eynote speaker at the Berlin 9 South Africa Krog occupies the newly-coined position of a ?curator? of poetry (as the word appears in the publicity material for these events): in 20 04 she ?curated? th e Tradewinds Poetry Festival in Cape Town and since 2006 she has directed the Spier Arts Summer Season Open-Air Poetry Fes tival, also in the Western Cap e. Her international exposure is recognised and valued here, as she brings to these festivals a host of voices from other parts of the world. As a result of this enhanced stature as a literary figure, Krog has received renewed attention from the academic world. In the years after the publication of Country of My Skull many international universities invited her to talk about her witnessing of the TRC hearings 16 . While Krog?s literary output has al ways been the topic of attention for literary study and theses, since the publication of Country of My Skull the academy has begun to treat her differently, as not just the author of a literary corpus but as a producer of knowledge in her own right. This has taken the form of acknowledgement via the conferring of honorary doctorate status17 , her inclusion as a keynote speaker among academics at maj or conferences18 , and more importantly in a post created specially for her as an E xtraordinary Professor attached to the Faculty of Arts at the University of the Western Cape. Her status is also the serious subject of academ ic inquiry with, for instance, an edition of the journal Current Writing (Volum e 19 Issue 2 of 2007) devoted to Krog as a ?m ediator of South African culture ?, as a translator, journalist, poet and as a person ?on the world stage? 19 . Literatu re Festival and she was invited by the Ro ckefeller Foundation to be a resident in writing at Bellag io in Italy. In 2 005 she participated in a poetry festival in Indonesia as part of a former Dutch colonial group visiting Dj akarta, B andung and Lam pung performing with local poets; opened a poetry festival in C olombia with readings in Bogo ta, Med illin and Kali; read poetry at the Nig erian Arts Festival in Lago s; attend ed the poetry festival in Sain t Nazaire Acte Sud in France and did a travelling poetry show with Tom Lano ye in Belg ium and the Ne therlands. In 200 6 sh e participated in a literary festival in Vi enna; attended the poetry festival HA IFA in Harare and did a writer?s retreat at Civ itella, Umbertide in Italy. 16 Sh e has had invitations from: the University of Lo ndon, the University of Glasg ow, the universities of Essen and Dortmund in G ermany, the University of Utrecht, the universities of Bishops, Con cordia, McGill, Carleto n and Toronto in Can ada, New York University, Bard Colleg e, Bran deis University and Tilburg University. 17 Krog has received these honours from the University of the Free State, Ste llenbosch University, Nelson Man dela Metrop olitan University and Tavistock Cl inic of the University of East Lon don, UK. 18 In 2007 s he was an invited speaker at the International Asso ciation for An alytical Psychology Congre ss XV11 in Cape Town and at the African Philosophy Con ference at Rh odes University. 19 Qu otations taken from the call for papers by the edition editors And ries Vi sagie and Judith L? tge Co ullie. 10 Other indications that Krog has attained a position of great public renown are the features of celebrity and popularity now attached to her public persona ? particularly through and by the media. In December of 1997 she was named by the Mail&Guardian one of the ?next hot one hundred South Africans? ? ?the people who are set to influence (and are influen ced by) the way we live and the issues which we debate?, in 1999 the wom en?s m agazine Femina put her at number 39 on their list of ?wom en who shook South Africa? 20 , and in 2004 she was named 75 th on the SABC?s list of the ?1 00 Greates t South Africans? 21 . When she was accused of plagiarism by fellow poet Stephen W atson in February of 2006 the m edia coverage was intense and sustained, showing clearly the ongoing interest in her as a newsmaker22 . At the tim e of writing this thesis, it is remarkable that Krog has em erged from such damaging allegations with barely a scratch on her reputation as a writer. In fact, she has recently been paid an extraordinary token of support by JM Coetzee in his latest n ovel, in which his fictional Australian author JC writes of her: 15. On Antjie Krog Over the a irwaves yesterday, poems by Antjie K rog read in English translation by the author herself. Her first exposure, if I am not mistaken, to the Austr alian public. Her theme is a large one: histo rical experience in the South Africa of he r lifetime. Her capacities as a poet have grown in response to the challenge, refusing to be dwarfed. Utter sincerity backed with an acute, feminine intelligence, and a body of heart-rending experience to draw upon. Her answer to the terrible cruelties she has witnessed, to the anguish and despair they evoke: turn to the children, to the human future, to ever-self-renew ing life. No one in Australia writes at a comparable white heat. The phenomenon of Antjie Krog strik es me as quite Russian. In South Africa, as in Russia, life m ay be wretched; but ho w the brave spirit leaps to respond! JC?s ?Secon d Diary? in Diary of a Bad Year by JM Coetzee, 2007: 199. Of this attention Sunday Independent book editor Maureen Isaacson rem arked: ?Antjie Kro g is bestowed with laurels by JM Coetzee through his 72-year-old protagonist of his new novel?? (16 Septem ber 2007: 17). 20 ? Women with attitude: the top 100 women who shook South Africa? Femina December 1999: 82-86. 21 This was modelled on the 2 0 0 2 BBC programme in which a vote was held to determine whom the general public considered the ?100 Greatest Britons of all time?. The So uth Af rican list can be found at http://en .wikipedia.org/ wiki/SABC3 's_ G reat_ S outh_ African s#Th e_ list: 22 See Ap pendix A. 11 And highly-respected public figure Jakes Ge rwel, previously vice- chancellor of the University of the Western Cape and a presid ential advisor to Nelson Mandela, who is preoccupied with questions about the health of public debate in South Africa, remarked in Rapport : If I have to find among Afrikaans thinkers one who I would call an ?Af rican intellectual?, it is her. I ha ve been so formed as a ?Western? intellectual; that it is Antjie Krog wh o, every time I read her, challenges me to acknowledge the restrictions of that formation and to address them. Few other Afrikaans thinkers di g so deeply and insistently about Af rica and the moral and intellectual challenges of our continent and land (?Laat ons m et mekaar verskil sonder om te skel?, 11 Novem ber 2007: 20). And, as has becom e a hallmark in Krog?s rela tionship with the media, she is not only the object of m edia attention but also continues to be a commentator and opinion writer who weighs into national debates on occasion. For example, in 2000 she m ade a plea for ?white action ? at the Human Rights Comm ission Raci sm Conference and then followed this up in the Cape Times of 8 Septem ber by calling for whites to ?m ake one single fateful gesture? (reported also in the Mail&Guardian of 15 Septem ber). And in 2006 when for mer apartheid Minister of La w and Order Adriaan Vlok sym bolically washed the feet of ANC activist Frank Ch ikane, causing an outraged public reaction, Krog appealed for ?A space for the disgraced? in the Mail&Guardian ( 1 5 - 2 1 Septem ber). When a popular Afrikaans song calling for Boer War hero General de la Rey to com e and lead his people sparked controversy Krog weighed into the debate writing ?De la Rey: Afrikaner Absolution? for the Mail&Guardian ( 3 0 March-4 April 2007: 23). To this public recognition is added the attention of politicians who recognise her value for the national reconstruction project. This is dem onstrated by more than just the quoting of her work publicly. In June of 2 003 Krog was selected as part of a panel of ?e minent South Africans? to advise President Mbeki on appointm ents to the Comm ission for the Promotion and Protection of the Right s of Cultural, Religious, and Linguis tic Communities. Since 1970 Krog has played an accu mulating public role, starting out in the fairly enclosed Afrikaans literary world as a poet, becoming a dissident and activist recognised by Afrikaner intellectuals, townsh ip activists and certain members of the 12 A N C, moving into journalism proper as a reporter, and achieving wide recognition as a book author and chronicler of the experience of a white South African responding to transition. As the chronology of her life and work above shows, she has moved through these decades across four fields of shifting Sout h African life: literary, political, media and latterly academic. In her 50s, Krog plays a powerful, public role in the new democratic South Africa by w itnessing, speaking and writing about the atrocities of the past primarily through her engagement as a writer and journalist with the Truth and Reconciliation Comm ission and as the author of the 1998 book Country of My Skull. Over the nearly 40 years of her public life and writings she has been a poet, an activist, a journ alist, a book author, and academic. In addition she has also become one of those public figures taken up by journalists and m edia people and ascribed popularity and celebrity. In this thesis I use the case study of Krog?s em ergence as a public figure across decades and across several areas to examine the making of a public figure with a powerful speaking voice in transitional, and transnationalising, South Africa. Essentially I seek, by investigating K rog? s public persona and works, and their reception and circulation, as well as the mediation of both her self as a public person and her writings, to engage with the question: how does an individual ? and especially a white, Af rikaans woman in identity-preoc cupied and -perp lexed, post- apartheid South Africa ? com e to speak to, for and about this nation. The aim is to unravel the many facets and contributing factors of how this kind of speaking, representing, embodying individual comes to be made and mediated. The argument to be tested is that this making is far more complex and has more components than just being favourably pre-pos itioned socially, the formulation of literary ?genius?, and encounters with auspicious people, circumstances and events. I will argue that her positioning and power to speak in public is the result of several intricate and interweaving processes formed by a trajector y through the literary, political and media spheres, all with contingent moments relating to the particularities of South African politics and history and the interventions of significant people. As part of this investigati on of the factors that contribute to Krog?s m aking as a public figure, I have a particular interest in examining the workings of the news media in the creation of this status. I will show that since 197 0, when she f irst came to the attention 13 of the South African newspapers as a precocious young poet of 17, she has been both a useful ? and often controvers ial ? news maker for journalists 23 and a mediator of her own public persona, her work, and debate around the issues she considers important. For nearly 40 years she has been both subject m atter and actor, mediated and mediator. In order to unpick how Krog?s re lationship with the media has contributed to her stature as a public figure, I draw on media theory and field theory in a particular mix for an explanation that goes beyond just showing how a particular person becomes a focus of attention for jou rnalists. I will use this combination to theorise how insistent, and repeated media attention can attach to the newsmaker herself and thus become a power for enhanced stature and mobility. But I also look more broadly at the operations of modern-day journalism in the post-ap artheid South African public sphere and mount a critique of the normative, and pessimistic, understanding of what the media should do to enable rational-c ritical debate which is seen as fundamental to the operation of democracy. I argue that, as is evident in Kro g?s lite rary and journalistic contributions, the infusion of affect into public contributions, the situatedness of the body, and the activation of the confessional are hallmarks of the post-aparth eid South African conversation ? and necessarily so, given the history, politics and concerns around equal citizenship and recons truction of nation. This then sheds light on why ? in post-apar theid, post-repressive South Africa, where the aims of nation-building and the dem ocratic project (as defined by the ANC-led government claiming the representation of the majority) often call into doubt who is an ?authentic South African citizen? (Chipkin 2007b) and w ho has the right to speak truth to power ? this poet ha s been able (and, in the Fou cauldian sense, allowed) to craft both platform and voice in order to speak authoritatively in public. This thesis focuses on the emergence, flexibility, adaptability and durability of that voice. The central question it asks is how this particular writer and poet has found and crafted expression, and gained a place from which to speak, over a period of decades through tumultuous political and social upheaval in which white, and especially Afrikaans- speaking white, people have been dispossessed of political and social power. 23 To get a sense of K rog?s e xposure in, and therefore importance to, the news media, it is useful to employ the agenda-settin g method of counting numbers of stories (see Dearing and Rog ers 19 96 : 18 ). Using the SA Media Archi ve (Uni versity of the Free State) and the National Eng lish Literary M useum archive I found 27 articles in the 1 970 s, 110 in the 198 0s, 261 in 199 0s an d 4 0 8 from January 200 0 to December 2008. In the SABC radi o archives there are 92 audio recordings of her TRC reports, and 17 recordings of interviews with her between 19 79 and 1 995 on various literary programmes. 14 The focus, therefore, is very particularly on the type of public figure that has emerged in a particular context, and how that figure?s position to speak and particularity of voice have been both allowed and crafted (drawing on Foucault and Said). Deploying field theory (Bourdieu, Benson and Neve u, Champaigne, Couldry, Sapiro), public sphere theory (Haberm as, Arendt, Warn er, Fraser, Calhoun, Eley), and recent investigations of celebratisation within democracies (Rojek, Turner, Marshall), I investigate how this public person and her agency in the public domain depends on the accumulation of the authority which enables speech. My focus on a single individual aims to unwind the interpenetrating spheres, influences and confluences which allow an individual to speak when many others remain silent, or can speak, but not in public and with a sustained hearing. Public intellectual activity as a focus of study The importance of the role played by the figure of the politically committed intellectual in legitimating ideological causes throughout the twentieth century has led political historians to define intellectuals as an object of study in their own right. Gis?le Sapiro 2003: 633. While many theorists have focused on the importance of the practice of public intellectual activity as a key component for healthy and robust democracy, most often the concentration is on the style of the actual figure itself (w ho qualifies or has the right qualities), the topics suitable f or airing and the reception and circulation via the media, as well as a preoccupation with assessing the quality and standards of this practice. Another key guiding id ea is that this activity not be confined to the learned intelligentsia or be the preserve of the specialist or expert. There is a plentiful literature on the definitions, worth, roles and complexities of the performance of public intellectual activity24 . While based heavily in the western world (the US, UK, western Europe, and Australia), there are som e interesting forays into elucidating the shape of the debate in the developing world. In Africa there is a growing body of pertinent literature and recently gatherings of researchers have applied their minds to the situation on this continent. For example, the Council for the Development of Social Scien ce Research in Africa (C odesria, based in Dakar) held a conf erence in 24 See A ppendix B f or the texts I encountered during the course of this study. 15 December 2003 on ?Intellectuals, Nationalism and the Pan-African idea? and released a book of the papers ( African Intellectuals: Rethinking Politics, Language, Gender and Development edited by Thandika Mkandawire ) and the newly-form ed African Union hosted the ?First Meeting of Intell ectuals of Africa an d the Diaspora?, in Dakar, Senegal in October 2004. Notably m uch of the literature and media output decries a deteriorating state in which it sees a waning of the status and prevalence of public intellectual activity in society and warns of the undesirability of this state. This ?decline? is linked to: falling standards of public deliberation; the waning of a robust public sphere as a counter to powerful states and state control of information; the overweening power of the m edia in trivialising serious issues and provoking ?celebrity cultu re?; the shrinking of the role of universities; the co -option of academ ic intellectuals by government and private enterprise and thus the loss of their independence; a nd the narrowing of knowledge and research into restricted domains of expertise, thus reducing the capacity for a ?public ? intelle ctual to operate at large in society as a generalist. This thesis is located in a wider proj ect investigating the ?Constitu tion of Public Intellectual Life? in South Af rica. This project responds to and interrogates the fairly recent rise of a widespread concern in various parts of the world with the practice and performance of public intellectual activity as a crucial dimension of civil society and citizen participation, and as a check on unf ettered government power. But m ore than this the concerns of the proj ect arise out of a particular situation in the second decade of post-apartheid South Africa in whic h constant public debate, scrutiny and contestation of the forms and boundaries of the provisions of our constitutional right to freedom of expression are taking place. As Carolyn Ham ilton, leader of this project, points out, ?that an ideal of public sphere is central to the South African concept of democracy, and highlights its attempted realisation as a formal arena bristling with institutions and policies? (2008: 12). Nevertheless, and perhaps, paradoxically, as she writes, while there is a ?corralling of public deliberation? along with ?the attem pted silencing of critical voices?, and a retreat of voices previously present and vocal in public, this situation is also modified by resurgences of voice and debate (2008: 20). This situation, w hich perplexes and provokes us as to its meaning and import, is the context in which I locate my particular interrogation of the 16 mediation and making of Krog as a public figure and speaking voice. As historian Geoff Eley says of Haberm as? se minal public sphere study, the questions of post-war and divided Germ any of the 1950s an d 1960s were the provocation for his examination of the bourgeois public sphere of the 18 th and 19 th centuries in Europe. And the choice of ?public sphere? as a set of intellectual tools: proved invaluable for thinking about the changed circumstances of political mobilisation during the nineteenth century and for placing the rise of German liberalism and its su bsequent crises in a broader meta- analytical frame? (2002: 221). Eley also points out: In contemporary discourse, ?public sphere? now signifies the general questing for democratic agency in an era of declining electoral participation, compromised sovereignties, and frustrated or disappointed citizenship. The term is called upon whenever people come together for collective exchange and expression of opinion, aiming both for coherent enunciation and the transmission of messages to parallel or superordinate bodies, whether these are a state, some other institutional locus of authority or simply a dominant culture (2002: 224). In similar vein, the political and social questions about agency and voice, provoked by our contemporary context, have led us to an investigation of public sphere, public deliberation, public debate and public intellectual activity. This theoretical territory offers us conceptual tools to get at a shifting political and social situation in South Af rica in which the parameters constraining and/or enabling voice and agency and underpinning understandings of citizenship and South African identity, are in flux. Public intellectual activity in post-apartheid South Africa Kader Asmal: In the South African context, is a distinction to be made between the native intellectual and a settler intellectual? Adam Habib: It seems to me that the easy answer is to say, no, no, no, everybody can speak. But I do think there is such a thing as a settler public intellectual. And I?ll tell you what I think it is. And it?s particularly quite dramatic in the context of post-colonial societies where there is a layer of people who actually believe and argue for, and articulate a discourse that talks about the re-colonisation of the continent. There is a settler discourse, whose views are articulated as the antithesis to the society that has been constructed. The Sunday Tim es panel discussion on intellectuals 2 December 200725. 25 The panel discussion involved Kade r Asm al, Jeremy C ronin, R aenette Talj aard, A dam Habib, Frederik van Zyl Slab bert and Xo lela Mang cu with M ohau Pheko as moderator, http://www.th etimes.co.za/d ocuments/In tellectuals-Abridged .doc accessed 24 Oct ober 2008. 17 In post-colonial, post-aparth eid South Africa, in which the majority black population now has access to power, the avowedly Af ricanist, nationalist government has taken seriously that as part of the functioning of democracy, this new nation needs a vibrant public space for the airing of ideas and the formation of public opinion. The idea of the public sphere, steeped in the Enlighten ment and the earliest formations of democracies in the western European count ries, is harnessed to the ideal of an inclusive democracy which represents the majority, upholds their interests and promotes their activities as vocal citizens par ticipating in and playing their part in the life of the nation. Thus, a crucial dimension of the energy expended on the functioning of the public sphere is on the widening of the public domain, beyond the participation of the bourgeois, to facilitate the inclusion of the voices of the black majority. And just as there are concerns expressed in other parts of the world about the decline of public sphere and public intellectual activity, so too in the South African public domain and media the rhetoric about its parlous state, and a strong concern with who populates this ailing public sphere and what ideas they put into public, is evident. A great many ?calls? are p ut out for various types of intellectuals to take up a public position and contribute to the healthiness of public life. Grea t amounts of energy, from both government and various civil society bodies, have been put into encouraging and cultivating public intellectuals of all sorts to populate a public sphere so that it is healthy and vibrant. While all citizen s are to be included (p articularly in the ANC understanding of the public sphere), there are ongoing calls, in particular, for the educated, the skilled and the thoughtful among black South Africans to em erge from different locations politically and socially, as intellectuals. Calls are m ade for revolutionary intellectuals, organic intellectuals, black intellectuals, native intellectuals, Af rican intellectuals and the intelligentsia, to come forward, join and direct debate26 . Often coupled with these calls ar e statements invoking Edward Said?s concerns and ideas about public intellectual representation, and the phrase ?speaking truth to power? (with m ultiple interpretations) h as become a familiar one in South African public discourse. 26 For a sample of the kind of debate and contestation about intellectuals see Ap pendix C . 18 But South Africa?s public dom ain, is shot through with anomalies. The exclusion and alienation that the colonial and apartheid experiences generated live on in crises of authority, the contestation over sources of legitimation and an ongoing suspicion of Western-inform ed knowledge practices. This suspicion is sharpened by the findings of the Truth and Reconciliation Comm ission hearings which opened up the past for scrutiny of the atrocities committed by the apartheid government, and heightened by global debates about the spread of human rights, the inclusion of the marginalised peoples of the world into proper nationhood and the struggles in many democratic states for full citizenship and recognition. Redress a nd restitution are high on the global agenda, and in S outh Africa. The mode of rational-critical debate c onducted by a ?free-floating?, independent intellectual with roots in liberal democracy and the Enlightenm ent ? both closely historically implicated in the politics of colonialism and apartheid ? is therefore not embraced unequivocally in South Africa as the only useful means for engaging in public or with power, or driving a programme of redress and reclamation of dignity and indigenous wisdom. So while there ar e classic performances in which ?public intellectuals? in South Af rica ?speak truth to power? via de bate and the generation of persuasive ideas, there is also a proliferation of other types of engagements which root their authorisation not in the bourgeois public sphere ideal or in western universalism but in other modes and traditions. This results in furious discussions about styles of engagement, suitable subject m atter, sources of authority, vested interests and arguments about degrees of independence from government and national and even continental projects (su ch as the African Renaiss ance). A notable featu re of these debates is that discussions are often couched in the language of ?crisis?, which I am arguing, points not to the overt dangers being espoused, but another one entirely ? a crisis about what constitutes authority to speak (and especially to speak on behalf of others) in such a pos t-colonial situation. Australian literary theorist David Carter says that the ?ram ping up of public discourse? (in ?Public Intellectuals, Book Culture and Civil Society? in Australian Humanities Review 2001, online) about public sphere a nd the need for intellectuals, is evidence of some other, deeper, maybe invisible, social shift taking place. I agree with this assessment and in this spirit assert that the multiplicity of types of public figures 19 is evidence of a deep anxiety about authority, legitimacy and knowledge in a post- colonial state. To do so I have chosen to focus on one particular public figure in South Africa, Antjie Krog, the poet, jou rnalist and book author, who for four decades has found a public and a hearing for her ideas, in order to unpick how the authority to speak is created and crafted. A careful examination of one seemingly anomalous public person, her biography, works, media coverage and trajectory is used to illuminate the factors that constitute the making of such a public persona. In dealing with Krog?s p ublic persona and her acclaim I have to necessarily look across a Sou th African ?public sph ere? of four decades. In order to contain theoretically what it is possible to achieve, I am most interested in understanding how Krog contin ues to speak into the post-apa rtheid South African public sphere in which racial markers of identity, history and experience that attach to the person speaking, remain powerfully in place in all spaces of dialogue, so that who talks for whom on what issues, is a very important, but fraught, factor. While the thesis will pay attention at points to historical moments in the S outh African public space (usu ally through the media coverage of Krog?s works and actions), it is the post-apartheid m oment which is the context that energises the questions that this thesis addresses. At the outset I am conscious that the term ?public sphere? is a useful ? but som etimes limiting ? phrase for a shifting and ?lim inal? space in the world in which an abundant range of practices proliferate which are difficult to grasp in a comprehensive and detailed way. However, the recent work of several South African theorists allows m e to sketch some suggestive markers of the domain which give a sense of the major concerns, shape, spaces and guiding practices of the post-apa rtheid, and yet still transitional, public sphere. Deborah Posel roots her thinking about these issues in the provisions of the new South Af rican Constitu tion and in the Truth and Reconc iliation Comm ission hearings as the ?first vector? of the reco nstitution of new South African nationhood. In ?The Post- Apartheid C onfessional? (2006: 8) P osel points out that at the heart of the new Constitu tion is the provision for freedom of expression for every South Af rican citizen but that th is is linked intrinsically to the shedding of a terrible past and the implication that all South Africans have shared humanity (?ubuntu?) and are ?in it 20 together? 27 . Ubuntu is therefore the ?ethical be drock? of the new nation. Posel quotes Constitu tional Court jud ge Albie Sachs as saying ubuntu is ?a new analytical framework? for South Africa. There are thr ee critically important ideas intertwined here: the r ight to talk, the recognition of shared humanity and the impulse to speak out about the horrors of a past which has scarred every South African. The result, as Posel sees it, is a public domain filled with confessional practices ( in the Foucauldian sense): there is an ?outing? (2006: 8) of th e past, and an airing of damage and trauma, as well as a plethora of personal stories in multiple fora and media. Post-apartheid is about new for ms of speaking: a politics of speaking out, predicated on new-found dem ocratic freedoms, and revelling in the eradication of apartheid censorship and prohibitions (2006:8). At the sam e time there is also ?virulent argument? about what gets said, and the powerful impetus to speak is accompanied by active silencing. Posel comments that there are still ?long -stan ding [and] powerful, cultural and political impulses to silence and secrecy? (2006: 8), most particularly s een in the conversations around the Aids epidemic and sexual practices. While Posel focuses on particular, very powerful animating ideas which give talk its political, social and Cons titutional power, Caroly n Hamilton mounts an ?historically specific understanding of public discursivity in post-repres sive regime South Africa? (2008: 4). S he provides a description of the multiple spaces in which this ideal of public discursivity is evident as well as the stakes involved. S he highlights as the characteristic features of the post- apartheid South African public sphere: the state as committed to participatory democracy; the way in which a capitalist market economy, with significant global links, forms its basis; the widespread availability of broadcast media and a limitation of most other forms of media access in the hands of a small educated minority; the presence of an old, established white elite, the emergence of a new black bourgeoisie, the impact of a small but significant organised working class and a number of small social movements, and the existence of a large mass of unemployed or informally employed. In particular, I focus on the implications of enormous social inequality and significant cultural diversity for processes of public deliberation. Hamilton also emphasises that the maintenance of the public sphere is understood to be an ?explicit part of the governm ent?s m andate? and that ?active public citizenship? is considered more important than ?m ere voter participation? (2008: 3). 27 Her words from her Winter S chool lecture at the Nation al Arts Festiv al. Aud iotape from the lecture 3 July 200 8. 21 Hamilton and Lesley Cowling ( 2008: 6) note that there are ?historical legacies that valorise deliberation?. T hese include: ?a celebrated tradition of public engagement by Af rican intellectuals that dates back to the middle of the nineteenth century; concern about the long exclusion under colonialism and apartheid of the majority from the concept of the public itself and acknowledgement of a need for redress; and a comm itment to face-to -face, spoken consultation symbolised by the valorised procedures of the traditional lekhotla/im bizo/volksvergadering/inda ba; the draf ting of the Freedom Charter celebrated as a p rocess of collective deliberation; and ideals of community articulated in the struggle against apartheid. The result, they say, is that spoken consultation is ?institutionalis ed in a variety of instruments, organisations, and policies designed to promote public comment on government initiatives and legislation, and public engagement more generally?. Both Ha milton and Posel show that there is evidence of ?silencing, self-silencing and the evasion rather than the confrontation of the fetters? of what Hamilton calls ?the convened public sphere? (2008: 7). T his ?c onvening? is seen, most notably, in the state?s ? and m ost particularly in President Thabo Mbeki?s ? inte rventions in the public domain, although as Hamilton also points out, institutions and fora ? already too numerous to list exhaustively ? have b een recently inaugurated or reinvigorated, challenging the ?corralling? of the public sphere (2006). An interesting vehicle for form er president Mbeki and his presidency staff to intervene in public has been the weekly email newsletter ANC Today, which is sent to anyone who subscribes electronically. In a recent attempt to direct public discussions after a number of severe criticisms of government by important political figures28 , a series in ANC Today called ?The Sociology of the Public Discourse in Democratic South Africa? 29 was published. In the 21 January 2005 edition 30 , the debate was set 28 Most notably by Arc hbishop Em eritus Desmond Tutu who used the 2004 Nelson Ma ndela Lecture to call attention to the pressures on the space of open public deliberation, highlighting the dangers of labelling those who express dissent as disloyal or unpatriotic. ?I am concerned? he commented, ?t o see how many have so easily been seemingly cowed and apparently intimidated to comply.? The lecture is online http://w ww.nelsonmandela.org/ind ex.php/news/art icle/lo ok_to_the_ro ck_ from_ which_ you_were_hewn/ accessed 9 Dec ember 2008. 29 The author of this series was head of the presidency in the ANC, Sm uts Ng onyama, who told editor Ferial Haffajee that he wrote the series ? with my team and the ANC ?s research team?. ? Why is the ANC so angry? ? Mail&Guardian 4- 1 0 February 2 0 0 5 : 6. The letter usually appears in sections with the first demarcated as ?Letter from the President? and ? on the website version ? bearing his signature. 22 out as: ?in S outh Africa the fight is really about who sets the national agenda. Should it be the African National Congress (ANC) or should it be the white elite? ? The following points are made: The in tellectual battle going on in public is between the ?white elite? and the ANC ?black m ajori ty government?. The ANC believes it ?has a mandate to set the country' s priorities?. By contrast the white elite?s ?interest is to protect its wealth and lifestyle?. The ?white elite conti nues to believe that it has a responsibility to provide ?thought leadersh ip? to an African population that is ?intellectu ally at zero?? 31 . While the newsletter asserts the importance of robust public debate and the value of hearing opinions from all quarters, the ?white elite? is characterised as wanting to confine this debate in both tone and spaces32 . As Ha milton further points out, ANC spokespe ople insist that within the organisation there are vigorous processes of consultation, but the point is that they are contained within33. She comments: Comm entators, including some ANC m embers, have noted that the long upheld adherence to democratic centralism effectively amounts to a deep-se ated tradition within the ruling party of powerful caucuses, party lines and the inhibition of open debate (2008: 14). This provokes the concern ? expresse d best by Thandika Mkandawire ( African Intellectuals 2 0 0 5 ) and reiterated by Raym ond Suttner ? that the dem and by African governments that intellectual activity be in line with the state?s definition of national reconstruction is very problematic. In a recent article for the Mail&Guardian34 30 Vo lume 5 , N o 3 of 2 1 - 2 7 January 20 05 . http://www.a nc.org.za/anc docs/a nctoday/20 0 5 / at03. htm accessed 25 February 2005. 31 Qu oting Professor Cath erine Hall?s 2 002 article ?M etropole and C olony in the En glish Imagination 18 3 0 - 1 8 6 7 ?. 32 ??th e transformation proj ect in our country constitutes one of the most complex contemporary change processes confronting any society anywhere in the world. Necessarily, it will therefore continue to provoke an intense political and ideological conflict ? a healthy contest of ideas ? as different schools of thought contend both to interpret this reality and suggest how the new Sou th Africa sho uld respond to the changing actuality it will continue to face. It would therefore be an extremely idle and dangerous delusion to pretend that on the political and ideological plane, the continuing transition from apartheid to a non-racial an d non-sex ist democracy will be characterised by comfortable and congenial tea or dinner party exchanges, taking place during easy and polite conversations in the wealthy suburbs of our cities? The challenge intellectually to define the future of our country has been and will remain as demanding and bruising as has been the continuing challenge practically to change S outh A frica into a democratic, non-raci al, non- sexist and prosperous homeland for all our people. In both object ive and subj ective senses, the contest will neither be polite nor pretty.? 33 Recent political developments which have seen the ousting of Mbe ki as president and the formation of a breakaway party from the ANC fo ld are too young to demonstrate whether this ANC tendency will hold sway in the newly- formed C ongress of the People Party, led by former M inister of Defence Mo siuoa Leko ta. 34 18 January 2 0 0 5 . 23 Suttner, a research fellow in the history depa rtment at the University of South Africa, who has been a political prisoner and a member of the ANC a nd SACP le adership, focuses on those white S outh Africans i nvolved in the liberation struggle and articulates their ?anxiety? about th eir place in the present dispensation: A striking feature of the post-1994 peri od is the retreat from politics or emigration of large numbers of people from the white community who were part of the active resistance to apartheid. Som e have decided to focus on personal issues, such as rebuilding family relationships, for which there was little time during the struggle. Yet others have becom e despondent. Democratic South Africa ha s fallen short of their hopes, and there is a sense of not identifying wholeheartedly with the new order. Som e believe that their contributions have been insufficiently recognised; they feel that whites have been ?m arginalised? (2005). Suttner ?s ar gument is that ?if the white left share in the vision of freedom and equality espoused during the national liberation struggle and now enshrined in the Constitu tion, it needs to join in the ef forts to reconstruct the country as equals ? nothing less and nothing more.? Anton Harber, a founding editor of the anti-governm ent Weekly Mail35 during the 1980s and now professor of journalism at the University of the Witwatersrand, commented in his address for the Fourth Harold Wolpe Memorial Lectu re: I have been asked to talk about the market and journalism . This is a discussion about the public sphere and the nature and quality of debate within it. In South Africa, we have an awful irony ? that m uch of the journalism and the public debate (even when it had to be conducted secretly) was richer und er the repressive conditions of apartheid than it is in a free South Africa (26 Septem ber 2002). Ref lecting on the inventiveness that inspired anti- apartheid activity, Harber said: ?I t is harder now to see the same depth of public debate, imagination and intellectual innovation.? In his assessm ent, journalism in the post-apartheid era is divided into two crude camps: watchdog of governm ent power and assisting government in nation- building. ?Both are inadequa te positions; both put thei r adherents into political corners where they tend to produce predictable and shallow journalism ,? he said, and went on to note that ?cau tion and conformism? were rife in n ot only newsrooms but also ?sweeping our polity?. 35 No w called the Mail&Guardian. 24 However, this situation of retreat and uncertainty needs to be overlaid with the generalised feeling of the right to voice that also exists in the public domain for South Africans, there is no shortage of people expressing opinions through radio and TV talk shows (as Posel points out in her pape r) and through new spaper letters columns. But, as I said before, the racial m arker of identity, history and experience that attaches to the person speaking, remains powerfully in place in all spaces of dialogue, so that who talks for whom on what issues, remains a very important constraining factor. It is also important to note that while freedom of expression is entrenched as a Constitu tional right, Sou th Af ricans are careful what they say to whom, and in which public spaces36 . It is against this complex context, and into a situation in which the public debate about who has authority to speak, often falls into a racial polarisation or a pro- or anti-ANC government polarisation, that a focus on a person such as Krog, enables a study which calls out the many hidden factors that make voice possible. That a white, female voice such as Krog?s continues to speak, m eans attention must be paid also to subjectivity and identity ? the use of self, body, the expe riential, the confessional ? and to larger, issue-based connections with wider gl obal processes which impact on the South Africa public sphere and, therefore, on its speaking individuals in its public domains. The questions that guide this study As part of the larger project of seekin g to understand the operations of the public domain in post-apartheid South Africa, I have chosen to focus on one, single individual who, over a period of nearly four decades, has continued to find means of expression, despite the shifts and complexities ? and constraints ? of our public discourse and spaces. This focus on the figure of the public intellectual as the embodiment of the provisions of the public sphere, seeks to unpack the mechanisms by which a speaking position can be found and used. 36 See the ?Sout h African Me dia Barom eter? report which underlined the fear of expression prevalent. Rhodes Journalism Review 2 6 , Se ptember 2 0 06: 3 1 - 4 0. 25 The threads of investigation I have pursued are: ? How Krog?s particular biography and traject ory as an Afrikaans fe male writer has contributed to a distinctive type of voice emerging in public, not only in South Africa but also internationally. ? How from poetry through news journa lism and essay to hybrid-genre books, Krog has developed a particular pers ona and subjectivity as a writer of testimony and witness, consciously addressing a divided South African public on issues that concern her. ? How this speaking/writing has been m ediated from its emergence in 1970 by journalists and publishers with Krog being both m ediated and at times acting as mediator herself. ? How at this particular moment in post-apartheid South Africa the desire to deal decisively with the past has allowed for the emergence of a particular kind of voice which reaches across publics, audiences and communities, and forges a way of speaking that attracts national and international recognition. This thesis focuses on how the interwoven threads of personal biography, the development of an idiosyncratic writing voice through poetry, journalism and essay, and the reception and circulation of her various works, particularly through the media, have resulted in the emergence of a distinctive type of public engagement in the case of Krog. And the question that necessarily fo llows from that investigation, and gives this work its relevance, is: what does that te ll us about the nature of the public domain in South Africa now and the type of perfor mance of public intellectualism that finds a hearing and a public in S outh Africa now? In order to answer this question, I use Kr og?s public performanc e as a case study to propose a way of theorising and conceptualising the complex intertwining of the literary as a field and the creation of writer subje ctivity, the political sphere as the necessary stimulating environment, and the workings of the media and its a/effects in the world. I will argue that her positioning and power to speak in public is the result of several intricate and interweaving processes formed by the interpenetration of literary, political and media spheres. A concat enation of factors (with the ir distinctive roots in each of these fields) have allo wed for Krog to constru ct a particular 26 subjectivity as a writer, which she has used to transcend the literary, enter the media and finally, with accumulated symbolic capital from both these and her actions and acclaim in the political field, arrive at a position which, despite the complexity and corralling of the South Afri can public space, continues to allow Krog both platform and voice, not only here but also internationally as an exemplary South African intellectual contribution. It is almost impossible to unwind the interconnections between literary, political and media fields, so deeply entwined and so mutually dependant, have they become in the modern-day liberal dem ocracies in which we live. But, for the purposes of this thesis, I am going to separate out these three as strands in order to elucidate the particular factors pertaining to each one, which influence the accumulation of actions, events, publications and reportage, which is Krog?s publicness. I am also going to tease out other key factors which traverse these three fields and operate over time to enhance her standing. These are: her developm ent of an adaptive subjectiv ity as a writer, her accumulation of symbolic capital across fields, and the actions and interventions of powerful field mentors and consecrators who have operated to create critical moments of transition and/or cons ecration in Kr og?s traje ctory. As textu al devices I will use two markers, [Trajectory]: to discuss and th eorise at key points in the thesis narrative her entry into fields and movements across fields, and [Subjectivity]: to highlight her development of a distinctive poetics, and therefore voice and subject position in these various fields. I devote chapters three to six to a close study of Krog?s life and work as imbedded in the matrix I have sketched above. These chapters encompass a biographic, historical narrative of Krog?s works and actions, as we ll as significant events, interventions in and reportage on her life and writings. I have chosen, for the purpose of understanding and explication, somewhat artificially, to separate out the various fields she has operated in and to associate each of these with a particular period in her life and work. A certain disaggregation of fiel ds and influences is necessary theoretically in order to facilitate analysis, although I am aware this is a false simplification of processes that mostly work in conjunction with each other. In this biographical section I am going to employ a writing strategy which interweaves Kr og?s trajectory through fields with the necessary theory to explicate the particular emphases I wish to draw attention to, in 27 order to make an argument about the formation of Krog as a particular type of public figure. Chapter 3 ? ?Self? ? this chapter deals with the interpellation of the early poet into the Afrikaans literary field in 1970 and the development of a distinctive poetics and voice. I trace her successful entry as a young poet into the distinctive Afrikaans literary world of the end of the apartheid era and her successful development of an idiolect demanded by that world as a mark of genius authorship. I focus in particular in this chapter on the literary field and Krog?s form ation of writer-subjectivity, not only because Krog becam e a poet first but also because an examination of the literary field is key to understanding the roots of subjectivity-form ation and the circulation of texts in public, and therefore the creation of publics themselves (following W arner). Chapter 4 ? ?Self-othering? ? focuses on Krog?s genre and language crossing as a writer and on political world take- up of Krog. Kr og?s dissidence and public condemnation of the handmaid relationship of the Afrikaans cultura l institutions to the apartheid state, as well as her visits with groups of ?inte llectuals? to v isit the ANC leaders in exile, are pertinent here. In particular the chapter focuses on the watershed year 1989, her Hertzog Prize-winning anthology Lady Anne (which shows distinctive shifts in writer subjectivity) and the p ublic attention of Ahm ed Kathrada, Rivonia treason trialist who was released from Robbe n Island. Just as the operations of the literary field continue to be relevant in later chapters, so too the political continues to be of relevance beyond this chapter. Chapter 5 ? ??Second-person? performances?. The most complex of the strands that contributes to, and is used by, Krog in her emergence as a public figure is that of the media and mediation. Me dia attention has been a constant, volatile presence in Krog?s life since 1970, so the drawing out of this field as a theoretical strand is crucial to the examination of Krog?s rise as a pub lic figure. This chapter explores Krog?s engagements with journalism and focuses particularly on her reporting of the Truth and Reconciliation Comm ission from 1996 to 1997. It was from the field of journalism that Krog was launched as a wr iter of the non-fiction account o f the TRC 28 Country of My Skull ( 1 9 9 8 ) and thus achieved inte rnational recognition for her performance of accountability and contrition for the horrors of the South African past. Chapter 6 ? ?Authority and authenticity? . The fully-m atured Krog with the facility to operate in four fields (literary, poli tical, media and academic) em barked at the height of her powers on a self-defined mission to enlarge the public space in which South Africans can talk to each o ther. This she did by a return to the literary field and particularly through the mode of translation. This chapter investigates how her accumulated authority and her demonstration of authenticity as a South African national subject enabled her to con tinue to win a hearing and public. But first, bef ore this immersion in the life of Antjie Krog, I po sition this thesis theoretically in chapter 2 by considering in particular the trope of the person of the public intellectual and the ideal of the public sphere as explicated by Habermas. I then turn to Bourdieu for a nuanced understanding of agency and authority in order to craft a methodology to examine Krog, her life and work. 29 Chapter Two Public Sphere and Public Intellectual, Field and Agent In this chapter I situate this thesis theoretically and methodologically so that the approach to my subject m atter is clear. In particular I wish to critically position this investigation in relation to the normative, and still very powerful, Habermasian idea of ?public sphere? and in re lation to the ideas and concerns around the figure of the ?public intellectual?. I acknowledge that the normative conceptions of both ideas have great power in society and are treated as actual categories by many commentators. But because I am interested in understanding how the present-day public sphere in South Africa operates and how a public figure manages to achieve public representation, I will treat these normative conceptions as points of departure for the theoretical stance of this thesis. In this chapter I also engage with Bourdieu?s f ield theory, with its concepts of fields, agents, consecrators and capital, as my choice of methodology to explicate the life, work and mediation of Krog. And because I am dealing with a literary figure, who is highly mediatised but rooted in a particular, and changing political context, Bourd ieu?s field th eory is particularly useful because it enables me to theorise the confluences of literary, political and media fields and to deal with the questions of agency and authority. A s my primary texts for engaging with the life and work of Krog are m edia texts, both my theoretical positioning and my methodological choices are deeply engaged with the operations of the news media as they touch on the functioning of the public sphere and the publicity of the public intellectual. I. The Habermasian public sphere as the normative understanding T h e public h as never been a dry and arid place composed of abstract arguments about reason. It has alwa ys been filled up by expressive images, by narratives, traditi ons, and symbolic codes. Jeffrey Alexander 2006: 409. The idea of the usefulness and efficacy of the public sphere, and the notion of publicness it employs, is one which continues to resonate in modern-day liberal democracies as a mechanism to engage citizens in national matters, as a check on unfettered power and particularly as a rationale for the news media and its operations. As Craig Calhoun says of Haber mas? st udy, ?the book?s resonance with so m any 30 discourses suggests that the recovery and extension of a strong normative idea of publicness is very much on the current agenda? (1992: 42). T his ideal of the flowering of the 18 th century European public sphere with its salons, coffee shops and flourishing arts and culture, and exemplary citizen part icipation, acts normatively still in our world (even if somewhat anachronist ically). And the acc ompanying notion of the press as ?the public sphere?s pre-em inent institution? (Haberm as 1991: 181) rem ains powerfully normative among media practitioners even today1 . And as Michael Schudson points out, current too, is the idea of a decline in public sphere functions and the deteriorating role of serious journalism as a vehicle for debate (?W as there ever a public sphere? in Calhoun 1992: 143). Because th is idea has such power and influence ? both theo retically and normatively ? I use the Habermas study of the 18 th century bourgeois public sphere in Europe as ?an indispensable point of theoretical departure? (Calhoun 1992:41), in order to situate m y study. The strength of Habermas? investigation of the 18 th century bourgeois public sphere is that it ?weaves econom ic, social-organisational, comm unicational, social- psychological and cultural dimensions of its problem together in a historically specific analysis?, an d thus allows for the ?ric hest, best developed conceptualisation available of the social nature and foundations of public life? (Calhoun 1992: 41). T he method I am using, in order to situate this study in relation to conceptions of the public sphere as an important space in public life, is to mine Habermas? work for the critical poin ts he has picked out in his study and then to use other theorists to take them further ? sometimes in advancement, and sometimes in radical departure. After writing T h e Structural T ransformation of the Public Sphere, Habermas went on to develop his normative understanding of this concept in further work in 1974 and 1989 2 . It is against this normative understanding, and the ideal held up by Habermas as operating in the 18 th century, that modern-day public sphere activities, the behaviour of public intellectuals and the news media are j udged ? and m ostly found wanting. Hence the 1 Particularly inspired by descriptions such as the creation of ?p olitical jo urnalism in the grand style? by the Tories under B olingbroke in E ngland who purchased the Lon don Jou rnal in 1 722 and turned it into a mouthpiece for political opposition (Haberm as 1991: 60). 2 See t he reference by Ge off E ley (1 99 2: 28 9 ) to ?The Public Sp here? i n New German Critiq ue 3 197 4 and the reference by R obert C Holub (1 9 91: 3) to ? V olkssouveranitat als Ver fahren: Ei n normativer Beg riff von Offen tlichkeit? Me rkur 43 (6 ) 198 9 : 46 5-4 7 7 . 31 prevalent rhetoric about the ?decline? of the public sphere 3 and the pessimism about modern media. In light of this prevalent attitude it is useful, therefore, to revisit what features in particular in the original study he described as provoking a ?refe udalisation? of the public sphere. It seems, from a careful reading of the second part of Transformation , that two main ideas preoccupy Habermas. The first being the commodification and commercialisation of culture through the media (especially radio, film , television and magazines). And the second being the loss of the delineation of the strictly private domain of family in which literary activities (tied to books, literary journals, novels and letters) which were the f oundation for the outgrowth of the conversations going on in public spaces. The result, says Habermas, has been ?the destruction of the relationship between public and private spheres? (1991: 158). In Haberm as? configuration of the successful appearance of rational-critical debate in the public sphere, certain key ingredients must be present and must lie in certain relationships to each other. The family must engage in literary activities that are centred around reading within the intimate space of the home, and not watch TV, listen to the radio or consum e magazines ? all of which provoke ?in dividuated acts of reception? (1991 : 161) lead ing to ?im personal indulgence in stimulating relaxation? rath er than the public use of reason (1991: 170). This reading activity is ed ifying and has particular inward effects of creating an altered sense of self4 , which is the first, preparatory stage ? the absorption of the culturally-rele vant and important. The family members (or those among them who are allowed a public persona ? it is im portant to remember that women in particular were not) would then go o ut into public spaces to talk about what they had read. While the production and consumption of cultural products is embedded in the capitalist system (Haberm as concedes that paying for books, theatre, concert and museum was the necessary ?precondition for rational-critical debate?, 1991: 164), the resulting conversation, in his view, was free of the taint of this system, and constituted the second and culminating stage of the process. This is what Habermas understands as 3 See App endix C for t he literature which shows clearly this position and concern. 4 It is remarkable that Habermas in this study does not allow for the possibility that readi ng as an ?i ndividuated act of reception? can be purely for entertainment and self- gratification. He seems assured that reading the ?literary? is ed ifying and enabling for public sphere activities. 32 ?praxis? ? conversation which leads to the forming of a shared opinion, which can then be mobilised in society as a check on state power. With the decline of the ?press that submitted political issues to critical discussion?, late r media attempts to generate and create the forums for public debate are dismissed by Habermas as ?adm inistered conversation? which fulfils ?social-psychol ogical functions, especially that of a tranquilising substitute for action? (1991: 164). T he modern-day m edia also do not allow anyone to talk back: they ?deprive people of the opportunity to say something and to disagree? (1991: 171). In this study, Habermas ties the privileging of ?rational-critical? debate to a certain kind of private realm, the experience of reading the literary- a nd politically- consequent via certain mediums, and the conversation in actual public spaces, so that any reconfiguration of private and public space, content or medium is going to upset this ligature of what will constitute ?rational-cr itical debate?, ? public opinion? and, ultimately, ?public sph ere?. He comm ents in his study: The world fashioned by the mass media is a public sphere in appearance only. By the sam e token the integrity of the private sphere which they promise to their consumers is also an illusion. In the course of the eighteenth century, the bourgeois reading public was able to cultivate in the intimate exchange of letters (as w ell as in the reading of the literature of psychological novels and novellas engendered by it) a subjectivity capable of relating to literature and oriented toward a public sphere? the m ass media today strip away the literary husks from that kind of bourgeois self-int erpretation and utilise them as marketable forms for the public services provided in a culture of consumers? (1991: 177). But in later work he seem s to modify his harsh judgem ent of the media as providing a ?public sphere in app earance only? and has com e to an accommodation about present- day media operating as public sphere vehicles. By the ?public sphere? w e mean first of all a realm of our social life in which something approaching public opinion can be formed. Access is guaranteed to all citizens. A portion of the public sphere com es into being in every conversation in which private individuals assemble to form a public body. They then behave neither like business or professional people transacting private affairs, nor like members of a constitutional order subject to the legal constraints of a state bureaucracy. Citizens behave as a public body when they confer in an unrestricted fashion ? that is, wi th the guarantee of freedom of assembly and association and the freedom to express and publish their opinions ? about m atters of general interest. In a large public body this kind of communication requires specific means for transmitting 33 information and influencing those who receive it. Today newspapers and magazines, radio and TV are th e media of the public sphere. We speak of the political sphere in contrast, for instance, to the literary one, when public discussion deals with objects connected to the activity of the state. A lthough state activity is so to speak the executor, it is not a part of it? On ly when the exercise of political control is effectively subordinated to the public, does the political public sphere win an institutionalised influence over the government through the instrument of law- making bodies (quoted by Eley 1992: 289). But what we do continue to see is Habe rmas? insistence on : 1. the unrestricted gathering of private people; 2. the act of talking; and 3. m atters of general concern to bring into being the public sphere. He also makes the familiar distinction between the consumption of the literary (in private) and the political (via m edia discussed in public) and their indispensable relationship to each other. The accommodation that Habermas has made, and that is then picked up and formulated as normative, is that the media ? commercial or not ? can play a valid public sphere role if they allow access to information to everyone, stick to matters of serious and general concern and allow for feedback. This normative idea is used to delineate the media that do not do this as non-public sp here vehicles. So topi c deviation into the private and personal, attempts to seek niche markets (thus closing down access and feedback) and genres w hich rely on entertainment and personal gratification, come in for heavy criticism5 . There seems to be a careful watching of the balance between public sphere media ? that feed ?rationa l-c ritical? debate ? and the compromised entertainment media (and those th at deviate into this territory like tabloid newspapers) , to adjud icate the healthiness of the public sphere in general in a society. Redra wing the private-public boundary For Habermas the intrusion of mass media into the intimate space of the family (and here ?m ass media? are not letters, novels and early newspapers), the individuation of acts of media consumption and the loss of literary-inspired s ubjectivity a re all tied to the shifting of the private-publ ic boundary, which he mourns as a precursor to the loss of the public sphere. But fo r a better description which shows both the disadvantages and advantages of this shift, I turn to Hannah Arendt?s discussion of the private and public realms. In The Human Condition , Arendt ? like Haberm as ? refers back to the 5 Geo ff Eley describes the Habermas critique of the present as aimed at the ?con sciousness industry, the commodification of culture and the manipulation and manipulability of the masses? (19 9 2 : 2 92). 34 ancient Greek city state system , which strictly divided public activity from household activity6 . She points out certain things: the stri ct division between heads of households, who could act (?praxis?) and speak (?lexis?) in public, from those within the household (?oikia?) who could not and were ruled by the head (?despotes?) in order to m ake sure the basic necessities of life were taken care of in a domain not accessible to anyone else (1998: 24). The household was an environm ent of non-equals with the head using whatever force or domination was necessary over women, slaves and children in order to sustain and renew life. In contrast the public domain of men was the sphere of creativity and equality, which was also ?fiercely agonal? (1 998: 45) with the requirement that the individual distinguish himself among his peers with his ?unique deeds and achievements?. The public realm then is the place to practice individuality (?idion?) as opposed to the household which is communal (?koinon?). Arendt sees this situation as a ?sacrifice? of the private realm to the public (1998: 59). But the critical point that she is keen to take from her study of Greek society and develop is the idea of ?household?, its activities and power as a model. Then she turns to medieval Europe (as Habe rmas does) and sees there a strict divide between public and private, with a giant un-crossable gulf between ordinary people (private) and politics as conduc ted by the monarch and his court (public). But, says Arendt, the household as a rationale for organising human activity on a large scale grows enormously until all of life not public is absorbed into the operations which sustain life. This then is the functioning of feudalism. Further, the household as organising method and the family as primary group became the model for the early guilds and business communities whose gathering of interests around the ?common good? was still essentially in the private dom ain. Arendt comm ents that there was an absence of ?that curiously hybrid realm where private interests assume public significance that we call ?soc iety?? (1998: 35). This point is key to her argument because she will use it to show that in the modern world what we experience is the emergence of that curiously hybrid domain but along with that and permeated into it 6 Giorg io Ag amben points out that Greek thou ght and writings about the best kind of life to live has become ?canon ical for the political tradition of the West? (1 998 : 2). 35 will come a powerful new dimension called ?soc iety? and ? the social? with its roo ts in the household model7 . Arendt, surveying Europe in the first half of the 20 th century, sees the expansion of the model of the household to such a degree that it has become the organising principle of society. The ?super-hum an family is the society/ nation? run b y ?collective housekeeping? (1998: 28-9). ?Housekeeping? as an organising principle dictates national activities, problems and organisational devices. The nation as giant family is kept healthy, safe, fed, educated and gainfully employed by the state assuming household duties on a massive scale (1998: 46). But who is th e head of this household? Arendt says, ?the despotic power of the household head is not now the power of one man but maj ority opinion enforced by numbers? which she calls a ?no-m an rule? (1998: 40). This ?nobody? running things is a bureaucr acy. Arendt says ?the m ost social form of government is bureaucracy, the last stage of the nation state? and she adds, there is nothing to prevent this form of rule from being experienced as cruel and tyrannical. Mass soc iety which acts in the ?on e interest of society as a whole?? ?embraces and controls all members equally and with equal strength?. Society has ?conquered? the public realm in the service of organising ?the lif e process itself? (1998: 45). Habermas does acknowledge this development (referring to ?constitutionalisation of the state? which ?tended to adopt the intere sts of civil society as its own?, the ?societalisation of the state? a nd the ?stateficatio n of society? , seeing this in terms of a dialectic, 1991: 142). But Ar endt is more specific about the development of an increasingly huge and pervasive bureaucracy embedded in the workings of the nation- state and modelled on the idea of the household, which will enter that in-between space (called the public sphere) a nd alter the public-pri vate boundaries in irretrievable ways. To this development Arendt detects a reacti on: th e private, individual and intimate in ?opposition to the social? ? and this is a key insight not to be found in Habermas. Turning to Rousseau (?the theorist of intimacy?) and Rom anticism as a movement, Arendt sees evidence of a ?rebellious reaction against society? (1998: 39). The 7 What A rendt sees as the expansion of the ? household? , Foucault and B enedict A nderson (1 9 9 1 ) see as the vast growth of state capacity via bureaucracy. Anderson links t his enhanced capacity of the state to print, as it is the communication power of print in a vernacular which enabled the organs of state to organise people and proj ects across vast distances. 36 rebellion is aimed at the ?l evelling demands of the social? and ?conformism ?. Insisting that the intimate and the social are ?both s ubjective m odes of human existence?, Arendt detects that the modern human is in conflict with society, unable to live within or without it. As social beings, instead of the household bureaucracy which addresses itself to our survival as a species, we need a ?world as comm on to all of us, as distinguished from our private-owned places ?? ?a comm unity of things which gathers people together and relates them to each other? (1998: 52). P art of the reaction to this levelling of our social lives is the ?enorm ous enrichment of the private sphere through modern individualism? (1998: 38). Arendt sees in the flowering of the arts since the 18 th century, evidence of the outpouring of the individual and intimate. The arts act to transform what is experienced in the private realm (which is i nvisible in public and therefore of little consequence to ?so ciety?) into evidence for those experiences in the public realm (increasingly the place of validation of the real) by giving them appearance and therefore reality. Arendt does not subsum e artistic practices under the ?lit erary sphere? as Haberm as does, instead choosing to see them as reactions against the rise of the social which is permeating the hybrid domain of the public sphere. By com plicating the picture of two set domains (private and public) she is show ing us that the growth of household-type state bureaucracy is going to have a long-te rm reaction (and not ju st in the kind of ?opinions? form ed in the ?public sphere?). Sh e is also emphasising that the ?intim ate?, as an important sphere of human life has a right to enter the public domain and to influence its discussions. What we do see in today?s m edia in all sorts of genres is the intrusion of the intimate and personal. This is often condemned (particularly in the media considered the public sphere vehicles) as inappropriate and an unacceptable blurring of the private/public boundary. Bu t I think we are misunderstanding the changing circumstances which give rise to this massive outpouring of the intimate via media into our public world and not giving due attention to what it means for public sphere practices which might flow from this intrusion. Bruce Robbins puts it like this: The point is not simply that the mass media have helped reinvent the notion of the public as an urban space of aesthetic self-presentation, sociability, theatricality, and pleasure. More pertinently, it is that in so doing, the media bring [a] notion of the public? which seems to have more to do with aesthetics than politics together with the politically participatory thrust of the ?republi can virtue? m odel? [P]articipation 37 in the making, exchanging, and mobilising of public opinion ? the definining characteristic of ?republic an virtue? ? has to som e extent been reinvented or relocated? [I]t is now discoverable to an unprecedented extent in the domain of culture (q uoted by Osborne 1996: ix). The Others of the liberal-bourgeois, democratic public sp here In her critique of the bourgeois public sphere as a ?training ground for a stratum of bourgeois men who were an emerging elite practising how to rule? (in Calhoun 1992: 114), Nancy Fraser points out ? as H abermas is aware ? that the bourgeois public sphere was not the only public sphere operating in 18 th century Europe and in fact sat in a ?stratum distinct from the aristocratic elites they were intent on replacing and the popular and plebeian strata to be ruled?. W hile a lot of the anxiety today about the decline of the public sphere and its activities revolves around the topics and issues being made known through the media (such as political scandals and the outrageous behaviour of celebrities), theorists like Calhoun (1992: 1) Eley (1992: 289), Fraser (1992: 109), Benhabib (1992: 73) and Michael Warner (2002) point out that legitimate contestation comes from minorities and marginalised groups in society over who is allowed to be in public and what topics are fit for public deliberation. What Fraser sees operating in today?s social world is a series of alternative publics in which subordinated groups ?develop counter discourses and language, recast their needs and identities and then agitate for their subjects to be debated in the public sphere?. As a result ?the public sph ere becomes a space of contest and negotiation among different publics?. The re sult might not be consensus but conflict; there m ay be no sense of ?we? achieved and no agreem ent on the ?comm on good?. And while the impersonal, disinterested nature of the bourgeois public sphere was its hallmark, Fraser comments: ?No topic should be off lim its for discussion, only through contestation can subjects be decided as worthy of public attention.? Eley, takes this further w ith a focus on the excluded women of the 18 th century public sphere. He says: ?Haberm as? m odel of rational communication was not just vitiated by persisting patriarchal structures of an older sort; the very inception of the public sphere was shaped by a new exclusionary ideology directed at women? (1992: 311). The rhetoric of the public sphere with its emphasis on the public person and the 38 private person, the rational-cri tical and the non-rational-cri tical (and thus off-lim its), deepened the alignment of woman with home, the private and intimate, and subsumed her as property under her husband?s agency. The many associational spaces created in this time for bourgeois men to meet on mutual matters of concern were often ?clubs? and although membership was not dictated by social rank, it was often for one sex only. Eley comm ents that the ideals of the public sphere would not be achieved for women until the feminist movement of the 1960s focused attention on these public/private delineations in society and their entrenchment through public sphere rhetoric. Benhabib makes this m ore pointed when she takes a historical overview of those excluded from, and now clamouring for inclusion into, democracy: But for m oderns, public space is essentially porous: neither access to it or its agenda of debate can be predefined by criteria of moral and political homogeneity. With the entry of every new group into the public space of politics after the French and Am erican revolutions, the scope of the public gets extended. The emancipation of workers made property relations into a public political issue; th e emancipation of women has meant that the family and the so-called private sphere became political issues; the attain ment of rights by nonwhite and non- Christian peoples has put cultural qu estions of collective self and other representations on the public agenda? the di stinction between the social and the political makes no sense in the modern world, not because all politics has become administration and because the economy has become the quintessential public, as Hannah Arendt thought, but primarily because the struggle to make something public is a struggle for justice (1992: 79). As is evident from the part of my study which deals with Krog?s involvem ent in reporting and recording in book form the processes of the South African Truth and Reconciliation Comm ission, the new claims arising all over the world from those othered by imperialism, colonialism, apartheid, and now globalisation, are entering public sphere discourse through the expression and assumption of human rights. These claims cannot be denied because they do not enter public space in the mode dictated by ?rational-critical? debate. And they often com e in the form of recourse to presentation of the suffering body and via discourses such as shaming and the confessional. 39 Bracketing the commercial Habermas, strategically, but I think, unrealistically, brackets the commercial off from the reading of books, literary journals and newspapers, a nd the attendance at theatres and museums, that promoted the discussion of the politically-relevant, but m akes the commercial a defining factor in the ?refeudalis ed? m edia of today. I want to take issue with this bracketing and with the delineation of a ?literary? m oment in the 18 th century and a subsequent ?m ass media? m oment. This bracketing works by admitting that these prior activities were paid for and were embedded in commercial networks of sale and demand, but then drawing a net around the conversation in public spaces which was free and open to all and declaring this to be the true exercise of the public sphere. By contrast today?s publics who m ight engage solely via media in consuming and forming opinions on topics of public interest are hopelessly embedded in networks of capitalist production and doomed to lonely individualism given the lack of conversation. In T h e Coming of the Book: The Impact of Printing 1450-1800 , authors L ucien Febvre and Henri-Jean Martin show also that with the invention of the printing press and the move to mass consumption of printed words the book became the vehicle for the affects and effects which are so powerfully associated with mass media today. They say: One fact m ust not be lost sight of: the printer and the bookseller worked above all and from the beginning for profit. The story of the first jo int enterprise, Fust and Schoe ffer, proves that. Like their m odern counterparts, 15 th-century publishers only financed the kind of book they felt sure would sell enough copies to show a profit in a reasonable time. We should not therefore be surprised to find that the immediate effect of printing was merely to further increase the circulation of those works which had already enjoyed su ccess in manuscript, and often to consign other less popular texts to oblivion. By multip lying books by the hundred and then the thousand, the press achieved both increased volume and at the same time more rigorous selection (in ?The Book as a Force for Change? 1976: 249). So the first s tep in Habermas? chain, the c onsumption by an individual of the literature of the public sphere is already subject to the processes of exclusion provoked by the workings of capitalism. While the commercial nature of the media today is undoubtedly a factor in whether the rational-critical can be aired, and how, I am suggesting that the commercialised nature of the media is a cumulative result of centuries of industrial development and not a break with the past. Also, in the theorising around highly- commercialised media, the book ? which contin ues to feed worldwide industries of 40 publication, circulation and consumption ? is somehow forgotten as a commercialised mass medium in its own right and the forerunner to today?s m edia-saturated cultures. Febvre and Martin continue: It is fairly evident at the outset that printing brought no sudden or radical transformation, and contemporary culture hardly seems at first to have changed, at least as regards its general characteristics. But selection soon became imperative as the decision had to be made as to which of many thousands of medieval manuscripts were worth printing. As we have seen, bookselle rs were primarily concerned to make a profit and sell their products, and consequently they sought out first and foremost those works which were of interest to the largest possible number of their contemporaries. Hence the introduction of printing was in this respect a stage on the road to our present society of mass consumption and of standardisation (1976: 260). I draw attention to this because I think it important to do away with ideas that somehow in the far distant past there was an age of communication that was unsullied by the commercial and that modern-day m edia is tarnished in its ability to perform critical public sphere functions because of its ?hy per-comm ercialism? 8 . In today?s world to use the level of commercialism as an indicator to divide the ?literary? (hence worth consuming for public sphere purposes) from the individually gratifying is too simple and broad a distinction. It is also too broad a sweep to imply that any media that are privately owned or in the hands of large multi-nation al corporations cannot be public sphere vehicles or that the publicly-funded services necessarily are. We see a media landscape today pockmarked by different levels of commercialisation, public sphere commitment, entertainment and gratification. The Internet itself is so multifarious a communication medium as to defy simple judgem ents about its value and qualities as a public sphere vehicle. Public sphere as conversation w rit large John Thompson points out that Habermas? argument for the efficacy of the public sphere relies on its face-to-face dim ensions of conversation acted out in salons, coffee- bars and public places. Habermas has activated, validated, and drawn a boundary around only one meaning of ?public?. Thom pson says: But if we reread Habermas caref ully, we will find, I think, that Habermas was not interested in print as such, in the distinctive 8 The word used by some political economy media theorists, see McC hesney (200 4 : 20 ) an d M cC hesney and Sc ott ( 2 00 4 ) . 41 characteristics of this communication medium and the kinds of social relations established by it. His way of thinking about print was shaped by a model of communication based on the spoken word: the periodical press was part of a conversation begun and continued in the shared locales of bourgeois sociability? so while the press played a crucial role in the formation of the bourgeois public sphere, the latter was conceptualised by Habermas not in relation to print, but in relation to the face-to-face conversa tions stimulated by it. In this respect, Habermas? account of the bourgeois pub lic sphere bears the imprint of the classical Greek conception of public life: the salons, clubs and coffee houses of Paris and London were the equivalent, in the context of early modern Europe, of the asse mblies and market places of ancient Greece. As in ancien t Greece, so t oo in early modern Europe, the public sphere was constituted above all in speech, in the weighing up of different arguments, opinions and points of view in the dialogical exchange of spoken words in a shared locale (1995: 131). What is not evident in Habermas? theorising about the press is that such a medium of communication allows for an added and completely different form of publicness ? one that is not face-to -face, n ot in a shared locale and not necessarily dialogical. And while the ?m ediated quasi-interaction? (Thomp son?s description) of the globalised, networked, media channels aimed at millions, was certainly not a feature of the 18 th century media environment, there are media characteristics already evident in that era that Habermas? study does not prio ritise. Thompson points out that: The rise of printing in early modern Europe created a new form of publicness which was linked to the characteristics of the printed word and to its modes of production, diffusion and appropriation. L ike all forms of mediated publicness, the form created by the printed word was severed from the sharing of a common locale: with the advent of printing, actions or events could be endowed with publicness in the absence of co-present individuals (1995: 126). However, in his subsequent writings and in response to his critics, Habermas acknowledges the modern-day problem of providing public meeting spaces so that millions of citizens can converse, and evokes the normative idea of the value of the news media as the vehicle to deal with this problem: ?In a large pub lic body this kind of communication requires specific means for transmitting information and influencing those who receive it. Today newspapers and magazines, radio and TV are the m edia of the public sphere? (quoted by Eley 1992: 289) . The notion is that these media must perform the role of conversation writ large ? through com prehensive news reports that are factual and accurate, through opinion and commentary that is well-inform ed and rational, and through letters pages and panel discussions that allow for citizen participation and talk back. What Habermas is advocating is vicarious conversation and 42 opinion forming via media. Som e citizens can talk, not all can, but most can participate ? and therefore form ulate opinions. The watchdogs of the normative idea of the public sphere then police this role of the news media by declaring certain topics (the private and intimate), certain people (celebrities) and certain methods (sensationalism ) to be non-rational-critical and therefore no t legitimate public sphere activities for the news media. The Habermas definition of what is rational-c ritical is outlined as: ?W hat is said derives its legitimacy neither from itself as a message nor from the social title of the utterer, but from its conformity as a statement with a certain paradigm of reason inscribed in the very event of saying? (quoted by Eley 1992: 293). In his typology of three types of human interaction, Thompson spells out the important shift in publicness made possible by communication media (1995: 82-87). From : 1. Public sphere as conversation in which participants hold a dialogue in a ?context of co- presence? (with associated deictic expression s and symbolic cues ? this is the classic idea of the ?agora?); through 2. Dialogue thr ough the use of technical media (letters, telephones), which allow s for the stretching of time and space and separates sender and receiver9 ; to 3. Mediated quasi -interaction ? ?social re lations 1 0 established through the media of mass communication? (1995: 84) in which the intended recipients of the communication are not specific others but unknown, indefinite, unlimited numbers of others, a mass public. This kind of communication is monological and needs no shared locale. Says Thom pson: With the rise of mediated interaction and quasi-interaction, the ?interaction m ix? of social li fe has changed. Individuals are increasingly likely to acquire information and symbolic content from sources other than the persons with whom they interact directly in their day-to-day lives (1995: 87). While this is certainly an accurate picture of the operations of mass media today, the fact is that it was also the possibility of print, books and the press in the 18 th century. And while Haberm as bases his understanding of the public sphere and an altered sense of subjectiv ity on the interactions in actual, physical public spaces, the fact is that many 9 An d introduces the possibility that the specific technical strength of the medium begins to have impacts on the interaction ? eg a letter is material but is not immediate, a telephone conversation is immediate but intangible. The letter favours the eye, the telephone the ear. 10 My italics because T hompson emphasises, and Habermas ignores, that monological mass media have effects of creating social relations and not j ust disseminating useful information which can later be turned into the stuff of conversations. 43 of the understandings of public must also have been tied to the experience of partaking in that publicness via the monological, time- and location-free m edia of the day. The strength of Thompson?s study on the media is his understanding that publicness is possible under different conditions and that ?visibility? is its hallmark. In a chapter devoted to ?The Transform ation of Visibi lity?, Thom pson rests on a second meaning of ?public?, as what is ?open? or ?ava ilable to the public? (1 995: 123) to build the case that the media can endow actions and events with publicness ?in the absence of co-presence?. Thom pson insists that this kind of visibility is not the same as the spectacle of the monarch who made visible his power (an ?exhaltation? of power ? which would be a ?refeudalisation?) but argu es that what is made visible is the ?exercise of power? (1995: 124) . Of course visibility as a hallm ark of the modern day media has been greatly extended by television, which technologically makes events and actions actual and visual. The development of television has thus created a new form of publicness, involving a distinct kind of visibility, which is quite different from the traditional publicness of co-presence. It also differs in certain respects from the forms of mediated publicness created by the written word (1995: 137). The resulting effect on power is that those who govern must manage their persons, their decisions and the boundaries between what is made known and what kept secret by reference to this greatly enhanced capacity of the modern electronic media to make visible. Thompson implies that the relationship of those governing to the modern day media is considerably different from the displays of power of the feudal ages. Today the very facility of mediated visibility acts as a mechanism in itself and in some way replaces the expression and publication of ? public opinion?. This shift from speech to visibility is a critical shift in the way today?s m edia operate. Knowledge is often gained today by seeing (usually via TV) rather than read ing. As Thom pson points out in a subsequent essay (2005: 38) this visi bility reveals the workings of power so extensively that the average Western citizen has grown deeply disenchanted with politics and the capacity of political power to change the world for the better. If opinions need to be formed around election choices, he says, decisions are very often based on the character and trustworthiness of the candidates ? a resort to trusting the personal, intimate and human fellow-feeling that is contrary to the disinterested nature of opinion-form ing that Habermas theorised. 44 The other Thompson insight I want to emphasise at this point, is his understanding that actual, important and real (ie g iven value and meaning), s ocial relations are possible via the media and between people who may never meet each other face to face, or even know of each other?s existen ce. The extraordinary power of visibility that operates through today?s m edia has had an important side-effect, the creation of a mechanism for vast numbers of people to feel that they are in communication with ? and thereby in relation to ? uncountable and unknowable others. The workings of this are fleshed out in the following point. The emergence of mass subjectivity In my first point above, I touched on subjectivity by focusing on Arendt?s understanding of the intimate emerging out of a changing relationship between public and private domains. Now I wish to take th is further by focusing on subjectivity itself and investigating its relationship to the consumption of media. Habermas pays a certain attention to the altered sense of subjectivity of the private person consum ing the literary media of the bourgeois public sphere. He alludes to an altered sense of self beginning to become noticeable, but does not enlarge on what the relation of that self might be to the consumption of media. ?In the Tatler , the Spectator , and the Guardian the public held up a mirror to itself? The public that read and debated this sort of thing read and debated about itself? but in reading and debating it as a public, they adopted a very special rhetoric about their own personhood? (1991: 43). Benedict Anderson, in the text Imagined Communities , makes the same point about the discovery through print of a public of other reading individuals, but takes this further, linking it to the shift in consciousness which began to loosen up from older ideas of community and to engage with the incipient idea of ?nation?. Covering m uch the same historical territory as Habermas, he looks at how burgeoning print industries and the shift from the ?sacred language? of Latin to m ultiple vernaculars facilitated a change in consciousness about community. He says the ?possibility of im agining the nation? arose when three funda mental cultural conceptions shifted in 17 th and 18 th century Europe (1991: 36ff): the status of the ?sacred language? of Latin which primarily bonded people to the Church as their first community began to erode; the concentration of political power in the hierarchical and centripetal ?high c entres? ( the 45 divinely-ordained m onarchs in their city states) which be gan to move outward with growing administrations and seek manageable boundaries; and the growth of an idea of time which allowed for the conception of multiple others existing in the world simultaneously. The two forms of print he sees as most influential in facilitating these changing ideas were the novel and the newspaper. Because the readers o f these texts were addressed intimately through these vehicles as a ?we?, the knowledge of their being a simultaneous group of others also reading was reinforced. Anderson points out that the writers of these publications assumed that there was a bond connecting all their unknown readers ? the bond of reading this very text. This then is the experience that allows for a different kind of imagination about a community that exists but cannot possibly be known ? the ?im agined community?. The centrality of print?s power was that it enabled ?rapid ly growing numbers of people to think about themselves, and to relate themselves to others, in profoundly new ways? (1991: 36). The shift in the three social factors pointed to above coupled with the penetration of print in the vernacular languages enabled a new community to be thought into being ? the nation. It is this sense of a completely different relation of people to each other, which is vicarious, and at a remove, that A nderson very helpfully points to, but which is missing from the Habermas understanding of the work circulating texts are doing. As Jos? van Dijck puts it: ??m aterial inscriptions mediate between individuality and collectivity as well as between past and present? (2004: 270). But it is in Michae l Warner? s work that the theoretical import of this altering subjectivity is em phasised. Warner detects in the Habermas description a consistently private person (ie still private even when operating in public) who has modified their sense of self via reading and within the intimate family situation, who then leaves aside their personal particularities, goes out into a public space and jo ins in a conversation on matters of common concern. This leaving aside the personal allows for disinterested discussion on public matters. John Nerone and Ke vin Barnhurst take this further: Equality within the pub lic sphere required the negation of individual social interests and passions? The new public man was nobody in particular, an anybody. He was not a singular someone, such as a merchant or banker whose political actions expressed his own interests? Haberm as defines this kind of discourse ? an anybody talking to everybody ? as rational. Th is definition of what it means to speak rationally is a pragmatic one. If the public realm negates the 46 particular interests of both speakers and listeners, in effect, only disinterested appeals remain. All participants must construct a universal subjectivity (in place of an interested one they usually inhabit). Rational discourse speaks only from that subject position (2001: 46-47). So not only has the anyb ody-private person left behind in his domestic space his particularity, he has also adopted a ? universal subjectivity? ? a disem bodied, disinterested, non-particular state of bei ng ? and a mode of address (to im personal others) ? in order to participate in a constr uction of exercise of power, rational-critical debate. The first important effect of this that Warner detects is that the private person, through reading and the consumption of mass media and the consciousness of a mass of others also participating in this exercise, begins to alter the sense of self from a strictly private personal being and takes on dimensions of ?public subjectivity?. This starts to take place in the moment of consumption of media. He says by reading printed information one participates in the awareness that the ?sam e printed goods are being consumed by an indefinite number of others?. This aw areness comes to be built into the meaning of the printed object and the reader is therefore partaking in mass subjectivity (as part of a pub lic) by reading. He suggests, as a result, that all human beings in the modern world have two conditions of being, a private subjectivity and a public subj ectivity11 . In public human beings are not just an aggregation of private people (as Haberm as suggests) and not just private people who create public practices. ?As subjects of publicity ? its hearers, sp eakers, viewers, and doers ? we have a different relation to ourselves, a different affect from that which we have in other contexts? (2002: 160), Warner suggests. The second important insight by Warner is that the idealised and normative public sphere, which not only enables ?strangers? to discover a ?we? (a m ass subjectivity) through the public sphere vehicles (such as texts), but sim ultaneously abstracts its participants from their individual subj ectivities rooted in class, race and gender, has serious consequences. This disembodiment and abstraction practised in the 18 th century has its return of the repressed in the public spheres we know today. Warner calls this abstracting quality of the bourgeois public sphere, the inherent ?bad faith of the res publica of letters? and says it requires ?a denial of the bodies that gave access to it? (2002: 176). The ideal of the public sphere is that anyone ? regardles s of position, 11 Earl ier we saw that Hannah Are ndt called this dual state of being, individual and social. 47 gender, race, riches or education ? should be able to engage in public rational-critical debate, but in effect the ?actually ex isting? (to us e Nancy Fraser?s ph rase12 ) public sphere favours a certain middle class, educated elite, who have been groomed to exercise its practices and to adopt disinterested and abstracted modes of being and address. The contradiction is that the public sphere both allows for a desirable abstraction into a mass subjectivity and at the same time makes evident that each individual?s bodily particularity and social situatedness precludes entire participation in the mass publicness. Says W arner: ?I?m suggesting? that a f undamental feature of the contemporary public sphere is this double movement of identification and alienation?? (2002: 182). In each of these mediating contexts of publicity, we become the mass- public subj ect but in a new way unanticipated within the classical bourgeois public sphere. Moreover, if mass-public subjectivity has a kind of singularity, an undifferentiated extension to indefinite numbers of individuals, those individuals who make up the ?we? of the m ass- public subject m ight have very different relations to it. It is at the very moment of recognising ourselves as the mass subject, for example, that we also recognise ourselves as minority subjects. As partic ipants in the mass subject, we are the ?we? that can describe our particular affiliations of class, gender, sexual orientation, race, or subculture only as ?they ? . This self-a lienation is common to all of the contexts of publicity, but it can be variously interpreted within each. The political meaning of the public subject?s se lf-alienation is one of the most important sites of struggle in contemporary culture (2002: 171). The way the modern public sphere resolves this contradiction, according to Warner, is through the reactivation of the category ?publicity? 13 . Responding to an imm anent contradiction in the bourgeois public sphere, mass publicity promises a reconciliation between embodiment and self-abstraction. This can be a powerful appeal, especially to those minoritised by the public sphere?s rheto ric of normative disembodiment (2002: 181). Like W arner, John Hartley understands ?publ icity? differently from the negative Habermasian understanding of refeudalisation. Hartley says publicity ?is a fundamental enabling component in the construction of contemporary public culture? and ?is necessary to call it into discursive being? (quoted by T urner 2004: 16). 12 1 992 : 109 . 13 In Habermas? st udy, publicity is display of embodiment, making visible status, fame, dignity, honour etc. (1 991 :7 -10) 48 So how is ?public ity? m obilised today in order to enable people conscious of their particularity to engage in mass subjectiv ity? Warner?s argument hinges strongly on his activation of the body as a vehicle and he turns to the news media to make this case. Using the example of the ?discourse of disasters? (2002: 177) he shows how the reporting of injury to other people?s bodies (and this is evident particularly when masses of people are affected by major catacl ysms) draws a public into witnessing on a mass scale, and causes them to understand themselves, in this moment, as having cohered into a ?non-corporeal mass witness?. He goes on to say that the ?m ass media are dominated by genres that construct the mass subject?s im possible relation to a body? (2002: 179) and says reports of horrors, assassinations, terrorism and even sports are in this category of journa lism which he calls ?m ass-im aginary transitivism?. This transitive participation includes the tabloid coverage of celebrities who are endlessly depicted carrying out the often banal exercises of everyday life and endlessly dissected for their human failings. The same knowledge ingrained in print culture, that by reading one is jo ining a public, is activated in the consumption of the mass media publicity of disasters and celebrity reporting, but in these cases the individual is joining a public of witnesses in a vicarious body. To conclude this argument, Warner says: The centrality of this contradiction in the legitimate textuality of the video-capitalist state, I think, is the reason why the discourse of the public sphere is so entirely given over to a violently desirous speculation on bodies. What I have tried to emphasise is that the effect of disturbance in the mass publicity is not a corruption introduced into the public sphere by its colonisation through mass media. It is the legacy of the bourgeois public sphere?s founding logic, the contradictions of which become visible whenever the public sphere can no longer turn a blind eye to its privileged bodies (2002: 182-3). The point I am making here via Warner is one about having to take the situated body and particularity of experience into account in any adequate description of today?s public sphere(s). The idealised public sphere is one in which these are both excluded. Given the contestation introdu ced into modern publics by those formerly silenced, the body and its experiences are bound to become sources of intrusion again into the public. In addition the news media have already harnessed the technique of presenting information in a way that allows audiences the experience of participating in the ?m ass body? and often through topics and ge nres considered entirely within the purview of serious and important journalism . 49 Approaches to conceptualising public sphere today The argument that I am making is: that a sim ple depiction of the heyday of the public sphere and a fall from this state of grace under present-day, publicity-ridden, highly- commercialised media with their individualised address of entertainment, is an inadequate conception of today?s complex publ ic spheres. I have tried to complicate the normative ideal taken from Habermas which underpins this pessimism, by showing that the 18 th century bourgeois public sphere had a number of features ? often repressed in practice and in theory ? which were bound to have their outcom es and a/effects in the public spaces, practices and vehicles we experience today. Am ong these are: 1. That the ?public sphere? was not just a si mple outgrowth of the private realm into the public domain, but that simultaneously what Hannah Arendt calls the ?social? and the ?intim ate?, were developing al ongside the practices and conversations Habermas detects. The public domain of the monarch was undergoing sophisticated and rapid change into nation-state bureau cracy on the model of the household. And a growing number of individuals were reacting to this control through practices that injected the private and intim ate into the public realm via art and literature. This development has not slowed but gained pace in today?s world, and the range of private and intimate that has become visible has increased, not lessened, as state bureaucracy has grown in control and surveillance. Thus we see entire swathes of media dedicated to the dissemination of what public sphere idealists do not consider to be ?rational-critical? or m atters of ?public? concern. 2. That the entrance into public of previously invisible people (including wo men) will have volatile effects on the topics for discussion and the methods of presentation. This is particularly noticeable in the fascination, as Warner put it, with the embodied and the particularities of the non-norm ative public sphere participants. 3. That publicity has returned with a vengeance ? probably in reaction to the unsatisfactory situation where instead of monarchs we have ?nobody- bureaucracies? running entire countries, a nd the desire for understanding the motivations and psychologies of the politically, or financially, or charismatically, powerful, stems the tide of anxiety about being at the mercy of very large, impersonal forces. 50 4. That the consumption of media has a profound altering effect on individual subjec tivity. Unlike the feudal era when some persons were considered public and others private, we are today, every one of us in a highly-m ediatised environment, a dual public-private individual m odulating our behaviour according to situation. And when we are consuming media in the privacy of our homes we are not simply private people. 5. That, because this sense of mass subj ectivity has become normal for us today, people will use media vicariously in order to participate in a mass body and not just for the reasons of forming public opinion or acting rationally-cr itically, but more often for the purposes of ?self-form ation?, in the words of Thom pson (see 1995: 207). Sim ply put, the public sphere is no longer, or necessarily, a place (o r accumulation of places) in w hich actual people gather, or a conversation writ-large or even a dialogue (say via the m edia). It is the m eans we use in modern-day d emocracies to experience mass-subjectivity, activate the sense of bei ng public, and to make possible a social relation to impossibly large and unknowable communities, such as ?na tion?. And the contents of our concerns are not necessarily, the ?rationa l-c ritical? and politically and/or socially consequent, although they might be. But as W arner, shows, the value of a public sphere seems to be primarily for the vicarious experience of a mass sense of self and participation in a mass body. Texts and the circulation of information are therefore the primary means to achieve this and thus have become ever more important ? and economically valuable. 51 II. The public intellectual as a distinctive persona in the public sphere In parentheses: intellectuals are an historic invention; they might not have existed. For them to exist, seve ral conditions had to be fulfilled. Pierre Bourdieu 2002b: 3. The public intellectual, a lineage In Habermas? form ulation of the public sphere, its participating population was all [bourgeois] 14 reading, culture-consum ing people who were interested in discussing ideas for the purpose of achieving consensus about the important, general matters of the day. The figure of the ?public intellectua l? is not a distinc tive persona in the Habermasian public sphere. As Peter Osborne says, Haberm as is more interested in a ?public-democratic responsibil ity or function, shared equally by all? (1996: xi). I therefore turn to Osborn e for the lineage of the rise of the distinctive persona operating in the public sphere: Classically, ?the intellectual? is th e product of a French imaginary in which the abstractly rational element of a (bourgeois) revolutionary tradition appeared in the symbolic form of a concrete social persona. As a noun referring to a particular kind of person, or a person doing a particular kind of work, the word did not come into general usage in English until the early nineteenth century (1996: ix). Osborne does, however, see the lineage of th e public intellectual reaching back into the 18 th century public sphere. Referring to Habe mas? work, he says the public sphere grew out of the Republic of Letters in which Habermas detected ?politically- committed writers? who were dif ferent from other writers in that their purpose was ?attitudes changed through argum ents?, and not through ?rhetoric or aesthetic form s? (Osborne 1996: xxv, endnote 20). Says Os borne: ?? [the] bourgeois public sphere, privileged site of intellectual activity, came about historically through a political refunctioning of the space of a pre-existing literary culture? (1996: xii). The ?m an of letters?, the essayists, journali sts and critics of the late 19 th century became the ?intellectuals? of the early 20 th century. Osborne and Haberm as (who considered such a figure in his chapter ?Heinrich Hein e and the Role of the Intellectual in Ge rmany?, 1986: 72-73) both point out that the Dreyfus trial in France in 1898 gave rise to the word ?intellectual? being attached to 14 In his Author?s Pre face to Tr ansf orm ation of th e P ubl ic Sp here, Habermas says: ?Ou r investigation is limited to the structure and function of the lib era l model of the bourgeois public sphere, to its emergence and transformation.? 52 those writers and scholars who protested the state?s prosecution of this Jewish soldier for spying15 , seeing it as persecution. Since th at experience of ?intellectuals? intervening in public to accuse the state of morally-corrupt behaviour, the figure of the interfering intellectual has become a familiar one in public domains. And so has the ongoing debate across the world, over who these figures should be, how they should behave and what their appropriate arenas of action and subjects of consideration should be16 . Edw ard Said, the representation of an intellectual In terms of intellectual activity, the most prominent exponent of the value of this kind of intervention in the public domain, and the person who has both embodied and spoken about the distinctiveness of this public persona with the greatest conviction is Edward Said. Said?s m uch-used words, ?speak truth to power?, are used emblematically and normatively in contexts all over the world as a test for the performance of public intellectuals, and not least in South Africa. In his 1993 Reith lectures for the BBC, Said chose for his t opic ?Representations of the Intellectual? (published 1994). Said, the highly-praised lit erary theorist and outspoken critic of Am erican foreign policy and advocate for the Palestinian cause, declared in his lectures that the public intellectual was a persona valuable to a society because of the ability to make human problems and situations universal and to take the risk to step out in public to commit himself to an opinion about them. Noting that every public 15 The Dreyfus A ffair is marked by many French theorists as the moment in French public life that initiated an emergence of intellectuals who took public positions on matters of principle. Alfred Dreyfus, a Jewish artillery officer in the French army, was charged in 189 4 with passing military secrets to the Germ an embassy in Paris. His family had lived in Alsace when it belonged to France and when Ge rmany annexed it in 18 7 1 the family chose to remain French and moved. He was convicted of treason by a military tribunal in December 1894 and im prisoned in French Guya na. The conviction was based on a hand-written list of French military information found by an Al satian cleaning woman, in the employ of French military intelligence, in the waste paper basket of a Germ an military attach?. Dreyfus was suspected because he still visited family in Alsace and because the list was assumed to be in his handwriting. There were numerous procedural problems with the military trial and Dreyfus was court- martialled again in 18 9 9 but was reconvicted and sentenced to 1 0 years? jai l. He was subsequently pardoned in 19 06 and made a knight in the Leg ion on Honour. The writer Emile Zo la, incensed by the trials, penned an open letter to President Felix Faur? with the headline "J' accuse!" (I Accu se! ) . It was published in the newspaper L' Au rore on 13 Janu ary 18 98 . Habermas, in his chapter on Heine the intellectual (198 9 : 7 2 -3 ), says th at the letter that Zo la wrote was followed by a petition in the same newspaper signed by more than 1 0 0 signatures, many of them writers and scholars. The petition became popularly known as ? The Ma nifesto of the Intellectuals?. Z ola was convicted of libel and was forced to flee the country. In 1 985 President Francois Mitterand commissioned a statue of Dreyfus by sculptor Lou is Mitelb erg to be installed at the Eco le Militaire, but the minister of defense refused to display it. The army didn' t formally acknowledge Dreyfus' in nocence until 1 995 . 16 Earl y texts dealing with these questions, and which set the tone for this debate, are: Ju lien Ben da?s 1 927 Trah ison de s Clercs and Karl M annheim?s 192 9 Id eo log y and U top ia. 53 figure is situated in a nation and social location, Said nevertheless argued for the intellectual to be ?exile and m arginal, as amateur, and as the author of a language that tries to speak the truth to power? (1994: xvi ). S aid?s m ain point, much rehearsed in debates about intellectual performance, is that such a person should always place themselves in opposition to power (1994: xvii). The central fact for me is, I think, that the intellectual is an individual endowed with a faculty for representing, embodying, articulating a message, a view, an attitude, philosophy or opinion to, as well as for, a public. And this role has an edge to it, and cannot be played without a sense of being someone whose place it is publicly to raise embarrassing questions, to confront orthodoxy and dogma (rather than to produce them), to be som eone who cannot easily be co-opted by governm ents or corporations, and whose raison d??tre is to represent all those people and issues that are routinely forgotten or swept under the rug. The intellectual does so on the basis of universal principles: th at all human beings are entitled to expect decent standards of behaviour concerning freedom and justice from worldly powe rs or nations, and that deliberate or inadvertent violations of these standards need to be testified and fought against courageously (1994: 11). He continues: I say or write these things because after much reflection they are what I believe; and I also want to persuade others of this view. There is therefore this quite complicated mix between the private and the public worlds, my own history, values, writings and positions as they derive from my experiences, on the one hand, and, on the other hand, how these enter into the social world where people debate and make decisions about war and freedom and ju stice. There is no such thing as a private intellectual, since the moment you set down words and then publish them you have entered the public world. Nor is there only a public intellectual, someone who exists just as a f igurehead or spokesperson or symbol of a cause, movement, or position. There is always the personal inflection and the private sensibility, and those give meaning to what is being said or written (1994: 12). What is valuable about Said?s exp lication of this persona, is that he is deeply conscious of the interplay of personal and public subjectivities and also of distinctiveness of performance, or what he calls ?signature?: In the outpouring of studies about intellectuals there has been far too much defining of the intellectual, and not enough stock taken of the image, the signature, the actual intervention and performance, all of which take together constitute the very lifeblood of the every real intellectual (1994: 13). It is this attention to individualism, performance, and maybe even subjectivity, that is remarkable in Said?s understandi ng of what such a person can bring into 54 the public domain. The Habermasian formulation of ?intellectuals, using arguments sharpened by rhetoric, intervene on behalf of rights that have been violated and truths that have been suppressed, reforms that are overdue and progress that has been delayed? (1989: 73) continues to place the stress on the universal nature of the subject m atter that must preoccupy this person acting in public, rather than on the individual themselves, their style or subjectivity. And another aspect of Said?s form ulation which is very important is pointed out by Neil Laza rus: Particularly brilliant in S aid?s repr esentation of the intellectual, in my view, is his clear-sighted aw areness of what might be specific to intellectual work, that is, his grasp of what it is that intellectuals do that might be both socially valuable and also not within the remit of any other group of social agents ? not beca use intellectuals are cleverer than other people, still less because they morally better than other people, but because they have been socially endowed with the resources, the status, the symbolic and social capital, to do this particular kind of work (2005: 117). It is this clarity in Sa id, that it is not so much a matter of intelligence and perception that enables the intellectual, but also capacity, resources, resourcefulness and endowment with symbolic capital that is critical for a performance to reach a public, that is useful for my investigation of Krog, as these are th e kinds of factors I will be investigating in this study. The public intellectual as trope While Said?s explication has resonance and power and critical tools useful for my study, this thesis, however, makes a theoretical shift in its consideration of a particular public figure in South Africa. Instead of ta king at face value the necessity for public intellectuals to be the emblematic personae enabling rational-critical debate on matters of general social and political importance (which is th e Saidian v iew, as well as the normative social and media view), this study is ba sed on the theoretical premise that the public intellectual as an important figure in the public sphere is a ?structural or institutional effect? a nd not simply to be investigated ?in term s of individual capacities? (David Carter 2001 onlin e journal, no page numbers). This po sition has an affinity with the work of Eleanor Townsl ey, who in surveying the debates about the decline of the public sphere and the role of public intellectuals in the ? elite public sphere? of the United States since 1987, ha s concluded that ? public intellectual? 55 operates as a ?trope? to ?fra me meaning and practice within specific intellectual publics? (2006: 39). Townsley says: ?the ?pub lic intellectual? is bu t a highly successful recent example of an intellectual proj ect to claim space, legitimacy, and power for particular groups of intellectuals in US public life, and in its important cultural and political institutions (2006: 39). Townsley asserts that the ?public inte llectual? is a ?figurative use of words, or a cultural shorthand, that holds, contains, and organises moral tension about intellectuals and politics? (2006: 40). Town sley says ?tropes mobilis e moral tension and move discourse? (2006: 41, refe rring to Hayden White?s work Tropics of Discourse 1 9 7 8 ). In sim ilar vein this study asserts that the heightened debate in South Africa about the necessity for and presence of various types of intellectuals in the public domain is motivated by moral concerns and is about moving discourse. My intention is to discover what discourse propels the purported need for intellectuals to be visible and vocal in the public sphere of this country. The proliferation of calls ? and names ? for these various types of intell ectuals indicates that ?space, legitim acy and power? are being claim ed by differing groups of peoples seeking their proxies in the public domain and all three of these categories are very much under contestation. Just as the idea of the public sphere operates normatively in modern democracies and through the news media, so does the idea of the public intellectual. Interestingly, in all these debates there are claims for who the intellectual should be and what the intellectual should be doing. There is also the normative role attached to the public intellectual?s pronouncem ents in that this person should be able to tell others how the world should be and what they should be doing to achieve such a state17 . There is an implied dissatisfaction with the state of the present and a requirement that the public intellectual must be able to envisage a different future and speak about it in such a persuasive way that this speaking alters people?s thinking an d behaviour towards achieving that better future. This thesis asserts that this proliferation of types of public intervention and engagement, together with the questioning about who represents who and what 17 See the answering letters to Chom sky?s piece ?The Responsibility of Intellectuals? in the New Yo rk Review of B ooks? 2 3 February 1 967 , criticising him for not providing alternatives for those opposed to the Vietnam War http://www.n ybooks.com/ articles/1 2 172 accessed 5 Nove mber 2008. 56 interests, is indicative of a crisis about what constitutes legitimate authority in a post- colonial state. The exclusion and alienation that the colonial and apartheid experiences generated live on in an ongoing suspicion of Western-inform ed knowledge practices, which for centuries positioned the indigenous people as uncivilised natives with no useful knowledge practices of their own and then as objects of a civilising proj ect into western modes of knowledge acquisition. This suspicion is sharpened by the findings of the Truth and Reconciliation Commission hearings, which opened up the past for scrutiny of the atrocities committed by the apartheid government and allowed the dispossessed to speak for the first time in their thousands; and is heightened by global deba tes about the spread of human rights, the inclusion of the marginalised peoples of the world into proper nationhood and the struggles in many democratic states for full citizenshi p and recognition. Redress and restitution are high on the agenda in South Africa, not ju st officially, but also unofficially. There is a strident rejection of the old categories that dominated South African social life (?racism , wealth monopoly, cultural appropriation, white hegemony and economic injustice? to use th e words of Native Club proponent Sandile Mem ela, a former journalist and now m edia spokesperson for the Department of Arts and Culture, 21 May 2006: 10) and a whole new cadre of intellectuals is being called on to shake off the shackles of the past, draw on their indigenous knowledge and wisdom, and by this different set of insights, help guide the new nation into the future. As Mam phela Ram phele has said in a recent debate on South African intellectuals in the jou rnal Pretexts : ?S peaking on behalf of the ?nativ e? is no longer possible. Natives have found their voice and speak for themselves? (2000: 105). The political economy of ?public int ellectual? In the Australian context David Carter ha s considered the rising prominence of both public intellectuals and the talk about them. Carter calls this a ?general ?ram ping up? of public discourse?. Side-stepping the term s of this debate Carter takes a different approach by ?trying to define the ? economy? of the public intellectual?: In other words, the structural or institutional context ? the relations between the market, the media and the academy ? within which the new public intellectuals have not only emerged but thrived. My premise is that public intellectuals need to be understood as structural or institutional effects, not merely in terms of individual capacities (online journal no page num bers). 57 He points out that simultaneously there has been a ?boom ? in the presence of public intellectuals and in the publicity surrounding them and a great amount of talk about the decline of the public sphere. This sense of boom and crisis is indicative, says Carter of a s ocial shift. L ocating these events historically in an Australia dealing with the integration of minorities and public debates about the treatment of the Aboriginal population, Carter sees a political m oment in which many of these ?intellectuals? are also writers of highly aestheticised and highly ethical literary works which are being used by their audiences to respond to a demanding historical moment. Ca rter?s interest as a literary theorist is obviously in those intellectuals who are writers and produce literary products and he offers valuable insights for my study of Krog, but he also remarks: The trope of crisis produces the need for public intellectuals in the first place, and thus we shouldn' t be surprised to find the two together ? the r ise of intellectuals and the narrative of decline. At the sam e time, given this basic conceit, it is almost impossible for self-elected public intellectuals to recognise how these same changes have created significant new public roles and new media for their interventions or to acknowledge their own dependence upon the commercial media and upon their own institutional locations and disciplinary training. It is exactly this focus on new public roles and media interventions which are important dimensions of any investigation of the trope of the public intellectual. It is also the intention of my study to side-step the prevailing discourse on public intellectuals and the terms already set by the debate which are usually used to judge a public intellectual performance. I intend to engage instead with the ?po litical economy? of how such a persona is creat ed. Interestingly it is in studies of celebratisation that one finds just such an attunement to the political economy of the extraordinary individual operating in the public domain. Public intellectual as pr oxy democratic individual I turn to Rojek (2001), a professor of sociology and culture, Turner (2004) and Marshall (1997), both cultural studies theori sts, and Giles (2000), a psychologist, to get a better understanding of the creation, function and power invested in such an individual. Rojek, Turner and Marshall root their explications of the situation of the individual who stands out in public, in understandings of the intertwined workings of the public sphere, the democratic state, ideals of ?the peop le? as the source of power and legitimacy in modern life, and the market-place of goods and values that is 58 capitalism. In their work the surfacing of an individual above the masses is seen as a necessary consequence of processes that are embedded paradoxically in the rhetoric of the equality and similarity of all human beings. This kind of public figure is seen as a ?function? (in the Foucauldian sense) and a ?configuration? th at ?houses? certain powers and possibilities, by these three theorists. These theorists obviously do not necessarily refer specifically to the ?public intellectual? per se, but thei r studies which engage with different types of public personae and their imbrication in democractic and public sphere structures, cast a great deal of light on the matter. In his investigation of what he calls ?the public individual ?, Marshall seeks to understand how power is articulated through particular figures in the public sphere. Rojek c alls the person in the public eye a ?nodal point of articulation between the social and the personal? (2001: 16) and he locates the emergence of this kind of individual in three intertwined historical processes: the democratisation of society, the decline in organised religion and the commodification of everyday life (2001: 13). So the first poi nt to be made, as both Marshall and Rojek point out, is that the individual with a public platform is not a lone achiever (as the genre of biography usually celebrates them) who has risen by effort and excellence from among the masses, but a formation which is tightly wound up with changing ?collective configurations? (Marshall 1997: xii). In the political shift to democratic nation-states the ?ideology of the common m an? (Rojek 2001: 13) became a powerful rhetoric of legitimacy configuring the public domain. The legitimacy of the ?ascribed? ( 2001: 28) status of th e nobles and elites gave way to the ?ach ieved? status no w available to every human being in the polity. ?The decline of court societ y of the seventeenth and eighteenth centuries involved the transference of cultural capital to self-m ade men and women,? says Rojek (2001: 13). This rhetoric of democracy equalises and makes level every human?s power and potential. It also, paradoxically, confirms the unique individuality of each human being. This is, as Turner, says, ?the dem otic turn? (2004: 82) in history and in media where the ordinary person and their experience is celebrated as immeasurably valuable. As Marsha ll says: ?[ Celebr ity] status operates at the very centre of the culture as it resonates with conceptions of individuality that are the ideological ground of Western culture? (1997: x). 59 But while th e increasingly powerful rhetoric of the value of the common person was gaining ground, so too was the political power, and concomitant anxiety about control, of the urbanising masses. In chapter two of Celebrity and Power Marshall looks at how the ?power of the crowd for the transformation of society was realised? in France, E ngland and the United States but goes on to say that ?the inclusion of the mob or the masses in the processes of political change orchestrated by elites necessitated the related need to control the crowd? (1997: 29). An invisible and unspoken (and even bad faith) com promise for the problem of governmentality is reached in the public sphere: while it is si mply impossible for every human being in a western-style dem ocracy to exercise their unique voice in the public domain as part of their democratic birthright, it is possible for them to vicariously enter this domain via the voices of distinctiveness who come from their ranks as having ?ach ieved? status and which represent this ideal. ?the public personality or celebrity conveys the meaning that his or her actions both are significant and can produce change. Celebrities, because they emerge from a legitimation process that is connected to the people, and because their emergence is not necessarily purely associated with merit or lineage, represent active elements of the social sphere. They are the proxies of change. Celebrities, then, often define the construction of change and transformation in contemporary culture, the very instability of social categories and hierarchies in contemporary culture. They are the active agents that in the public spectacle stand in for the people (Marshall 1997: 244). So each one of us is an acknowledged indivi dual, but only some of us are permitted to act out, or speak out of, our individuality in public. The important point that Marshall is making here is about the meaning attached to the word ?representative?. The individual permitted to speak in the public domain is not speaking for a group or on behalf of any of the marginalised voices in the usual socio-political sense. This person is speaking only out of their own individuality and idiosyncratic experience. But the fact that they do and can, validates the belief in the ideal of individuality and its necessary expression in western-d emocratic cultures, and the concomitant ideals of freedom of expression and the formation of opinion as the quintessential checks on political power. Such public figures represent those not speaking in the sense that they stand for the promise that such speech is owed to everyone in a democracy. They are proxies ? not so m uch for others as for a precious idea which must not be brought into doubt in modern democratic public spheres. In this sense the words ?representative? 60 and ?individual? form an oxymoron which underlies the paradox at the heart of the construction of the western-dem ocratic citiz en-su bject. Say s Marsha ll, the public figure ?em bodies the empowerment of the people to shape the public sphere symbolically? (1997: 7). Marshall goes on to underline this relationship between speaker and audience by calling the person endowed with voice and action the ?audience-subject?. Much as Warner claims there is no ?public? without a text, Marshall is cl aiming that without a collective investment in the singular person operating in the public sphere, this position of public individual would not exist. The [public individual], then, is an embodiment of a discursive battleground on the norms of individuality and personality within a culture. The celebrity?s s trength or power as a discourse on the individual is operationalised only in terms of the power and position of the audience that has allowed it to circulate (1997: 65). It is also extremely important that this representative individual use the material of their true and authentic self in public so as to verify the underlying belief in the importance of this self as a proxy for every individual. David Giles says: In modern Western culture, it might seem that the individual self is such a taken-for-granted reality that its origins require little discussion. However, there has been an awareness in recent years of just how context-bound our notion of ?self? is, and a realisation that many of the concepts surrounding self and individuality that we have so long regarded as universal and essential to human nature may simply be cultural artefacts of our present historical situation (2000: 72-3). The marke t of sentiment and affect If at this point we are reminded again by Hannah Arendt that the m ovement of the personal, affectual and particular into public domains is an inevitable outcome of the trajecto ry of social change set in motion by the events of the 18 th century, then we are going to see these characteristics emerge in the public individuals of our public spheres. Part of the anxiety about the power of the crowd or mass in the shift to democratic governance, is the worry that crowds can act in ways that are emotional and irrational. Marshall argues (in his ch apter dealing with ?The Em bodiment of Aff ect in Political Cultu re?) th at: there are public forms of subj ectivity that are privileged in contemporary culture because they are connected to particular ends and interests in the organisation of power? there has been 61 intensified interest in the disciplining of the mass, or, in its metaphorical construction, the crowd in the past two hundred years. This intensity has worked to produce a system of celebrity that is positioned as a means of comprehending and congealing the mass into recognisable and generally non-threatening f orms (1997: 203-4). Marsha ll sees that politicians in particular have harnessed the techniques of celebrity to ?house the popular will? in order to do two things: build ?reasoned, rational legitimacy? and ?affective consensus? (1997: 205). Historically, as political configurations shifted to legitimation by the masses of people, so did the capitalist notion of markets take hold, also as a break on unfettered political power. Marshall says ?The linchpi n of legitimacy in consumer capitalism is the consumer. The centrepiece of contemporary political culture is the citizen. In contemporary culture, there is a convergence in subjectivity toward the id entification and construction of the citizen as a cons umer? (1997: 205). The inter-penetration of these two kinds of subjects, citizen and consum er, and the interpenetration of market logics and political logics is rife in our public domains and media. Rojek shows how capitalist market organisation is not just about the trade in goods and commodities but also how it permeates social relationships by allowing for a ?m arket in sentiments? (2001: 14). He says: Capitalist organisation requires i ndividuals to be both desiring objects and objects of desire. For economic growth depends on the consumption of commodities, and cultural integration depends on the renewal of the bonds of social attraction (2001: 14). The two parallel and contradictory impetuses we have seen above (the levelling equality of all humans and the uniqueness of every individual) are at work here again. Capitalist m arkets in commodities depend on the creation of a desire which drives consumption, this desire is greatly enhanced by the rise of style and the fashioning of the individual self, and the modelling of that self on public representations of individuality. The logic of capitalism requires constantly changing wants and desires in order to feed the production of new commodities, so as Ro jek poin ts out, desires must be ?alienable? and ?trans ferable?. He says celeb rities ?hum anise? the process o f commodity consumption and also that they themselves become commodities in that ?consum ers desire to possess them? (2001: 15). How can this insight be applied to the public intellectual or public figure operating not so much in the frenzy of m edia attention on their person and actions but on their thoughts and ideas? Rojek says: 62 Politically and culturally, the ideology of the common man elevates the public sphere as the arena par excellence, in which the dramatic personality and achieved style inscribed distinction and grabbed popular attention (2001: 14). The point to be made here is that the performance of the public figure in the public sphere is also one that is admired for its style, flair and excellence of articulation. While the ideas expounded may very well be the source of debate and deliberation, the individual him/ herself can also be consumed for their style, dress, gestures, ideas, etc. as a commodity. And while no money m ight change hands, the fact is that the ?m arket of sentiment? is activ e when public figures are being used as materials to construct subjectivities, a dopt positions and adapt behaviours, and participate vicariously in a public or in a mass subj ectivity. On the spec trum from rational exposition of serious ideas through to frivolous and media-generated im ages of celebrity, there is no dividing line in the public domain between who gets consumed as a public actor and what is being consumed. Warner puts it like this: In everyday life? we have acces s to the realm of political systems in the same way we have access to the circulation of commodities? the contexts of commodities and politics share the same media and, at least in part, the same metalanguage for constructing our notion of what a public or a people is (2002: 170). Marshall adds another important point about the representative individual?s right to ?house? affect. Following Foucault, he says: The celebrity? allows for the configuration, positioning and proliferation of certain discourses about the individual and individuality in contemporary culture. The celebrity offers a discursive focus for the discussion of realms that are considered outside the bounds of public debate in the most public fashion. The celebrity system is a way in which the sphere of the irrational, emotional, personal and affective is contained and negotiated in contemporary culture (1997: 72-3). Proxies of agency The important point to be drawn from the work of these four theorists is that the theoretical focus on celebratisation and its necessary connection to the operations of the public sphere allows us to see that a representative individual, public intellectual, or celebrity is given agency because they are important proxies of the idea of the people . Their use of agency in public allows us to believe that they have the power to make change happen, thereby feeding the important democratic principle and belief 63 that each person has agency and can be an agent of transformation, and thus keeping alive the vital democratic idea that power resides actually in the mass of people. Says Marsha ll: The celebrity is both a proxy for someone else and an actor in the public sphere. To describe this dual role, the celebrity can be defined as an agent. The term agent expresses a tension in meaning? the proxy relates to his or her close proximity to the institutions of power and his or her dependence on those institutions for elevation to the public sphere? from this proxy, the celebrity?s agency is the humanisation of institutions, the simplification of complex meaning structures, and a principal site of a public voice of power and influence. O n another level, the celebrity expresses a more radical conception of human agency as it has developed in the Marxian tradition? the public personality ? c onveys the meaning that his or her actions both are significant and can produce change. Celebrities, because they emerge from a legitimation process that is connected to the people, and because their emergence is not necessarily purely associated with merit or lineage, represent active elements of the social sphere. They are the proxies of change? they are the active agents that in the public spectacle stand in for the people (1997: 243-4). The intellectual and power ? Fouc ault?s w arning When questioned about the role of intellectuals in the world today (1980b: 126), Foucault marked the shift since the second world war from the ?universal? intellectual to the ?spe cific? in tellectual: For a long period, the ?left? intelle ctual spoke and was acknowledged the right of speaking in the capacity of master of truth and justice. He was heard, or purported to make himself heard, as the spokesman of the universal. To be an intellectual meant something like being the consciousness/conscience of us all? Som e years have now passed since the intellectual was called upon to play this role. A new m ode of the ?connection between theory and pr actice? has been established. Intellectuals have got used to working, not in the modality of the ?universal?, the ?exem plary?, the ?j ust-and-true-for-all?, but within specific sectors, at the precise points where their own conditions of life or work situate them? This has und oubtedly given them a much more immediate and concrete awareness of struggles? (1980b: 126). Rem arking that this universal intellectual was most often also a writer and that there still exists a nostalgia for those who can speak of ?new philosophy? and ?a new world-view?, Foucault, nevertheless, is of the opinion that a ?reconsideration? of the function of the specific intellectual engaged in particular struggles is very important (1980b: 130). Taking issue with the kind of intellectual who has come to be popularly characterised as ?speak ing truth to power?, Foucault po ints out: 64 ? ? truth isn?t outside power, or lack ing in power? truth isn? t the reward of free spirits, the child of protracted solitude, nor the privilege of those who have succeeded in liberating themselves. Truth is a thing of this world: it is p roduced only by virtue of multiple forms of constraint. And it induces regular effects of power. E ach society has its regime of truth, its ?g eneral politics? of truth: that is, the types of discourse which it accepts and makes function as true; the m echanisms and the instances which enable one to distinguish true and false statements, the means by which each is sanctioned; the techniques and procedures accorded value in the acquisition of truth; the stat us of those who are charged with saying what counts as true (1980b: 131). Thus Foucault questions at the very level of being authorised to speak, the truth and the implicatedness in bourgeois systems of power, the person who brings theory or thought to bear on the struggles of the masses in order to give those political strategies the grounding in universal truths. In a conversation with Deleuze, Foucault goes further: Intellectuals are themselves agents of this system of power ? the idea of their responsibility for ?consciousness? and discourse forms part of the system. The intellectual' s role is no longer to place himself ?som ewhat ahead and to the side? in order to express the stifled truth of the collectivity; rather, it is to struggle against the forms of power that transform him into its object a nd instrument in the sphere of ?knowledge?, ?truth?, ?consciousne ss?, and ?discourse? (1980c: 207- 208 ). When questioned about what an intellectual could be doing to be useful in [m ilitant] political struggles, Foucault answered: The intellectual no longer has to play the role of an advisor. The project, tactics and goals to be adopted are a matter for those who do the fighting. What the intellectual can do is to provide instruments of analysis, and at present this is the historian?s essen tial role. What?s effectively needed is a ramified, penetrative perception of the present, one that makes it possible to locate lines of weakness, strong points, positions where the instances of power have secured and implanted themselves by a system of organisation dating back over 150 y ears. In other words, a topological and geological survey of the battlefield ? tha t is the intellectual?s role. But as for saying. ?Here is what you must do!?, certai nly not (1980b: 62). From these statements I conclude that Foucault considers a public intellectual practice socially useful when a person with particular expertise to put at the service of those engaged in a struggle, acknowledges: firstly, that their power to speak with authority is implicated in already existing relations of power and regimes of truth; secondly, that their task is not to give the legitimacy of universal truth to the struggle but to harness their expertise towards an analysis and problematisation of the particular 65 situation; and then, thirdly, to place this analysis at the service of those who will choose a course of action. Presumably the specific intellectual is then making overt and visible not only their own imbrication in power and ?truth? but also making visible the complexity of both the situation being fought and the dangerousness of the courses of action that can be taken. Kritzm an remarks: If the intellectual, as Foucault conceives of him, is to engage in political action, he can only do so by transcending the forms of power that transform him into a discursive instrument of truth within which ?theory? is just another form of oppression (1994: 29). In Foucault?s for mulation the public intellectual is a public person with expertise in making visible the regimes ?truth? and ?powe r? and not sim ply just ?speaking truth to power?. Paul Bov?, in an essay on Foucault?s anal ysis of the power play inherent in the maintenance of the intellectual position in society, comments that: What seems to be at risk is the image that intellectuals (and o thers) hav e of themselves as intellectuals, and the very means by which they sustain their role in society as representatives of perspicacious intelligence and as producers of symbols and values for society, the state, the party and the ?disciplines? (1994: 222). He says: Foucault actually offers very little support to those who want to preserve or defend this leading intellectual role. In fact, I would suggest, Foucault?s thinking about and analysis of power is fully intelligible only when seen as a challenge to the legitimacy of the leading intellectual as a social subject (1994: 222). With this in mind, I note, however, that within the South African public dom ain the discourse about the ?role? of th e public intellectual still contains the desire that these public sphere actors should speak in universalising and socially-useful ways, and often on behalf of those who cannot speak themselves in the public domain. In Bov??s words, social actors that use their ?persp icacious intelligence? and produce ?sym bols and values? that m obilise and animate society continue to have high value. Peter Osborne?s insights (1996: xii) about the in tellectual?s ?claims on the present?, the ?value of thought and ideas? and the need for a ?totalising social vision? ? while they are embedded in classic public sphere ideals, still hold power as mobilising ideas and desires, and are still considered useful in a post-colonial public sphere. In surveying the lineage of intellectuals from 1899 to Sa id, Osborne says that while all sorts of 66 provisions of public sphere and intellectual performance have been contested what has ?stuck? is th e ?dis tinctive aspiration to universality, making the intellectual the exemplary figure for humanity as a whole? (1996: xii). Helen Sm all puts it like this: ?There is nevertheless an evident desire? for a language of political and cultural life that can be in some measure holistic or at least coherently generalising. That desire may, I am suggesting, be one reason for the curious persistence of the old narratives of decline and/or imm inent revitalisation of the intellectual ? and the dif ficulty for the critic of that literature in getting beyond the merely diagnostic? speaking about intellectua ls has, in other words, been a way of posing the perennially troubling question of how much what we say matters (2002: 11). In surveying the debates on intellectuals in the So uth Af rican public sphere, it is evident that the multiplicity of performers and performances being called into action is indicative of a crisis of legitimacy and authority; nevertheless, th ere is also a desire being expressed for the need for exemplary human beings, who will speak in ways that are universalising and visionary and not merely particular; and there is a concomitant anxiety about whether speaking has power and matters at all in spaces filled with government deafness and the proliferation of forms of mass media. In dealing with the case study of Krog, a poet, journalist, boo k author, a literary figure and newsmaker, who herself eschews the appellation ?public intellectual? 18 , I have chosen to study someone who does not occupy the classic or normative position ? she does not set out to ?speak trut h to power?, neither is she on e of the new types of South African intellectual being cal led into the public domain, but she is, nevertheless, acclaimed as a voice worth listening to. If she has been able, over four decades, to continue, in this fractious and fraught public domain, to have presence, voice, 18 Em ail: Mo n 20 04 /05 / 24 12 :05 pm dear anthea ... the use of the word intellectual makes me uncomfortable because i believe that the reason why people like to read what i write is because i am asking the things they are also asking. An yway ? it may b e useful to remember that for thirty years of my life i produced poetry that was negatively described as politically naive, too engaged and therefore temporal etc. as every poetry volume i have ever written had a clear political section. but the label intellectual has only been used suddenly in the past three or four months. what does this say: a p oet is not an intellectual until she writes articles? an afrikaans poet cannot be an intellectual? a jo urnalist can only be an intellectual if she is also a poet/writer ? good luck antj ie krog 67 platform and public, then what is the source of her legitimation as a public figure? This is the central question this thesis sets out to investigate by positioning the public intellectual not as an extraordinary agent with gifts and skills but as a structural or institutional effect in the public spheres of democracies, and as an agent located within a field of possibilities. A more adequate conception of the public intellectual From the above I take the following points into my investigation of Krog: 1. That the persona of the ?public intell ectual? has a lineag e and history that is embedded within the growth of the idea of democratic states. This person is a function of the need in democratic states to deal with millions of citiz ens who have aspirations for voice and individuality, and so operates as a proxy (in many different ways, as these theorists show) f or these millions. 2. That once this person has entered the public domain they do so with their distinctive individuality, style and personal performance. While Habermas might decry this characteristic as unnecessary to the transfer of important information needed for public opinion to form, it is in Said?s understanding, a strength of such an individual?s words and actions, and as Marshall and T urner point out, an increasingly important dimension of the promise of democracy that each individual is valuable. This person is also a mechanism in society for housing affect. 3. The public person enables vicarious participation in the public spheres and enables others to participate in mass subjectivity by engaging as a public. Publics will consume not just this pers on?s statem ents and works, but also their performance and person. 4. That talk in the media and by commentators of ?declin e? and ?cris is? m asks proliferation and change in roles. This change is inescapably economic and market-related and all the fields of acti on involved, media, political, literary or aesthetic, are all deeply embedded in the workings of the market. As I pointed out in my conclusion to the discussion of the public sphere, ?publicity? is a category that has returned powerfully to public life, but with a completely different inflection from Habermas? 18 th century public spheres. 68 5. That as Said points out, and Foucau lt emphasises, the public persona is irrevocably located in regimes of truth and power. In Said?s f ormulation the intellectual should always struggle to be free of this implicatedness, or must strive to be conscious of it and its effects. In Foucault?s formulation the intellectual must stop trying to be exemplary or speaking in universalising terms as those actions reinforce these regimes. 6. That as Carter shows, the m odern-day writer intellectual, even while their works and publicity are embedded in the highly-developed econom ics of literary market functions, may still put into public the aesthetised and ethically-challenging, which give publics ways of engaging with crucial social issues. III. Field theory, a nuanced explication of agency and creativity T h e charism atic r e prese ntation of th e wr iter as ?creator? leads to bracketing out ever ything which is found inscrib e d in the po s ition of auth or at the h e art of the field of production and in the soci al trajectory which led her there: on the one hand, the genesis and structure of the totally specific social space in which the ?creator? is in serted and constitu ted as such, and where her ?creative project? itself is formed; and on the other hand, the genesis of the simultaneously generic and specific di spositions, common and singular, which she has imported into this position. Pierre Bourdieu 1995: 191. In seeking to understand in this thesis how Krog the poet, jour nalist and book author has had the power over four decades to ?produce sym bols and values? (Bov??s description of the task of an intellectual, 1992: 222) which, while rooted in, also speak across race, culture, language and gender, in a rapidly altering South African social and political space, I have turned to field theory for the tools to help explicate this power and its enabling processes. The analysis of the work of a writer usually takes the form of belief in ? creative genius?; attention to ?uniqueness and si ngularity? as ?cen tral properties of a ?creator??, and then a focus on the ?m ediations through which social determinisms? fashioned the singular individuality? of that author (using the words of Bourdieu 1995: 186). Missing is w hat Bourdieu points to in T h e Rules of Art : the structure of specific social space in which the creator is inserted and constituted and where her 69 creative project itself is form ed. Instead answers are found in searching for an ?original project?, a ?founding m yth? which tells a retrospective story of a ?whole life as coherent? (1995: 187). Sim on During explains this attitude as: To be a successful literary novelist was considered to require ?genius? ? a Goethean personality rich and uni que enough to undersign the truth of the text?s v erisimilitude and experimentalism while remaining simple enough to retain a capacity for wonder, curiosity (a ?thirst for life?) and defamiliarisation. Geniu s required a zero-d egree of consciousness that permitted the world to imprint itself on the artist?s im agination? This imagination? could not be containe d by social conventions and other artifices? (1992: 229-230). By contrast, in this study, I take the Bourdieu position, that cultural work does not exist by itself, or purely as a result of creative effort, but in a ?f ield of strategic possibilities? (1983: 312). In multiple texts over a substantial period of time, Bourdieu h as explicated his field theory for a range of social situations (1980, 1981, 1983, 1988, 1991, 1993, 1995, 2002, 2005). This explication and ap plication to all of social space ?relies on the hypothesis that structural and functional homologies exist between all the fields? operating in social life (1995: 185). T he three particular fields which have a major bearing on the study of Krog are the literar y field, the political field and the media field. Other fields to also ta ke account of are the field of power more generally, the intellectual field and the academic field. I will explain the theoretical components and ideas of field theory generally and then look in particular at the three fields Krog comes to operate in and which are key to her accumulation of the authority to become more than ju st a well-kn own writer. Field ?human consciousness and thought are socially constituted? possibilities of action are socially and historically situated and defined. Randal Johnson in Bourdieu 1993a: 19. Bourdieu says in the Rules of Art that fields are ?social m icrocosms, separate and autonomous spaces in which works are generated? . Each field has a system of ?objective relations? (which are often invisible) and allows for ?particu lar cases of the possible?. A field, Bourd ieu quoting Foucault (19 95: 197) say s, is a social space of ?strategic possibilities?, and a site of struggle and the interplay of forces (1983: 312). 70 It is the field which generates methods, constructs objects (1995: 181) and ascribes value to people, positions, institutions and productions. The field provides the conditions which make knowledge possible, generates practice and representations of practice, and distributes power, struggles and strategies, interests, profits, resources and status (1981b: 257). He sum s it up by saying a field is ?a locus of social energy? (1993a: 78). Bourdieu?s preoccupation with understanding the complexity of agency informs field theory. He is concerned to describe the agent not as ?structu ralism? s bearer of structure?, nor as ?the pure, knowing, ne o-Kantian subject? (1995: 197), but as a ?practical operator of constr uctions of the real? (1995: 180). In order to get a sense of this kind of agent, Bourdieu uses the terms ?habitus? and ?h exis? to explain the agent- field relationship. Habitus is a set of dispositions which incline agents to act and react in certain ways. Dispositions are inculcated, structured, durable (in the body), generative and transposable across fields (Thom pson in Bourdieu 2002a: 12). And, reflexively, the habitus is also a product of these dispositions. (2002a: 12-14). Practices and perceptions are produced by the relationship between habitus and field. Hexis is a term used to describe how such behaviours become effectively embodied. Thompson points out that neither habitus nor hexis can be thought of as a ?m odel? or a ?role?. And Johnson points out that habitu s does not preclude the possibility of strategic calculation on the part of agents (in Bourdieu 1993a: 5). In his explication of field theory, Bourdieu has investig ated to greater and lesser extents the workings of the literary field, the field of art, the political field and the scientific field. He has also ventured into larger configurations such as the ?field of power?, the field of cultur al production, and towards the end of his life with collaborators, the media field. It is important to note that fields nest within fields: so both the literary field and the media field sit within the field of cultural production, and the political field and the field of cultural production are located with the field of power. Each field is a space of authority over what counts as valuable work and products and who count as recognised operators within the field. Generally in society, Bourdieu claim s, the field of power and the political field try to impose into all other fields the legitimate view of reality, and increasingly today 71 economic power is on the rise asserting its logic over all fields. Rodney Benson (1998: 488) says social orga nisation is structured around a basic opposition between economic and cultural power and this opposition plays out within fields. Bourdieu says that within each field there are practices located on a range from the ?autonom ous pole? through to the ?heter onomous pole?. The autonom ous pole is where the immanent logics of the field hold sway and the resistance to external political influences and economic logic is strong and guides those operators and practices. So within the field of cultur al production, avant garde poetry would be located at the autonomous end of the field. The heteronomous pole is open to the influence of politics, the mass market and other external logics. Mass m edia production would be a good example of a set of practices at this pole of the field of cultural production. All actors and in stitutions within fields compete for authority and autonomy because this gives them the power to assert competence, the capacity to speak, to act legitimately and with recognition, to set limits and to impose the definition of what constitutes their field of expertise and knowledge (Bourdieu 1981b). According to Benson: A field?s autonom y is to be valued because it provides the pre-conditions for the full creative process proper to each field and ultimately resistance to the ?sym bolic violence? exe rted by the dominant system of hierarchisation (1998: 465). Fields are also spaces where shifts of power and battles over authority take place constantly. Bourdieu says it is essential to note that field actors operate as much by belief or faith in the field?s legitim acy as by bad faith (1980: 2 92) which denies the workings of power, economics and violence in the sustaining of the field (2002a: 75). He calls the investment in and the ?co llective misrecognition? (1980: 267) of the actual underpinnings of the field, the ?ill usio?. Th is misrecognition extends to denying or making invisible the relations operating in the field and suppressing the recognition that fields also operate to create silences, impossibilities, exclusions and limitations. Within the cultural field the illusio also upholds the fetishism of art works and productions and the belief in genius and the creator. While success within a field for an agent requires a clever figuring out, and then negotiating of, the operations of the field ? a process sm oothed by alignment with those institutions and people that have field authority ? ther e is also the factor that agents must distinguish themselves, their projects and products in order to draw the 72 attention and recognition of the field. This, Bourdieu calls ?distinction?, and it is particularly sought after as a characteristic in fields where autonomy is high. Distinction is one of the ways change happens within fields through the search for and promotion of individualism and difference. Another way change happens is through new entrants into the field who arrive, establish themselves and challenge the status quo. In this way a field produces both control and censorship and innovation and rupture. To enter a field, negotiate a field and achieve recognition is a complex process for an agent. This is made easier by association with the field?s ?cons ecrators?, those people of authority who can recognise, confer value on and introduce and promote the person and work of the newcomer. A consecrator is someone in the field who has authority, credit and connections, and the moments at which the newcomer is enabled to make significant transitions into, within and across a field are called ?consecration? (see 1993a: 76-77; 1981b: 265). W hile conformity to the field?s logic is crucial, no writer can make their mark in the field of cultural production without exhibiting the distinction that sets an individual apart in their work from all others. This effort marks both the individual and the field. ?To exist in a field ? a literary field, an artis tic field ? is to differentiate oneself,? says Bourdi eu, ?? he or she functions like a phonem e in a language: he or she exists by virtue of a difference from other[s]?? (2005: 39). As an agent works their way into and thr ough the field they are on a trajectory which is a path of neither ?subm ission to, or freedom from, the field? (Benson 1998: 467, reinforcing Bourdieu?s carefully-poised unders tanding of agency). Trajectory in field theory is understood as a combination of ?disposition and p osition? . The successful negotiation of a field, says Bourdieu, is greatly enhanced by the accumulation of ?capital?, th e credit of the field which is bestowed on the production of knowledge and skills and products which are considered valuable. Capital takes three for ms: economic, cultural and symbolic. Symbolic capital is acquired when prestige and honour attach to the works and person of the field actor thus giving that person authority and ?the power of c onstructing reality?. Bourdieu points out that those with the most symbolic power in a field have all the forms of capital; th ey dominate the field and the market (cultu ral and economic capital) and in so me exceptional cases 73 they attain a status within ?general cultur e? as w ell, thus allowing them to use this symbolic power beyond their field and across the social space. The literary field Who authorises the author? The field. Pierre Bourdieu 1980: 26. Literature, art and their resp ective producers do not exist independently of a complex in stitutional framework which authorises, enables, emp owers and legitimis es th em. Randal Johnson in Bourdieu 1993a: 10. Bourdieu says of the literary field that it is not a ?vague social background? or even a milieu that informs the study of personalities but rather it is a ?veritable s ocial universe? of ?entirely speci fic struggles, notably concerning the question of knowing who is part of the universe, who is a real writer and who is not? (1993a: 163-4). He goes on: The important fact, for the interpretation of works, is that this autonomous social universe functions somewhat like a prism which refrac ts every external determination: dem ographic, economic or political events are always retranslated according to the specific logic of the field? (1993: 164). The literary is a field of high autonomy from economic and political logics and its strategies and trajectories ar e highly individual and highly differentiated (Johnson in Bourdieu 19 93a: 12). Th e major stru ggle taking place in this field is over who can legitimately be called a writer, and over what is legitimate literary practice (1993a: 12). The field depends on the m isrecognition of authors as ?creat ors? (1993a: 4, 1995: 186) and on the m isrecognition of works of literature as having intrinsic value. It suppresses questions such as who authorises the author and who creates the creator (1993a: 76). The field also operates on a di savowal of power and economics and ?in this world publicity is euphemised?, says B ourdieu (1993a: 76). And it is im portant to note that the population of authors and producers is subject to lim its, particularly when it comes to canonisation, classification and hierarchisation over which there are fierce struggles (1995: 186). It is in the literary and art fields that the pressure to ?m ake one?s nam e? is particularly strong. Bourdieu comm ents: ?The quasi-m agical potency of the signature is the power 74 bestowed on certain individuals to mobilise the symbolic energy produced by the functioning of the whole field? (1993 a: 81). ?In short,? says Bourdieu, the fundamental stake in literary struggles is the monopoly of literary legitimacy? the m onopoly of the power to say with authority who is authorised to call himself a writer? it is the monopoly of the power to consecrate producers or products? (1983: 323). It is also important to note that critique and commentary on literary works are a crucial method by which the field continues to generate definitions over what is legitimate literary production. Bourdieu says there is an array of institutions for ?recording, preserving and analysing, and fello w-travellers contribu ting their reflexive discourse (intellectuals, historians, philos ophers who interpret and over-interpret and invent the distinguishing practices on which survival in the field depends)? (1993a: 109). This d iscourse about work is ?not m ere accompaniment but a stage in the production of its meaning and value? (Bourdieu 1993a: 110). In relation to the field of power, this field (although highly autonom ous within) is in a dominated section of the wider social space because of its non-conform ity to political and economic logics. The actors in this field, says Bourdieu: ?occupy a dom inated position in the dominant class, they are owners of a dominated form of power at the interior of the sphere of power. This structurally contradictory position is absolutely critical for understanding the positions taken by writers and artists, notably in struggles in the social world? The literary and artistic fields attract a particularly strong proportion of individuals who possess all the properties of the dominant class minus one : m oney? the structural am biguity of their position in the field of power leads writers and painters? to m aintain an ambivalent relationship with the dominant class within the field of power? as well as with the dominated, ?the people? . In a similar way, they form an ambiguous image of their own position in social space and of their social function: this explains the fact that they are subject to great fluctuation, notably in the area of politics?? (1993a: 164-65). This is a very useful tool for understanding the often-occup ied position of political dissidence which is a hallmark of the literary field and applicable in my study of Krog. In add ition, it helps explain why literary field agents have an ambivalent ? and often complicit ? rela tionship to the mass-ba sed public and to the market. The field espouses ?values of disinterestedness and denegation of the commercial? (1995: 142) at the same time as being dependant on various cultural industries and the trade and distribution of cultural products. 75 ?the oppos ition between art and money (?th e commercial?) is the generative principle of most of the judgem ents that? claim to establish the frontier between what is art and what is not, between ?bourgeois? art and ?intellectual? art, between ?tra ditional? art and ?avant-garde? art (1995: 162). The political field ?the political field is? the site par excellence in which agents seeking to form and transform their visions of th e world and thereby the world itself? John Thompson in Bourdieu 2002a: 26. In his editor?s introduction to Language and Symbolic Power , Thompson remarks that the political field is the ? site par excellence in which words are actions and the symbolic character of power is at stake? ( 2002a: 26). The agents in the political field are constantly engaged in contestation over their particular constructions of reality and visions of what society should be, and over the support of those on whom their power depends. While all the characteristics of fields operate here too (as in other fields, agents must negotiate the inner logics of this field, serve apprenticeships and master its knowledges and methods), the interesting di stinction about the political field is that its actors must relate to and receive their legitimation from those not within the field. And because politics h as become increasingly professionalised, these agents have become removed from those whom they represent and who give them their mandates. Thompson says they must appeal to ?non-pr ofessionals? for the ?c redit? which then allows them to enter into contestation against other political players (2002a: 28). Politicians are therefore vulnerable to suspicion, scandal and disenchantment. Bourdieu says: ?political parties m ust on the one hand develop and impose a representation of the social world capable of obtaining the support of the greatest possible number of citizens, and on the other hand win positions (whether of power or not ) capable of ensuring that they can wield power over those who grant that power to them (2002a: 181). The extraordinary power in this field attached to words, statements, slogans and promises, is reinforced by the Bourdieu comm ent that: The power of the ideas that he proposes is measured not, as in the domain of science, by their truth-valu e (even if they owe part of their power to his capacity to convince people that he is possession of the truth) , but by the power of mobilisation that they contain? in politics, ?to say is to do??? (2002a: 190). 76 Political capital is credit based on ?c redence or belief and recognition? , says Bourdieu (2002: 192) and ?political clou t? is the ?power o f mobilisation? (2002: 19 4). Along with this goes ?person al capital? ? f ame or renown ? and which is ?based on the fact of being known and recognised in person? (2002a: 194). The media field In Bourdieu?s conception of fi eld theory the activities and practices of the news media fall into the general field of cultural production (Bourdieu and Nice 1980). The field of cultural production includes in its range large-scal e mass production through to avant garde art production. Journalism with its populist subject m atter and mass audiences is situated at the ?heteronomous pole? of the fiel d; that is, it is strongly dominated by the external pressure of economic power, which Bourdieu insists has a ?powerf ul determinative effect? in the c ontemporary historical context? (according to Benson 1998: 488). But while journalism operates under these external pressures, it also (along with politics) s eeks to apply a pressure of its own across society ? ?the legitimate social vision? (1998: 466). In a ddition, journalism as a practice has the particular hallmark of mediating knowledge and power across fields and through society, so much so that politics and other practices employ the news media as a primary vehicle to distribute important information to general publics. Says m edia theorist Nick Couldry: The journalistic field has always occ upied a pivotal role in the field of cultural production because of its specific role in circulating to a wider audience the knowledges of other, more specialised fields (2003a: 657). Benson and Neveu em phasise the influence on and relation to other fields that journalism exercises: Transformations of the journalistic field matter, Bourdieu argues, precisely because of the central position of the jo urnalistic field in the larger field of power, as part of an ensemble of centrally located fields ? also including social sciences and politics (both state and parties or associations) ? tha t compete to impose the ? legitimate vision of the social world? . Because fields are clo sely intertwined and because journalism in particular is such a crucial mediator among all fields, as the journalistic field has becom e more commercialised and thus more homologous with the economic field, it increases the power of the heteronomous pole within each of the fields, producing a convergence among all the fields and pulling them closer to the commercial pole in the larger field of power (2005: 6). 77 According to Benson, journalism ?s cross-field activities give it a further capacity (one not usually available to fields other than the political) ? ?the power to ?consecrate?, that is, name an event, person, or idea as worthy of wider consideration?. He says: ?the extent to which a particular me dium or media enterprise is able to exercise such consecrating power is an indicator of its relative weight within the [jour nalism] field (1998: 469). The field theory term ?consecration? ? whic h Bourdieu uses to describe the power that important actors have within fields of conferring legitimacy on producers and productions (Bourdieu 1983: 323) ? is picked up here and used to explain the extraordinary power of media across fields to impose agendas and ideas on the political, social and cultural domains. Benson points out that historically the serious journalism of print used to have the consecrating power of media in society but television with its reach into home lives, audiences of millions and economic weight has both usurped and extended this power: ?I t is television that has helped give journalism a wider reach and capacity to transform the fields with which it interacts? (1998: 472). In seeking to understand this disruptive power of media attention, and how this attention can attach to a human being and confer status, it is useful to look at what Bourdieu (1 983: 331-2) calls the ?three com peting principles of legitimacy?. These are: 1. the recognition by other producers in the autonomous field; 2. the taste of the dominant class and by bodies that sanction this taste; and 3. popular legitimacy ? ?consecration bestowed by the choice of ordi nary consumers, the mass audience?. It is because of the mass media?s alignm ent with economic logics which permeate the field of power and its mass-based audiences, that media attention becomes a distinctive power with the qualities of consecration and therefore can bestow a particular type on capital of those caught in its glare. This has led some media theorists to coin a new term for this power. Patrick Cha mpagne uses the term ? media capital? (2005: 662) and Couldry goes further by calling it ?media m eta-ca pital? and sa ys that this describes the media?s ?def initional power across the whole of social space? (2003a: 669). Couldry uses this term to capture the notion of a ?new type of capit al? which crosses fields, im poses social visions and consecrates people, ideas and agendas but which does not necessarily 78 depend alone, as in other more autonomous fields, on its own field? s ?cultural capital? (knowledge, professionalism and accumulation of expertise) for its v alue. Couldry says: ?som e concentrations of symbolic power are so great that they dominate the whole social landscape; as a result, they seem so natural that they are misrecognised, and their underlying arbitrariness becomes difficult to see. In this way, symbolic power moves from being merely local power (the power to construct this statement, or make this work of art) to be ing a general power, what Bourdieu once cal led a ?power of constructing [ social] reality?? su ch symbolic power legitimates key categories with both cognitive and social force ? this power is relevant also to the wider field of power, and indeed, to social space as a whole (2003a: 664). Couldry explains that m edia meta-capital would also account for the way in which media influence what counts as capital in each field (for example the pressure exerted by media on cultural producers and intellectuals to speak to large audiences and produce work that is economically of value) and the m edia?s legitim ation of influential representations of, and categories for understanding the social world, which are then taken up in within particular fields (2005: 668). A very useful insight arising from this theorising is that: By altering what counts as sym bolic capital in particular fields, media also affect the exchange rate between the capital competed for in different fields? so m edia-based symbolic capital developed in one field can under certain conditions be directly exchanged for symbolic capital in another field (2003a: 669). Bourdieu?s f ield theory as adapted by media theorists is a useful means to sketch the large processes which enable media power to affect the social landscape, but in order to deal with the media texts generated on Krog herself and to m ake conclusions about their effects, I need also to marry this large-scale theory to m edia theory methods. In media theory the very useful concepts of news values, framing, agenda-setting and priming or cueing, are helpful in explicating how media attention comes to be focused on a particular individual or issue, and stories made that then convey to a general public a sense of the importance and noteworthiness of that person or issue. News values: While many different theorists have drawn up many different lists of news values, it is generally agreed that factors such as conflict, negativity, sensation, surprise, bad news, enormity, calamity, proximity and relevance to readers, and any activity involving elite people or elite nations, will attract the attention of the news 79 media (Harcup and O?Neill 2001: 262-264, 279). I think it most helpful for this essay not to try to synthesise a list but to draw on Harcup and O?Neill?s insigh t that news values are a ?predictiv e pattern which shows us how stories will be treated?. They quote Stuart Hall, saying ?news values are a deep structure or a cultural map that journalists use to help them make sense of the world? (Hall 1982: 79 in Harcup and O?Neill 200 1: 265). So in picking from the overwhelming amount of material that reality offers up daily, journa lists employ what are often quite unconscious criteria for deciding what gets made into a report. Says Fowler ?the formation of news events, and the formation of news values, is in fact a reciprocal, dialectical process?? (1991: 17). News values are the lens es journ alists use to survey the world ? sim ultaneously recognising a ?news event? [or ?new s maker?] and creating it by doing so. Framing: Then, having made those choices, next in the story-m aking process, comes framing ? which is the m echanism used to embed meaning into a story. Reese says: ?Fram es are organising principles that are socially shared and persistent over time, that work symbolically to meaningfully structure the social world? (2007: 150). Reese is insistent that frames both organise and structure meaning, and that while they ?snag related ideas in their net?, they also ?define som e ideas as out and others in? (2007: 150). It is important to note th at frames are ?instrum ents of emotional arousal as well as edification? (Kinder 2007: 159). Agenda-setting: Once the story is published or broadcast it is now on the media agenda, which according to Dearing and R ogers is a ?set of issues that are communicated in a hierarchy of importance? (1996: 2). Agenda -setting is the way media signal to their readers and listeners the value and priority of certain people and issues. Dearing and Rogers say: The agenda-setting effect is not th e result of receiving one or a few messages but is due to the aggregate impact of a very large number of messages, each of which has a different content but all of which deal with the same general issue (1996: 14-15). In agenda-setting ? the purpose of which is to influence the public as to what in society deserves attention, and thereby to affect policy or bring about action ? repetition is extremely important as a technique. They say: ?the number of news stories measure the relative salience of an issue of study on the media agenda (1996: 18)? repetition sets the public agenda 80 through the continual hammering away of the media on the same issue? (1996: 36). Agenda-setters are those peopl e and institutions with the power to get their issues, framed their way, on to the media agenda. Dearing and Rogers point out that elite people, elite media institutions and elite organisations ordinarily have this power in a society. Once a story is on the m edia agenda and is being repeated in various forms, it is cueing, or priming, readers and listeners to take up particular opinions or institute certain actions, or at least, concede that the person/issu e is important and noteworthy. The key Bourdieu term ?consecration? ofte n undergoes a dilution in meaning in its use by media theorists and in its application to journali sm?s products. A reading of Bourdieu?s work seem s to elicit a particular meaning which is, that someone established in a field confers legitimacy upon an individual at a key, or ritualised, moment in order to enhance their status. But Bourdieu also says that there is a ?process of consecration? (1983: 339) or a ?series of signs of consecration? (1981b: 265), im plying that as an individual moves through a field seeking to ?win prestige? (1983: 312), there will be m any moments in which the person experiences ?consecratio n?. The m edia theorists? us e of this word sometimes reduces and generalises it to the mere atten tion of the news media, a definition that it too diffused and unspecific to be helpful when examining an individual?s trajectory and accumulation of symbolic power. In that case the media theory ideas of news values, framing and agenda-setting, captu re and explain this attention quite adequately. But in order to understand how persistent media attention translates into an attribute that gives Krog power, voice, and the capacity to speak across fields and to general society, I am going to keep in mind the etymological roots of the word ?consecration? in its religious use, that is the components of ritual or ceremony must be present, the act and/or w ords of a consecrator must be a factor, and there must be a noticeable transition in position and traject ory for the consecrated as well as the attention of the media. The other two very important field theory ideas to hold on to in dealing with the media field are that, ju st as in other fields, entry and emergence remain important moments in an individual?s traj ectory and that cross-over into the jou rnalistic field has effects on the fie ld itself. Benson underlines this by saying: 81 In field theory, changes in the structure of fields are produced from two basic sources. Since to exist in a fi eld is ?to differ?, a ?dialectic of distinction? ensures the constant pr oduction of change as new actors attempt to enter and make their mark in the field? changes in closely related fields ? set in m otion by their own internal dynamics, can have important cross-over effects on the j ournalistic field, and vice versa (1998: 487-8). If an individual, by differentiating her productive output but remaining true to the autonomous logic of the field, manages to accumulate cultural capital within the field (and preferably also eco nomic capital), the resulting symbolic capital can be ?converted? (Bourdieu 2002a: 17) into for ms of capital acknowledged as valuable in other fields. Here, symbolic capital attached to an individual takes the form of ?prestige, celebrity, consecration or honour? (Johnson, editor? s introduction in Bourdieu 19 93a: 7), a m arketable, portable and convertible accoutrement. And when an individual?s sym bolic capital has been enhanced or created in part by media meta- capital, not only is it portable, but it gives the individual the ?alm ost magical power of mobilisation? , the ?power to cons truct reality? (B ourdieu 200 2a: 170), wh ich has effects on other fields, and across the social landscape. Using field theory In the next four chapters I am going to use field theory primarily to detect and analyse the constituting factors, the interventions of agents, the events, the writings, the media coverage and their effects in the life of Antjie Krog. Thes e use of Bourdieu?s field theory, its application to journa lism as a practice across the cultural and political fields, and an explication of the news media?s extraordinary power of setting social agendas which coalesce on certain people, events and ideas, allow me to construct a framework to examine how an Afrikaans-speaking wom an poet has come to enjoy national and international renown. By looking at particular key moments of entry and emergence, consecration and transition in Krog?s life, I can analyse both her accumulation of capital within three fields (literary, political a nd journalistic) and detect the importance of the news media in her trajectory and accum ulation of symbolic capital. I can also that the important moments of consecration and transition in her life have also been facilitated with journalistic attention. 82 IV. Self-fashioning: the writer and subjectivity When Foucault considers the relationship between reading, writing and the production of the self, he shows just how old an idea it is that we can learn and change our selves via the written (? Self writing? 1997: 207). But it is in T h e History of Sexuality Vol I when he is also dealing with confession as a technique of self knowledge, that he points out that over time there has been a change from written works which recounted marvellous tales of heroism and sainthood to a literature attempting to extract ?from the very depths of oneself?, a truth to be found and expressed (1998a: 59-60). It is in lite rature , he suggests, that the belief that there are secret truths within the soul that must be extracted and brought into the light, is powerfully taken up and explored. L inking this exploration of the deepest reaches of the self to his interest in technologies of self-cons truction, Foucault shows how writing and reading have, over the centuries, been privileged as particular methods of confession in this search for the true self (1997: 207). He says: Writing as a personal exercise done by and for oneself is an art of disparate truth ? or, m ore exactly, a purposeful way of combining the traditional authority of the already-s aid with the singularity of the truth that is affirmed therein and the particularity of the circumstances that determine its use (1997: 212). According to Foucault, the practice o f writing is both an introspection and ?objectification of the soul? (1997: 217), but also a way of manifesting oneself to others (1997 : 216). In th e case of transitional So uth Africa and the inco rporation of those Othered by centuries of colonialism and decades of apartheid into citizenhood and therefore national visibility, I would argue that the manifestation of oneself in the presence of those Others has a particular urgency and pertinency, and that we can see this in the writings of Krog. In his 1980 investigation of ?self-fashioning? in literature, Ste phen Greenblatt, says: ?self-fashioning derives its interest precisely from the fact that it functions without regard for a sharp distinction between literature and social life. It invariably crosses the boundaries between the creation of literary characters, the shaping of one?s own identity, the experience of being moulded by forces outside one? s control, the attempt to fashion other selves. Such boundaries m ay, to be sure, be strictly observed in criticism, just as we m ay distinguish between literary and behavioural styles, but in doing so we pay a high price, for we begin to lose a sense of the complex interactions of meaning in a given culture. We wall off literary symbolism from the symbolic structures operative elsewhere, 83 as if art alone were a human creation, as if humans themselves were not, in Clifford Geertz?s phrase, ?cultural artifacts? (1980: 3). Greenblatt?s work shows how in the 16 th century the preoccupation with both ?selves and a sense that they could be fashioned? (1980: 1) becam e evident in literature and he detects an ?increased self-consciousness about the fashioning of human identity as a manipulable, artful process ? a dis tinctive personality, a characteristic address to the world, a consistent mode of perceiving and behaving?? (1980: 2). The ?generation of identities ? is not sim ply a matter of isolated individualism, but says Greenb latt, takes place within a world in which both family and state exert their power on individuals. E choing Arendt (1998), G reenblatt points to the use of self- experimentation as a reaction to the conforming power of these social structures (1980: 1). What is useful for my purposes is that Greenblatt recognises that in the consum ption of reading materials, readers themselves cross the boundaries from literature into real life and back again without making the distinctions that theorists and critics do about the construction of literary characters and plots, and their distinction from the social world. As Rita Barnard points out, readers often use texts ?ef ferently? (2006: 15) ? taking lessons off the text and applying them directly to life, or adopting expressions, experiences and styles of identity. This concurs with the Warner understanding that readers use texts to construct not only individual subjectiv ities but to jo in publics (because they know that inheren t to the text is the possibility that others are consuming the same material) and therefor e to construct mass subjec tivities. The caution to add to this assertion is that the effect of consumption of texts ? literary and media ? is notoriously difficult to assess. John Thom pson shows in T h e Media and Modernity, in his chapter which focuses on ?Self and experien ce in a mediated world? (1995: 207ff), how what he calls ?local know ledge?, lived experien ce in a particular location and guided by local figures of authority, is the mechanism through which ?non-local knowledge? (the m aterial that comes via the media and is beyond one?s direct knowledge and experience) is filtered for use. 84 But what can be asserted, is that writers us e their texts to self-fashion, to experim ent with their own subjectiv ity, and readers use texts to construct identity and not just individually but also as a public, as part of a mass subjectivity. I use these theoretical ideas to look at Krog?s altering subjectivity and experimentations with self in her writings, as a means to analyse why she gains a hearing public, and why her works are singled out for acclaim, thus contributing to her growing status as a public figure and representative South African. In chapter three ?Self?, dealing with the construction of a distinctive poetic voice and performance, I use Bourdieu to explain th e imperative in the literary field demanding a distinctive voice (an idiolect). In ch apter four ?Self-othering?, I use Dorothy Driver?s insights to analyse Krog?s engage ment with the disenfranchised of South Africa?s tow nships and her dealing with an ?e ra of horror? via a literary interlocutor. And in chapter five ??Second-person ? pe rformances?, I m ake use of Gillian Whitlock?s insights to un derstand her hosting of the voices of the Truth and Reconciliation Comm ission and her shifting of position to a listener and witness in order to place herself ethically in relation to the newly-enfranchised new South Africans. Conclusion My m ethodological approach for this thesis, therefore, has been to work from the theoretical assumption that a public figure, considered to have valuable intellectual contributions to make, is an agent embedded in a context, a history, and a field of possibilities. In the case of Krog, three fi elds and their constraints and possibilities must be taken into account. And in the case of the media field, its particular capacity to affect other fields becomes significant and critical in the situation of Krog, the poet, writer and journalist and newsmaker. These multiple strands will be held in tension and woven through the next four chapters, as I seek to establish the sources of Krog?s authority and power as a public figure. 85 Chapter Three Self: the Creation of Poet Subjectivity ?Digter, Christen, Afrikaner? (Dot Serfon tein declaring her daughter to the world) In 2003 Antjie Krog released her second book in English, A Change of Tongue. Krog, at the time of publication, was a highly acclaimed writer and public figure. Within this second book about change, metamorphosis, identity, belonging and journeys, Krog also tells a fascinating, autobiographical story in the third person about her own beginnings as a poet and public figure. R eaching back into 19 70 aparth eid South Africa, she recounts the stor y of the small-town, Afrikaans girl who wrote a poem , shocked a town and came to the attention of the ANC in exile. This story is woven through the first part of A Change of Tongue and is distinguished by chapter headings in italics. The book?s first part ?Town? consists of accounts in which Krog, who has returned to her childhood home on a farm in Kroonstad to sequester herself to write, employs journalistic-style investigation by conducting interviews about the present- day challenges of post-apartheid South African lif e. Making a living on a farm , running a municipality, processing sewage, managing schools, perceptions of security, and shifts in personal relationships, are the topics she covers. She also weaves into this her discussions and involvements with her own family and their voices and opinions, and her ongoing preoccupation with writing and its usefulness in the South Af rican situation of political and social change. In the major narrative, she has returned to the very rondavel on the farm her own mother (Dot Serfontein 1 ) used while trying to escape he r children to write. In this story Krog?s com puter crashes destroying writing she has been working on for years, 1 Serfon tein is also a prolific writer. For many years she wrote short stories and sketches as well as serialised pieces for the women?s magazine Sarie and she is the author of T iendes va n A nys (1 962 ) ; So Min Blomme (1 966 ) ; O nder Skew e St erre (1 967 ) ; Ek Is Maar E ne ( 197 2); Sonder Klein Trou ( 197 4) ; Ra ng in Der St aten Ri j ( 1979 ); Sy Stap onder die J uk ( 198 2); Die Laaste Jagtog ( 198 2) ; Serfo ntein- atlas ( 198 4) ; Galery Va n Reen ma kers (19 86) ; K e ursk rif vi r K roonst ad : 'n kroniek v an die o nts taan, g roei en voo ruitsig te va n 'n vrysta atse p lattela ndse dorp (19 90) ; D e urloop : K e ur Ui t Di e Ess ays V an Dot Serf ontei n ( co- authored with Kr og 19 92 ); Vertel! Vertel! ( 1 9 95) ; Vis en Tjips (19 97) ; Hu is Va n Papier (19 9 7 ); A m p er my me nse (2009) a nd most recently, in her 80s a book of memoirs, Vrypas ( 200 9) . 86 and she suffers a mild stroke necessitating that her husband drive from Ca pe Town to take her home. There is a confluence of narrative events which is significant: while investigating how people she knows and who formed part of her formative years, are giving up the familiar and adapting to change, she reacts to the loss of digital words encoded by the computer?s hard drive by a ngrily writing (into the crashed computer): There are things in one?s life one sim ply cannot lose. Dare not lose? I have lost m ore on a computer than everything the Old and New South Africa, plus the Receiv er of Revenue, plus old age, plus illness was able to plunder from me? I am without memory, my life has been taken from me? (2003: 91, 92). That same night she suffers the stroke. It is into this textual situation of cataclysm and loss of words that she inject s the climax of the story of the precocious 17-year-old poet she once was. By this point in the book we have alrea dy encountered the whimsical, idiosyncratic but clever and richly-im aginative, teenage girl who aspires to be a writer and to feel and experience life powerfully and deeply. She is in the throes of a first love, is using words to evoke more meaningful experiences of life than life itself ? The words have not lost their power. The words have kept their content like bottled fruit, and every time she reads them she will experience her grandmother?s funeral ag ain (2003 : 60). The young girl is experimenting with the sensual (m aking a god out of mud at the river bank to worship, letting the ants crawl over her naked body) , and battling her mother ? over the length of a he m but more importantly as a writer. Af ter a trip the two take to Lesotho she sneaks a look at her mother?s account of the journey: In the morning, when her mother takes a walk, she quietly goes to read at the typewriter? She sits in wonderm ent. That her mother is so good. When she tears up her own attempt, she realises that she is fiercely jealous (2003: 102). Into this context of teenage self-abso rption comes the shock of the town?s recep tion of her poem ?My Mooi Land? which was published in the school m agazine in the year of her matriculation. She puts together several protest stan zas, in which she experim ents more freely with rhyme, and calls the poem ?My Beautiful Land?. look, I build myself a land where skin colour doesn' t count 87 only the inner brand of self; where no goat face in parliam ent can keep things permanently verkrampt where I can love you, can lie beside you in the grass without saying "I do" where black and white hand in hand can bring peace and love to my beautiful land A Change of Tongue 2 0 0 3 : 124. The details which Krog tells in this s tory are: Her m other receives a telephone call from an editor, Mr Pienaar, who tells her th at the adverse reaction in the town to the publication of the poem in the Kroonstad High School year book is going to be reported on in this paper; the reactions have com e from a Frank Boswell, two ministers and a Mrs Spies. The newspape r on Sunday appears with the story ?Town buzzes over poem s in school yearbook?. There is comm entary from Dr Ernst van Heerden, a poet and head of the Department of Afrikaans and Nederlands at the University of the Witwatersrand. That afternoon two reporters from T h e Sunday Times arrive at their house and speak to her mother. Subsequently a story appears under the name ?Fairbairn Pringle? 2 and headlined ?Poem s cause furore in OFS town?. Telegram s and letters arrive at the school for her. The editor Schalk Pienaar sends her mother a cartoon by Bob Connolly from an English newspaper on the matter. Her mother takes a call from a publisher who asks if she has written enough poems for a volume and that DJ Opperm an wants to see the poems. Later she receives a letter from a Saul Radunsky congratulating her ?on her brave stan ce?. Her letters in response to the many people who write to her are intercepted and her parents are angry that unwittingly she has been in touch with ?an underground communist cell?. Her father has been summoned by the local branch of the Broederbond to explain. There is also a newspaper article headlined ?Schoolgirl?s poem is used against our country? lying on her father?s desk. Her mother is asked by her own publishers 2 The obviously made-up name is puzzl ing. Thomas Pringle and John Fairbairn published S outh Af rica?s fi rst independent newspaper the South Africa n Commerci al Ad vertiser and the first magazine the South Africa n Jou rnal. Se e the ?South African Media R eport? by Jitske Draisma at http://j ourn.ru.ac.za/am d/ safrica.htm accessed 10 April 2008. I can find no record of a Sunday Ti mes report to corroborate this in the archive now held by Avusa . 88 Human&Rousseau whether her daughter has accumulated enough material for a volume of poetry; Antjie puts together a manuscript; a telegram arrives announcing that Opperm an recommends publication of her poetry. And it with this announcem ent the story ends in A Change of Tongue. From newspaper archival fragments I have reconstructed the events which took place in the life of Antjie Krog the emerging writer. These fragments tell a story that both confirms and diverges from Krog?s. This arch ival story starts with a report in a now defunct newspaper called Die Beeld , edited by S chalk Pienaar, on Sunday 16 August 1970 on page 5 . Reporter Franz Kemp is the author of the story headlined ?Dorp gons oor gedigte in skoolblad? [Town buzz es over poems in school magazine]. Surprisingly for a Sunday newspaper whose life blood is sensation and for whom the backwardness of small towns is always a staple of such journa lism, the story opens: Een van ons voorste digters reken haar werk is verbasend goed. Sy lewer kuns, s? haar skoolhoof, en baie m ense kan haar werk nie na behore waardeer nie. Maar Kro onstad gons oor die sewentienj arige Antjie Krog, Matriekleerling aan die ho?rskool. [One of our fore most poets reckons her work is surprisingly good. She produces art, her headmaster says, and many people cannot adequately appreciate her work. But Kroonstad is buzzing over the 17-year-old Antjie Krog, matric pupil at the high school.] The main article then relates the story of the ?shock? with which her poetry has been received. It tells of her getting an A for poe try, that she is the daughter of established writer Dot S erfontein, and then names several members of the Kroonstad comm unity ? all past pupils of the school ? whose r eaction has been so negative: church elder Frank Boswell, an unnam ed parent and businessman in the town, Mrs EJ Spies, a Mr Laubscher and an anonymous m other who wants this brought to the attention of the Department of Education. Dot Serfontein is quoted extensively as explaining that she and her daughter had discussed that this work should not have been published in the school year book. Serfontein?s opi nion is that the work is ?beyond m atric standard? and of the genre of ?m odern poetry? (which she ?understands very well?) and which, therefore, was better suited to a published collection. The headmaster had insisted on publication in the school magazine, she im plies, against her (S erfontein?s) better judgem ent. 89 An inset story then quotes Dr Ernst van H eerden, poet and head of the Department of Afrikaans and Nederlands at W its University, as saying that this is surprising work for someone so young. He also comments that young writers usually follow the pattern laid down by others but Krog does not do this . He advises readers to read the poetry of established poets Breyten Breytenbach a nd DJ Opperm an to hear echoes of Krog?s themes. Interestingly the poetry actually printed on this page does not focus solely on the poem ?My Mooi Land?. The inset starts with a sexually suggestive piece of prose in which Krog graphically describes the serpent moving over her (Eve?s) body in the garden. Nowhere in this article?s three co mponents is ?My Mooi Land? singled out as particularly shocking with its suggestion of cross-colour bar love. The objection seems to have been generally aimed at all the poetry by Krog printed in the school magazine. The poem appears in the paper like this: My Mooi Land Kyk, ek bou vir m y ' n land waar ' n vel niks tel nie, net jou verstand. Waar geen bokgesig in ' n parlement kan spook om dinge permanent verkramp te hou nie Waar ek jou lief kan h? langs jou in die gras kan l? sonder in ' n kerk "ja" te s? Waar ons snags met kitare sing en vir mekaar wit jasm yne bring Waar ek jou nie gif hoef te voer as ?n vreemde duif in my hare koer Waar geen skeihof my kinders se o? sal verdof Waar swart en wit hand aan hand vrede en liefde kan bring in my mooi land. Die Beeld 16 August 1970: 16 But notably the Rand Daily Mail, the English-language newspaper based in Johannesburg, picked up and carried a story about this incident the next day3 . 3 M onday 1 7 A ugust 1 9 7 0 : 3, 8. N o searching by librarians in the Johnnic (n ow A vusa) archives could unearth an article in T h e Su nday Ti me s by ? Fairbairn Pringle? or any information about Kr og or her 90 Headlining the story ?Verse by girl pupil ?s hocking??, the story repeats the details carried in Die Beeld. The only new information is from an interview with the headmaster, Mr DJ Scheepers, who is quot ed as being bitterly disappointed by the reaction as he considers Krog?s work to be a ?m asterpiece?. ?She is an ou tstanding pupil who lives for poetry and art. I am proud of her?. The paper then printed a translation in English of the poem , headlining it ? Where skin means nothing?: Look, I am building myself a land Where skin means nothing, just your understanding. Where no goat face in Parliament shouts to keep verkramp things permanent. Where I can love you And lie next to you in the gr ass without saying ?yes? in church. Where we can play the guitar at night and sing And bring J asmines for each other. Where I don?t have to feed you poison if a strange dove calls in my ear. Where no divorce court can dim my children?s eyes. Where White and Black, hand in hand, Will bring peace and love to my beautiful land. The next appearance of Krog in the Afrikaan s newspapers is in a story called ?Antjie se 1 st digbundel? [Antjie?s first volum e of poetry] of Die Beeld of 6 September 1970, page 10. This article introduces Krog by re minding readers that she is the Kroonstad matric pupil whose poetry caused the outcry. The story tells readers that Human&Rousseau are publishing a selection of her poetry; that they also publish her mother, Dot Serfontein?s, work and that Prof Dirk Opperm an of Stellenbosch University has approved publication. Opperm an is quoted as not wanting to say that this indicates a new highpoint in Afrikaans poetry, but that he is impressed with her freshness and spontaneity as a writer. He picks out one particular poem for attention: ?Albatros G ough-eiland?. ?My Mooi Land? is not m entioned at all. As her Random House publisher Stephen Johnson rem arked4 , it is notable that ?My Mooi Land? was not selected to appear in the volume Dogter van Jefta ( 1 9 7 0 ) , and it does not ever appear again in a poetry collection under her name until after the very successful appearance of Country of My Skull in English, when he and Krog decided to publish it poem. It has also proved impossible to find the cartoon by B ob C onnolly. An d the Kr oonstad High Sch ool documentation from the 19 7 0 s was destroyed when the school was merged with two others after Sou th Africa?s tran sition to democracy. 4 Personal communication on Thursday 19 A ugust 2 0 0 4 . 91 in English (translated by Krog) and included it as the first poem in a selection of her work for English readers, called Down to My Last Skin (2000). Then Die Beeld ceased publication and Naspers and Perskor, the rival Afrikaans publishing companies, launched a new Sunday paper Rapport . In January 1971 Rapport carried a major half-page story on page 6 about censorship and whether poets ?get away w ith murder? 5 . This seemed to have been planned as a result of an outcry in the letters pages of Rapport in response to a Christm as poem by DJ Opperm an published by the paper in December which characterised the three wise men of Chistian lor e as ?dr ie outas in die haai Ka roo / die ster gesien and die engel geglo? [three old coloured m en in the barren Ka roo / saw the star and believed the angel] 6 . Ernst van H eerden is consulted for his opinion and he refers again to the ?ongelangse geval van die skooldigteres Antjie Krog? [the recent incident involving the school poetess Antjie Krog]. The article ranges acr oss the opinions of many people about whether poets should have the freedom to push the boundaries of religion and sexuality. In the same month, the ANC publication Sechaba , based in London, published a translated version of ?My Mooi Land?. The poem was introduced on the page with the words ?Antjie Krog, a 17-year-old Afri kaans schoolgirl has stunned her backveld Kroonstad comm unity with this poem. Where there is so much hatred a germ of love she grows.? It was accompanied by the sa me school year book photo which had been used again and again in the South A frican newspaper reports on the issue. My Beautiful Land Look, I am building myself a land where skin means nothing, just your understanding. Where no goatface in Parliament shouts to keep verkramp things permanent Where I can love you and lie next to you in the grass without saying ' yes' in church. Where we can play the guitar 5 ?O ns digters kan moor sonder skoor: po?si e is veel vryer as prosa? Ra ppo rt. 17 January 19 71 : 6 . 6 ?Lesers onstoke? e n belof? or di? gedig wat R app ort geplaas het? R app ort. 3 Janu ary 1 971 : 10 . Kersliedj ie deur DJ Opp erman. 92 at night and sing And bring jasm ines for each other. Where I don' t have to feed you poison if a strange dove calls in my ear. Where no divorce court can dim my children' s eyes, Where White and Black, hand in hand Will bring peace and love to my beautiful land. Sechaba 5(1) January 1971: 16. In Sechaba the poem was singled out from its accompanying poems in the school year book and in Die Beeld, and set on a different journey, for a different purpose and for a different audience. It had jum ped the boundaries of this isolated country, come to the attention of someone in exile in the ANC, been translated into English 7 , and found its way into a publication banned by the South African Nationalist Party governm ent and probably never to be seen licitly in this country until after the year 1990 when the members of the liberation movements returned with their archives8 . But it took a while before news of this us e of the poem came home. Only in March did the London correspondent of Rapport discover the translation and write a piece under the headline ?Antjie se ged ig misbruik teen ons land? [Antjie?s po em misused against our land] 9 . With a tone of high indignation the unnamed writer declared: Een van die om strede gedigte van die sewentienjarige skoolm eisie van Kroonstad, Antjie Krog, word nou deur Suid-Afrika se vyand e in die buiteland misbruik. Die African Nati onal Congress het haar gedig My Mooi Land in Engels vertaal en in ?n pamflet afgedruk. Die pamflet word nou oor die hele w? reld teen S uid-Afrika versprei? [One of the controversial poem s of the seventeen-year-old schoolgirl from Kroonstad, Antjie Krog, is no w being misused by South Africa?s enemies outside the country. The African National Congress has translated her poem My Mooi Land into English and published it in a 7 In personal communication Ahm ed Kat hrada told me that R onnie Kas rils might have been the translator but my attempt to establish the verity of this by writing to Kasrils at th e Min istry of Intelligence has been unsuccessful. 8 Now housed a t the Mayibuye Centre at t he University of the Western Ca pe and the ANC archi ves at the University of Fort Hare in the Eastern Cap e. Also see www.disa.nu.ac.za , the digital archive which has collected the once- banned publications of the liberation movements online. 9 Ra p port . 28 Mar ch 19 71 : 3 93 pamphlet. The pamphlet is now being distributed across the whole world against South Africa?] The report went on to speculate how this situation came to be. The caption under the now-standard photograph of Krog fr om her school year book said: Die gedig is blykbaar in Tanzani? deur een van die nie-blanke Afrikaanssprekende 10 omroepers van Radio Dar-es-Salaam in Engels vertaal. Di? radio saai daagliks in Afrikaans uit. O p die oomblik word die gedig in Londen versprei. Antjie het destyds groot lof van kenners gekry toe haar gedigte in die skooljaarblad verskyn het, m aar ander mense het ges? hulle is geskok oor di e seksuele ondertone van die verse. [The poem was evidently translated into English in Tanzania by one of the non-white Afrikaans-speaking announcers from Radio Dar-es- Salaam . This radio [station] broadc asts daily in Afrikaans. At the moment the poem is being disseminated in Londo n. At the time Antjie received great praise by experts when her poem appeared in the school yearbook, but other people said they were shocked by the sexual undertones of the verses.] The report then carried within the body of the story both the Afrikaans version of the poem (the sam e version as that printed in Die Beeld ) and the English version copied from Sechaba. However, the name of the actual A N C publication is never given. The report ends by telling readers how the ANC ?pa mphlet? 11 introduced the poem and translates the English w ords into Afrikaan s: ?Antjie Krog, sewen tienjarige Afrikaanse skoolmeisie die mense van die agterlike Kroonstad m et die gedig geskok het. Waar daar so baie haat is, is daar tog ?n juweel van liefde? 12 [Antjie Krog, seven teen-y ear- old Afrikaans schoolgirl shocked the peopl e of backward Kroonstad with the poem . Where there is so much hate, there is yet a gem of love]. The next news event in the life of this new poet occurred the very next Sunday when Rapport approached Dot Serfontein to put into context this latest furore surrounding ?My Mooi L and?. The poem was reprinted again, in the centre of the page with the title ?My M ooi Land? a nd the attribution ?deu r Antjie Krog ? [ by Antjie Krog] . Serfontein was given an entire page in a br oadsheet newspaper (m inus the advertising space and one short story on the side which also dealt with a poetry controversy) to 10 The word ? kleurling? (col oured) is adde d in the same account at the end of the story. 11 The word ?p amphlet? h aving, of course, associations with political propaganda that the words ? magazine? or ?journal? do not necessarily have. 12 The word in Sech aba is ? germ? not ? gem?. 94 ?verduid elik? [ clarify] the situation13 . The introductory note (not written by Serfontein but by an editor or subeditor) sets the scene by telling readers of the poem: ?Nou is dit s elfs in die buiteland in E ngels vertaal as ?n propagandaset? [Now it?s being used overseas as a piece of propaganda translated into English]. Serfontein launches into her piece by starting: Verlede jaar toe die ?herrie? losgebars het oor ons kind se gedigte, het ?n verteenwoordiger van Die Beeld my gevra om kommentaar daarop te lewer. Komm entaar was juis wat ons probeer vermy het. So iets leef jy net af. Nou het die goeie ou Sondagkoera nt weer die sakie opgerakel en ek voel dat ?n tydige stukkie volwasse sprake in hierdie stadium dalk nie onvanpas sal wees nie. [Last year w hen all hell broke loose over our child?s poem s, an editor from Die Beeld asked me to comment. Comm entary was what we wanted to avoid giving. Such a thing you never survive. Now the good old Sunday paper has dragged up the i ssue again and feels that a timely bit of adult talk at this point perhaps will not be amiss.] Serfontein then tells readers that the poem was written in the last half of 1969 when she and her husband were working in the Nation al Party local office registering voters. They attempted to find young people to help them and only two came forward, their daughter Antjie being one of them, which entailed going from door to door in the town, being at the mercy of the irritation and anger of those who did not want to be told about the ?new? National Party. She also explains her lapse of judgem ent in not giving Antjie advice about what poetry to publish by saying that at the time she was embroiled in responding to requests to write about the psychological motivation of a Maria Groesbeek who had m urdered her husband (the reference to doves cooing about poisoning one?s spouse in the poem relates to this event). She says, however, that she does not believe that the poem showed a sinister slide towards liberalism and accuses adult propagandists involved in electioneering of putting into public unflattering depictions of the leader of the Herstigte Nasionale Party (a reference to the ?goat face? of the poem ) . She puts forward her view that young people all over the world are dealing with the kinds of issues raised by the poem, and that facing these issues with the support of adults is important. On the issue of poetry itself, she opines that poets are people hypersensitive to influences. Sh e also tells readers that her advice to Antjie has b een to put her poetry into a volume for publication so that she can put herself forward in public as ?digter, as Christ en en as Afrikaner? [as poet, as Christian 13 Dot Se rfontein. ? A ntji e se skoolgedig verduidelik: Dot skryf oor haar dogter.? Rapp ort. 4 Ap ril 19 7 1 : 9 . [A ntji e?s sc hool poem clarified: Dot writes about her daughter] 95 and as Afrikaner]. It is clear, though, from this piece, that Serf ontein is responding to the publication of the poem by Sechaba . On this issue she says: ?Ek is bevrees dat dit nog op baie ander plekke tot nadeel van ons land gebruik kan word?? [I am afraid that it might be used against our land in many more places] The secondary headline on the page roots the causes of the furore around the poem in ?die politiek en Groesbeek? [ politics and Groesbeek] ? in othe r words, the climate of electioneering inspiring reactionary behaviour from voters and sensationalist murder reporting by newspapers ? and the mother?s own preocc upation which meant she did not have her mind focused on the ?na?ve? poem (as she calls it in the article) which wa s to unleash such a fuss. A m onth later, the story found its way into the English press with a report by Colin Legum , which appeared in the Daily Despatch in East London 14 . It is interesting to note how this information from London cam e to be published in East London in South Africa and n owhere else in that other fragment of the South African public sphere ? English-language newspapers. Legum had le ft South Africa in 1949 (a year after the Nationalist Party cam e to power) an d was living in London in exile and writing for The Observer newspaper. As a journalist he had developed close relationships with Africa?s em erging new political leadership15 . In the 1970s Legum was symphathetic to the ANC position on South Africa 16 and in touch with the then Daily Dispatch editor, Donald Woods, the man later to become a friend of Steve Biko and to flee into exile himself with his family after Biko?s death at the hands of security police. Legum ?s story reads: A poe m by a 16-year-old South African schoolgirl has m ade her an internationally famous controversial figure. Antjie Krog?s poem was first published in her school magazine last year. It started a tremendous row in South Africa and now the controversy has becom e wider because of the decision of the exiled African National Congress ? which spearheads a guerrilla struggle from its headquarters in Tanzania ? to reproduce her poem for international distribution. The report carried the translated version in English from Sechaba . Again the nam e of the ANC publica tion is omitted, probably because to use it would be to alert the 14 ?Afrikaa ns protest cry sparks a big row.? in Da ily Despa tch , 17 May 1 971 . The report is marked ? OFNS at t he end indicating that it came to this newspaper via the Observer Forei gn Ne ws Se rvice. 15 This information from www.archiveshub.ac.uk/n ews/030 90 901 .html accessed on 10 Se ptember 2 004 . 16 In 19 6 4 he and his wife M argaret wrote South Africa: Crisis for t h e West in which they argued for economic sanctions against the So uth A frican government in order to bring down the apartheid system. 96 apartheid censors. Legu m had obviously seen the Rapport article by Dot Serfontein as he tells Despatch readers of her arguments in defence of her daughter. He ends the article by commenting: Antjie Krog is a new phenom enon among younger Afrikaners who, in increasing numbers, are beginning to react against the established racial attitudes and morality of South Afri ca. Although still relatively few in number, they are the harbingers of changed ideas among the younger Afrikaners. These changes, when they do occur, do so m ainly at universities ? especially in recent years at Stellenbosch University, traditionally the nursery of Af rikaner nationalism. What is unusual about Antjie Krog is that she h as broken from the conventional thinking while still at high school, not in the sophisticated urban setting, but in the heart of the platteland, the rural outback of the apartheid Republic. The tone of this report is remarkable in its contrast to the tone of the Rapport article on the poem?s ?m isbruik? [m isuse]. It is cl ear that Legum ?s comm entary comes from a quite different ideological position. At this po int the archival trail of the poem goes cold. The poem disappeared from view for 18 years only to reappear in 1989 in the m ost amaz ingly, unexpected way and in a different, but equally, politically-charg ed context, which is the subject m atter of chapter four. But in th e intervening period Krog charted a predom inantly literary course, which although it was always to have its political interface was to remain within the Af rikaans literary sphere and confined to the Afrikaans vehicles of public discussion. I turn now to the significance of Krog?s accum ulation of literary field capital and her autobiographical work which was to become a distinction of her voice as a poet. As indicated in the previous chapter I am employing field theory primarily to examine the emergence of Krog as a public figure in S outh Africa. I theorise the developm ent of Krog?s publicness by exam ining the complex intertwining of the literary as a field and the creation of writer subjectivity, the polit ical sphere as the necessary stimulating environment and context, and the workings of the media and its a/effects in the world. In the rest of this particular chapter which focuses on the development of Krog the poet subject, I us e field theory combined with certain aspects of media theory to place attention on the enabling and constraining features of the literary field, the development of Krog?s adaptive subje ctivity as a writer, her accumulation of literary symbolic capital, and the actions and interventions of powerful field consecrators who have 97 operated to generate critical consecratory or transitional moments in her traj ectory through fields. Telling an autobiographical story as a claiming of authority I deliberately started this chapter with an autobiographical moment in a text in which an author of great renown and symbolic capital has reached back in time to tell an originary story about her own entry into the literary field (and also, as we will see into the alternative political field). I do this fo r several methodological reasons: the first is to make the point about the place of the analysis of texts in a project of determ ining the development of a particular person?s writer-subjectivity. As Helen Malson says: Texts are analysed, not as a means of revealing the ?tru th? abo ut the speaker or writer (their attitud es, cognitions, traits or whatever) or about the events or experiences they describe. Rather, texts are analy sed in order to explicate the culturally specific discursive resources that have been drawn upon in order to produce a particular account of ?reality?? with the interactions and dilemmas that may be created for the speaker in taking up particular constructions of themselves or others ? or with the functions or effects (whether intended or not) of the particular discursive resources used and the power relations embedded therein.? (2000: 153). The second is that in field theory, as explicated by Bourdieu, a critical moment of shift in both an individual?s life, and in th e greater relations of an already-existing field, is the moment of en try of a new actor. This is the beginning of her trajectory as a public figure. And by engaging with Krog? s texts, and the media texts generated about her, I find within the autobiographical and biographical information, clues to the project of writer-subjectivity which conn ect with what Bourdi eu calls the duty to emerge in a field as an actor of distinctive production. If I take seriously the Paul de Man insight: We assume that life produces the autobiography as an act produces its consequences, but can we not suggest, with equal justice, that the autobiographical project m ay itself produce and determine the life? (quoted in Paul John Eakin, 1985:185), then this telling of a particular story of self by Krog in the 2003 text is a significant moment of statement about her credentials as a writer; one which interestingly spans 33 years and is being perfor med to the new public that Krog is now addressing in English after the m ajor internationa l success of her book of the Truth and Reconciliation Comm ission, Country of My Skull ( 1 9 9 8 ). Krog is telling an originary story to a new audience she has acquired in English, and perhaps even beyond the 98 borders of South Africa, who m ay not have travelled with her as the readers of her poetry in Afrikaans have done over the years. She is gathering them in to participate in her story of justificati on and legitimation as a witness and writer of change, which depends on an extraordinary, originary story. But m ore than that, for the purposes of this inquiry, this story, and particular its appearance in archival and media fragments, enables me to go back to her moment of entry into public and so begin to unravel the beginning of her trajectory towards p ublic recognition and her stature as a representative South African. To return to the moment in which the young Krog becam e a poet and walked out onto a public stage; Bourdieu em phasises that moments of entry and e m ergence are critically important to an individual?s successful negotiation of a field in which, like the literary field, autonomy is high and the grasp of the immanent logic of the field is vital. Bourdieu calls this ?the right to enter and th e duty to emerge? (2005: 46). Rodney Benson underlines this by saying: In field theory, changes in the structure of fields are produced from two basic sources. Since to exist in a fi eld is ?to differ?, a ?dialectic of distinction? ensures the constant production of change as new actors attempt to enter and make their mark in the field? (1998: 487-8). Krog?s achievem ent of a published volume of poetry at the age of 17 is a rem arkable story about how journalistic news values , framing and agenda-setting, provoked her entry into the literary field. In the sequence of media events outlined at the beginning of this chapter there is a very clear indication of a controversy or sensation attracting the attention of journalist s and galvanising them into the production of ?news?, stimulated also by the newspaper editors operating according to the explicit economic imperatives of journalism. But we also s ee an act of media power across fields and society that facilitates Krog? s entry, not only into the Afrikaans literary field in South Africa, but also into the a lternative political field as a young dissident. This is a classic case of agenda-setti ng, signifying to the public at large that this person is noteworthy and has interest beyond the field of literature. 99 [Trajectory] Entry and emergence as a poet in the Afrikaans literary field Applying this theoretical com bination to Krog?s trajectory, it is evident that Die Beeld reporter Franz Ke mp applied the news values of surprise, conflict or sensation to his assessment of the news worth of the reaction of some people to Krog?s high school poems. He produced a fairly standard, sensational, Sunday paper-type story using the frame of shocking events in small towns causing an outcry among their unsophisticated inhabitants. Bu t, interestingly, K emp also contacted Dr van Heerden as an expert to give his opinion on the poetry, and allowed published author and mother Dot Serfontein to express herself on th e situation. So what we see here is that the news value of controversy attracted a paper?s attention, the story was f ramed in a particular way for Sunday-paper reader cons umption, and, by seeking out an expert to comment on the poetry, Krog herself was also framed ? as precocious, brilliant, dissident, and placed in association with Afri kaans literature?s most esteemed poets. It is important to note that the seeking out of expert commentary is one of the routine ways journalism enhances its authority as the communication of ?t ruth? in public but it coincidentally also involves drawing a field ?consecrator? into a pub lic realm (ie outside the literary field) in which pronouncements can be made of worth and legitimacy. As a result Krog was marked as a newsworthy person and placed firmly on the Afrikaans press?s news agenda. This agenda-setting had an imm ediate effect in the reaction of publishers Human&Rouss eau who sought out Krog to publish her work and who consulted highly-esteem ed Afrikaans poet and academic Professor Opperm an at Stellenbosch University on its worth. Die Beeld?s agenda-setting had another, unexpected effect, in the publication of the poem in English in Sechaba. Here one sees another set of jou rnalists spotting this information, and with a different set of news values, framing Krog for their purposes as a young dissident voice of promise and hope from within the bastion of Afrikanerdom. This contradictory fram ing and agenda-setting by a banned publication provoked outrage back home but facilitated another entry into another field ? the alternative space of political dissidence. It also provoked a renewed attempt to recapture and frame Krog back into a well-b ehaved, but brilliant Afrikaner girl with Serfontein clarifying the situation and assuring R apport?s readers that Krog was a 100 good Christian and Nationalist Party supporter. The framing battle continued with Colin Legum ? s story which sought to reaffirm Krog as a voice of prom ise and hope from within the Af rikaans lager. To summarise: th e actions of the reporter, the mother and the two literary field consecrators plus the established publisher, ushered Krog decisively into the literary field. And simultaneously the attention of the ANC and Colin Legum ushered her into the alternative political field of South Africa of the 70s. This entry into the alternative political field was to frame and set Krog on as important a trajectory as her entry into the literary field. And in te rms of media agenda-setting, Krog had been ?snagged? in the news net (Reese 2007: 150). The Afrikaan s press had marked her as a newsmaker to be watched from now on. Krog was to m ake good use of her decisive entry into the literary field by producing another three volumes of poetry while at university: Januarie-Suite (in 1972, for which she won the Eugene Marais Prize), Mannin and B e minde Antartika (in 1974, for which two volumes she received the Rein a Prinsen-Geer lig Prize f or L iterature in 1977). In this she benefited from the alliance with and guidance of Opperm an who became her mentor for years, first as editor of her poetry, then as her teacher with whom she did an honours degree in his ?poetry laboratory? at Stellenbosch University17 . As Bourdieu points out, successful negotiation through a field in order to accumulate the field?s capital and accolades is greatly enhanced by the alliance with a field consecrator18 . But also, having been caught in the news net of the Afrikaans press, Krog becam e a standard newsmaker to keep tabs on. Each volume of poetry was reviewed, each prize acclaim ed, and every personal change in her life (divorce, remarriage, births of children, moving cities, changes in job) captured through a combination of news reports, literary reviews and highly personalised interviews and photographs of her with family in her home. 17 Sh e went on to write her M A thesis on his poetry F ami lief igure i n die p o?si e v an DJ O ppe rm an. 19 8 3 University of Pretoria. 18 See ?Th e Production of Belief ? 1 980 : 283 where Bo urdieu and Ni ce explain that the more powerful the consecrator is the more the work is strongly consecrated and that the consecrator ?i nvests his prestige in the author?s ca use? . 101 [Subjectivity] ?The cartography of the self?; the production of distinction As Krog started to produce poetry prolifically after Dogter van Jefta, Afrikaans lite rary theorists and canonisers began to categorise her as a poet of the ?dom estic? 19 . But this was not just a pigeonholing of her choice of s ubjects and preoccupations, it was also an acknowledgement of the fact that Krog had se t out to create a distinctiveness of poetic voice ? or idiolect ? via ?d ie kartering van die self? 20 [the cartography of the self] by capturing the intellectual and physical experiences of being lover, wife, mother. Liter ary theorist Lou ise Viljoen remarks that Kr og?s poetry ?can be r ead as an autobiographical record? (V iljoen 2007: 188) and that autobiography and poetry have both played an important role in ?empower ing women writers? and in allowing women ?a way of com ing to writing? (quoting Schenk). Reading Krog?s poetry one becom es aware that she did indeed use the lyric poem as a space in which to establish her female subjectivity, bu t also as a space in which to constantly revise and reform it (2007: 188). Krog?s refining of the use of autobiographical material connected to a distinctiveness of expression over many years of writing poetry was to come to mark her voice and distinctive methods of expression not just in poetry and in the literary field, but also over time in other genres and public expressions. This distinctiveness of voice in itself acquired capital and value. In her 2006 exam ination of Krog?s transla tion of the volume of indigenous poetry Soos Woorde Met Kerse, Viljoen rem arks that Krog h as a ?Rom anticist poetics? 21 in which ?language, and especially sound? is, for he r, the ?dom inant feature of poetry?. In addition Krog?s particular poe tics is centred on performance and the social uses ? or even the social relevance ? of poe try (2006: 38). Viljoen remarks that: 19 JC Ka nnemeyer?s term was ? huislike gedigte? i n Geskiede nis v an die Afri kaanse Literat uur. Pretoria: A cademica, 1 9 8 3 : 50 4. 20 Tom Gouws? term : ?Ch arting?, ?m apping? or even the ?ca rtography of the self?, in Perspektief en Pro fiel edited by HP van Co ller 199 8 : 55 0. 21 Q uoting Lefe vere ( 1 99 2: 26 ) she defi nes poetics as: ?? po etics can be said to consist of two components: one is a n inventory of literary devices, genres, motifs, prototypical characters and situations, and symbols; th e other a concept of what the role of literature is, or shold be, in the social system as a whole? (in Viljo en 200 6 : 38 ). 102 Krog?s poetics is also known for the way in which it transgresses lim its with regard to subject m atter, poetic technique, language and genre (2006: 39). Viljoen a lso notes that the transgressive in Krog?s poetics is closely allied with a strong feminist voice and in some cases a display of ?utter passion?. She is attracted, says Viljoen, to fury and vio lence (2006 : 40). Fina lly, according to Viljoen, o ne detects in Krog?s poetry-m aking an ongoing preoccupation with ?the conflict between aesthetics and politics?. Literary theorist L eon de Kock characterises Krog as: an extraordinary, versatile, provocative and messy poet. She m esses with proprieties both sexual and political, she shoves shit and semen, and much besides, in your face, she refuses to give up trying to speak the voices of the land, she risks sentimentality everywhere, and she continues to be both publicly personal (right dow n to details about her husband?s mem ber) and very personally public (2000: 9) 2 2 Within a very short time Krog became know n to Afrikaans read ers as the poet who used slang and swearwords, who picked up street language, threw in English words, and who didn?t shy away from graphic descriptions of the sexual and the body. As each new volume of her poetry appeared it was scanned for these hallmarks by readers and reviewers, the journalis ts of the day documented each of these shocking details and the debates about them in the literary world. And this was against the backdrop of the Nationalist Party-Broederbond project of crafting a sophist icated, controlled body of literature to enhance the status and legitimacy of the Afrikaan s language vis-?-vis o ther world languages. Krog?s poetics seam lessly combined a transgressiveness of language and poetic craft and her discomfort and dissension with the A frikaans cultural institutions relationship to the Apartheid state. A poetics which kept on drawing m edia attention and making of Krog a ne wsmaker and agenda-setter. Som e examples from the early volumes of poetry will give a sense of the distinctiveness of voice and its shock value in the South Africa of the 1970s. Januarie- Suite written while Krog was doing her undergradu ate degree at the University of the Orange Free State con tained a poem called Sonnet which begins ?vannaand weet ek / dat ek jou n ooit weer lief sal h? nie?? [toni ght I know that I will never love you again] 22 ?Voices of the earth? , review of Kleu r Kom No oit Alleen Nie and Do w n to My La st Skin in the Mail&Guardian 1 7 - 2 3 N ovember 20 0 0 . 103 and ends ?o mdat ek moeg is / v ir jo u nat snoet in my lies.? [because I?m tired / of your wet snout in my groin] (1972: 44). T here is also the poem ? n Bundel bedoel vir aborsie [A volume intended for abortion ] which begins ?ek m oes hom laat doodmaak het? [I should have had him killed23 ] (1972: 19). B e minda Antarktika contains the poem ?ekshibis ionis? (literally ?exhibitionist?, but more accurately ?flasher?): ?en die S lamse man wat straat af kom / hy had ?n m us en donkerbril / sy m ond bewende so soel sy vel / da t ek verwonderd na hom staar / sy af na sy gulp / en skielik / tussen sy vingers stei er nat / ?n donker peul in aar.? [and the Malay man coming down the street / he had a cap and dark glasses / his m outh trembling so swarthy his skin / that I star e at him in wonder / slide dow n to his fly / and suddenly / between his fingers staggers / a dark pod in vein] (1975: 15). Mannin [ Virago ] the poem ?speelm aats? (1975:8 ) my liefling het a skilpad groen gemaak van lap wat met sy doekvoet-pote snags oor my gewete stap my liefling het ?n houtpop pinokkio is sy naam en oral waar my liefling woon kan jy sweer woon langneus saam die twee heers ewe opgewek al jare oor m y lief se bed maar sedert ?k by hom kom speel maak hul berekend vir my plek [Man-ess my sweetheart made a tortoise of green rag whose stealthy muffled paws walk across my conscience every night my sweetheart has a wooden doll pinocchio is his name and everywhere my sweetheart lives you can swear longnose is there 23 Translator? s note: T he use of the words ? moes? and ? het? c onfer a double meaning: had to and should have. Therefore ?ek moes hom laat doodmaak het? reads as both ?I had to have him killed? and ?I sh ould have had him killed? . This means that the speaker either had the killing done or regrets not having had it done. 104 the two have reigned quite cheerfully for years over my darling?s bed but since I have come to play with him they calculate my place] Krog?s fifth volum e of poetry Otters in Bronslaa i was both shocking in subject m atter ? which touched on the theme of homosexuality, and set off rumours that her discovery that her first husband was homosexual and this had led to his abandoning of her, and acclaimed for its vitality. The poetry was called ?boisterous? and ?angry? 24 . The SABC refused to allow Joan Hambidge to read ?die skryfproses as sonnet? [the w riting process as sonnet] on the programme Digterkeuse 2 5 . hoe bang het ek geword om po?ties baldadig te dink, om my geliefde rymloos en vormloos te laat uitrank hoe sku het ek geword om in lote onbevange vers sy penis onverantwoordelik ysterklaar by die naam te noem die krimp en los van sy balle by daglig waar te neem die sagte kurk van sy tepels tot harde stukkies bas om brutale stuifmeel oor blare to vlek en argloos sy anus aan my pen te laat bot maar totaal geinhibeer deur laboratoriumsoetse en handleidings bedink ek elke derde nag netjie se stellasies vers, noukeurig en dimensioneel opgelei, verrassend berym en kosmies met titels bemes en uiteindelik: ryp gekw artryn, onpersooonlik met kenners oor gekweel, word die hele seksdaad nou ?n slim -slim slimmer ritueel. [how fearful I have becom e to think poetically exuberant, to allow my loved one to ramble free and formless how shy I have become to name his penis irresponsibly ironready in writhing open verse 24 ?Getem perde An tj ie Kro g is terug? by Annelie d e Wet. B e eld 8 Se ptember 19 8 1 . ?Ant ji e K rog, gewildste S A digteres: werklikheid met eerlikheid verwoord.? Die B urg er 9 Sept ember 1 981 . ?W aar is dolla minas? ? letterku nde deur LI Bertyn . B e el d 2 3 Sept ember 19 81: 1 8 . ?? n Kr og- oplewing? m et woede? r esensie deur An dr? le Ro ux. B e eld 19 O ctober 1981 : 16 . ?Nu we Kr og- bundel dalk nog ? n kultusroering.? Die Vo lksb lad 2 7 O ctober 1 981 : 10 . ??Ek sk ryf omdat ek woedend is?? b y Willem Pretorius. Ra ppo rt 1 No vember 19 8 1 : 4 0 . ?Ant ji e K rog ? daar is po? sie in di? vrou? boeke onder redaksie van Joan Kr uger. Di e Tr anv aler 2 N ovember 1 981 : 9. ?Ant ji e K rog neem po?t ies wraak? by Fanie Ol ivier. Die Burger 26 N ovember 1 981 : 21 . ?Ant ji e K rog: baldadigste po? sie in Af rikaans.? Die Suidw e ster 1 February 1 982 : 2. ?Di gteres in huis vrou voelbaarste teenwoordig? by Lo uise Vi lj oen. D ie Va de rland 29 Ap ril 1 982 : 21 . 25 Ra p port 1 6 O ctober 19 8 8 reported the banning and said the poem was a ?desc ription of her husband from head to toe?. T he writer ?Nelia?, c ommented ?i s ons dan almal nog naive kleuters? ? [A re we then all na?v e toddlers? ] 105 to take in the shrivel and slack of his balls by daylight the soft cork of his nipples to hard bits of bark to smear brutal pollen over leaves and artlessly bloom his anus on my pen but totally inhibited by laboratory tests and textbooks every third night I contrive neat scaffolds of verse, carefully and dimensionally trained, startlingly rhymed and cosmically littered with titles then at last: ripely quatrained, impersonally coated in experts? warble, the whole sex act is now a clever-clever cl everer ritual.] The important point to note in terms of field theory is that Krog was not just em erging as a poet of distinctiveness, but also conforming strongly to the logic of the literary field which requires that the boundaries of what is allowable in expression, be tested and that language itself be manipulated. This became remarkable as a hallmark and resulted in the following conversation on SABC radio between Krog and the writer Celine Celliers: Celine Cilliers: Jy gebruik vreeslike baie Engels, is dit jou persoonlike skryfstyl? Krog: Ons praat alm al so26 . [You use an awful a mount of Eng lish, is this your personal writing style? We all speak like this.] As Krog grew in stature as a poet she be gan a public, mediated battle against the stifling control that the Af rikaans cultural institutions exercised over Af rikaans language and culture, thus furthering her status as a young dissident in and trajectory through the alternative political field. She began to use the platform s she was afforded by her cultural capital, and in full knowledge that she would be reported on, to declare her stance. S ome examples: In July of 1984 she told the Afrikaans Olympiad in Bloemfontein that the Afrikaans language could look after itself without the interference of the cultural institutions27 . She told the Afrikaan se Letterkundevereniging at the University of Port Elizabeth in 1985, that ?Die Afrikaanse letterkunde v an vandag is feitlik een groot neurose? [Today?s Afrikaans 26 SAB C sound archives T8 3/ 6 1 - 6 2 on ?Lees kring oor die lug? with R uda Lan dman talking to C eline and Rik a Cilliers an d Dot Serfo ntein and An tj ie Kro g. 27 ?Taal kan vir homself sorg.? Volksbl ad 18 July 19 84 . 106 literature is actually one great neurosis] 28 . In 1987 when she was elected on to the executive of the Afrikaanse Skrywersgilde, she made use of the position to take a stand against the prevailing anxiety about ?alternative and worker Afrikaans? 29 . At the Nasionale L eeskring-sem inaar in 1988 she sa id apartheid had come between writer and reader30 . Also in 1988 she told the annua l meeting of the board of the Skrywersgilde that Afrik aans needed to be set free of that very institution31 . When in 1989 the Ins titute for a Democratic Altern ative for South Africa (Idasa) and the Skrywersgilde held a ?W riters? Indaba?, Krog told the gathering, Afrikaans ?had failed this country?, and would need to reflect a broader reality to survive32 . Krog had for m any years been in the vanguard of using ?street Afrikaans? 33 as a poet, but this practice is perhaps best described as representing a political force for change by Max du Preez, founding editor of Vrye Weekb lad (for which newspaper Krog was a regular contributor in the 1980s): And then there was our use of the Taal? I didn?t m ake a conscious decision before the launch of Vrye Weekb lad to promote the use of ?lib erated? Afrikaans. It started happ ening organically; it was the natu ral, creative way to write. But when we were c riticised right from the early days for not sticking to ?civilised st andard Afrikaans?, I explained in an interview: ?There was a gap between the Afrikaans being used by the speakers of the language and the Afri kaans being used in newspapers. The gap was unnaturally big and not in the interests of Afrikaans. So from the start we said: This is no t our Af rikaans. We didn?t sa y that it wasn?t a good thing to have a pr oper knowledge of Afrikaans, on the contrary, but we said: Who are thes e little men who make the rules for our language? For all the years middle-aged Broederbond-types with grey shoes, appointed by some Academ y dictated to us how to spell, how to speak and how to write. And the next year they publish a new book of words and spelling rules, and we all have to follow like sheep. This did not only bring a huge schism between writers and users of the language, it also brought resistance. The only criterion is what feels good and right. Each person is an interpreter of the language on the tongue of the people. What do you do not to sound like a dominee or a magistrate? You close your eyes an d think how you would have said it to someone on the street. It is what will save Afrikaans. Ge t down from 28 ?Th e Afri kaans literature of today is actually one big neurosis.? Oo sterlig 16 A ugust 1 9 8 5 . 29 D ie Vad e rland 4 July 198 7. 30 Die V olksbl ad 6 Oct ober 19 8 8 . 31 ?Bevry Afrika ans van die Gil de.? K rog was quoted as saying ?[ die gilde] ?laat die s krywers nie uit hul hokke kom nie.? Ra p port 14 Oct ober 1 9 88 32 D e mocr acy in Act ion O ctober/N ovember 199 0. 33 An other term is ?lo slitafrikaans?, literally ?h air-down Afri kaans? See en dnote 2 in HP van C oller and BJ O dendaal 2 007 : 114 . 107 the pedestal and the pulpit, move away from the academic rostrum and speak the language as it grows and as it lies warmly on the tongue (2004: 205). What one sees is that Krog?s early producti on of distinction was not just about her poetry but also about the position within the field she was taking up (aligning herself with dissident writers like Andr? Brink and Br eyten Breyten bach), it is also clear that Krog?s literary trajectory a nd political trajectory were converging in her focus on the cultural institutions? han dmaid relationship to the apartheid regime. But one can also notice that Krog had com e to a particular realisation about media power, that moments of media attention are focused on particular events and people, and that because of her growing cultural capital as a literary figure, she had become one of those people ? an agenda-sette r ? who could then insert ce rtain topics onto the media agenda, and hence into the public arena. In an interview in 1 987 with Andr? le Roux of Die Burger, after winning the Rapport Prize for J erusalemgangers, Krog said something very revealing about this strategy: ??ek was eintlik b ang ek wen nie, anders sou ek nie die kans kry om die ?statem ent? te m aak nie? [I was scared I wouldn?t win, and then I woul dn?t get the ch ance to make the statement] 34 . It is remarkable that in this growing relationship with, and reliance on, the media to convey her dissident stance, Krog was confid ent that the media would frame her and her words as she intended. By this tim e, and up to this point, the way she is framed can be captured most succinctly by two repeated appellations: the use of her first name in headlines ?Antjie? ? the dim inutive signalling familiarity and endearment35 , and the use of the adjective ?die gekroonde? [the anointed] ? signalling her literary status and hence weight and worth. Conclusion In this chapter I have used an originary story Krog told at the height of her power and prestige as a public figure, and the supporting media texts, to show that an extraordinary confluence of events, and the intervention of the news media ushered her into both the literary field and the alternative political field at the age of 17. This story, and its archival recreation, show clearly that the actions and reportage of the 34 Die B urg er 28 Ap ril 1 987 . An d in personal communication ( 5 No vember 20 05) Kro g said how carefully she plans the launches of books and speaking tours with her publishers so as to focus media attention on what she considers important. 35 See Fowler?s chapter on ?Te rms of Abu se and En dearment? (1 991 : 110 ) . 108 news media were very significant in these entries, and that Krog was also firm ly captured as a news maker for the years to come. It shows that various people acted as consecrators in interesting and various ways. Her mother was significant in speaking out in public in her defence and in connecting her to the publisher Human&Rousseau (and even for suggesting in public that her poetry was worthy of publication). The established poet DJ Opperm an became her field mentor and editor, which was very significant for her successful trajectory beyond the first flush of young poetry-m aking. The acclaim bestowed on her by the anti-apart heid activists, which was to lie dormant for many years, nevertheless brought her to the attention of significant political figures, which was to have very interesting effects in the future. We can see clearly an emerging trajectory in the literary field, an incipient traje ctory in the alternative political field, and the certain attention of the news media. We also see Krog?s em brace of the position and identity of poet to not jus t produce work of distinction in the literary field but also to use her writing for the creation of a distinctive subjectivity, one which responded powerfully to the political context of South Africa of the 1970s and 1980s. And as Krog continued to write and produce poetry, we see a crafting of a facility with language which, while in the early years dealt with self, home and family and was fairly autobiographical, was also being used to deal with the visceral, the body (esp ecially the female body) and commanding the space, poetically, of passion and the affective. With each successive volume Krog was authoritatively taking up the position of the poet with language for the affective. Her public, at this time, was bounded by the Afrikaans language. But for a poet, she was a particularly high-selling author, and c ontinues to be so with even her earliest poetry still available for sale. Krog w as also steadily attracting the attention of the gate-k eepers of the literary field ? th e anthologisers, the canonisers such as JC Kanne meyer36 , and her work was becoming a topic for study for literary theorists and their students. Both Joan Hambidge and L ouise Viljo en started paying attention to Krog in these years and have continue d to chart her writing ever since. 36 K annemeyer? s 19 83 Geskie denis v an die Afrikaanse Literatuur II has a chapter on Krog. 109 Chapter Four Self-Othering On Sunday 29 October 1989 Ahm ed Kathrada, one of the Rivonia treason trialists who had been jailed for life by the aparthei d regime, and had just been released from Robben Island as one of the first of the ANC leadership, was given a reception at Soccer City stadium in Soweto. Before a crowd of 80 000 he read a part of Antjie Krog?s teenage poem , ? M y Mooi Land?. The extr aordinariness of this situation is that Kathrada had been in jail since 1964, a nd the poem had seen publication only a few times in newspapers in 1970 before disappe aring entirely. Schalk le Roux from the newspaper B e eld was there and reported1 that Kathrada read in English the following lines: Build m e a land where skin colour does not count where no goatface in parliament can keep things permanently verkrampt where black and white hand in hand can bring peace and love in my land. The report stated that Kath rada said to the crowd: Baie jare gelede op Robbeneiland he t ek ?n gediggie van Antjie Krog gelees. Sy w as toe ?n sewentien jaar oud meisie wie met haar matriek op Kroonstad besig was. Die gedig het my baie geimponeer. En ek het dit neergeskryf. [Many years ago on Robben Island I read a poem by Antjie K rog. She was then a seventeen-year-old girl who was busy doing her m atric in Kroonstad. The poem impressed me greatly. A nd I wrote it down]. Kathrada also told Le Roux that after reading the poem he heard that Krog was working for Die Burger (this would have been 1974) and then a while later that she was becoming a highly-thought of poet. Then ju st a few months before his release he heard ? ?tot my groot vre ugde? [to my great joy] ? that Krog had joined the delegation of writers to meet with the ANC in exile. Kath rada told Le Ro ux that he felt she was part of a ?growing group of Afri kaners who are prepared to talk to the ANC and to return to r eport to their people?. The report ended with the interjection of another writer, Eugene Gunning, who had interviewed Antjie Krog about this occurrence. He reported that she was surprised to hear the news of the poem? s revival, 1 ?A ntji e Kr og se gedig roer K athrada.? B e eld 3 0 Oct ober 1 9 8 9 . 110 commenting: ?Ek voel ontroerd en ook diep ha rtseer. Dit is 20 jaar gelede geskryf en nog steeds het dit nie ?n werklikheid geword nie? [I feel m oved and also very heartsore. It was written 20 years ago and even now it has never become a reality] . A while late r the W e ek ly Mail carried a report on the same incident by Hans Pienaar2 . This report also carries the few lines Kath rada read, but Pienaar adds this piece of information which shed light on the textual travels and translations of ?My Mooi Land?. He says: ?The poem was published in her school?s annual 3 which mysteriously made it to the small library on Robben Island, where Kathrada read it.? T he Sunday Times report of 5 Nove mber 1989 written by Ev elyn Holtzhausen adds this detail: A young Afr ikaans poet, whose poem ?Jamm er? 4 was quoted to 70 000 people at the Freedom Rally in Soweto last week, said she wrote it 17 years ago when she was a Standard 9 schoolgirl. And until it was read by Rivonia trialist M r Ahm ed Kathrada , Antjie Krog believ ed the poem had been ?lost?. The poem expresses the hope that one day in South Africa ?black and white? will ?hand in hand? br ing peace to this ?b eautiful land?. The poem was published in a school yearbook, says the poet, and has never been included in any of her eight published volumes of verse. Mr Kathrada said he first read the poem over 10 years ago w hen he was imprisoned on Robben Island. It was written in Afrikaans but had been translated into English for hi m by a fellow prisoner. He said he believed it may have been in one of the few magazines political prisoners were allowed to read. ?T he poem moved me then and I am still moved by it,? he said. ?I decide d to read it at last week?s rally because to me it shows an encouraging sign that the monolith of apartheid is also being cracked by Afrikaans youth from within the establishment. The old values are being overturned and replaced with new. And it?s an encouraging sign for the shared future of our country. The poem appealed to me as well because it is so anti-racist? (1989: 15). Accom panying the report, the lines from the poem are printed on the page. What is also notable ? and this is in contrast to the Afrikaan s journalists? and readers? familiarity and knowledge of Krog the poet, is th at Pienaar has to assume that he must 2 ?Antjie, t he poet from Kroon stad, takes up an angry pen.? Weekly Mail , 8 Decem ber 1989. 3 In trying to obtain sight of the school annual I was informed by the secretary of K rog? s high school that after a merger of three high schools in the area, documents from as far back as 1970 had been destroyed. 4 Two of the jou rnalists present documented this poem? s name as ?Jamme r?. It is very difficult to establish why the confusion arose over names. This name does not appear in either of Kat hrada? s books from his time in R obben Island or attached to the poem when published in newspapers in 1 9 7 0 . The only possibility seems to be an association with a poem that appeared in her first volume D ogt er va n Jefta called ? M a? which c ontains the lines ?ek is so ja mmer mamma / dat ek nie is / wat ek graag vir j ou wil wees nie? (1 970 : 12 ). 111 give his Eng lish readers background and history as they will not necessarily know of her, her much-reported exploits, or her work. In 2005 when Kathrada published A h m ed Kathrada?s Notebook from Robben Island, the poem appeared in the book like this: Build m e a land where skin (colour) does not count Only your understanding Where no goat-face in a parliam ent can haunt And keep things perm anently verkramp When I can love you Lie next to you on the grass without the churches blessing. Where at night with guitars we can sing together with gifts of flowers. When I am not willed to feed you with poison as a strange bird in my nest When no divorce court Will blind our childrens eyes When Black & white hand in hand Can bring p eace & love In my land. -- Antjie Krog (17) Kroonstad S td (10) (Huisgenoot -- translation) 5 And in his book Memoir s (2004) he gives som e background to his discovery of this poem while in the Robben Island jail: Towards the end of 1968 the rigid regulations on reading m atter were relaxed slightly, and we were allowed to subscribe to approved magazines such as R ead er?s Digest, Panorama, Farmer?s Weekly, Lantern and Huisgenoot. We were also given some free publications ? Fiat Lux, Alpha, Tswelopele and other deeply boring government-funded journals targeted at spec ific ethnic groups (2004: 234). More than anything else, books helped to keep our m inds occupied ? I also kept secret notebooks, filling about seven over the years with favourite quotations and extracts that struck a chord in me (2004: 236). There was another poem, also by a young girl in her matric year, that made a great impact on me when I chanced upon it in a weekly magazine in 1967 or 1968 6 ? I was greatly m oved by this poem and 5 This version is from the photocopy of the actual page given to me by Sah m Vent er, editor of Ahm e d Ka th rada?s N oteb ook from Ro bb en Islan d. Two slightly different versions appear in the N ote b ook ( 2 0 0 5 : 4 5 ) and in A h me d K athrada Memoirs ( 200 4 : 23 1) . 6 I have transposed the order in which these excerpts appear in Kat hrada?s book as he must be mistaken about discovering the Krog poem in 19 67 or 1 968 as it was only written in 1 969 . His transcription of the translated poem bears no date, only the words ?(Hu isgenoot)?, which Kath rada said in personal communication may have been only a way of referencing an allowed publication in case the notebook was discovered by the guards. The poem may have reached Robbe n Island either via the Hans Pienaar conjecture t hat the school magazine found its way there, or through Nelson Man dela?s access to outside materials in 197 0 wh en he was studying Afri kaans and so was allowed to read Hui s ge noot. My 112 copied it into my secret notebook. It spoke to me of the ability, especially of youth, to transcend their upbringing, to shake off the blinkers of racism and stereotyping that school and society reinforced at every opportunity, every day. It was written by a seventeen-year-old Afrikaans schoolgirl from the Free S tate town of Kroonstad. Her nam e was Antjie Krog (2004: 230-1). [Trajectory] The attention of im portant political field consecrators 1. Consecration by Kathrada On Sunday 29 October 1989 when Krog?s ?los t? poem re-em erged at that highly- charged moment of major political tran sition in the mouth of a person with impeccable anti-apartheid, resis tance credentials, Ahm ed Kat hrada was not reminiscing about his need of comforting words in jail, he was perform atively using the words at an event marking a major poli tical change in the life of a nation to proclaim a different future for all Sout h Africans, and in the process conf erring political legitimacy on Krog the poet. Krog, who was not present, was sought out by journalists to explain the ge nesis of the poem and asked for her reaction to Kathrada?s speech. For the first time the W e ekly Mail ? a paper of high journa listic and political legitimacy in 1989 ? paid attention to Krog. Th e resulting story had to fill in the years in which their readers had missed out on her work, her activism and her growing status7 . What had Kathrada done? He had consecrated Krog publicly as the type of Afrikaner who was welcom e in the struggle for a new and different South Africa. But also, he had anointed her as a voice of that struggle by using her words to mark an event of heightened significance in a time of great political volatility. Kath rada?s consecration of Krog as South Africa em barked on a five-year period of m ajor political upheaval and transition (1989 to 1994), was only one of a series of important sanctifications. These were not only to alter her trajectory and m ove her from operating primarily as a poet with views on the political via the cultural, into the political world proper, but also to reinforce each other, giving her symbolic capital of the most extraordinary sort as a writer and Afrik aans voice. But before Kathrada, as a key m ember of the internal ANC leade rship in jail, drew the national media?s attention to Krog the poe t, two other processes of political attempts to establish whether the poem had indeed appeared in this magazine ha ve been unsuccessful, despite several searches in several libraries. 7 Hans Pienaar. ?Ant jie, the poet from Kro onstad, takes up an angry pen.? Weekly Mail 8 Decem ber 1 989 . 113 consecration were firmly underway in Krog?s life: the visits to m eet with the ANC leadership in exile (as a result of Krog?s association with the Af rikaans intellectual elite) and the approval of the township comrades in Kroonstad. 2 . Consecration by the ANC in exile As the political im passe and the violence in South Africa deepened in the m id-1980s several organisations and business people felt that extraordinary efforts had to be taken to talk to the ANC in exile 8 . One of these organisations was the newly-form ed Institute for a Democratic Altern ative for South Africa (Idasa) which had been set up in 1987 by form er leader of the Progressive Federal Party, Frederik van Zyl Slabbert, and Dr Alex Boraine, also a for mer member of parliament. In July of 1987 Idasa had instigated, with the help of writer Br eyten Brey tenbach (a m ember of the ANC living in exile in France), and the President of Senegal, Abdou Diouf, a m eeting in Dakar between 16 ANC me mbers and 61 ?Afrikaan s opinion-form ers?. The success of the meeting led to further trips to familiarise important South Af ricans from a range of positions in the country with the ideas, aims and personages of the ANC. In July of 1989 Idasa again set up a m eeting, this time with Afrikaans writers and m embers of the ANC involved in cultural production, to ta lk about the cultural boycott at Victoria Falls in Z imbabwe. Krog was invited to be part of the delegation with fellow writers Andr? Brink and Etienne van Heerden. They met Marius Schoon who told Krog he and Braam Fischer had read her poetry in jail 9 . Among the ANC delegation were Breyten Breytenbach, Jerem y Cronin, Ve rnon February, Mongane W ally Serote, Albie Sachs, Willie Kgos itsile, Barb ara Kgosits ile and Barbara Masekela. I n December Krog wrote of this en counter for Die S uid-Afr ikaan. She adm itted that her motive for accepting the invitation was ?pur e curiosity? (1989 : 24) and went on at length to describe an emotionally-laden encounter in which the mostly Afr ikaans delegation of writers and academics from within South Africa found to th eir delight that the ANC m embers were fluent in Afrik aans and eager to speak it, were nostalgic about the country and longing to return, and that they delighted in its literature and culture and were eager to share their own writings. Readings of poetry to ok place, but 8 A wave of meetings outside the country? s borders had been taking place with the A N C , among them: in 198 5 Gav in Reilly, ch air of An glo Am erican, led a delegation of SA b usiness people to meet with the ANC i n Mfu we, Zam bia and the executive of the Progressive Federal Party did the same in Lusa ka. In June 19 86 , the C hair of the Bro ederbond met the ANC at the Ford Foundation offices in New York. 9 City Press 9 July 19 89 ?Au thors jo in pilgrimage to ANC?. 114 the big task was to discuss the cultural boycott and to get the South African delegation to formally agree to take a position on it, which they did. They issued a communiqu? which, in part, said: As writers together, from both in side and outside South Africa, intensely aware of our shared concerns and deploring the way in which our culture is impoverished by our enforced separation, we commit ourselves to work for: ? the unbanning of the ANC and all other political organisations ? the lifting of the state of emergency ? the release of all political prisoners ? the removal of troops from the townships ? the abrogation of all legislation that illegalises legitimate political activity. Entering the struggle is the m eans of beginning to be a South African. It is not heroic to oppose apartheid ? it is norm al (reported in D e mocracy in Action July 1989: 4). This caused, of course, a strong reaction back home which forced Krog to explain in public her association with the ANC and this end orsement10 . She told the readers of Volksblad that her choice was ?boycott over viol ence?. Her stance drew th e public ire of her mother (a s ituation then remarked on in the press11 ) and a powerful reaction from other writers which was then fed into Skrywersgilde m eetings and discussed further12 . In December Krog was part of an Idas a delegation again to meet with the ANC, this tim e in Paris13 . Rapport 14 carried ?Los van die Af rikanerlaer? [Loose from the Af rikaner lager] , an excerpt from Antjie Krog ?s piec e in the collection Afrikaners tussen die tye edited by Bernard Lategan and Hans M?ller 15 , in which she claimed ??n gans ander w?reld het vir m y oopgestaan? [a whole new world opened up to m e]. As Kathrada had noted in his 1989 interview with B e eld reporter Schalk le Roux, Krog the young voice of hope from within the Afrikaner lager, first noted in 1970, had over the intervening years become aligned with the faction of dissident Afrikaans 10 ?S? jou s?? in Volksbl ad 19 July 19 89 Kr og says ??n mens verkies a boikot bo geweld?, Ra pp ort 2 0 No vember 19 8 9 ? G root digters verskil nog oor boikot?. V rye Weekbl ad 19 O ctober 198 9 ru ns ?Deb at oor boikot was nodig? a nd interviews Kr og. 11 ?M oeders en dogters? i n B e el d 2 7 July 1 9 8 9 . ?D ot Se rfontein het mos verwoestend ingevlieg onder die A frikaanse skrywers wat die beraad met die ANC bygewoon het.? 12 Ra pp ort 20 N ovember report on the A frikaans S krywersgilde meeting in B roederstroom, ?G root digters verskil nog oor boikot?, quo tes Hein Willemse for and Wilma Sto ckenstrom against. 13 Beeld 1 Dece mber 1989 ? A ntjie Krog by Parysberaad: ANC ku ier in Afrik aans, maar werk is als Engels?. 14 3 Feb ruary 19 91 . 15 Published by Taurus. 115 writers within the country who could then be drawn upon to build such a bridge with the ANC. In the 80s her outspokenness within the Afrikaans literary world about the cultural institutions, her alignment with Vrye Weekblad, her friendship with Andr? Brink, her association via her poetic style and themes with Breytenbach, all worked to mark her as the type of enlightened Afri kaner who could represent those seeking a political resolution beyond racism and apartheid. When she was included in the 1989 delegations by Idasa and Breytenbach it was still with consciousness that she was located within the literary field and so could represent and speak from that literary- aesthetic platform. But the introduction to the A N C m embers in exile was a significant moment of consecration with future import in that most of these exiles would return to the country to become its rulers and take up significant positions of political influence. Krog again was m ade known to another group of important political players ? just as she had been in 1970 with the publica tion of her poem in Sechaba. This introduction and knowledge of Krog now among exile m embers of the ANC was to be reinforced by the Kathrada consecration. But another, and in the South Africa of the late 80s, very im portant, third form of consecration was to take place in the classrooms and streets of Kroonstad?s townships. 3 . Consecration by the comrades If I look back I had a hunger to belo ng somewhere and I felt rejection from the group I was supposed to belong t o. It was exhilarating to live an anti- apartheid life ? the languages, the pe ople, the feelings on the ground. The links were to ugh: I had several unsp e akable exp eriences, bu t it always sparked off critical thinking. Krog talking to Marinda Claassen on ?Woman?s World? 16 . Krog?s desire to live an ?anti-apartheid? life first took shape in the townships of Kroonstad in about 198 5 when, unable to ob tain a teaching position in a white school, she found work in the Mphohadi Teachers? T raining College (until 1986) and then in the Brentp ark High School in th e coloured area from 1989 to 1992. W riting for Leadership SA Pippa Green quoted Krog?s Lady Anne editor and friend Gerrit Olivier as saying: ?There?s a lot of easy talk about the struggle in Afrikaan s literary circles at the moment, but very few people expose themselves to their immediate environment as Antjie do es? 17 . Green continued: ?In a country wh ere unity is still only a rallying call, Krog is slowly trying to build a ?one ness? (a word she uses often) on her hom e 16 SA BC sou nd archives T94 / 72 5, 1 6 May 199 4. 17 ?Ne w Jerusalem? L eade rshi p SA A ugust 1 9 90: p4 4 ff 116 ground.? In this extensive interview with Krog (conducte d in 1990 after she had won the Hertzog Prize for Lady Anne ) Green probed Krog?s involvem ent in her students? lives. Krog s aid when she first started teaching she was full of curiosity, asking questions such as ?W hat do you eat? Where do you live? Where do you come from? ? She told Green: ?The township is 10 k ilometres away from me and I didn?t know anything about the people who lived there.? It w as her interactions with her students ? many of them seasoned activists ? and her membership in the local branch of the Congress of South African W riters (Cosaw ) that drew her in to assisting their activism, often in mundane tasks like writing pamphlets and organising meetings. Very of ten ? C omrade Antjie? spen t a lot of time in her car chauffeuring them to and from meetings. But she had m ade a decision about whose side of the apartheid wall she was on and the localness of her political commitment. So when the in vitation came from Idasa to join other Afrikaans writers in a journey beyond the country?s borders to meet the ANC at Victoria Falls in late 1989, sh e decided ? in the spirit of true grassroots struggle accountability ? not to go if the local comrades were unhappy that they had not been consulted (by Idasa) abou t the decision. They said I already had all the privileges and here they were, they had devoted their lives to the struggle and they weren? t invited. So I said I wouldn?t go. I told them , to me the most important contact is with you. The ANC is not going to do anything important to my life here. You are18 . Eventually the com rades relented ? with so me outside pressure ? and decided that as she was a ?com rade in good standing? she should go on their behalf, Krog told Green. But Krog?s involvem ent with township activists included her work as a poet. A collaboration with SeSot ho oral poet Thami Phaliso19 from Kroonstad resulted in her putting her poetry at the service of the struggle. Krog talked on radio to Joan Hambidge about a singular experience she had with Phaliso at a rally in Bloemfontein in 1990 when 30 000 people gathered to welc ome Nelson Mandela who had just been released from jail. Both of them recited poetry to a resounding response from the audience. R eflecting on this particular inter-regn um political moment when poets were called on to serve the struggle, Krog said she was 18 ?Ne w Jerusalem? by Pippa Green in L eader ship SA A ugust 19 9 0 . 19 She met Phaliso at the ? Women Spea k? C osaw rally in Sowet o when she realised they both came from Kroon stad. He invited her to jo in the local branch of C osaw. 117 ?working with Cosaw and being commanded to read at rallies. This is poetry not from the inside, you are commanded to address 5 000 people with a microphone and small, useless sound equipment. You have to ask what phrases will connect with black people, how will they believe what you say (especially because you ar e a woman). It?s a wonderful challenge20 . In the next four years Krog?s township invol vement was to become as complex as the country?s transition ou t of apartheid, and the interwoven strands of grassroots activism and criminality were to enmesh her deeply. With FW de Klerk?s announcement of the unbanning of the liberation organisations she was interviewed by Rapport 21 about her reaction. Journalist Coenie Slabber, calls her one of the ?m ost active fighters against apartheid? and quotes he r as saying she is very pleased with the announcement. Krog got deeply involved in the local celebrations to welcome the freed Mandela and in various m arches undertaken in the townships. These activities drew the attention of Kroonstad?s conserva tive A frikaners and Krog came out of her house one day to find the letters ?ANC? pain ted on the side of her car with enamel paint. Dennis Bloem of the Maokeng Democratic Crisis Comm ittee told B e eld 22 this was not the first time Kr og had been intimidated and that she was also receiving threatening calls. But things were to get m uch worse. On the 25 th of February in 1992 a local criminal, the leader of the Three Million G ang, George Ra masimong (?Diwiti?) w as murdered23 . ANC me mber Dennis Bloem was arrested and Krog was investigated but not charged24 . The three men implicated in the murder (Bloem , Roland Petrus and Cassius Ntlokosi) were all known to Krog and the gun used had been secreted at Krog?s house. Even tually she testified for the state25 thus provoking headlines in the English press th at read ?T he rebel poet, the activist? an d the dead gang leader? 26 and ?It?s ANC facing ANC in this trial? 27 . T h e Weekly Mail?s Mark Gevisser quoted Bloem as saying of Krog?s turning state witness: ?? the community still loves Antjie. She?s done so m uch good work here. She?s been an activist here since she was 12. She?s o ur sister. Sh e?s m y sister and, whatever happens, I will not 20 SAB C So und Arc hives E 94/ 2 3 3. K rog talking to Joan Hambidge about her poetry and her life. 21 4 Feb ruary 19 90 . 22 8 Sept ember 1 9 9 0 . 23 Acc ording to a report in Die Volksbl ad of 6 July 199 2. 24 Acc ording to Ra pp ort of 5 Ju ly 19 92 . 25 Die Tr ansv aler 6 Jul y 19 9 2 . 26 By M ark Ge visser in The We ekly Mail 10 to 16 July 199 2. 27 B y Jo- A nne C ollinge in T h e Star 12 Ap ril 19 93 . 118 hold it against her.? Gev isser called Krog ?A frikanerdom?s renegade poet, an elegant wordsmith and eloquent conscience, one of only two white ANC m embers in town?. The trial resumed in April of 1993 but in the sam e month B e eld reported that Krog had taken up the job of editor of the soon to be relaunched Die Suid-Afrikaan and was moving to Cape Town. Local politics had ju st become far too difficult for Krog to negotiate any longer. While press interest waned in the trial ? and it is hard to find archival material giving the conclusion to the saga, Krog turned the events into fiction releasing Relaas van ?n Moord [ A c count of a Murder ] published by Hum an and Rousseau in 1995 2 8 . Strictly speaking this wo rk of non-fiction predates Country of My Skull as Krog?s first foray into this litera ry territory. The book is a typical Krog retelling of events which have factual references but in which she employs literary devices to destabilise a strict referential reading of the story of the murder and her involvement. The extraordinariness of these three mutually reinforcing consecrations by those working against the apartheid regime, is that few white South Africans traversed these boundaries in the alternative political field of the time in quite this way. Krog?s situation within the literary field and as an award-winning poet was useful to all three of these groups and their common struggle, as is evident above. But these experiences ? with a ja iled ANC stalwart, with th e ANC leadership in exile and with comrades in the townships ? were to m ark Krog a s a different kind of Afri kaner, as a person firmly on the side of the struggle against apartheid, and as a speaking voice, giving words to that struggle. 4 . Achieving the literary heights ? the Hertz og Priz e ? Antjie Kro g se toespraak? ?n rym wat 1 m inuut neem om te lees (sonder die sitaat) ?Na ontvangs van die prys stap u na die kateder en spreek ?n kort dankwoord van nie langer as e en minuut nie. U samewerking in die verband sal waardeer word.? Die boodskap is loud and clear: ons beplan, 28 Account of a Murder in E nglish published by Heineman and translated by Kare n Press would appear in 199 7. 119 ons diagram, ons protokol ?ns s? op watter stoel sit watter pol ?ns prys, ?ns betaal van ons sal jy jou bek afhaal baaskraties ja, en outakraties maar die akademie is nie my baby nie nie my baby nie nie my baby nie so lank sy in sulke tjalietjies l? lyk sy nie na my nie (wees nie ongem aklik nie dames en here, maar prakties ? die akademie is mos (l)eerbaar en demokra(k)ties ) volgens opdrag s? ek vinnig baie dankie (10 sekondes is reeds nie m eer) die Hertzogprys bly onontvlugbaar ?n eer (wat m y hopelik nie sal dryf na drama, prosa of drank nie!) die eer word herverdeel onder my backupsystem fisies, geestelik, finansieel onder kamerade, Degenaar, Anna Mofokeng familie, vriende, kyse wat my kinders tem oupas, oumas wat verwytloos aanvaar kleinkinders wat soms sonder hul mame verjaar my John se instaan, uitstaan, opstaan en bakstaan so bontstaan om demokragties my te laat oorstaan ?had hom lief ja dit stry ek nie anders sou ek hom nie wou gevry het nie? ook met Taurus wil ek herverdeel defiantly oopgevou staan met sambreel oor waarhede, wanhopige, en warse skrywers en laat ons nie vergeet o akademie hoe tot die dood toe dinge was an nie wou ruimte gee nie die geld van Afrikanerreputasie word plesierig herverdeel na konsultasie 60% vir boeke in Afrikaans uitgegee by Buchu, Genadendaal, die balans by Kasselsvlei, Ravanpress, St. Helenabaai en Taurus (laasgenoemde twee kry die grootste advance) 40% om Afr ikaanse kinderboeke te koop waarin swart en wit kinders as matertjies loop Daan R., H en R, T.berg, Taurus voorsien aan die nood wat geskenk word aan COSAW biblioteke volgens akkoord tenslotte 3 sekondes se rym ende koeplet: geld by uitgewers wat demokraties let, boeke by mense vir wie?k alles feil het, in di e taal wat my di? winternag 120 moersverdaan beethet. Ek dank u. B e eld 26 June 1990: 1. ? Antjie Kro g?s speech ? 29 A rhym e that takes 1 m inute to read (without the citation) ?after receiv ing the prize you walk to the lectern and deliver a brief word of thanks no longer than one minute. Your co-operation herein will be appreciated.? 30 The message is loud and clear: we plan, we diagram, we protocol we say on which chair which tuft will sit31 our prize, we pay you will shut your trap about us baascratic yes, and outacratic32 but the academy is not my baby not my baby not my baby33 while she?s covered in that shawl she does not look like me34 (do not be uncomfortable ladies and gentlemen, but practical ? 35 the academy is after all receptive to knowledge and democra(c)tic) 36 according to instructions I briefly say thank you very much (10 seconds have already gone) the Hertzog Prize rem ains an inescapable honour (tha t will hopefully not drive me to drama, prose or drink!) the honour is redivided amongst my backupsystem physical, spiritual, financial 29 This poem translated for the purposes of this thesis by Le onore Mac kenzi e. 30 Ex tract from the Acad emy?s written procedural instructions to Krog prior to the prizeg iving. 31 Translator?s note: ?p ol? = t uft of grass or hair. 32 Translator?s note: ?baas? = master , ?outa? = ol d man. The word ? outas? refe rs very specifically to old coloured or black men. A white man is never called ?outa?. The refore, within the context of Krog?s speech, both the Aca demy and academe in general are upholding the master (baas)/sla ve (outa) relationship. This could also be a sideswipe at coloured and black intellectuals beginning to achieve success by toadying to whites. 33 Translator?s note: th is is a parody of an Afri kaans folk song about covering up an immoral situation. 34 Li nes 1 2 to 1 6 are a parody of old Af rikaans folk song about disowning an immoral cover- up. 35 In other words, the Aca demy must practice what it preaches. 36 Translator?s note: (l)eerbaar: eerbaar = honourable; l eerbaar= recep tive to knowledge/teachable, receptive to knowledge. This has a sarcastic tone. Demokra( k)ties invol ves an obvious wordplay on shit/crap . 121 amongst comrades, Degenaar, Anna Mofokeng family, friends, dates who tame my children grandpa?s, g randma?s who accept without reproach grandchildren who at times celebrate nameless birthdays my John?s standing in, standi ng out, standing up, standing ever ready to powerfully let me be37 ?loved him yes that I do not dispute else I would not have wanted to make love to him? 38 with Taurus too I want to redivide defiantly, vulnerable, their umbrella shelters truths, despairing, and otherwise writers and let us not forget O academ e how moribund things were and oppressive the money of Afrikaner reputation is happily redivided after consultation 60% for books in Afrikaans published by Buchu, Genadendaal, the balance at Kasselsvlei, Ravanpress, St.Helenabaai and Taurus (the latter two rece ive the largest advance) 40% to buy Afrikaans children?s books in which black and white children are buddies Daan R., H en R, T.berg, Taurus addresses the need donated to C osaw libraries as agreed in conclusion three words of rhyming couplet: money to publishers democratically alert, books for people to whom I owe all, in the language that locks me this winter?s night in her fucking exhausting grip39 . I thank you40 . A fourth very significant consecration in this period was to come from the establishment in the literary field who crowned Krog with Afrikaans literature?s highest award, the Hertzog Prize. In Ap ril of 1990 cam e the announcement from the Akede mie vir Wetenskap en Kuns [Academ y for Science an d Arts] that the priz e was being awarded for her latest volume of poetry Lady Anne ( 1 9 8 9 ). Previous winners 37 Translator?s note: in line 3 0 she refers to her husband John as being ? demokra( g)t ies?. I take that to mean that he is a powerfully democratic partner; powerfully supportive of her as his equal; p owerfully supportive of letting her be to do her own thing. 38 Translator?s note: th e word vry also means free/lib erated. The line could allude to her and John being free/liberate d in and by their love for each other. 39 Translator?s note: Des pite her insults Krog accepts the prize. Why? The answer lies in the last three lines of the poem: ?d ie taal wat my die wintersnag / m oersverdaan beethet? ? ?th e language that locks me this winter's ni ght / in her fucking exhausting grip?. She does it for the language Af rikaans (he r beloved mother tongue) th at locks (ho lds her prisoner) th is winter's n ight (it is literally th e winter month June and she is receiving a prize from a ?col d? elitist institution/ world that figuratively leaves her cold). ?Moersve rdaan? is a neologism combining uter us + mo th er + fuck you + exhausted + touc hed . Suc h powerfully mixed feelings at being awarded ? a nd accepting ? the Hertzog Prize! 40 Translator?s note: By u sing ?u ? ? the respectful form of address in Afri kaans ? s he mocks the self- importance of her hosts and assembled guests. 122 were NP Van W yk Louw, DJ Opperm an, Elisabeth Eybers, Uys Krige and Ernst van Heerden. But as in 1984 Breytenbach had famously refused to accept the prize tain ted by the academy?s association with th e apartheid regime, questions were raised in the Afrikaans press as to wh ether Krog would accep t it. Krog told Rapport ?sy is die soort mens ?wat alles aanvaar wat na j ou kant toe kom ? van sm eerbriewe tot die Hertzogprys?? 41 [She is the sort of person ?who accepts anything that com es to you ? from smear letters to the Hertzog Priz e?] . Vrye Weekblad of 29 June reported that she said she would use part of the prize to buy Afrikaans child ren?s books for the Cosaw library. In h er acceptance speech ? for which she was allocated a single minute ? she recited a sharply-worded poem in which, in trademark Krog-style, she m ingled English and Afrikaans words, m ade reference to her sex life, and put in the mocking refrain ?die akadem ie is nie my baby nie, nie my baby nie, nie my baby nie?? [the academ y is not my baby, not my baby, not my baby]. Interest in her acceptance of the prize and the cont roversial speech was so high that B e eld printed it in full42 . Years later (from the vantage point of 1994) when she was interviewed by Marinda Claassen for ? Woman?s World? 43 she said she was cynical about these kinds of prizes: ?It?s all abou t who the judges are, what their hidden agendas are, who they?re trying to please, who they want to work out (s ic).? She said s he felt she had become awfully respectable, lost her youth and joined the estab lishment after winning the prize. And two m onths later she told Joan Hambidge on radio44 : The recognition comes afterwards, it is never in your mind while you are writing. There is suspicion surrounding the akedemie, you recognise that they are trying to say something by awarding these prizes. W inning this prize puts you in a different league , I find it terrifying and disgusting, it gives you an establishedness (sic) w hich I resent. 5 . Krog?s increasing sa lience for the news media By this point in Krog?s biography ? 1990 ? we see a person with a rising trajectory in two fields ? political and lit erary. Various form s of consecration have given her a very 41 ?De urbraak met Ant j ie se ?A nne?? by Co enie Slabb er, Rapp ort 2 2 Ap ril 19 90 : 6 . 42 ?Antjie Krog s e toespraak? B e eld 26 June 19 90 : 1 . 43 SA BC Soun d A rchives T9 4 / 7 2 5 , 16 May 19 94 . 44 SA BC Soun d A rchives E9 4 / 2 3 3 , 24 July 19 94 . 123 unusual position in the alternative political field for a white A frikaans-speaking poet, and she has reached the heights of the Sout h African Afrikaans literary es tablishment. It is tempting to ask at this point, having reached this point literarily, what further accolade could she aspire to? In the third fi eld that concerns this thesis ? the news media ? there are two as pects to take note of at this point in K rog?s trajectory. The first is that during this period of time ? the politically volatile second half of the ?80s ? Krog was regularly writing for th e mainstream Afrikaans press ( Volksblad, Beeld) and for the alternative weekly Vrye Weekb lad. But excep t for columns for Vrye Weekb lad in which she freely proclaimed her opinions and political stance, she confined her writing to commentary on books and poetry. The second aspect is that of news media attention to Krog. Returning to the Dearing and Rogers? insight that agenda-setting, which signals ?salience? to the public, is very much about the repetitive appearance of a newsmaker in the news pages, we see that Krog?s every controversial move and statement was being captured with assidiousness by journalists, both Afrikaans and English 45 . But in the next chapter we see Krog taking a much-m ore decisive and interesting turn into journalism and the news media world with further extraordinary consecrations in that field, and very interesting shifts in both trajectory and subjectivity. But located as we are at the hinge of recent South Africa histo ry ? 1989 ? in this chapter, it is now opportune to examine Krog?s ongoing experim entations in subjectivity via her poetry wr iting and to do so, it is important to engage deeply with the text that preoccupied her at this time ? Lady Anne. 45 Em ploying the agenda-setting m ethod of counting numbers of stories (De aring and Roge rs 1996: 18) and using the SA Med ia archive (Un iversity of the Free State) and the Natio nal Eng lish Literary Mu seum archive, I found 27 articles on Krog in the 19 70 s, 1 1 0 in the 1980 s, 26 1 in 1990 s and 4 0 8 from January 2000 to December 2008. In the SA BC ra dio archives there are 17 recordings of interviews with her between 1 979 and 199 5 on various literary programmes. 124 [Subjectivity] Self-othering using Lady Anne Barnard as a guide Kroonstad Maart ?86. P.S. I found several names: A ugusta de Mist, Mrs Koopm ans de Wet & Lady Anne Lindsay (Barn ard). W ill look into them. Liewe S. in Lady Anne 1990: 15 Wees gegroet Lady Anne Barnard! U lewe wil ek besing en akkoorde daaruit haal vir die wysie van ons Afrika kwart. Ek knieval, buig en soen u hand: wees u my gids, ek ? u benarde bard! Lady Anne 1 9 9 0 : 16 [Greetings L ady Anne! I want to sing your life and use chords from it for the song of our quarter Africa I fall on my knees, bow and kiss your hand be my guide, I your desperate bard!] ?Lady Anne as guide? I wanted to live a second life through you Lady Anne Barnard ? show it is possible to hone the truth by pen to live an honourable life in an era of horror but from your letters you emerge hand on the hip talented but a frivolous fool, pen in sly ink, snob, na?ve liberal being spoilt from your principles by your useless husband you never had real pluck now that your whole frivolous life has arrived on my desk, I go beserk: as a m etaphor, my Lady, you?re not worth a fuck Down to My Last Skin, 2000: 73 4 6 In 1986, after a period of literary dearth 47 , Krog began work on the volum e which is considered her greatest poetic work by literary critics48 and which won her the 46 The poems which appear in En glish in this 20 00 collection are Kro g?s own translations from Af rikaans. 47 In the volume La dy A nne the poem on page 13 begins: ?t wee jaa r aankomende maand / sedert Jeru s alemg angers / twee jaa r sonder ?n enkele reel donker / sonder ? n gedagte self wat sou kon tot dig / so wil ek my lewe h? s o / skryfloos van hierdie huis die bindmiddel? ? [t wo years this coming month / since J er us alemg anger s / two years without a single dark line / w ithout a thinking self which could make poetry / I want my life to be so / without writing of this house the glue?] 48 Joan Hambidge in Beel d of 1 8 Se ptember 1 9 8 9 said ? A ntji e K rog se L ady An ne wys sy kan sonder Op perman werk.? [ A ntjie K rog?s L ady A nne shows she can work without Oppe rman]. ?Met die 125 Hertzog Prize (in 1990). True to the fo rm she had been taught by DJ Opperm an49 , she crafted the volume around a theme through which various ideas and thoughts were worked out, but this time she went in search of a p e rson to hold the poetry, a ?guide?. The volume itself shows that she toyed with several names ? ?Augusta de Mist 50 , Mrs Koopm ans de Wet51 & La dy Anne Lindsay (Barna rd). W ill look into them.? ? and then settled on Lady Anne as her po etic interlocutor. It seems from the commonalities in this list of three that K rog was deliberately seeking out a woman? a historical person from the early days of settlement in South Af rica, from the time of first colonialism and encounter with the indigenous peoples, and a writing woman (both De Mist and Barnard produced ?travel? acc ounts), or at least an educated, aware, thinking, conversing, assessing woman, as in De Wet. Her reasons for choosing Lady Anne seem ? on the surf ace ? to hav e been technical and personal, as well as literary. She told Rin a Thom in an interview with the SABC that she had wanted to write an epic and that Lady Anne ?l ent herself? to this task52 . Lady Anne certainly did, being a prolific chronicler of her own entire life, and ? towards the end of her life ? engaged in adding her own life?s story to her nephe w?s project of putting the Lindsay fa mily on paper from the 1300s! 53 But from the poetry itself comes Krog?s declaration that she sought a guide54 . to help her navigate the ?era of horror? which was the South verskyning van di? bundel is dit weer eens die geval en werd dit ook duidelik dat sy een van die belangrikste digters is wat nou in Afri kaans werk,? said Lou ise Vilj oen in Volksbl ad 13 January 1 990 . [W ith the appearance of this volume it is again clear that she is one of the most important poets now working in A frikaans] . 49 I owe this insight to Tim Huisamen from the R hodes University Department of Af rikaans and Nede rlands. 50 Julie Au gusta Uitenhage de M ist, the 1 8 - year- old daughter of A dvocate Jacob A braham Uitenhage de M ist, who was sent by the B atavian R epublic to the C ape as C ommissioner- Gene ral in 18 0 3 . She travelled the colony with him going as far as the Fish Riv er in the east and writing a diary in French ? subsequently translated into Dutch and published as ? Dagverhaal van une R eis naar die Kaap de G oede Hoop en in de B innenlanden van A frika? which appeared in a magazi ne called P enel ope published in Holland (Mills: 1 9 --). 51 Mar ie Ko opmans de Wet was the daughter of Hendrik J de Wet, President of the Burg her Coun cil during the first British occupation of the Cape. Sh e was highly educated for the time, spoke several languages, painted, played music and travelled. She become known as the hostess of the Sal on of Strand Street wh ere she received and entertained presidents, governors, politicians, travellers, scientists and academics. Her intervention saved the C astle from partial demolition, prevented unsympathetic alterations to the Gr oot C onstantia homestead, stopped the removal of old trees in the C ompany' s Gard en and the closure of a M alay cemetery at the foot of Sig nal Hill. From http://www.m useums.org.za/ koopmans/o ccupants.htm accessed 23 Septem ber 2005. 52 SAB C So und Arc hives T89/ 84 3, 3 A ugust 19 8 9 . 53 Resu lting in the 18 49 three-vo lume T h e Li v e s of th e Li nds ays or a Me m oir of th e H ouse s of Craw ford and Bal c arres. 54 Krog told the Wits Winter Forum in 19 93 that L ady A nne was ? not a mirror? but a ?ve ssel?. SABC Sou nd A rchives T89 / 843 , 3 Au gust 19 89 . 126 Africa of the late 1980 s under PW Botha?s su ccessive states of emergency. In an early poem in first part of the volume she says: ek is op soek na ?n vrou m et taal en transparante see wat kan droogdok op papier; ek dink nie voorts in verse nie maar bundels en die snode ys daarvandaan; is my liggaam so stort ek oorbord spoor ek haar nie in my biografiese Woord. ( Lady Anne 1 9 8 9 : 15) [I a m searching for a woman with language and transparent sea55 who can drydock on paper; I am thinking from now on not in verses but in bundles?] Having settled on the Scottish aristo crat (who cam e to the Cape in 1797 accompanying her husband who was Cape Colony secretary u nder the newly- established British im perial power), Krog then travelled to S cotland to do her research among Lady Anne?s original le tters, diaries and drawings56 . The resulting volume appeared in 1989 just after Krog was incl uded in the writers? delegation which travelled to the Victoria Falls in July to meet the ANC to discuss the cultural boycott, and just before the newly-released A hmed Kathrada stood up at the Soweto rally and read her ?lost? poem ?My Mooi Land? . Because its publication sits at th at pivotal moment in South Africa?s hi story in which apartheid began to visibly unwind, and because it marks the shift that Krog m akes from Afrikaans poet of the do mestic subject to S outh African wr iter of the national situation, from literary Afrikaans audience to national, (an d eventually international) English-speaking and not necessarily literary audience, Lady Anne is worth some intense scrutiny for the purposes of this proj ect. It is my contention that the ?self-fash ioning? thro ugh writing that this project is predicated upon, is to be found in the ongoing construction of Krog?s dis tinctive voice and embrace of particular concerns in Lady Anne . But also Krog?s experim entation with an interlocutor was to become an important literary device of experimenting with subje ct positions which she would develop from an engagement with a single, historical, female character into a wider listening to and hosting of hundreds of present-day voices in her work on the South African Truth and 55 Na utical imagery is a powerful poetic vehicle in L ady A nne , but the transparent sea/tra nsparency (the pun works well in E nglish) is also being used in the sense of a trac ing from which another drawing can be made. 56 Barn ard left her writings to her nephew, son of her eldest brother. The writings are now the property of the Earl of Crawford and on loan to the Natio nal Library of Sco tland. 127 Reconciliation Comm ission. Krog?s poetic reworking of the life and writings of others goes back to 1974 when in Beminde Antartika she wrote a poem about the Germ an settler Se lma Paasch whose family lived on a farm called Okankasewa in the Grootfontein district near Ot avi. The family travelled to Okavango in Angola where they were attacked and their two children captured by Bushmen, after which Paasch returned to Germ any. Then in 1981 in the volume Otters in B ronslaai she created a poem about trekker Susanna Sm it which was reconstructed from this woman?s diary in Dutch of the years 1799-1863. Sm it is the legendary woman who confronted British comm issioner Henry Cloete in Piet ermaritzbu rg, telling him even though the all-m ale Volksraad had decided to subm it to British rule of Natal, the trekker wom en would cross the Drakensberg mountains barefoot rather than submit to this loss of liberty (quo ted in Herman Gilliom ee T h e Afrikaners: Biography of a People 2 0 0 3 : 169). In Lady Anne Barnard, Krog was to exte nd this work by using this particular character and her particular experiences to engender an entire volume of poetry. Anne Barnard Lady Anne Lindsay was born on 8 Decem ber 1750 to the ag ed Earl of Balcarres and his much younger wife Anne Dalrymple, the first of 11 children. Through her maternal grandmother Lady Dalrymple, who lived in Edinburgh, she was to m eet some of the brightest minds of the day ? David Hum e, Ada m Sm ith, Samuel Johnson57 . After the death of he r father in 1768, Anne, aged 23, moved to Edinburgh where she already had a circle of friends. She was considered charm ing, clever and elegant and it seems that it was during this time that she met and made a life-long friend of Henry Dundas, a Scottish lawyer who had been appointed Solicitor-General for Scotland and who was to becom e S ecretary for War and the Colonies u nder George III 58 . It was also at this time that she composed the ballad Auld Robin Gray, of which she kept her authorship secret for many years and which was to become extremely famous as a poem. In 1772 A nne moved to London to live with her widowed sister. 57 Ed inburgh was a centre of enlightenment activity in the late 18 00 s with its own salons and circulation of powerful people ? see A lastair Hannay? s On th e Pub lic 20 05. Ann e wrote to Marg aret from her grandmother?s house: ?Di nners go on as usual? which being monopolised by the divines, wits and writers of the present day, are not unju stly called ?th e dinners of the eaterati? b y Lo rd Kellie, who laughs at his own pun until his face is purple? (quote d by Wilkins 1913: 7). 58 Wilkins calls him the Secretary of State for W ar, Treasurer of the Na vy and President of the B oard of Co ntrol in Pitt?s first ad ministration (1 913 : Preface ). He later acquired the title Lo rd Melv ille. 128 By the tim e Anne arrived at her sister?s house in London, Margaret had already formed the core of the famous coterie, which would carry abroad the fame of the Lindsay sist ers. Allied to most of the great families of England and Scotland, th e two young women had little difficulty in becoming integrated into London?s sm artest and most exclusive circles? the sisters soon re alised that the salon of a great lady would be the seed-bed for most political manoeuvres which would later come to fruition in the House of Lords or the House of Commons. The influence of wom en was tremendous and subtle (Masson 1948: 43). Henry Dundas helped A nne with introductions to his friends in London and it was not long before she became intimate with the Prince of Wales (who drew her into his romantic intrigues) , with William Pitt, the prime minister and William Windham, who was to become a future Secretary for W ar and the Colonies. As Dundas rose in government he made increasing use of Anne as a confidante, often visiting her house to discuss issues of the day. Working from a number of contemporary sources, in particular the many letters which passed between Lady Anne and her interloc utors, Madeleine Masson constructs a picture of a highly intelligent, well-connected woman living in the last half of the 18 th century and making full use of all the privileges of her situation. Anne attended the salons and gatherings of the privileged class, furthered her education through her own reading and her contacts with the thinkers frequenting London. She travelled and was a perspicacious observer and prolific writer of the events going on around her. For a woman she also had a high degree of control over her own financial circumstances ? even at one point taking up the renovation and selling of houses in London in order to make extra money with her widowed sister. It was her eventual marriage to a much younger man, Andrew Barnard, when she was already in her 40s, which was to precipitate her coming to South Africa. On 31 October 1793 she m arried Andrew, she was 43, he was 32. Anne used her relati onship with Dundas, petitioning him many times by letter, to get Andrew a post in the colonial system. England was worried that a war with France might lead to the French seizing the Cape Colony (then under the control of the Dutch) an d thus damaging Engl and?s ability to reach the E ast and India. The government decided to take the colony pre-em ptively in June of 1795. Lord Macartney was sent out as Governo r and Andrew Barnard as his secretary. Macartney?s wife, as m any colonial administrators? wives d id, remained in England. 129 But Anne went with her husband as she had her own purpose in travelling to the Cape ? an unofficial comm ission from Dundas to be his informant. When they arrived at the Cape Macartney decided to let the Barnards live in the Castle, the quarters traditionally reserved fo r the highest colonial authority, while he took up a smaller residence in the Com pany Gardens. Lady Anne took upon herself the duties a governor?s wife w ould have carried out. Masson records that this did not go smoothly as Anne had to deal with nu mbers of colonists who did not immediately bow to her authority and respond to her invitations, and she found herself travelling out into the colony to meet and make friends with Dutch burgers and those often estranged from the new English power and susp icious of her intentions. It is evident from reading her letters that Anne th rew herself into representing the compassionate face of the new colonial regime and learning all about the colony so that she could be an accurate and knowledgeable correspondent for Dundas. In the process she made many friends among the Dutch burgers and she actively travelled beyond the boundaries of the town to visit outlying areas such as Stellenbosch and Swellendam 59 . Towards the end of their five years in the Cape, Macartney b ecame ill and returned to England and General Francis Dundas (Henry ?s nephew) took over as acting governor. This was to usher in a period of disagreement over Andrew?s responsibilities as secretary and his and Anne?s occupation of the Governor?s quarters in the Castle. Dundas was then succeeded by Sir George Yonge, whose niece, a Mrs Blake, then acted as hostess for the G overnor. Lady Anne continued to entertain, but on a lesser scale, and her unrevised letters from this time show the strained relations with the Governor and the jealousy sh e felt directed towards herself and Andrew, who was seen as enjo ying high status only because of his marriage to her. Yonge becam e a profligate governor, spending government money unwisely and drawing the disapproval of both the Barnards and Ge neral Dundas ? and it was Lady Anne?s letters to Henry Dundas that persuaded the colonial regime to remove him from his office in the Cape. 59 In her letters gathered together as ?A Tour into the Interior? she claims that they covered ?seve n hundred miles of Africa? by ox wagon, see R obinson 1973: 158. 130 At this tim e Anne began to petition D undas to recall them to London. Eventually this happened when the Cap e Colony was ceded to th e Dutch following the Peace of Am iens. She returned alone leaving Ca pe Town on 9 January 1802 and leaving Andrew to see the governm ent satisfactorily handed over to the new Batavian commissioner 60 . When Andrew returned they settled in Wimbledon and waited anxiously for news of a new appointment. When Britain again took occupation of the Cape in January 1806 ? after war broke out again against the French ? her friend Windham, now Secretary for W ar and the Colonies, sent Andrew on a six-m onth return commission to the Cape in Ma y 1807. Andrew was ill on the bo at going out and in Octo ber on a jou rney inland became very ill and died. His grave is in a cemetery in Som erset West and bears the words written by Anne: ?Colonists ? he sought the welfare of your country and loved its inhabitants? (Robinson 1973: 296). Anne returned to her sister Margaret?s hous e in B erkeley Square for the next five years. Dundas died in 1811 and W indham died in 1812. As Anne grew older she withdrew from London society and from her role as confidante to the politicians of the day. She spent the last years of her li fe revising her diaries and letters for the publication of the great family history of the Lindsays. But before she died on 6 May 1825, she allowed Sir Walter Scott, who had b ecome a great friend in her old age, to put the persistent speculation to rest and to reveal that it was she, a woman, who was the author of the Ballad of Auld Robin Gray . Barnard the writer It is interesting to note that in picking Lady Anne Barnard as her guide, Krog chose ? from the height of the Enlightenm ent period ? a wom an who was engaged in many of the practices that that historical period was to usher in as features of the public sphere of the modern world. In his seminal work T h e Structural Transformation of the Public Sphere, J?rgen Haberm as points to the rise of a particular kind of dimension of public life that involved the circulating of information through letters and gatherings in private places, most notably in the homes ? salons ? of various educated wom en who acted as hosts. In his investigation of the power of the literary during the Enlightenm ent period, Robert Darnton ( 2000) points to the great flourishing of diaries, journals and letters and the publishing and disseminating of information that 60 To Com missioner-Ge neral de Mist, August a?s father. 131 burgeoned during the last half of the 18 th century. Barnard?s comm itment to documenting her own life and that of those around her was part of this opening up of literary activities to private persons and particularly for women. In both E dinburgh and London (and fleetingly in Paris) Barnard wa s at the centre of such activities, both participating in the circulation of information and in hosting discussions in her London hom e, thus forming this ?third? sp ace between private, domestic life and state-public life in which im portant and critical issues were able to be aired. When she came to the Cape, she brought to this outpost of Europe a taste of the practices of the public sphere being enjoye d in London and Edinburgh. Barnard is also loca ted at a moment in time which feminist theorists call the ?Firs t Wave? of feminism. The time in which women like Mary W ollstonecraft were taking issue with the social roles allocated to women. Barnar d though, as Madeleine Masson claims, was no ?blues tocking? 61 , she used her aristocratic lineage and political connections to participate fully in society with the power given her by those connections and not through a ?fem inist? iden tity. It is noteworthy that while she was happy to be known as the author of the letters and diaries, she concealed her authorship of her poem for many decades ? it would have bee n quite seemly to be the female author of the feminine genres of diaries and letters, but not of the masculine genre of epic poetry. Notably, this m oment is also the time at which the movement for the abolition of slavery was gathering momentum and so the engagement publicly with the issues of treating various colonial others as commodities was also being placed on the public agenda. There is no question that Barn ard was aware of ? and even sympathetic to ? th e activities of campaigners such as William Wilberforce. Her letters from the Cape show her interest in the treatment of slaves and her desire to collect information from this outpost to inform the abolitionists? agend a. Barnard left her life?s work in writing to her nephew, son of her eldest brother. The work is in two parts: a six-volum e Memoir of her life which omitted the period at the Cape, and three volum es of Cape Journals ? ?Sea Journal?, ?Residence at the Cape of 61 Blu estockings were women who gathered for artistic, literary intellectual and witty exchanges. Critics h ave used the term to refer to learned and thus, in their minds, unfeminine and pretentious women. The term was evidently first used in the 175 0s to r efer to women and men in Lo ndon who gathered for conversation. This definition from Kra merae and Treichler 19 92 . 132 Good Hope? and ?Tour into the Interior? 62 . She took this work extrem ely seriously. At the beginning of the Memoir under the date 1 822 she gives an accoun t of her decision to give up her carriage and horses and to use the money to employ ?transcribers? portrait pa inters? bookbinders?. (Lenta and Robinson?s introduction 1994: xiv). Lenta and R obinson comment that by keeping the Memoirs and Journals separate Barnard ?seem s to have seen them [the Journals ] as possessing a different kind of interest from the Memoir , more closely related to the travellers? accounts which were popular at the time? (1994: xv). Her writing method is described by L enta and Robinson (xv). They quote her: I think aloud on paper, give my opinions to it, tell my story true or false as I chance to hear it, sometimes supposing myself addressing my sisters, sometimes writing a memorandum for myself only? but in every page there is a chance that something may be found which is perfectly unsuited to the eye of someone ( Diaries Septem ber 1799). and then comment: The tone, of a conversation with intimates, or with herself, would be inappropriate to the revised Journals . The apologies for lack of skill and the discussion of the readership which she hoped for, at the beginning of Volum es 1 and 2 of the Journals , explain why she felt that greater discretion and formality was required in them. Curiously, having invested so m uch effort into the revision of the Journals , in the prefatory matter at the beginning of Volum e 1 she firm ly forbids publication. This prohibition was ?habitual? say Lent a and Robinson and add that the Me moir also contains this injunction. ?In both cas es the prohibition seems to represent a wish to avoid the notoriety which was a concomitant, in the period, of a woman?s appearance in public life? (xvi). They continue: There is no doubt she wished her revised writings to be current in a large group. Her nephew the 25 th Earl of Crawfor d who published T h e Lives of the Lindsays in 1849 felt no scruples in incorporating an edited version of the Cape Journals and parts of the Memoir ? Lady Anne, however willing to confor m to the prejudices of her class and period concerning the impropriety of women publishing, did not wish her work to remain unread or without influence. Barnard?s w riting production has been divided into two strands for analysis by various theorists: the L ette rs to Dundas63 in which she was operating as his informant, and the 62 Sh e intended a fourth volume in which the events of her voyage home via St H elena would have been recorded, but never completed it. 63 Her letters to Dundas stayed in his family until acquired by the SA Nation al So ciety in 1 948 . 133 Journals in which she was casting herself not only as a diarist and chronicler of events, but as a travel writer ? par ticularly in the section Journey to the Interior ? in the mould of the Victorian explorers and the writing of the day which was scientifically-driven to produce great vol umes of knowledge about new and as yet undiscovered lands. Intertwined with these two sets of outputs is her position as a woman, which gives her a particular vantage point, and a particular style, which though unofficial was not without power and durability. In her time at the Cape, Barnard wrote scr eeds of letters and not just to D undas. She also wrote to Windham, Marquis W ellesley (Governor-General of India who spent time at the Cape en-route to the East in 1798), L ord Macartney once he had returned to England, and various others. But her ?let ters? to her sisters seem to have been addressed to them in the form of the Journals . WH Wilkins, the first compiler of the letters to Dundas and some others, notes: They are not merely the letters of a clever woman to her intimate friend, but those of the wife of the first Secretary of the Cape Colony to the Secretary of State at hom e. Lord Melv ille was the Min ister chiefly responsible for the annexation of the Cape Colony by the English. Almost alone among Britis h statesmen, he early recognised the importance of our keeping the Ca pe, not only because of its value as a station on the road to India, but because of the internal resources of the Colony and the great possibilit ies of development. He called the Cape his ?favourite child ,? he watched over it with unflagging zeal, and he resigned office rather than be a party to its cession to the Dutch (1913: Preface). Wilkins is convinced that Dundas had given Barnard a particular type of commission: He appointed Lord Macartney first Governor of Cape Colony, and MR Barnard, Lady Anne?s husband, Secr etary? Lord Melville charged her to conciliate the Dutch as much as possible, and to write to him freely about everything that occurred. These letters will show how well she fulfilled his wishes in both respects. A later editor of he r letters, Antony Robinson comments: One thing th at does emerge from a comparison of these letters however is the writer?s ability to change her style according to the person she is addressing. To Dundas she writes as a dear friend ? her equal, even if a public figure, and one she can importune, or on occasion even plead with, if the situation warrants. Lord Macartn ey she addresses as a friend, but is never familiar, while to Windham, as befits a rejec ted but not despised suitor, she is affectionately personal. To the old reprobate Wellesley [Gove rnor-General of India], she can be light of touch, flippant and well-nigh scandalous (1973: 4). 134 By adopting the genre of travel or adve nture writing for her journals, Barnard undertook forays into writing territory which was male, and dominated by the official, learned and scientific. It seems that the commission from Dundas emboldened her ? she was charged with gathering information. There are many instances in the Journals in which she decries her lack of knowledge and scientific training as a woman but there are also moments in which she triumphs in her female ability to see detail and human connections which male chroniclers overlook. In the 1994 release of these Journals, the editors Robinson and Lenta comment: Her journals are uniquely valuable in two respects: The f irst, that they offer ?the interesting dom estic particular of life in Cape Town? in the period, which, as she commented, male writers tended to consider beneath their notice. It is thanks to L ady Anne that we know so m uch about the dress and social habits of the Dutch, about their public behaviour and the political loyalties and regrets which they tried to keep secret, about the diet available in the town, and the behaviour of the British of the period there. He r jokes about D utch rusticity are matched by her dislike of gossips and snobberies amongst the British garrison and officials. The second valuable characteristic of her account is the breadth of her knowledge of the society which she describes: friendly with Lord Macart ney, and the wife of an important official, Lad y Anne had access to political information which would have been unavailable to the ordinary resident at the Cape, Dutch or British. As a woman she held no official position which might constrain her in writing of what interested her, at least to the extent that a male official was constrained ? although it m ust be admitted that the unrevised diaries are much franker on all topics (1994: xvii). The most interesting official author of this time to compare her writings to is John Barrow. Barrow was on Macartney?s sta ff and undertook two journeys into the interior to help Mac artney with the information for a report recommending the usefulness of South Afri ca for development as a colony64 . He also produced a map on the hinterland as well as an account of its geography, flora, fauna and peoples65 . An interesting detail is that Barnard?s trip up Table Mount ain was organised for her by Barrow. Robinson and Lenta say: Lady Anne?s sense of her role was the reverse of his (Barrow?s): she knew herself to be at best peripheral to the world of scientific knowledge, but she was equally clear that she was central and authoritative in the world of human exchanges. Henry Dundas had signalled her centrality in this respect when he placed her in a position 64 ?Sk etches of the Political and C ommercial History of the Cap e of Go od Hope? Mss 60 and 61 by Lord Ge orge Macartney, Brenthurst Library. 65 Barr ow?s Tr av el s i nto th e Int e rior of South e rn Af ric a. L ondon: C adell and Davies, two volumes 18 02 and 180 6, were based on these reports. 135 of social prominence: her own talent s and interests led her to produce, in the J ournals , an extensive and fascinating account of the people of the Cape (1994: xviii-xix). They add: Barnard m ay have consciously defined some of her subject m atter in terms of what Barrow o mitted. She records tha t he showed her his journals in draft and comm ents significantly: ?He offered to show m e the Tours in its rough S tate, before he went on it, and I gladly accepted. I longed to make him spare the pruning knife with which men of letters are apt to lop away until all the tendrils, the interesting domestic particulars which create interest while giving information.? (from her account marked ?Stil lingbosch November 1797?). Mary Louise Pratt says of Barrow that he produced ?a strange, highly attenuated kind of narrative that seems to do everything possible to minimise the human presence? (1992: 59). The topic of slavery is perhaps one of the most interesting to focus on when assessing the attitude of colonial writers to the worthiness of colonies for development and cultivation. At the tim e Barnard was in th e Cape a significant m ovement campaigning for the abolition of slavery was being mounted in London. Robinson and Lenta comment that at the Cape Colony this wa s a ?very touchy issue? (1994: xviii). The Dutch had traded in and imported slaves to South Af rica, and while the Br itish continued the practice, they were more alert to the growing resistance back home to this form of labour in their colonies. They say: ?Macartney would only discuss the import of a cargo of slaves in a private letter to the Secretary of State for War as opposed to an official despatch.? They point out that like other settlers the Barnards were slave owners ?as there was little market for free labour at the Cape?. In her writing Ba rnard shows herself to be in agreement with the general Br itish assumption at the time that their treatment of slaves at the Cape wa s relatively humane. She also showed an interest in the state of the K hoikhoi, who mostly worked on farms in a kind of serfdom and she records with regret that the terms on which the Cape was ceded to the British by the Dutch in 1795 forbade cha nges in laws of slavery and oppression of Khoikhoi. Barnard, the Other in Africa In reading Anne Barnard?s Journals , Dorothy Driver is at pains to release this example of early white South African litera ry production from the category of ?racist 136 stereotypical writing? . She deplor es the easy activation of the pejora tive categories of ?self? and ?Other? used by critics of coloni al writing (and applied to writers such as Barrow) and returns to the Journals to investigate more thoroughly how Barnard observes and records the situation she found herself facing in the Cape from 1797 to 1801. Driver says: Barnard?s Cape Journals modify current readings of Cape colonial discourse: rather than simply repr oducing established categories of gender, race and class, the journals show ideology in constru c tion in eighteenth-century South Africa as Barnard self-consciously deals with the discourses at her disposal. B esides the interlocutory nature of much of Bar nard?s writing, which stem s from its address to various members of an external audience and which often brings with it a certain self-consciousness regardi ng the writing subject and the discourse being deployed, the Cape Journals are often intralocutory: her writing presents different facets of the self, as if the different speaking positions that constitute her subjec tivity are engaged in negotiation (or contestati on) with one another, the self engaged in dialogue with an ?otherness? withi n. I call the process ?self-othering?. Moreover, g ender, race and class reveal themselves at their points of intersection (rath er than as discrete categories), thus disturbing the binary oppositions of ?self? and ?other? which have form ed the basis of much colonial theory (1995: 46). For my purposes in assessing Lady Anne as ?guide? to Antjie Krog and her work of self-fashioning through poetry, there are four useful and transferable points Driver makes about the various subject positions Barnard adopts in her writing. She points out firstly that Barna rd?s texts call ?a ttention to the different discursive positions that make the writer ?Anne Barnard?? (1995: 47). She quotes her: ??he was m istaken if he supposed I was one woman, that I was one, two, or three different ones, and capable of being more? exactly as the Circum stances I was placed in required? (in Robinson 1994: 164 6 6 ), and goes on to say: Sim ilarly, Barnard does not m erely show a consciousness of her various roles (naturalist, travel wr iter, artist, earl? s daughter, working wife, first lady, and so on), but adopts in her writing one or other of the roles at her disposal, one or other of the generic voices appropriate to and productive of these different roles, thus enabling her to enunciate a set of different perspectives on herself and the world? Multip le roles and multiple voices make up a complex subje ctivity, defined not by a static and passive discursive position but by a series of shifts (1995: 47-8). 66 Driver is using the Cape J ournals edited by A M Lew in Rob inson, 19 94 . 137 Secondly, says Driver, B arnard also exhibits a consciousness of her own position often as the Other to the Dutch burgers or to the Hottentots, or the natives. She of ten records experiences of being looked a t for her difference or not being seen at all (as in the reaction to her by the Hottentot congregation during the visit to the Genadendal Moravian Mission of 10 May 1798, in R obinson 1994: 331). Driver com ments: Barnard?s m omentary recognition of the defining context, which introduces the notion of relative value into these scenes, sometimes expands to give a more complete, if still fleeting, dislocation to her sense of her status as superior in this unknown land. Looked upon by others, she thus looks upon herself (1995: 48). And thirdly, Barnard sho ws evidence of inhabiting the position of the Other. There are many examples cited by Driver but probably the most interesting is her observation of slaves about to be sold, in which she watches the slaves watching her and notes that she cannot know their situation because she looks through ?free-born eyes? (in Robinson 1994: 157). Driver comm ents: ?This is substantially if subtly different from feeling ?sorry for? slaves, fo r it is slavery? s perspective on her as ?free born? that has inform ed her gaze? (1995: 48). Driver?s fourth point is one about gender. She says Barnard?s shifts in position are notably enabled by way of gender ? ?That is , through the writer?s awareness of the social construction of self which comes through an awareness of her social construction as ?wom an? ? (1995: 49). Lady A nne?s training and practice as an artist was also to give her the facility to take up varying points of view; and that while she was writing primarily in an unofficial capacity, many of her letters were directed at a very senior member of the colonial power and therefore occupied the uncertain and ambiguous space between official and unofficial, private and public. But throughout, Driver finds that Barn ard demonstrates a self-conscious taking up of positions in her writing. At the tim e of her writing from the Cape a m ajor social sh ift was taking place in European society in relation to the role of women. The 1790s was to becom e marked by radical writings by women such as Mary W ollstonecraft (who produced A Vindication of the Rights of Women ). These stood in contra st to the prevailing discourse of the day which, by means of a strict philosophical dualism, aligned women and their weak bodies with ? nature? while men and their intelligence were aligned with ?culture?. T he two competing philosophies were to result in a lived contradiction for late 18 th century women, with ? Driver says ? a ?habitual self- 138 depreciation? being coupled with ?a sense of potential equality with men? (1995: 52). This contradiction is evident in Barn ard?s s elf-po sitioning through her writings. Driver says: In an attempt to construct a way of speaking which was both socially and psychologically feasible, women?s voices shifted between the available subject-positions, ofte n taking on self-conscious stances towards w hichever subject-position was adopt ed from the range of positions between the polarities of ?masculinity ? a nd ?f emininity?, and the qualities or states associated with them: ?intellect? and ?emotion?, for instance, or ?culture? and ?natu re?? Her strategy is n ecessarily to observe one subject-position from the position of the other, the writer observing the distressed and timid woman, the woman observing the intrepid writer, the ethnographer conscious of the literary woman, and vice versa. These moments of self- othering constitute moments of interrogation and self-irony: the discursive positions are simultaneously recognised and questioned (1995: 53). Lady Anne: Krog?s interlocutor Given this life and this prolific output of writing, and this experimentation with the self as writing subject, it is interesti ng that the L ady Anne Barnard who has com e down to us through popular history is known only for her hostess-function and her parties and therefore is marked by frivolity and ? from this viewpoint ? redundancy. Hans Pienaar in his W e e kly Mail report of 14 Decem ber 1989 comments of Krog?s interlocutor: Is it not a backward step to choose the coffee-table life of a governor?s wife who only stayed in the country for six years at the turn of the 18 th-cen tury, and whose main claim to fame is that she installed an open air bath in Kirstenbosch? 67 In inimitable fashion Krog f latly admits as much early on: ?As metaphor you are worth f--- all.? Andre Brink, in his review of Lady Anne 68 and after a detailed explanation of Barnard?s w ritings and life, says there are two Lady Anne Barnard texts: the first being the academic collections over the years of her letters, journa ls and diaries, and the second the ?folk history? which gives us a L ady Anne of parties, naked baths in mountain pools and female frivolity at a time of great political intrigue. Brink goes on to comment that in her engagement with Barnard the writer and the Lady Anne persona Krog is working with both these texts, ?K rog se geskrif word ingebed in ?n 67 Pienaar is wrong about this detail, the bath in question was installed by a Co lonel Bird. 68 ?Ant ji e K rog se Lady A nne: ?n R oman van ?n B undel? Vry e Weekbl ad 18 A ugust 1989 : 1 3 . 139 hele palimpsest van bestaande tekste? [K rog?s writing is inbedded in a whole palimpsest of already existing texts]. While Lady Anne was living at the height of Enlightenm ent optimism in the first flush of confidence in British I mperialism, An tjie Krog was living in the dying days of a decrepit, racist regime. Krog says through her poetry that she sought a guide for direction on how ?to live an honourable life in an era of horror?, but it is an im portant question to explore as to why she should feel that this woman of late 18 th century London and Cape Town could speak to her in the South African situ ation of the late 1980s. In one interview Krog sa id that in doing the research in Barnard?s own writings in S cotland she came across the lines: ?Every page is a page of struggle. I write to destroy the borders of unbearable pain? 69 . While Krog must have been drawn to Anne Barnard, the keen observer, the prolific writer, the courageous woman70 and the outsider (she was Scottish am ong the Englis h, British among the Dutch, colon ial among the colonised), it cannot therefore be just a sim ple matter of comparing similar life experiences and finding a kindred writing spirit. Barnard?s sojourn in Africa, her encounter with colonialism? s Others and her literary manipulation of subjectivity, notably through the position ?wom an?, her us e of both interlocution and intralocution, therefore offers an analytical route into understanding her usefulness as ?guide? ? not only as the subject for K rog?s poetry, but al so for the purposes of this thesis which aims to investigate Krog?s altering writer-subjectivity. What was the ?era of horror? Krog refers to? By 1989 South Africa had suffered successive waves of states of emergency declared by President PW Botha, who had a stroke in January of that year, was obviously impaired as a leader but who then refused to step down from the executive position he had created for himself although he resigned as party leader (thu s creating a political crisis because of this unprecedented situation of dual power). No t only were the liberation movements banned but the internal peaceful attempts to dislodge apartheid were being received 69 ?Free State?s controversial Ant j ie joins est ablishment as prizewinn er? by Co rinna le Grang e. Th e Star. 2 6 Ap ril 1 990 : 21 . 70 See ?I th ink I am the first ? Lad y Ann e on Table Moun tain? ( D own to My Last Skin 2 000 : 66) and ?All I as ked as a reward ? was that he should accompany me to the top of the Table Mountain ? where no white woman had ever been but Lad y Ann e M onson who had a little of my own turn for s e eing , which is seldom see n? (R obinson: 19 94 : 2 1 7 - 8 ). 140 with enormous amounts of viciousness and force from police, security apparatus and army. Nevertheless the outspokenness agains t and denunciations of apartheid were fierce and unsilenced despite the repression. The campaign to isolate the country internationally was gathering momentum and in many arenas (such as sport, the arts and travel) was being extrem ely effective. In his review of Lady Anne 71 Andr? Brink pointed to the concatenation of circumstances the poet was dealing with: Hiedie vertelsituasie is eerstends di? van ?n vrouedigter wat haar in die Suid-Afrika van vandag besin op noods toestande ? terwyl geweld om haar woed (?geweld wat m y witste wederwoord omgrens?, 32) en terwyl die konkrete, essensi?le land om haar sy gang gaan, terwyl haar private vroulike lotgevalie deurentyd in jukstp osisie staan met die groter geskiedenis wat hom voorwoed, probeer sy ? m ? ?t sy ? skryf. [This narrative situation is firstl y that of a woman poet reflecting on emergency situations in the Sout h Africa of today? while violence rages around her and while the concrete, essential land surrounding her carries on regardless, while her personal female circumstances stand in continual juxtaposition with the grea ter history forging ahead, she tries to ? she m ust ? write.] Krog was working as a teacher first at the Mpho hadi Technical College in the black area of Maokeng and then at the ?colour ed? high school in Brent Park. As the Nationalist Party strangle hold on South Africa tightened she was increasingly engaging with her students and their struggle against apartheid. What we see here is the same kind of Lady Anne Barnard forthrightness in engaging the Other 72 . This time it is apartheid?s Other ? but in many ways just as unknown, hidden and geographically demarcated as the colonial Other for a white w oman. In the years in which she was crafting the pieces for the Lady Anne volume (1986 to 1989), Krog was actively taking i ssue in public with the control of writers and the language exercised by the Afri kaans literary laager. Through her friendship with Dene Sm uts, who became editor of the magazine Fair Lady she was invited to the magazine?s book week, and as her subsequent articles for Die Suid-Afrikaan and Fair Lady show, she had a startling encounter with her literary Others ? English-speaking and black. 71 ?A ntji e Kr og se Lady A nne: ? n R oman van ? n B undel? Vry e Weekbl ad, 1 8 Au gust 19 89 . 72 I base this comment on my readings of B arnard? s letters from the C ape. 141 Lady Anne ? the text In the very first poem of Lady Anne Krog puts the crass and i rritable (and Afrikaans) words ?W ie is dit wat my bleddiewil afwaarts stuur / na vreemde bode ms? ? [W ho is it who bloody-well sends m e downwards / to strange depths] into the m outh of the Lady Anne Barnard. She knows, and we know, th at it is Barnard herself ? with her ceaseless petitioning of Dundas ? who has put her on board for the Cape. And it is Krog who has put th em both (Anne and Antjie ) in this particular literary boat. And in the next 100 or so pages she undertakes the most complex literary task: to discover dignity and honour as a South African livi ng under apartheid though the medium of a dense, highly metaphorically-l ayered, literary text, manipulating a historical subject who, in her own right, is a woman with her own mind, writings and history. The project is fraught from the start with the possibilities that the Anne-Antjie fit will not always work, especially when one reads the invocation (in the fi rst section but which comes after eight poems): Wees gegroet Lady Anne Barnard! U lewe wil ek besing en akkoorde daaruit haal vir die wysie van ons Afrika kwart. Ek knieval, buig en soen u hand: wees u my gids, ek ? u benarde bard. ( Lady Anne, 1989: 16) [Greetings L ady Anne! I want to sing your life and use chords from it for the song of our quarter Africa I fall on my knees, bow and kiss your hand be my guide, I your desperate bard.] This textual abasement and adoption of a grovelling pose at the feet of the Lady Anne with these dual and conflicting motives (one noble: sing of Africa; one fairly suspect: use another?s writer?s w ords to unclog one?s own writer?s block) is excessive and alerts the reader that this relationship (bard to Barn ard) cannot hold for long. Why Barnard? From previous poetry it is evident that Krog looks for women, often in history, who she can use as mirrors and counterpoints to her self. In this case, Anne has a similar name. Anne is also Scottish, ra ther than English, and Krog is attracted to those who know what it is to be Other to the British/English. Th e subject of Boer- British anim osity since the South African wa rs is something she is very conscious of 142 within Afrikaner history and returns to 73 . Another powerful connection is B arnard?s one and only poem (as far as we know) and the time of its writing. In section 2 of Lady Anne Krog repeats the Auld R obin Gray poem (in Afrikaans) and then dates it ?Balcarres 1 768?. In m any of the editions dealing with Barn ard?s writin g no date is given, and there are only the remarks that she wrote it when still young74 . But in her text Krog m akes Barnard 17 or 18 at the tim e of writing ? the sam e age at which she herself became a published writer. This detail is important, K rog is making a personal connection with someone who like herself has been a precocious writer and someone who primarily negotiates living through writing. But also at this point, Barnard gives Krog ? the mother raising f our children ?without words? 75 ? the writing to m anipulate and use and play against. Lady Anne is a consciously postmodern volume full of fragments from a multiplicity of sources ? newspaper reports about th e political situation, quotes, opinions and comments, fragments from her reading ? the acknowledgements show that Krog has been reading a political text and a book on feminism at the time76 , an advertisement, a political poster, aphorisms, a menstrual chart, and drawings of the ?tongvis? (sole 77 ) , plus some scattered information on this fish. It also ranges across time non- chronologically, dipping in and out of the time of writing, the time of research into Barnard?s w ritings and the period of Barn ard?s lif e, and winds together Krog the writer with Barnard th e interlocutor, sometimes in a poem- inspired transcription which is very closely aligned to Barnard?s actual words from a diary entry or letter. The volume is also structured as follows: sections 1, 2, 5, 4 and 3. And ends with two conclusions, ?slot? and ?slot?. But it is not these obvert experim entations with intertextuality that make this an obviously postmodern work. More im portantly, Krog, the writer with writer?s block, 73 In 1 990 at an Idasa writers?s conference Kro g used the SA War and Afri kaner bitterness at the En glish as a theme. ?Unt old damage of the A nglo-B oer War? Demo cra c y in Action 19 . 74 Rob inson says in the 197 3 Letters that the poem dates from after 17 71 when her sister M argaret married and ?bein g left much to her own devices, La dy An ne developed her literary bent?. And see Wilkins (1 913 : 8) . 75 A nother irony: La dy A nne contains several poems about writer?s block ? writing about not writing: ?weer eens / voor a bladsy lynloos A 4 ? (198 9 : 14 ). 76 Contend ing Ideo log ies in South Africa by Le att, Knei fel and N? rnberger ( 1 9 8 6 ) and ?n V lugskri f oor Feminis m e by Marlene van Niekerk (1987). 77 Literal translatio n is ?ton gue fish?. 143 is using already-written writing to work on writing, bending it, shaping it, and sometimes breaking it, to her particular task of new poetry. In a radio interview Krog told Rina Th om78 , that Lady Anne was constructed as a ?co llage?. She said s he was preoccupied at the time with the relationship between ?writer and object, the role of the poet and how the poet looks out and reacts to the objec t and what the poet brings of her own texts and situation to the poem? . From this comment it would seem that the text would be better described as a ?n arcissistic? text, as in the work of Linda Hutcheon who says this is writing that is ?textually self-conscious? (1980: xi) or ?in some dominant and constitutive way, self-ref erring or autorepresentational: it provides, within itself, a commentary on its own status as fiction and as language, and also on its processes of production and reception? (1980: x ii) 79 . Hutcheon goes on to say that with the rise of bourgeois consciousness came the concomitant development of literature that was self-rega rding (1980: 9). Texts of this type show an interest in how art is created (1980: 8). Texts became interiorised, immanent to the work itself, as the narrator or point of view character reflected on the meaning of his creative experience. This phenomenon of the nineteenth century may well, as Foucault has suggested, be a result of a change in the conception of the relationship between words and things, idea and object (1980: 12). In the evocation of Lady Anne Krog says: I wanted to live a second life through you Lady Anne Barnard ? show it is possible to hone the truth by pen? (2000: 73) While it is certainly a truism that in periods of social horror writers feel compelled to bend the work of the pen to the service of the ?tr uth? (of ten politically-d efined and certainly in South Africa of the late ?80s the refrain ?cu lture is a weapon of struggle? was a loud and persuasive cry permeating all dimensions of aesthetic production), Krog?s particular engagem ent with ?the tr uth? has many facets. It is primarily a literary pre-occupation. in die begin was die WOORD sal my volgende gedig s?: enkele duisterlike word wat in hom sal dra geen verledes net voorspellings geen giedse net genade 78 SAB C So und Arc hives T89/ 84 3, 3 A ugust 19 8 9 . 79 Sh e adds? th is kind of writing, it is ?tex tually self-aware? self -reflectiv e, self-i nforming, self- reflexive, auto-refe rential, auto- representational? ( 1 98 0 : 1). 144 alles ook wat blinde blysinnige bloed is in hierdie destruktiewe suidoostewind in Bo-Meulstraat wil die digter ?n gedig skryf verby die drag geraamtes van almal wat mank en Afrikaans is maar die tong sal anders moet l?: bevry die allerwoordste woord deur vers wat wil klapwiek namekaar en nuut die gedig sal wys hoe word in hierdie landskap waar word in woordsontwil alleen die nuwe gedig sal nooit slot h? nie bard wat leer luister Lady Anne ( 1 9 8 9 : 100). [in the beginning was the W O RD my next poem will go: single [singular] obscure word which will carry in it no pasts only prophecies no guides only mercy everything too that is blind joyful [? ] blood in this destructive southeaster in Upper-Meu l Street the poet wants to write a poem beyond the clothed skeletons of everyone who is crippled and Afrikaans but the tongue would have to lie differently: free the wordest [quintessential] word through verse that will flap [clap/whip] after one another and show the poem anew how the word becomes true in this landscape solely for its own sake the new poem will never conclude bard who learns to listen] 80 Krog is both looking for that Biblical, G od-breathed word that not only captures perfectly but also is spirit-inspired to have the power to create something different. She m akes the connections in this volume and binds together the literary pre- occupations which are to stay her fixations for many years to come ? word, tongue (literally and metaphorically as in mother-tongue), bard and land. W hile she lays bare the na?ve, impossible, most extrem e desire of seizing hold of the ?wordest? word (the word that is so itself that it is the thing it describes) she a lso shows the consciousness81 that this word is beyond her reach, unattainable, mysteriously obscure 80 Translation by Neil So nnekus for the purposes of this thesis. 81 This is embodied in the structure of the poem which begins with the fiat-typ e declaration (o f the WOR D in capitals) bu t unravels into multiple descriptions and many words that chase after, ?flap ? 145 and unknown, and might in fact not come from the mouth of the poet but have to be found through a position of listening, maybe even in silence and maybe not at all (if there can actually be no conclusion to poem- making). tranparant van die tongvis die lig oor my lesenaar vloei uit in die donker ek wag my besoekers in op papier my vier kinders dorsal en anaal hang hulle in fyn balans vinnetjies aan die ke el roer aanhouderend o? besonders sag in die vlak brakkerige water trap Ma klei met die metafore kom nader hier oor woordeboek and le? bladsye hoe lief het ek nie hierdie tenger skooltjie hierdie vier vaart visse van my nadergelok wat voer ek julle? liefste kind hierdie small flankie laat hy meegee na die bedding oor aan die strekking so ja dit wring wel maar Ma hou jou vas Ma is hier Lady Anne ( 1 9 8 9 : 92) transparency of the sole the light over my desk streams into darkness i await my visitors on paper my four children finely balanced between anal and dorsal tiny fins at the throat constantly stirring eyes uncommonly soft in the shallow brackish water your mother treads clay with metaphors come here across dictionaries and blank pages how I love this delicate little school these fish of mine in their four-strong flotilla lure so close now what should I feed you? dear child of the lean flank yield to the seabed yes the stretching makes you ache but mother holds you to her mother is here around, but do not capture what that quintessential word could be and eventually leave the poet waiting in silence. 146 the lower eye like father?s wondrous blue migrates cautiously with a complex bunching of nerve and muscle till it?s up beside the other pert little mouth almost pulled out of shape with time the tongue will settle in its groove pigment of the upper flank beginning to darken unobtrusive between sand and stone you lie meshed with bedrock never again to prey or take flight I press my mouth against each distended face mother knows you will survive the tide ( Down to M y Last Skin 2000: 40; translated by Denis Hirson). Lady Anne is the text into which Krog introduces for the first time the metaphor of the sole ( so lea s olea ) or flatfish, or to use its Afrikaans nam e and the word that allows Krog to burden it with word-ness, the tongvis . This word and the life of the fish it evokes will become the vehicle for Krog to negotiate terrible, overwhelming change through language and to wrestle with Afrikane r identity (the ?skeletal? and ?crippled? of the earlier poem) which at this point ( 1989) is indistinguishable from Afrikaans as a mother tongue. She explained to Rina Thom on radio: ?Die t ongvis is ?n belangrike motief vir verandering om te kan oorlewe? [T he tongue fish (sole) is an important motif of change in order to survive] 82 . And to Joan Ha mbidge83 in 1994 she gave a fuller description of how the fish is born upright but as it matures it turns on its side, its mouth and eye migrate to the top of its now flattened body and it moves down to the bottom of the sea where it lies flat and undetectable84 . This metaphor of painful rearrangement of the physical fish body is intertwined with the poet?s self -given task to make her own ?tongue lie differently? so th at she issues forth not just the people of the future who will survive the change (lite rally and physically), but, literarily, the wordest words which do not lie the land (and here the doubl e entendre of English is useful). 82 SAB C So und Arc hives T89/ 84 3. 83 E94 / 23 3, 2 4 July 19 94 . Sh e told Hambidge she wrote the poem in La dy A nne ?t ransparant van die tongvis? for her children, ? for them to become part of this country and not to be frightened and flee?. 84 A beautiful, evocative picture of this fish is to be found on the cover of the 2 0 0 3 A Chang e of To ng ue . 147 Krog the Other in South Africa If my contention is correct, that Lady Anne Barnard is being used as a guide prim arily to negotiate a new kind of subjectivity in response to South Africa?s era of horror ? which I am calling after Driver, ?self - othering? ? where can the evidence be found of this? And is it poss ible to see Krog th e writer using the self-othering techn iques Driver has outlined in La dy Anne Barnard?s letter s, the interlocutionary and intralocutionary techniques? The m ost evocative use of multiple positions in this volume is to be found in a lengthy poem which, but for a few details, Krog has based almost entirely on an actual experience of Barnard?s reco rded in great detail in her letters from a ?Journey into the Interior? of May 1798 8 5 . Lady Anne at Genadendal 10 May 1798 The three Moravian brothers housed us. Late that afternoon the bell rings through the valley (to be heard as far as Stellenbosch) Biduur [prayer hour]. We sit shyly face to face with a hundred and fifty others. My coat is wrinkled, I realis e, they are clothed in skin, the clay floor of the small church lies languidly cut under reed carpets in afternoon sunlight. My coat s tays with me. I can smell them. They also me. The missionary Lifts his voice and says sim ply: m ijn lieve vrienden. But suddenly in this si mplicity I notice Him ? quiet like a shiny bubble in my brain. Before Hi m we are all naked but I see, as always, He sides with them: the hungry, the poor, the crowds without hope, the silent stubble, those without rights. He becomes human in this building and turns to look at me. It is good that I am here, it is good. I remember my own church ? the velvet m atrix with stones and corrupt chattering and I feel God, how fa r away from You a m I? How narrowly I know still only myself ? tired o f white coinage and they? The Brushers of wigs, the polishers of silver, the whitewashers of walls ? they know apart from themselves also my innermost bed. God what do I do? How do I get rid Of this exclusive stain? Unexpectedly a song 85 See Ap pendix D for the A frikaans version from Lady An ne and App endix E fo r the excerpts from An ne B arnard? s letters on this event (R obinson 1 9 73: 1 0 6 ff ). 148 swells into garish passionate grief supreme in pain (for the past of what is still to come?) I sit surrendered in liturgical darkness, my wrists frayed, my lips bleeding densely, my head hangs in the softest sweat. Before the closing prayer the m issionary folds his hands relentlessly into the eye of a needle. I cut the ham into thin fragrant bundles which the missionaries eat greedily, swiping their forks through mustard. ?This you have to taste my brother!? Our Madeira wine runs festively into cups. I don?t hear it. I don?t see it. Outside the moon grates hersel f insanely on the mountains. More than m illions tonight are huddling close to fires, crude bread and beer, songs, stories drifting from the coals. How do I give up this snug cavity into which I was born? Turn. Give. And m y overstuffed soul? Isn?t it sim ply looking for something new to thrill about? Shouldn?t every settler carry his bundle of gold and decompose in regret and guilt ? even the choice stinks of privilege. While the night is lying in the valley blood bursts on the peaks. I get up. B rushes, inks, water. I drink some coffee, bread, cold meat, my fingers clumsy with my coat. Along the footpath my eyes scout for heights. Quickly stretch pages, m ix greens, yes green is the colour of balance, green endures all colours, green is constantly broken to absorb closer and further. black is only a shade of the deepest green. In water- colour white is forbidden; dim ension comes from exclusion. I have to find a framework for the complete landscape if I want to survive my emotion. Try. Pitch the valley into perspective, the rest will follow by itself. But the m issionary moves between me and the sun, Gaspar the s lave holds the umbrella. I wave him impatiently out of the way, but it?s too late ? the fixed sun bursts brutally from above and drums Genadendal into m irage. I don?t get it on paper. It doesn?t fit, the scale is wrong. I aim. I start afresh. 149 I stare until it dawns on me: my pages will always spell window, spell distance, the angle of incidence is always passive and this is the way Mada me wants to live in this country: safely through glass, wrapped in pretty pictures and rhymes but I could do differently. I could slowly pull back my hand and pick up a stone. I could throw it, shatter the glass to gasp, to thaw retchingly in this hip-high landscape at last. Down to My Last Skin ( 2 0 0 0 : 68) By injecting the gaze as a textual vehicle, Krog takes an experience of Lady Anne?s in which she remarked how little attention she was paid by the indigenous people (?I was even surprised to observe so few vacant eyes, and so little curiosity directed to ourselves?, in Robinson 1973: 122) and m akes this the means for the poet to shift position via her ?guid e? and observe f rom multiple places. In Krog?s tex t Anne is seeing and is seen (by 150 pairs of eyes), sh e smells and is smelt (a pertinent in jectio n of the sense often evoked by apartheid racial prejudice). Sh e pays attention to bodily dressing, conscious of the differences but again, looking at herself and aware that her own clothes are dirty from travelling. The Moravian m issionary draws everyone present together in a ?w e? by his words of inclusion ?My dear friends?, but Anne has a moment of powerful exclusion. She sees God (seeing her, seeing them ) and she sees God m aking a choice with them against her. This choice (w hich she observes imaginatively) is m ade perfectly in line with Christian theolo gy, the poor against the rich, those who have not against those who have (?before the closing prayer the missionary folds his hands / re lentlessly into the eye of the needle?). Kro g then uses Anne to m ake the leap into the colonial/apartheid intim ate space of knowing and being known differentially. Cleverly she parses the types of knowledge that slaves/serv ants acquire from their tasks of doing everything menial and tedious in the lives of the oppressors. It is the slave who ultimately knows the master more, insidiously and intimately, even into his/ her bed. Anne suddenly knows this. She is the one without knowledge of those hundreds of individuals. The one against the many, ?the more than millions?. The aparth eid-induced anxieties and evocations are inescapable in the words Krog has ch osen. 150 Krog then s hifts to Anne the a rtist from A nne the recorder/writer/d iarist. Anne is framing a valley (typically the land, traditiona l other view of the controlling colonial gaze) in preparation for pain ting. Her artistic frustration leads to self-consciousness. What she sees is always through a glass, through a frame, via the page/paper. There is no direct, unmediated experience. And hence th e shocking desire (certainly if this was read in the context of the burning townships of 1989 with rocks as the weapons of necessity for young activists) to recklessly a nd destructively remove the intermediary constraint which prevents knowing, seeing, experiencing. This poem shows quite clearly that Krog uses Anne as an alter ego to self-other through her own text. Krog adopts different disc ursive positions as Anne Barnard; she shows Lady Anne as conscious of being the Other in relation to others and their watching or non-watching of her; and she (through Anne and by the injection of a religious debate prevalent in the late 80s in South Af rica?s churches abo ut their complicity with apartheid?s denigration of ?the poor? 86 ) inhabits the position of the Other and in fact judges hers elf in relation to her Other by invoking biblical categories of rich and poor. But Krog also self-reflects on the lim its of text and use of language, and the obscurity and inability of words to deliver not only self-knowledge and knowledge of the Other but also the ungraspable miracle power to transcend, create anew, think another reality. ? Woman? as Othering position W hy do we talk about ? w omen? wri ters? I was furious when given this subject to talk about. Why do we talk of ?women writers?? Why are women allotted a separate little category as if th ere were certa in little things only women writers woul d feel like discussing? Where is the male voice on this panel? Why is there no man present to come and explain where this stupid subjec t comes from? Where is the module dealing with: ?why do we talk abou t ?men writers??? Does the word ?writer? automatically imply a male person? Antjie Krog 1989 Idasa Occasional Papers 18. 86 See for example the K airos D ocu me nt published in 19 85 as a theological challenge to apartheid. 151 It is in Krog ?s speech d elivered to the ANC writers? conferen ce in July of 1989 8 7 at Victoria Falls that we find her engaging w ith the category of ?wom an writer? with a high degree of anger and annoyance. But it is notable that while she questions the very category and its theoretical basis she also put forward for discussion three critical points that cannot be escaped in dealing with the writing that comes from the position ?wom an?. The first is that to eschew the category entirely is to continue to perpetuate the disappearance of many women?s voices from the collected bodies of literature. In the speech she paid a great deal of attention to the external circumstances of support and the internal conditions of self-belief that enable writing and she speculated that was the lack of these that have kept black women from being added to the literature of South Africa, particularly poetry (1989: 5). She is also alert to the fact th at the anthologisers perpetuate the invisibility of women (1989: 3) and that m ale writers write on behalf of women (Zuluboy Molefe?s To Paint a Black Woman, 1989: 4; and the male writer who put on paper the experience of women and children in the South African W ar concentration camps, 1989: 4). Krog also shows a keen awareness that the racial dynamics in Sout h Africa of the tim e had allowed fairly prolific output of poetry from white Afrikaans wom en88 which then obscured the fact that the majority of women who are black produced very little considered literary. The second is that the experience, knowledge and particularities of being female in the world give women a position that is different from that of men from which to write. In the discussion that followed the delivery of Krog?s speech, poet and ANC member Jeremy Cronin introduced a thought fo r debate that bound this particularity of experience directly to language itself: it?s wom en who experience language already as opaque, as problematic, as difficult. It?s dom inated, as we?ve already been rem inded several times by interventions, by male categories. We keep talking about ?he? the writer and so forth (in Coetzee and Polley 19 90: 145). If we turn back to the text of Lady Anne we find Krog using fem ale physicality, experiences of motherhood and as wife as part of the poem- making. For example the 87 A week after La dy A nne was published according to ? Waarom praat ons van ?v roue? s krywers? ? written by Krog for Die Su id-Afrika an A ugust/Sep tember 19 89 . 88 ?Seve nty percent of poets make their debut this year were women, the three finalists for the Ol d Mu tual Prize were women? ? (?A Co mmunity is as Lib erated as its Women? : 5 ) . 152 inclusion of her tracking 16 m onths of her menstruation and her assertion that her body?s rhythm s and flows have a profound effect on her ability to write. She was quoted in Beeld of 8 Novem ber 1989, explaining: ?Dit is my ?private voice?. Dit dui hoe ek sukkel met ?n gedig. Menstruasie het a groot invloed op my.? [It is m y private voice. It indicates how I struggle with a poem. M enstruation has a great influence on me.] In the public furore that surrounded the printing of this chart there is an interesting comment from her mother which shows the powerful association with language by the inclusion of this chart; Dot Serfontein said: ?Menst ruasie is deel van jou ? net soos digwerk, wat ook ontboesem ing is? [Menstruation is part of you ? just like writing poetry, which is also an outpouring] 89 The word she uses ?ontboesem ing? is also an unburdening or a confession. There is no doubt then that Krog, while she fights with the category ? woman writer? ho lds powerfully to the unique experiences that being female give to the poet as material and techniques to deal with the body and the visceral. There is also the suggestion, incipient in the Lady Anne work, but which will find fruition in the TRC text Country of My Skull, that unlike the slipperiness of words, the truth of a situation (political/s ocial) is often to be found in the embodied experience encapsulated in and felt through a woman?s body. The third point made by Krog is tha t this particularity of experience, nevertheless, does not mean that both men and women writers do not have the imaginative and sympathetic capacity to embody the other sex successfully and convincingly in writing. In response to a question posed by Vernon February about whether ?Etienne van Heerden could have done justice to Fiela se Kind as Dalene Matthee did? ? Krog answered: ?I can only an swer the answer that I need: that I need to think he could have done that!? (1990: 147). As Lady A nne Krog is no ?bluestocking?, Krog is no straight-forward fe minist (despite one revi ewer? s claim that with the publication of Lady Anne she proves herself to be one90 ). An inte resting insight on this point comes from Marius Crous (2003: 1), who re marks that while a central theme of Lady Anne is the body, and while Krog uses the body as a writing instrument and as ?textualised 89 Die V olksblad 4 No vember 19 89 . 90 ?O ne of S outh Af rica?s top A frikaans poets, Ant j ie K rog, proves to be something of a feminist with the publication of her seventh volume?? Jan Rab ie in the Cape Ti mes on 9 Sep tember 19 89 . 153 body? (referring here to Helene Cixous?s work 91 ), she also has a deep in terest in the actual bodies of the Others. He says: ?In Lady Anne the focus is in particular on the body of the Other(s) encountered at the Cape by the historical subject, Lady Anne Barnard.? B ut Crous also points out that Kr og transcends the boundaries of the female body-fe male writer link, ?conveying her in tentions? by also using ?phallic metaphors?. Krog does not allow her own e xperience of being in a female body or speaking with a female voice to be a limit. Nevertheless, it is e vident across the volumes in which she increasingly experiments with female interlocuturs (f irst Se lma Paasch, then Susanna Sm it and then Anne Barnard) that she is m aking a strong case for the knowledge and value to be gained socially from the situated, female body with its particularity of experience. Conclusion My intention for having gone into such great depth with the literary text Lady Anne is to show firstly that this a text in which Krog is experim enting with a writer-subjec tivity that is responsive and responsible in relation to the situation of ?horror? she was living through and responding to at the time. And s econdly, that because this volume of work won a very prestigious prize and was reviewed and written about ? m ostly by literary theorists and other poets ? this inf ormation was widely disseminated to the general public via newspapers. So Krog cam e to be known by the South African public (Afrikaans-s peakers first, then Englis h, as a result of the media coverage of her encounters with Kathrada and the A N C in ex ile) as a certain kind of public figure. Her specific literary symbolic capital was greatly enhanced via the awards and through the acclaim ( much of it by already established literary experts) expressed in the reviews. She had reached the pinnacle of achievem ent within the section of the literary field that was Afrikaans writing. But the new s about her was to spill over into the English- language news media when her opposition to apartheid was widely reported on, through the news of various events and activities, some shocking, such as the murder in Kroonstad she was connected to. In this peri od of her life she entrenched her politics, and via three important, mutually-reinforcing con secrations established for herself impeccable, alternative political credentials. This first part of this chapter shows her 91 ?By writin g the self, woman will return to the body which has been more than confiscated from her .... Cens or the body and you censor breath and speech at the same time. Your body must be heard? ( C ixous 199 7 : 3 5 1 in Crou s 20 03 : 4 ) . 154 traj ectory into the alternative political field via the three consecrations and accumulation of political credibility and capital, but also shows her great accumulation of symbolic capital as a writer and her increasing salience as a newsmaker for the news media and beyond the boundaries of the Afrikaans press. And I have dem onstrated in this chapter that she has continued to experiment with her subject position. I have applied Dorothy Dr iver?s term ?self-othering? to this experimentation because I see it as a very interesting further development of the crafting of ?self? as the idiosyncratic, poetic voice which we encountered in chapter 3. It is also notably, in this period of her life and in relation to the political upheaval, a subjectivity seeking to relate to the S outh African Others, those othered by apartheid and now making fierce claims for recognition and citizenship. But also, very importantly, this experimentation with subj ectivity continues to be preoccupied with language and with the body. The subjectivity Krog experim ents with in relation to the Others she must face and accomm odate, is notably facilitated through an investigation of being situated in a female body. In chapter 5 we will see that th is fashioning of her distinctive voice as a writer preoccupied with the Other, the body and attu ned to the highly affectual, is going to stand her in good stead, and find the epitome of public expression when she is faced with South Africa?s actual tr ansition to democracy and its coming to terms with its apartheid past. Interestingly it will be her transition into the media field as a news journalist and her harnes sing of poetic techniques in this field that will garner attention for her ongoing experimentation with subjectiv ity which is responsive to the Other. 155 Chapter Five Second-Person Performances ? Journalism ? You have to be a jackal, manipulative, shrewd, there is the tyranny of space, there is the so-called reader to have to capture, influence and manipulate? part of me absolutely resents it.? Krog speaking to Marinda Claassen on ?Woman?s World? 16 May 1994. In May of 1993 Antjie Krog became a worki ng journalis t when she moved to Cape Town to become the editor of the relaunched Afrikaans a lternative magazine Die Suid-Afrikaan. While the motive for the move seemed to be a response to an opportunity ? she was asked by the founders to be the new editor ? Kroonstad had become a difficult place for her to continue living because of the aggressive attention of right-wing Afri kaner organisations1 . Editor and academic Andr? du Toit had, with Krog, been one of those Afrikaner intellect uals who met with the ANC in exile in 1989. He had founded the m agazine with fellow academ ics Hermann Giliom ee and Johan Degenaar as a vehicle for Afrikaans intellectual debate when they felt in 1984 that it was impossible to comment on the political and social situation via the Afrikaans press without th eir views being distorted2 . He had been co-ed iting the magazine with Chris Louw (who was moving to work at the W e ekly Mail ), when it was decided the publication needed a new editor, a new design and a new purpose in the volatile years leading up to formal political transition. This choosing of Krog as the perfect candidate for the editorship of an Afri kaans, issues-based m agazine aim ed at educated Afrikaans-s peakers of all races, was important as an act of attention and transition in Krog?s tr aje ctory because it was to cause her to move to a major urban centre and to relocate within journalism as a field of production. This location, and accumulation of journalistic expertis e, was to make it more possible for her to then move into the news media more decisively. It also acted as reinforcement of Krog?s alignment with anti- apartheid Af rikaners and again with the intellectuals in that grouping (as she had been when invited to m ake the two visits to the ANC in 1989). 1 See Th e Cap e T im e s 19 A ugust 1 9 9 3 . 2 In an interview in 199 3 with th e Daniel Hugo on the programme Skrywers en Boeke Krog talked about the founding of Die Su id-Afrika an. SABC Sou nd A rchives T93 / 1164 . 156 Within a year the editorship with its demands and limits had begun to take its toll. Krog experienced difficulty in dealing with the technical problems, the deadlines, the political rhetoric, the manipulations and constant financial struggles to keep the magazine afloat 3 . In an interview in 1994 she re flected on the differences between journalism and poetry: Journalism? You have to be a jackal , manipulative, shrewd, there is the tyranny of space, there is the so-called reader to have to cap ture, influence and manipulate? part of m e absolutely resents it4 . But this g rappling with reporting, editing and managing a magazine was a very important step into the media field as a recognised practitioner of journalism . As we have seen through this investigation of Krog?s life so far, she had decisively entered the Af rikaans literary field, distinguished herself as a poet with a well-defined idiolect, won the field? s prizes and receive d accolades from its consecrators. She had also authoritatively seized the territory of the poet of the body, of the female voice and the transgressive. In the alternative political field, Krog w as hailed and now known for her associations with the ANC leadership in ex ile, the ANC leadership in jail, and the local com rades in Kroo nstad. Her joining of the ANC party placed her firmly on the side of the democratic projec t to make South Africa a nation for all its peoples. But up until this point, her forays into jo urnalism were often based on her literary capital and her political newsworthiness. Her capital in the media field was not yet based on her skills and knowledge of the cultural terrain of journalism as a practice in its own right. It is in this chapter that I pay attention to her transition into the media field and her accumulation of media field capital. And I start b y looking at the consecrations that were to facilitate her entry into journ alism, this time not as a newsmaker, but as a practitioner. [Trajectory] Into news journalism proper 1 . Afrikaan s radio reporting In 1995 Krog m ade a far more significant traj ectory move in the media field than her editorship of the Die Suid-Afrikaan . When SABC radio, under the leadership of Pippa Green, approached Krog to join the post-el ection, reconstituted parliamentary team in January of 1995 she took the job as the j ournalist responsible for Afrikaans reports. 3 SAB C So und Arc hives T95/ 23 0 a nd 23 1. 4 SAB C So und Arc hives T94/ 72 5. 157 Green and Krog had established a friendship after the interview Green did on Krog for L eadership magazine in August 1990. W hen the SABC was placed under new direction during the transition to democracy Green was in charge of putting together a parliamentary team that could cover the workings of the new democracy in as many South African languages as possible. Krog was her choice for the Afrikaans m ember of this team5 . In the newly-constituted dem ocratic South Africa it was an im portant mission to place the public broadcaster under the control of a board, remove its tainted association with the apartheid government and to ensure that reporting in the Afrikaans language was in line with journali stic principles of objective inf ormation dissemination rather than in the service of the apartheid regime. Krog was seen as having the right political credentials to help fulfil this mission. During this year, as developments got underway to set up a Truth and R econciliation Comm ission for South Africa, Krog was i nvolved ? through her connections with Idasa ? in participating and reporting on va rious discussions about the necessity for such a commission for South Africa 6 . Within that year (1995) Green m ade Krog head of the radio team to cover the TRC, the only news media outlet in South Africa which would track the entire process and every public hearing over the course of the commission?s life. Green facilitated this transition by recognising Krog?s sym bolic status as both political actor and writer, rather than her field capital as a journalist (Krog had no previous radio reporting experience), and th ereby enabling Krog?s shift into political journalism proper and making possible the conversion of her, by now, very significant literary and alternative political field capital into media field capital. Even though Krog had spent a year as editor on Die Suid-Afrikaan, it was her work with the SABC on the TRC which took her out of the confines of being a writer- commentator into the daily processes of hard-news journalism , and which was to give her access to a very significant political process gaining attention and currency all over the world. But m ore than that: th e TRC was a process ambitiously set up to engage all S outh Africans in m ajor political and social transition via the media. Krog and other journalists were th erefore ?installed as proxy w itnesses of trauma on behalf of their readers? [and listeners, in this case] (W hitlock 2007: 1 40). Australian literary 5 Personal communication with G reen on 2 2 A pril 200 5 and Fr anz K r?g er on 5 May 200 5. Kr ?g er was SAB C radio national editor at the time. 6 For example on 17 January she interviewed Dr Al ex B oraine (I dasa director) about ?j ustice in transition? for the SABC. 158 theorist Gillian W hitlock (whos e research interest has been in the hearings about the Stolen Children in her count ry) points out that such comm ission processes taking place recently world-wid e have resulted in an altered status for the journalist who is required to become ?conveyer, translator, mediator and meaning maker of trauma on our behalf? (2007: 140). Krog heartily em braced the role of mediator of the TRC to radio listen ers. In Gerrit Olivie r?s r eview of Country of My Skull, her book account of the TRC, he remarked that ?she and her fellow reporters tried to capture the headlines in order to force the narratives told at the Commission into the public consciousness? (1998: 222). In her characteristic Free State Afrik aans accent Sam uel combined factual reportage with strong involvement in the process? despite her many doubts Sam uel has been an advocate of the process? not surprisingly some listeners objected to what they perceived to be the moral and ethical pressures emanating from Sa muel?s journalism (1998: 221). Later in an interv iew with Gillian Anstey of the Sunday Times ( 2 3 May 1999: 11) Krog explained why she was using her m arried name Sa muel for her TRC work: As a reporter I am supposed to speak in correct A frikaans. But I don?t. I speak a lekker Anglicis ed Afrikaan s and I can?t report in that. So m y reporting is un-m e, un-Krog, un-poetic. I see Samuel as the surnam e that obeys the codes of the SABC and of language, the rules of the game. Krog is the disobedient surnam e. We see Krog here m aking a clear distinction between the practices of the poet and the journalis t and because she recognises the constraints of the jo urnalistic mode setting aside the name Krog synonom ous with poetry and the distinctive voice of transgression. But Krog?s cr afting of her voice and her experimentations with subjectivity infected her j ournalism with those very hallmarks she was trying to restrain ? A nglicisations, slang, graphic descriptions, sympathetic tone of voice, and insistence that listeners face the horrors being unearthed, were so evident in her reports that national radio editor Franz Kr uger had to deal with complaints that Afrikaans-language stations did not want to use them7 . On the announcem ent of Krog?s appointm ent to the SABC, a n exasperated radio listener, Hannes de Beer of 15 Komma ndant Street in W elgemoed, wrote into Die Burger to say: ?Now we all know that th is woman can make magic with the 7 Personal communication with Franz Kr ?ge r on 5 M ay 20 0 5 . 159 language? and commented that while she had a track record as a poet with multiple publications she also found ways to create ?bastard products?. Using a piece she had written for Die Suid-Afrikaan as an example of her ?m ix is cool? style, he then went on to say: ? R adio is a talking and listening medium. It also has a great influence in certain circles?? and concluded that if Kr og was going to behave at the SABC as s he did on her magazine then ?H eaven protect Afrikaans!? 8 Another in teresting insight comes from a piece for Rapport written by journalist Hanlie Retief in a column called ?Hanlie se m ense? [Hanlie?s people] 9 . Headlined ?W aarheidskomissie het haar ingesluk an alles hou heeldag net aan? [The Truth Comm ission has sucked her in and everything just goes on the whole day], Retief commented that some people just turn off the radio when they hear Krog?s ?Avbob- stem? [funereal voice] 10 , while others continue to listen fascinated. She is not afraid of graphic detail, Retief says, and comments that: sy ?t ?n onthutsende gew ete geword, ?n naelstring tussen die WVK en Afrikaanssprekendes. Sy ?t soos net ?n digter kan, die dikwels makabere getuienisse soms laat weeklaag, soms laat sing. [She?s becom e a disturbing conscience, an umbilical cord between the TRC and Afrikaans - speakers. She has, as only a poet can, let the often macabre testimonies sometimes wail, sometimes sing.] She then continued to say that Krog?s doc tor had sent her home for six weeks to recover because she was suffering from the effects of reporting the TRC hearings. While other journalists around the country, working mainly for newspapers, covered the TRC processes when they cam e to town, or when major newsworthy atrocities and historic events were being aired, the radio team ? with the financ ial help of a grant from the Norwegian governm ent11 ? travelled with the TRC commissioners and attended almost every single hearing. Kr og was direct about her own lack of experience and journalis tic knowledge when coming to the SABC, later ad mitting in Country of My Skull: A bulletin usually consists of thr ee audio segments: ordinary reporting read out by a newsreader, 20-second sound bites of other people?s voices, and 40-second voice reports se nt through by a journalist. How 8 ?Hem el behoede ons taal as Ant j ie dit so ? mix?? by Hannes de B eer. Die Bur g er 27 January 19 9 5 : 8 . 9 4 January 19 98 : 15 . 10 A vbob is a funeral parlour chain in S outh Af rica. 11 See the Tru th a nd Recon c iliation Commissi on of South Africa Rep ort Vo l 1 C hapter 11 : 3 1 8 , 356 . www.doj.gov .za/trc/repo rt/fin alreport/TRC%20 VO LU ME%20 1 .pdf accessed 7 February 2009. 160 can these elements be moulded to our aims? An expert needs to com e help me, I plead. And they send m e Angie?? (1998: 31-32) 12 . Nevertheless, in addition to those sound b ites for the bulletins, by the end of the process Krog had filed 92 more substantial reports13 , in which (to give an indication) she interviewed and reported on: TRC comm issioners (Desm ond Tutu, Alex Boraine, Dumisa Ntsebeza, Mapu le Ram ashala ); Vlakp laas killing farm perpetrators (Brigad ier Jack Cronje, Dirk Coetzee, W outer M entz, Roelf Vent er, Paul van Vuuren, Jacques Hechter) ; a rmy generals (Ge neral Cons tand Viljoen ); victim s (Tony Yengeni); the ?Trojan H orse? killings in At hlone; the special hearings into business and labour, the medical profession and the media; the special hearing on wom en; the resignation of the head of the investigation unit Glen Goosen; the National Party submission and the ANC subm ission to the TR C; spoke to comm issioner Wendy Orr about reparations to victims; intervie wed commissioner Richard Lister about exhumations of those killed by apartheid forces; and interview ed Ntsiki Biko about his family?s anger at the possibility that Steve Bantu Biko?s killers m ight get amnesty. While Krog?s brand of journalism was tempered by the other members of her team socialised as objective reporters, the 14-m ember radio team, which she headed, was honoured for the ?inten sity, quality and consistency? of their coverage by South African Union of Journalists which awarded them the Pringle Award for 1997 1 4 . Krog had achieved her first consecration by the media field itself, thus proving her worth and accumulation of media field capital. But she had also proved that her bringing to journalism a poetic subjectivit y, and relating it to a majo r ongoing news event of high emotion and affect, had enormous value to journ alism itself and also to the fragile process of encounter with the past all South Africans were dealing with. 2 . Writing in English for the Mail&Guardian In 1996 Krog was approached by Anton Harber, editor of the Mail&Guardian, who decided to mark the second anniversary of the country?s transition to democracy by 12 A ngie Ka pelianis confirmed this in personal communication (Oct ober 20 0 0 ) . 13 See A ppendix F: SA BC Sound A rchives on A ntie Sam uel TRC Rep orts. 14 The Pringle A ward carried no cash prize a nd was the highest award bestowed by the community of j ournalists on their peers. The SAU J no longer exists and the prize is no longer awarded. ?A ccolades for S A BC?s coverage of the TRC? at http://v cmstatic.sabc.co.za/VCMStaticPro dStag e/CORPORATE/SABC Co rporate/Do cument/Ab out SABC/Th e SABC In Detail/ten years.doc accessed 23 Dece mber 2008. 161 asking writers to produce reflective pieces on the political change for his publication. In Bourdieu?s explication of field theory, symbolic capital and power attaches not only to individuals but also to publications and productions. In the South Africa of the 1980s and ?90s the Mail&Guardian (form erly T h e Weekly Mail ) had acquired a status as a hard-hitting, investigative newspaper with distinct advocacy stances on the political situation (anti-a partheid, pro- non-racism ) and m any social issues not embraced by the mainstream English-languag e newspapers (it was also pro-gay, pro - women?s rights). During the 1980s T h e Weekly Mail bravely printed what other papers wouldn?t because of the fear of be ing shut down by the apartheid regime, and won for itself the attention of those in the anti-apartheid political m ovements, as well as the admiration of fellow journalists in South Africa, and intern ationally. It had the status of high value with both these important groups in South African society. Harber and Irwin Manoim were its founders and co-editors. They and its first staff of journalists had starte d the paper when the Rand Daily Mail, the anti-gov ernment paper they had all been working for, was shut down by its owners in 1985. After the transition to democracy many other publications of the ?alter native press? 15 lost their funding bases and began to close down. But Harber organised a financial relationship with T h e Guardian publishers in the UK to keep his newspaper alive. So for Krog to have been given the space in this publication at this time to write what became five extensive features16 (each one highly persona lised), was attention of a rare sort by an editor with particular symbolic capital and a newspaper of powerful symbolic worth within the media field. In the first feature (?Pock ets of humanity? Mail&Guardian. 2 4 - 3 0 May 1996: 30-31) Krog (wri ting as ?Krog?) was given a double-page spread to talk about the effects and affects of reporting the TRC on her own self as the journalist. This she did by focusing on th e testifiers and her response to them: ?And I was only 20?? The words splintered into the harrowing wail of Fort Calata?s wife as she threw he rself back into her chair ? this cry of distress and uncontained grief ushered in an experience which changed my life. Voice after voice; accou nt after account ? the fou r weeks of the truth commission hearings across the country were like travelling on a rainy 15 The stridently anti- apartheid press which sprung up in the 1 980 s to print the news the mainstream press would not was supported financially by churches, non- governmental organisations and international donors. 16 ?Poc kets of humanity? 24- 3 0 M ay: 3 0 - 3 1 19 9 6 ; ?Tr uth trickle becomes a flood? 1 No vember 19 9 6 ; ?Ove rwhelming trauma of the truth? 24 December 19 9 6 - 9 January 19 9 7 ; ? The parable of the bicycle? 7 February 199 7 and ?Un to the third or fourth generation? 13 ?1 9 Jun e 199 7. 162 night behind a huge truck ? im ages of devastation breaking wave upon wave on the window. And one can?t ove rtake, because one can?t see; and one can?t less en speed or stop, because then one will never progress. By the tim e Krog wrote the third piece for the Mail&Guardian the TRC reporting was beginning to take a heavy toll on her. Again Krog was given a double-page spread to speak to the Mail&Guardian readers: I am not made to report on the Truth and Reconciliation Comm ission. When told to head the five-per son radio team covering the truth commission, I inexplicably began to cry on the plane back from Johannesburg. Som eone tripped over my bag in the passage. Mum bling excuses, fumbling with tissues, I looked up into the face of Dirk Coetzee 17 . There was no escape. After three days a nervous breakdow n was diagnosed and within two weeks the first human rights violation hearings began in East London. The months that have passed proved my premonition right ? reporting on the truth commission has indeed left most of us physically exhausted and mentally frayed. Because of language. Week after week, from one faceless building to the other, from one dusty godforsaken town to the other, the arteries of our past bleed their own peculiar rhythm, tone and image. One cannot get rid of it, Ever. It was crucial for me to have the voices of the victims on the news bulletin. To have the sound of ordinary people dominate the news. No South African should escape the process. ?Overwhelm ing trauma of the truth? 24 December 1996-9 January 1997: 10. In giving Krog this subs tantial amount of space in a newspaper to write in English an d to bring to his readers her particular experience of the Truth C ommission, Harber was enabling Krog to consolidate her m edia field capital as a practitioner. In the media field (and particularly in S outh Africa) while radio has re ach and facility (being easily affordable by millions) and TV has econom ic power, political value and reach, serious newspapers, the original news mass medium, still have the cultural capital of being the pre-em inent vehicle for journalist s. To prove one can write, at length, knowledgeably and with authority, remains a high mark of media field cultural capital. Harber also gave Krog the entr?e to a new public, in the English language and 17 One of the perpetrators of apartheid atrocities. Coetzee m ade a full confession of hit squad activities. Journalist Jacques Pauw used Coetzee as a n informant to expose the apartheid government?s third-force destabilisation activities in the early 199 0 s for Vrye Weekbl ad. See h is books In to th e Heart o f Da rkne ss: t h e Story of Apa rth eid?s Killers (1 997 ) and Da nces with Devils: A Jou rnalist?s S e arch for Truth (20 07) . 163 to a newspaper readership with very high media field capital in South Africa at the time. In doing this Harber acted, in my estimation, as an important consecrator in Krog?s m edia field trajectory. And th e accolades followed: Krog received an award from the Foreign Correspondents? A ssociation for her features, showing that her media field capital had also been acclaimed by those international journalists working in the country. 3 . International non-fiction publishing But m ore interestingly the Mail&Guardian features attracted the attention of Stephen Johnson18 , managing director of Random House in South Africa. Johnson, was to also act as a consecrator in Krog?s trajecto ry, enabling her to take her hard-earned journalistic capital and to affi x to it her value and distinctiveness as a poet and to use both to produce a book of non-fiction which would be distributed internationally, setting Krog on a journey to becom e the representative South Africa taking this country?s uniquely peaceful political transition to the world. Johnson?s motive was to find a South African book for Random House to ?bring to its rich international list ? ?the South A frican flavour?? 19 . As a result of reading the Mail&Guardian articles which showed Krog?s direct engagem ent with the process as an implicated, white, Afrikaans-s peaking Sou th African and as a beneficiary of apartheid, Johnson approached Krog and persuaded her to work these writings and the reporting materials into a book. Krog was reluctant to write a book and reluctant to work in E nglish20 . As a result Johnson hired author Ivan Vladislavic 21 to edit Krog? s reportage filtered empathically through her personal account and in 1998 Country of My Skull, a hybrid blend of reportage, memoir, fiction and poetry, was published to enormous acclaim. Its initial print run was 15 000 which indi cates the confidence Random House placed in its reception22 . Country of My Skull had an immediate and powerful impact. It was 18 Personal communication with Step hen Johnson 19 Au gust 2 004 . 19 B ooks page editor for the Sunday I ndepe nde nt Maur een Isaacson commented in 19 98 on the imminent publication of of Country of My Skull, by saying, ?t he publication is part of R andom House So uth Af rica?s drive to bring to its rich international list what M D St ephen Johnson calls ? the S outh Af rican flavour??. Sunday In dep e nden t 8 Febr uary 199 8 : 20 . 20 See th e Envo i to the book where she says: ?H ow do I thank a publisher who refused to take no for an answer when I said, ?N o, I don?t want to write a book about the Truth C ommission?, stuck with me when I said, ?N o, I can? t write a book,? and also , ?I d are not write a book?; and was still there when I came around to saying, ?I have to write a book, otherwise I? ll go crazy? ? ( 199 8 : 28 0) . 21 Personal communication with Step hen Johnson 19 Au gust 2 004 . 22 T h e Star To night 31 A ugust 1 998 : 6-7 . 164 widely reviewed by English and Afrikaan s newspapers and magazines and it drew substantial attention internationally23 . The authority to write Despite the fact that thousands of new voices of testimony had entered the public space to be heard for the first time, and many hundreds of other journ alists had also reported on the TRC, it was the voice of Krog that was seized on by the publisher to speak on behalf of this experience, and for all South African s involved in this process. What is the political economy of such a decision? Gillian W hitlock remarks that the commission?s granting of authority f or the previously silenced to speak is not a carte blanche opening up of the public space nor can it be an assumption for them of hearing in public which is now assured. These voices are carefully orchestrated by such commissions and the texts that issue from them. She notes: Access to the public is provisional, carefully negotiated, and strategic. The circulation of these narratives is almost always tied to larger imperatives of interracial debates and campaigns, not just at the tim e of origin, but also in the context of when and where they re-em erge with renewed force, as they tend to do. The narrative structure, and most specifically, the narrator and the editor, write with a sense of the production of truth and authority in autobiography. Let?s be clear about that: thes e texts must authorise the narrator, and must offer clear signals on how the narrative is to be read and what constitutes its truth to be witnesses by a believing reader in an appropriate way ? what I have earlier called an appropriate ethical responsiveness. These texts maneuver for their public, and the story they tell needs to be read in terms of a particular culture and particular readerships. What must be told to, and what will be heard by these readerships is limited, and negotiated with care. The occasion requires ?tru th?, a cu lturally specific and appropriate presentation of subjectivity and experience? (2001: 208). She goes on: The memoir is a genre for those who are authorised and who have acquired cultural legitimacy and influence? m emoir is the prerogative of those who possess cultural capital, and it follows that the place of the memoirist in culture is quite ?other? to that of those who testify (2007: 20). Krog had been m ade head of the TRC team without serving a traditional apprenticeship within the genre of hard news journalism and Krog had been seized on by the publisher to frame an autobiographic response to the stories coming out of the 23 See Ap pendix G f or a list of reviews, interviews and excerpts relating to the media coverage of the publication of Country of My Skull. 165 commission. These choices were made on her already existing cultural capital. And this Krog had in abundance ? as an awar d-winning, and high-selling, poet and as a dissident Afrikaner who had attained the st atus in the South African m edia of an important newsmaker and agenda-setter. Plus her new status in the media field as a news journalist h ad been acclaimed for important and distinctiveness of production. Krog?s work in the literary field a llowed her to accumulate significant cultural capital (as an ex cellent and acclaimed poet in her field) and economic capital (as a high- selling poet and valuable asset for publishers), and therefore s ymbolic capital as a literary figure in South Africa. And because of her forays into the political field (som e informal and personal, some more overtly on the public stage) she also had political credentials and the acclaim of political actors now extremely important as leaders in the shift to democracy. Her work in the news media had given her the media field?s cultural capital and its economic capital, given the reach of the SABC radio stations and the significance of the public broadcaster to the politial change in the country. But also Krog th e newsmaker, the agenda-set ter, has become even more newsworthy because of her witnessing and making public her own experiences of the TRC. This translated into symbolic capital as an expert-witn ess of one of South Africa?s signature transitional events. This accumulated capital on three fronts made Krog an ideal choice for a publisher as the representative writer for this project. As W hitlock says ?m emoir is traditionally the prerogative of the literate elite; alternatively, the testimony is the means by which the disempowered experience enters the record, although not necessarily under conditions of their choosing? (2007 : 132). In such a case as this ? even as the memoir is serving the function of allowing the testimony of the disenfranchised into public for the first time officially ? Krog was the authorised author. Whitlock points out that very seldom do the actual people who appear before commissions get to speak directly for themselves through vehicles other than the live hearings. A nd if they do, and because they have no cultural capital, they are framed, narrated, and ?surrounded by authenticating documentation? (2001: 208). They can attain status as narrators only through those with authority who mediate them to us. Indigenous/First Nations/ Black testimony alm ost always circulates in networks that are beyond the control of their narrators and minority communities. In marginalia ? of editors, collaborators, and writers of 166 prefaces and appendices ? the circul ation of testimony is carefully controlled in the public domain (2004: 23). It is interesting that having chosen Kr og with her symbolic capital to be the representative voice on the South Af rican TRC, that she he rself was then positioned by Stephen Johnson for an international public, whose attention he wanted to attract, as a very ordinary South African. This wa s done using the same kind of ?m arginalia?, which is usually employed for the unknown testimony givers. In the peritexts (those framing devices within the book, see Genette 1997) In the 1998 edition publisher?s note Johnson commended Krog to an internat ional audience by situating her not as a poet with the highest of literary capital, but as a very ordinary ?living South African? struggling, suffering and forging a future with other South Africans. But in the epitexts (those on the outside of the book) Krog?s cultural capital is foregrounded in her published volumes and prizes won. So th e first edition of the book was being used as an important test of whether Krog ? position ed both as an author of substantial, but South African-based, cu ltural capital and as an ordinary South African ? would be read locally and taken up internationally. Johnson?s ga mble on the ?South African flavour? of Country of My Skull, and the positioning of Krog as sim ultaneously authorised and ordinary, proved to be a shrewd assessment of the trends in international publishing and of the desire world-wide for a life narrative based in a major event garner ing publicity and interest internationally. The reaction to Country of My Skull Krog?s harn essing of her poetic and journali stic skills to produce an unusual hybrid- genre book, were remarked upon as having served the subject m atter well: Nadine Gordim er commented: Here is the extraordinary reportage of one who, eyes staring into the filthiest places of atrocity, poet' s searing tongue speaking of them, is not afraid to go too far. Antjie Krog br eaks all the rules of dispassionate recounts, the restraints of ?decen t? pr ose, because this is where the truth might be reached and reconciliation with it is posited like a bewildered angel thrust down into hell24 . And Des mond Tutu said: Antjie Krog writes with the sensitiv ity of a poet and the clarity of a journalist? it is a b eautiful and powerful book25 . 24 These comments from http:// search.barnesandnoble.com/ C ountry-of-My-Sku ll/An tj ie- K rog/ e/ 9 780 812 931 297 #TA B S accessed 19 Decem ber 2008. 25 From the Barnes&Nob le website. 167 Her act of hosting the victims and perpetrators of the TRC between the covers of the book was also picked up for comment, notably by Publishers Week ly (1999) which noted that the book: gave voice to the anguished, often eloquent stories of numerous victims of apartheid? [and] it put faces on s tealthy killers and torturers seeking amnesty26 . Anthony Sampson, for mer Drum editor and biographer of Mandela, said of the book in Litera ry Review : Antjie Krog gives us a v ivid answer in this strange and haunting account of the hearings... the power of this passionate and original book comes from its ability to describe universal human horrors which are not distinctively Af rikaner or Af rican: to throw light on the nightmare world in which quite ordinary and boring people are transformed into practitioners of terror and counter-terror? 27 Barbara Trapido writing in the London Sunday Times said: ?The book... is wonderful. Few could have done Krog' s job without reso rting to nervous breakdown and to have written the book is heroic? 28 . In the next two years the book garnered the following awards for Krog: the Sunday Times Alan Paton Award (shared with Stephen Clingm an for Bram Fischer: Afrikaner Revolutiona ry); the BookData/South African Booksel lers? B ook of the Year prize; the Hiroshima Foundation A ward (shared with act or John Kani) and the Olive Schreiner Award for the best work of prose published betw een 1998 and 2000. Country of My Skull received an honourable mention in the 1999 Nom a Awards for Publishing in Africa and it also appears on the list as one of ?Africa?s 100 Best Books of the Twentieth C entury? 29 . As a result of the publication of Country of My Skull and her extraordinary literary enactment of bearing witness and of confession, Krog became in ternationally known as a writer profoundly engaged with the events and human drama uncovered by the TRC and her voice was read as that of an e xpert witness of trauma, forgiveness, and the means by which the horrors of the past may be ameliorated. In addition to being called upon as a journalist in South Africa with specialist knowledge to write press 26 From the Barnes&Nob le website. 27 From the Barnes&Nob le website. 28 From the Barnes&Nob le website. 29 See http://www.co lumbia.edu/ cu/lweb /ind iv/ africa/cu vl/Afbk s.html accessed 23 December 2008. 168 articles about situations arising from the TRC (for example, a piece in the Sunday Times on Gideon Niewoudt, im plicated in the murders of Steve Biko and Siphiwo Mtim kulu30 ), Krog?s TRC expert status was give n further international exposure by journalists who invited her to talk on BBC current affairs programm es, for Radio Hilversum in the Nethe rlands, and in media programmes in Belgium , Austra lia, New Zealand and Canada. Several Am erican documentaries on the TRC and South Africa were made interviewing Krog. Krog also becam e an international resource, invited to speak for the South Af rican transition and into other similar situations, such as the talk she gave on the success of the TRC at the Chile/So uth Africa confer ence on globalisation and South/South Co- operation held in Santiago, Chile in Nove mber 2001 31 , in Sarajevo in 2005, she gave a lecture on ?Forgiveness in the South Afri can TRC? followed by a panel discussion with local inhabitants and she was part of a delegation briefing the newly-appointed Liberia Truth Comm ission in 2006. There were multiple other requests to speak about the South African TRC experience, among th em: she gave the keynote speech at the World Bank?s conference on ?W omen and Violence? in W ashington in 1 998; in Rwanda she led the English session at a conference on ?W riting as a Duty of Mem ory? in June 2000; in Cologne she gave a paper on ?W holeness as part of forgiveness in the TRC process? in 2005; and in the Hague the same year she was part of a panel on language addressing Q ueen B eatrix at her palace; in 2006 in New York she delivered ?Interconnectedness, mem ory and wholeness? to the Congregation B' nai Jeshurun and parcipated in a panel discussion about memory in a seminar organised by the Lower Manhatten Cultural Council. Country of My Skull is prescribed at universities as essential reading for students studying South African hist ory or issues of dealing with the past. At Ohio University it is prescribed in History 342B/542B fo r the course ?South Africa since 1899?. In this case it is the only book for the section ?The transition and the New South Africa 1989-2000? and at Brandeis University Krog l ectured and was read as part of the course ?Mass violence and lit erature: an international perspective?. She has given 30 ?Em barassed by forgiveness? by Ant j ie K rog. Th e Su nday Tim e s 29 February 200 4 : 21 . 31 Th e Sun day Ind e p e nden t carried an edited version of her talk ?Heal ing stream that petered out too soon? 2 D ecember 2 001 . 169 lectures on aspects of the Truth and R econcilation Comm ission at the University of London, the University of Glasgow, the uni versities of Essen and Dortm und in Germ any, the University of Utrecht and at the Netherlands In stitute for S outhern Africa in Am sterdam, the universities of Bishops, Concordia, McGill, Carleton and Toronto in Canada, New York Un iversity and at Bard College. Her value as a poet and writer has been greatly enhanced by the acclaim accorded Country of My Skull and by the new international public in English which the book has brought her. Invitations to speak at international poetry festivals and at gatherings of writers have accelerated with Kro g being invited by the M alian Minister of Culture to be one of 10 poets on the La Caravane de le Po?sie which retraced the slave rou te from Gor?e Island back to Tim buktu in 1999; participating in the 1999 Zimbabwe Book Fair (giving the keynote ta lk on ? Women to the fore?); in the Barcelona Poetry Festival in 2001; and in 2004 being keynot e speaker at Winternachten Literature Festival in Den Haag; giving a keynote spee ch in defence of poetry at the Poetry International Festival in Rotterdam ; the keynote speech at the Berlin Literature festival and being invited by the Roc kefeller Foundation to be resident in writing at Bellagio in Italy. In 2005 she pa rticipated in a poetry festival in Indonesia as part of former Dutch colonial group visiting Djakarta, Bandung and Lam pung performing with local poets; she opened a poetry festival in Colom bia and did readings in Bogota, Medillin an d Kali; sh e read poetry at the Nige rian Arts Festival in Lagos and shared a panel with Nigerian jou rnalist Chr istina A nyanwu; she attended the poetry festival in Saint Nazaire Acte Sud in France and did a travelling poetry show with Tom Lanoye in Belgium and the Netherlands. In 2006 she participated in a literary festival in Vienna; the poetry festival HAI FA in Harare and did a writ er?s retreat at C ivitella, Umbertide in Italy. In 2008 she did a writi ng sabbatical in B erlin and spoke at the Akade mie der K?nste during a poetry festival. Back hom e she was a speaker at the Racism Conference in 2000, she co-ordinated and chaired the panel on art and the media at the Institute for Justice and Reconciliation?s ?TRC: Ten Years On? conference in Cape Town in 2006. W ith Kopano Ratele and Nosisi Mpolweni-Zantsi she pr esented ?Ndabethwa lilitye: language and culture in the testimony of one person before the TRC? at the Mem ory, Na rrative and Forgiveness conference at UCT in Novem ber 2006. In Septem ber 2008 Krog and Urvashi Butalia 170 spoke on a panel about ?Division an d memory: writing on p artition and the TRC? at the Indian-S A Shared Histories Festival at the Wits Orig ins C entre and in October 2008 she spoke at the TRC 10 th anniversary review conference organised by the Institute for Justice and Reconciliati on, the Foundation for Human Rights and the Desmond Tutu Peace C entre. Despite the fact that Krog had not served a traditional apprenticeship within the journalistic f ield, she had nevertheless converted her literary and political symbolic capital into currency which she took into that field. Using her distinctive poet subjec tivity she inflected her journ alism with a particular dimension of implicated and affected reporting. The acclaim demonstrated by journalists them selves with the the Pringle Prize for the TRC radio reports and the Foreign Correspondents? Award for the newspaper features, showed decisively that Krog had successfully negotiated the field, accumulating symbolic capital. This media field capital, plus an increase of symbolic capital attached to her own public persona (as an affect ed witness to the process of the TRC which was rem arked on and became a notable feature of her reportage), was then converted back again in to the literary world with the facilitation of the publisher. But this tim e, as a book author with international exposure, Krog was no longer operating at the avant garde pole of the field of cultural production or at the heteronomous pole of journalism , but in the section of the field in which both cultural and economic capital came together powerfully with the production of a non-fiction book. And the international exposure, and ne w public, amplified Krog?s status as a public figure in South Africa. I am going to spend some time now investigating the global context into which the book was published and to try to assess just w hy it was acclaimed as a seminal text on the TRC and why Krog herself has becom e the representative voice of this particular South African experience. The enabling global context The are four factors that enabled Kro g?s account of the TRC to find an international public of not just sym pathetic readers, scholars of trauma and the writing of atrocity, but also those influential internationally in politics and in dealing with such events and their impacts. 171 1. ?Truth? commissions world-wide Within the last four decades ?truth? comm issions have sprung up all over the world as the preferred mechanism to effect political change in situations of political impasse and to deal with pasts characterised by atrocity, injustice and exclusion 32 . While these commissions vary greatly in the degree and types of ?truth? being elicited, their openness to public scrutiny, their terms of reference and their intent, there is no doubt that this trend internationally is evidence of what Priscilla Hayner calls ?an expanding universe of official truth-s eeking? (2002: 255 Afterword). These inquiries have been provoked by the dissolution of states, the conclusion of wars, and the (re)integration into citizens hip of dispossessed peoples, and have multiple purposes: resolution, justice, reconciliation, as we ll as the creation of new political and social entities. Globalisation is often characterised as the ?flow of goods? across the world, but it is very interesting that the idea of the ?truth comm ission? has taken such a hold internationally as a solution to political problems of a very fraught and complex nature. Focusing on this spate of commissions, hearings and public engagements around the world, Whitlock, says: 32 Si nce 19 7 1 ?t ruth? commissions, or tribunals or inquiries, have been held in Al bania, Ar gentina ( 198 3- 84) , Au stralia ( stolen aboriginal children 199 6- 97) , Ban gladesh (19 71) , B olivia (1 982 -4 ), B osnia-He rzeg ovina, B razi l ( 1 9 9 2 ) , B ulgaria ( 1 9 9 2 ), B urundi ( 1 9 9 5 - 9 6 ) , C ambodia, C anada ( on aboriginal peoples 1991-9 6), Chad (1991-92), C hile (1990-91), Czech Re public (1991), East Tim or ( 200 2) , Ecu ador (1 996 -97 ) , Eth iopia (19 93 on going) , El Salv ador (1 992 -9 3) , G ermany ( 1 992 -94 ) , Gh ana (1 993 -94 ) , Gu atemala (199 7-99), Gu inea, Haiti (1 995 -96 ) , Honduras (1 993 ), Israel (198 3), Kos ovo ( 2 00 0) , Li beria ( 2 00 6 ) , M alawi ( 1 9 9 4 ) , M exico (1 9 9 2 ) , M orocco, Nepal ( 1 9 9 0 - 9 1 ) , Ni caragua ( 199 2) , N iger (1 992 -93 ) , N igeria (1 999 -20 00) , N orthern Ireland (19 9 7 - 98 ), Pan ama ( 200 1) , Peru ( 200 2) , Poland (1 992 ) , Rw anda ( 199 3) , R omania ( 199 2) , Serb ia and M ontenegro, Sierra Leon e ( 200 0- 2 001 ), Sou th Africa (199 5-200 0, n ote: two commissions of inquiry were held into ANC activities in military camps in exile (1 992 and 199 3) before the TRC go t underway) , Sou th Ko rea, Sr i Lank a (19 94- 9 7 ) , Sud an ( 199 2-9 4 ) , Thailand (19 9 2 ) , Togo ( 199 2) , Uganda ( 197 4, 1 986- 95 ), U nited St ates ( into wartime relocation and internment of citizens 1 9 8 1 - 2 and into radiation experiments 19 94 - 9 5 ) , Uruguay ( 198 5) , Y ugoslavia (2 001 ) and Zimb abwe (1 985 ) . The latest of these is a Truth and Reco nciliation Co mmission established in Can ada on 1 June 20 08 . Its focus is the abuse and mistreatment of Abori ginal children who were taken from their families and placed in the Indian Resid ential Sch ool system, a system which endured until 19 96 . Group s and individuals in Afg hanistan, An gola, C olombia, C roatia, Indonesia, Jamaica, Ke nya, M exico, Philippines, Uganda, Venez uela, and Zim babwe have since called for new truth commissions. C ommissions have also been called for into ?v iolence against women? internationally (by th e Fullbright New Cen tury Scho lars on the Glob al Em powerment of Women Working G roup) and into the ?impact of t he nuclear cycle? (by the Women?s International L eague for Peace and Freedom). F rom: Hayner ( 2 00 2 ) ; www.usip.org/lib rary/tru th.html# tc accessed 7 December 2006 a nd www.gmu.edu/academ ic/pcs/LERCHE 7 1PCS.htm l accessed 14 Novem ber 2007. 172 Testimonial forms of autobiographical expression elicited by Comm issions of Inquiry are at the forefront of debates about race and identity, most particularly in thinking about the role of the State in the politics of race and reconciliation. The meaning of reconciliation as a strategy, policy, and ethics, is being shaped as a global politics, albeit one which finds quite different local formations and expressions. Testimony is at the heart of this struggle (2001: 201). The South African Truth and Reconci liation Comm ission (1995-2000 ) was following an already very-established tre nd, but nevertheless is still hailed as remarkable for its significant differences from other such commissions. Calling it ? illustrative? Hayner remarks: The commission?s em powering act provided the most complex and sophisticated mandate for any truth commission to date, with carefully balanced powers and an extensive investigatory reach. Written in precise legal language and running to over twenty single-spaced p ages, the act gave the commission power to grant individualised amnesty, search premises and seize evidence, subpoena witnesses, and run a sophisticated witness-protection pr ogramme. With a staff of three hundred, a budget of some $18 m illion each year for two-and-a-half years, and four large offices around the country, the commission dwarfed previous truth commissions in its size an d reach (200 2: 41). As Hayner (2002), Schaffer and Sm ith (2004), and Ignatieff (2001) show, the use of truth commissions worldwide is embedded in a human rights ?regim e of truth? (Foucault 1980: 133) 33 . Ignatieff says the idea of human rights is evidence of a ?juridical revolution? in thinking com ing out of the ?reordering? of the world politically since the end of World War 2. And this idea has undergone ?global diffusion? (2001:4), giving im petus (as Schaffe r and Sm ith point out) to struggles of many kinds not intended or even conceived of at the time by the Allied po wers who drafted the Universal Declaration of Human Rights in 1948. 2. The rise of confession One of the most insightful contributions made by Foucault towards an understanding of the Western subject is hi s investigation into the extent to which confessional practices have long permeated the fabric of Western societies and their writings. In the introduction to T h e History of Sexuality in particular, he points out that confession has, since the Greco-Rom an period, been used to shape a particular type of self- disclosing, self-knowing hum an subject while at the same time being used to compile 33 ??T ruth? i s to be understood as a system or ordered procedures for the production, regulation, distribution, circulation and operation of statements.? 173 bodies of scientific knowledge about the human subject itself. ? We have become,? says Foucault, ?a singularly c onfessing society.? (1998a: 59). The confession has spread its effects far and wide. It plays a part in justice, m edicine, education, family relationships, and love relations. In the most ordinary affairs of everyday life, and in the most solemn rites; one confesses one?s crim es, one?s si ns, one?s thoughts and desires, one?s illnesses and troubles; on e goes about telling, with the greatest precision, whatever is most difficult to tell. On e confesses in public and in private, to one?s parents, one?s educators, on e?s doctor, to those one loves; one admits to oneself, in pleasure and in pain, things it would be impossible to tell anyone else, the things people write books about. One confesses or is forced to confess (1998a: 59). The rise of truth commissions world-wide has given new life to confession as a discourse, which is now being harnessed not just in the personal sphere, where Foucault demonstrates that it has long been one of the West?s m ost distinctive technologies of self, but, perhaps most vividly, now surfaces in the political and judicial spheres in order to probe and elicit the details about gross violations of human rights. Confession has become one of the public modalities used to establish and maintain the modern, human rights-inf ormed democratic enterprise by providing an ideal way to deal with many forms of political and social injustice. A second reason for the ascendancy of confe ssion in relation to the rise of truth commissions is that it allows the exercise of voice and expression to those previously denied them. Homi Bha bha sees this as a world-wide phenom enon coming out of the ?great social m ovements of our times ? dias poric, refugee, migrant?, and calls it the ?right to narrate? (in an in terview with Kerry Chance, 2001) . And, he says, this is not just an ?expressive right? but also an ?enunciatory right? (i e not just a right to speak but also a right to proclaim and therefore make claims), happening in a situation of ?jur isdictional unsettlement?, in a world in which the settled idea of nation and nationality are being complexified. In the case of South Af rica, the Cons titutional and legislative procedures underpinning the TRC enshrined as the new South African citizen, the hum an subject entirely recognisable in the confessional mode of self-construction. According to Deborah Posel: ?A particular kind of faith in the production of selfhood is at the heart 174 of the South Af rican Constitu tion? 34 . Posel?s argu ment is that the TRC becam e the ?first vector? of the proj ect to reconstitute the Sout h African self through the Constitu tional provision that every single South Af rican has the right to speak. The mutuality of damage and the shared need to be healed gives access to a shared community and a shared humanity predicated on the shared experience of pain (2005). And the confessional m ode also contains the potential to recreate social entities. Dealing decisively with its shameful past via a commission has not only allowed South Af rica to rejoin a n international community politically but also to enter the ?global community of suffering? which lead s to mutual humanity?. Posel rem arks that the usual notion of the person which underlies liberal democracy is the rational, deliberative subject. But the TRC, and the many processes like it around the world, have consolidated the ?emotional, af fective, damaged? subject of the confessional as another important type, not only nationally, but globally. In South Africa, the confessional form, as Susan van Zanten Gallagher points out, has both a long history and a new dimension: ?the confessional m ode is a prevalent form ? appearing in texts from both the apartheid age (1948-1990 ) and the post-apartheid period. In the 1990s, with the unfolding dram a of the Truth and Reconciliation hearings, confessions and confessional literature proved a particularly appropriate mode for a society struggling to carve out a new national identity based not on race but on geography? confessional discourse provides a way of articulating these moral claims (2002: xx). Returning to the roots of confession in th e Christian church, Gallagher points to the fact that traditionally confession involved not only the admission of sin, error and guilt, but also the acknowledgement or declaration ?that somethi ng is so? (2002: 3), as expressed in the ?confessing of the faith?. In church tradition confession is also, very importantly, used as a means of returning the one who confesses to the community of the faithful. Confession ? both adm ission and testimony ? provides both the act of signature and the necessary witness that contributes to the formation of the communal yet individual self. In theological terms, what confession entails is less a renunciation of the self than a decentering and subsequent recentering of the self with the community of faith? (2002: 29). 34 My n otes from the verbal presentation on 18 O ctober 2005 at the Wits Institute for So cial and Eco nomic R esearch, University of the Witwatersrand, Johannesburg. 175 Thus the power of the confessional mode in situations where the reconstruction of a social entity is critical for the resolution of a fractured past. A nd while the reconstruction of social and political bodies as a result of commissions of inquiry usually takes place within national boundaries, these new bodies ? as Po sel has alerted us ? bear the m arks of suffering and so have characteristics in common with all those Oth ers across the world caught in similar processes. 3. The ?transnationalis ing? of the public sphere In her recent work Nancy Fraser has turned her attention to the likelihood that the public sphere (as th e national arena where ordinary citizens hold political power accountable via shared information and the formation of opinions) has begun to operate beyond state boundaries. Fraser?s recog nition of the ?new salien ce of globalisation? and the ?new grammar of po litical claims- making? (2007: 74) has led her to examine whether the idea of the public sphere is now ?overflow(ing) the bounds of both nations and states? (2007: 7). Detecting that there is burgeoning and commonplace talk of a multiplicity of public spheres, Fraser considers the notion of a transnational public sphere ?indispensab le? for understanding, and reconstructing, democratic theory for the present state of the world. For my purposes, it is key to note that ?globa lisation? , as evidenced in communication flows and circulations of texts and their publics (as in Wa rner 2002), m eans that the three components I have discussed above, are all taking place within an arena that transcends the nation- state. In this arena the movement of information and the cohesion around issues has the facility to bind people all over the world together as transnational citizens concerned about global issues affecting all human beings. The rise of what are now being called ?new social move ments? across the globe in response to the factors pointed out by Bhabha above, is an indication that: A broader grammar of governance has thus em erged, once that has extended the vocabulary of citizenship both within the nation-state and outside it (Randeria 2007: 39). To give an example which points to the functioning of a transnational public sphere and a wider sense of implicated citizenship: in his study about TV as a m edium that conveys evidence of human suffering across borders, Luc Boltanski (1999) shows that ?reflexive m odern subjects are both immediately morally obliged and emotionally bound to act to relieve suffering that we witness? (in the words of Kate 176 Nash 2007: 54). These ?reflexive m odern subjects? are those people who identify as fellow humans across national boundaries and who use transnational public spheres to chrystallise the salience of events and issues with which to become involved. According to Boltanski, the m odern subjec t who witnesses ( mediated) suffering is reflexive and therefore both capable of, and required to, justify their understa nding of what they have seen, how they feel about it and how they intend to respond to it? Boltanski?s understanding of the possibilities of entering into social dialogue is very similar to Habermas? in this respect. Modern s ubjects attr ibute reflexivity to each other, so creating a communicative space for potential partners in dialogue who are able to justify their b eliefs, values and actions to each other, and to reach consensus on how to proceed (Nash 2007: 55). 4 . The burgeoning market for ?life-n arrative? Num erous literary theorists point to a coincidental, detectable shift in the publishing industry world-wide: the rise of non-ficti on as a category and the noticeable eagerness for consuming autobiographical works, especially of the confessional or testimonial kind. Schaffer and Sm ith say: The last decades of the twentieth century witnessed the unprecedented rise in genres of life writing, narratives published primarily in the West but circulated widely around the globe. This ?m emoir boom? has certainly occurred in English-speak ing countries, from Australia to Jamaica, from England to South Africa, in European countries, especially France and G ermany (2004: 1). They quote Leigh Gilmore (2001) as noti ng that the number of books published in English and labelled as ?autobiography or memoir? tripled from the 1940s to the 1990s (2004: 21). It is important to also note that there exist vast markets now supporting the global commodification of non-fiction and autobiographical narratives. Life narratives are ?salab le properties in today?s m arkets? , Schaffer and Sm ith remark, pointing to ?increasing education, disposable incom e, and leisure time of the post-World W ar II generations in Western democratic nations and pockets of modernities elsewhere around the globe? (2004: 11). And alongside th e voraciousness of the market and the proliferation of the belief in the ?individua l and the individual?s unique story? (2004: 11), there is also th e fact that many of these stories, told by the West?s Others, do make visible the claims of the disenfranchised, and ?enable victim s to speak truth to power? (2004: 19). 177 These four globalised situations corresponded with an exemplary local situation and context (as in the form of the South Af rican Truth and Reconciliation Commission); a publisher/publishing house connected to global flows of information and global markets, seeking out a local publication to make the fit; and an individu al who had the facility to experience, embody, speak and write about trauma and transition. Although I have distinguished th ese four factors (the rise of ?truth? comm issions, the increased use of confessional, the expanding market for life narratives, and the transnationalising of the public sphere and implicatedness in issues beyond state borders) from each other, they are com pletely interwoven as causes and effects of each other. As Schaffer and Sm ith say: The rise in the popularity of published life narratives has taken place in the midst of global transformations, both cataclysmic and gradual, that have occurred in the decades since the end of World War II? these geopolitical and temporal transformations form not so much a backdrop, but rather a fractured web of intersecting geographic, historical, and cultural contingencies out of which personal narratives have emerged and within which they are produced, received and circulated, These global transformations have spurred developments in the field of human rights as well, developments that demand, for their recognition in the international community, multiple forms of remembrance of and witnessing to abuse (2004: 1). However powerful these four factors pertaining globally, plus the intervention of a canny publisher, might have been in facilitating Krog?s entry onto an international stage, and however much the ?field? m ight have authored the ?au thor? (in Bourdieu?s words) the other im portant factor is that Krog produced a highly-unusual and extraordinary account of the TRC process which was not simply reportage and not simply non-fiction. My contention in this st udy is that Krog had taken very seriously the responsibility to craft a position from which to speak in relation to South Africa?s Others whic h did not obliterate or claim a position of silencing those Othe rs. I have shown in chapter three how she worked to craft a distinctiveness of voice, which in the literary field could be singled out as her idiolect, and I have shown in chapter four how she modified that voice (both through he r poetry and her political practice) to ?self - other?, to shift the writerly self into different positions from which to see and engage with South Africa of that time. No w, I argue, in this chapter she takes her experimentation in the TRC reporting and th e book account even further in relation to 178 the new voices of testimony she witnessed for the first time. This position I am going to call, after Gillian Whitlock, the ?second person perform ance? as it is no t only a shift of position which is noticeably pronounced but also, importantly, a performance, and in public. [Subjectivity] The second-person performance Beloved, do not die. Do not dare die! I, the survivor, I wrap you in words so that the future inherits you. I snatch you from the death of forgetfulne s s. I te ll your story, complete your ending ? you who once whispered beside m e in the dark. Antjie Krog 1998: 27. The encounter with ?amaz ing otherness? In an interview she did with me in 1998 for Rhodes Journalism Review shortly after the book?s publication, Krog sa id she was intrigued in her TRC reporting with the ?am azing otherness of where they [the tes tifiers at the TRC] have been and how they?ve d ealt with it? 35 . Writing, in the face of actrocity, is a complex decision, and writing the atrocious experiences of others, even more complicated. To make beautiful in words the atrocities of experience, is a travesty, as Adorno pointed out in his statement made famous by overuse (and often m isinterpretation) 36 . Paul Celan the poet and Holocaust survivor, asked that his ?Fugue of Death? not be published further because the writing was ?too ly rical? and ?too beautiful? (Sande rs 2000: 13 and see Krog 1998: 237). But as Sanders points out , Krog?s decision to comm it her TRC experiences and the words of the TRC testif iers to paper is a decision of ?being host to their words? (2000: 14), of not allowing t hose already silenced to be further lost to record because of their lack of facility and vehicles for representation. Sanders considers this aspect of both Country of My Skull and the official TRC Report. As for mulated by Krog, the question of poetry, or literature, after apartheid concerns less an excess of lyricism or beauty, from which its creator stands back, than a writer?s f acilitation of the utterance of others. If the question of literature after apartheid is a question of advocacy, of its dynamics and ethics, then the Comm ission shares a set of concerns and conditions of possibility with literary works. In interpreting its public hearings as occasions for advocacy, the C ommission reveals that 35 ?In side An tj ie?s h ead? by Anthea Ga rman R h odes Jour nalis m Review N o 16 , July 1 9 98: 27 . 36 The phrase ? To write a poem after Ausc hwitz is barb aric? appears in the conclusion to ? A n Essay on Cu ltural Criticism and So ciety? Prisms (tra ns. Sam uel and S hierry Weber) . Cam bridge, M ass: M IT Press, 1 9 67: 3 4 . A dorno wrote it in 1 9 4 9 for a festschrift. 179 the structures of identification and substitution, on which it relies when it solicits the testimony of victims, are as integral to its own operations as they are to a literary work. Krog?s book m akes itself host to testimony in ways that allow us to understand how this is the case, and even how even lyric poetry, in a sense ignored by the Adornian principle, is able to display this joint partaking (2000: 14). Sanders calls Country of My Skull a ?hybrid work, written at the edges of reportage, memoir, and metafiction? (2000: 16). He says as supplement to the Comm ission?s official report: It does this by remarking and reflecting upon how, in the testimony of witnesses at the public hearings, truths are interlaced with acts of telling and questioning, which are, in turn, implicated in the intricate dynamics between questioner and teller. Country of My Skull mimes such elements by relating its authors?s own attem pts to find an interlocutor, an addressee, an other for whom her story will cohere. Written from a position of acknowledged and troubling historical complicity ? its dedication reads ?For every victim who had an Afrikaner surnam e on her lips? ? Krog?s book does not clai m any facile identification with victims who testify (2000: 16). In this book, one sees Krog again in search of an interlocutor, again to negotiate an ?era of horror? (th is time the evocation of the past of atrocity). But in cho osing to not only report (and therefore stand procedurally outside the process) but also witness the TRC testimonies, Krog is positioned (and pos itioning herself) as a white, Afrikaans- speaking South African, as im plicated, as complicit, and as a beneficiary of apartheid. She is also dealing with thousands of voices who have been given the official platform by the commission and its backing legislation to legitimately speak for themselves, saying ?I? in public for the firs t time, recognised as having the right to make claims that were once denied. She is crafting a subjectivity in order to respond ethically to ?am azing otherness?. As Sande rs points out, her relationship to these testifiers is not a facile one of claiming and using their testimony. And in order to explain this relationship I turn to Austra lian literary theorist Gillian W hitlock for insight. The first-person, second-person transaction Whitlock, whose interest has been focused on the Stolen Children issu e in Australia and who has surveyed the use of commissions world-wide, says that the silenced people who speak at these hearings take on the authority and position of the ?first person? (using a grammatical m etaphor) and force the hearer (and very often the 180 enfranchised, empowered and usually complicit) into th e listening position of the ?second person? who must respond ethically and satisfactorily: The presence of the first and the second person, the narrator and the witness, is vital to the narrative exchange established through testimonial speaking and writing (2001: 199). Whitlock?s interes t is in the person who is placed ?in th is textual economy as the second person?, the addressee, the recipi ent (2001: 199-200). The burden now placed on this second person is to become a witness37 who ?affirm s the experience and trauma of the first person?, who ?r eflect(s) upon the se lf, upon his/her own responsibility and implication in the events being narrated by a traumatised subject? (2001: 200). She comme nts that in this transaction the burden of shame shifts to the listener and by extension to the dominant culture. In response ?the politics of reconciliation comes into play? as a quite sp ecific discursive framework, as a personal and collective strategy which recognises the complex dynamics of this shaming as a catharsis? (2001: 200). The politics of reconciliation as it is currently emerging in Africa, Australia an d North America requ ires in the second person a subjective identification, contrition, introspection, and finally a change of heart (2001: 210). While Krog?s brand of reportage for the SA BC ra dio channels, was remarkable in its breaching the constraints of journalis m (f or example the strong prohibition on saying ?I? as a journalist), it beco mes evident why the book she subsequently wrote is the better textual vehicle for such an important transaction. Calling Krog?s Country of My Skull ?a brilliant au tobiography of the second person?, W hitlock says: ?the fragments of traum atic memory spoken by victims to the South African Truth and Reconciliation Co mmission are braided together with Krog?s autobiographical narrative. K rog struggles to get the relationship between these narratives right. L ike Carm el Bird 38 , Krog too produces her book as an apology and as a recognition of complicity (20 01: 210). But says W hitlock: ?? these testimonies are profoundly disturbing to dominant ways of thinking about history, identity and race? ? (2001: 198 ). She goes on: 37 ?W itness? is one of those ambiguous words that can mean, in such a context, either someone giving their own testimony or someone listening to that testimony, ie a first person or a second person. 38 19 98 T h e Stolen C h ildren : T h ei r Storie s, also published by R andom House. 181 What they can tell in the first person, and what we will hear as the second person, are always sharply circumscribed, one by the other. Both telling and listening are performative (2001: 209). While asserting with Whitlock that in Country of My Skull we can see Krog adopting a further modification of her subject positi on as responsive to the Others of South Africa, the s econd-perso n listening position, there is also evidence that this positionality has facets and allows Krog also to manoeuvre from one facet to another as we saw in Driver?s analysis of Anne Barnard?s writing subjectiv ity in chapter four. This position also allows Krog as a writer, and someone who works with language as a meaning-m aking mechanism, to explore with factual material sourced in journalism some of literature?s m ajor pre-o ccupations. 1 . Saying ?I?, hearing ?I? At Tzaneen a young Tswana interprete r is interviewed. He holds on to the table top, his other hand moves restlessly in his lap. ?I t is difficult to interpret victim hearings,? he says , ?b ecause you use the first person all the time. I have no distance when I say ?I?? it runs through m e with I? (1998: 129). Consciousness of self is only possible if it is experienced by contrast. I use I only when I am speaking to someone who will be a you in my address. It is this condition of dialogue that is constitutive of p erson , for it implies that reciprocally I becomes you in the address of the one who in his turn designates himself as I . Here we see a principle, whose consequences are to spread out in all directions. L anguage is possible only because each speaker sets himself up as a subject by referring to himself as I in his discourse. Becaus e of this, I posits another person, the one who, being, as he is, completely exterior to ?m e?, becomes m y echo to whom I say you and who says you to me. This polarity of persons is the fundamental condition of language, of which the process of communication, in which we share, is only a mere pragmatic consequence. It is a polarity, moreover, very peculiar in itself, as it offers a type of opposition whose equivalent is encountered nowhere else outside of language. This polarity does not mean either equality or symmetry: ?ego? always has a position of transcendence with regard to you. Nevertheless, neither of the term s can be conceived of without the other; they are com plementary, although according to an ?interio r/ex terior? oppos ition, and, at the same time, they are reversible. If we seek a parallel to this, we will not find it. The condition of man in language is unique. And so the old antinom ies of ?I? and ?the othe r?, o f the individual and society, fall. (Benveniste 2000: 40-41). 182 Benveniste?s rooting of subjec tivity and agency in language and his insight that our use of the simple pronominal words to designate ourselves are always dialogical, relational and shifting, is a significant place to start unpicking the Krog text. In Country of My Skull Krog not only explicit ly performs the responses of the second- person listener, she also engages in the debates surrounding the seeking and telling of truth and the connections between language and extremities of experience and their implications for forgiveness, setting the past aside, the possibility of new nation and belonging. Krog?s im plicit understanding that the ability to speak for oneself is of utmost importance as a technique of recovery when violence has been used to obliterate that self, can be seen in the book. She refers on page 47 to those whose work she has drawn on and among the names is Elaine Scarry, author of the text T h e Body in Pain: The Making and Unmaking of the World (1985) . Scarry?s contention is that experiences of extreme pain and trauma render the sufferer wordless and so literally, pain takes away the language to speak itself. If language is the means humans use to grasp the world, then the world too is unmade for the sufferer, or to put in the reverse of Em ile Benveniste?s term s: if ?it is in and through language that m an constitutes himself as a subject? (m y italics 2000: 40), then the loss of language to speak one?s experience of pain is the terrible loss of oneself as a subject, as the ?I? of one?s own story, experience and life. For me, this crying is the beginning of the Truth Comm ission ? the signature tune, the definitive moment, the ultimate sound of what the process is about. She was wearing th is vivid orange-red dress, and she threw herself backwards and that sound ? that s ound ? it will h aunt me for ever and ever.? ? and to witness th at cry was to witness the destruction of language ? was to rea lise that to remember the past of this country is to be thrown back into a time before language. And to get that memory, to fix it in words, to capture it with the precise image, is to be present at the birth of language itself (Krog 1998:42). In the book Krog shows this unm aking in her interlocutors and in her self. But she also shows a making, the emergence of a book full of words, full of experience, of dialogue and interlocution as the TR C unfolds its hearings across the entire landscape of the country. To return to Sanders? idea about a ?joint partaking?, Krog has produced this book as record, testimony and confession but also advocacy and recognition that from here on, white S outh Africans can no longer speak for the Others who now occupy first-person positi on, they will have to negotiate their 183 speaking to and with (and for) those now legi slated into citizenship and into rights- making claims. 2. The beneficiary position Taking up the second-p erson listening position in relation to So uth Africa?s aparth eid history also means, with absolute logic, that if the second-person is white, then that race makes one also a beneficiary of apartheid, and therefore implicated in the atrocities being given words to. In Country of My Skull Krog does not shrink from this implication and positioning39 . The concern with the millions of normal South Africans, both black and white, also affected by apartheid permeates Country of My Skull. Just before midnight, six black youths walk into the Truth C ommission?s office in Cape Town. They insis t on filling out the forms and taking the oath. Their application simply says: Am nesty for Apathy. They had been having a normal Saturday evening jol in a shebeen when they started talking about the amnesty deadline and how millions of people had simply turned a blind eye to what was happening. It had been left to a few individuals to make the sacrifice for the freedom everyone enjoys today. ?And that?s when we decided to ask for amnesty because we had done nothing.? (Krog 1998:121-2 ). Critics of the Truth and Rec onciliation Comm ission have pointed out that one of its major failings was to focus alm ost to exclusion of all others on certain acts of extraordinary atrocity (torture, m urder) and to divide those appearing before it into the victim-perpetrator binary 40 . The hearings were divided into human rights violations hearings in which victims testified, and amnesty hearings in which the perpetrators came forward in what was required to be full disclosure of their politically-m otivated crimes. Tens of thousands of submissions were reduced to thousands in order to make the public appearances manageable. But in th e process, the all-pervasiveness of the apartheid system which made non-citizen s of millions, robbed them of rights, condemned them to sub-standard hous ing, education and opportunities while privileging an entire stratum of people because of the colour of their skin, received 39 Krog introduced herself decisively as ?a beneficiary of apartheid? at the special reconciliation event at the Nati onal Arts Festival in Grah amstown on 4 Ju ly 200 3. 40 See for example M amdani? s 20 0 0 critique cited by Sc haffer and Sm ith 20 06 and by Kr og 19 9 8 : 1 1 2 , and Mark Sander s? d iscussion of the acknowledgement within the TRC report that focusing on the ?ex ceptional perpetrator led to a ?fail[ure] t o recognise the ?little p erpetrator? in each of us?(20 02 : 3 ) . 184 little formal attention41 . The beneficiaries of apartheid, mostly white South A fricans, were treated as a ghostly cloud of witnesses vicariously participating through the media. The fact is, in reality, that those suffering from human rights abuses numbered in the tens of millions, not thousands. Mam dani (2000) points out that an investigation into how the system had impoverished millions by enriching millions should have been the focus of such a commission. While most commissions world-wide have confined themselves to dealing with extreme abuses of human rights they have also opened up the possibility that these abuses had structural roots and that entire societies are constructed in unjust and oppressive wa ys, but the avoidance of investigating the underpinnings of societies is kept in political check by those in power in case entire social and political systems unravel. Schaffer and Sm ith (2006a) point out that in Country of My Skull Krog ?enacts an ethics of reconciliation through claiming the position of beneficiary? . This positioning puts Krog the observer, listen er and witness into a position of complicity, and while she does at points identify with the perpetrators because of shared language and culture (s ee 1998: 96 ?th ey are as familiar as my brothers??), the fact is that the beneficiary position is a complex and uncomfortable place in which to be situated because it cannot be identified with one moment of human rights abuse which can be claimed, confessed and forgiven. It suggests that one?s entire life, as a white South African, is b uilt upon the denigration and oppression of others which has been centuries in the making. From the beneficiary position Krog speaks to o ther beneficiaries and implicates them ? her re aders ? in the discomfort of hearing and then having to respond to the testimonies by weighing up their own lives in these terms. Schaffer and Sm ith comment on this position, but also remark that Krog also uses a multiplicity of positions to craft her book: Throughout Country of My Skull, Krog is tenuou sly, and often multiply positioned: as a prof essional observer reporting on the historical event of the TRC; an inte rlocutor interpellated in the TR C?s specta cle of witnessing and its reconciliation process; an advo cate for the witnesses; a guilt-ridden Afrikaner prom pting other Afrikan ers to recognise their complicity in the violence of apartheid; and a white South A frican 41 When at some point in the hearings it became clear to the commissioners that such an individualising of atrocity was taking place ?i nstitutional hearings? were set up into specific social structures such as the media, the business world, the faith communities, the medical sector and the legal sector. See Vol ume 4 o f the TRC Re port at http://www.d oj .gov.za /trc/trc_fram eset.htm 185 desirous of finding a home for herself and, by implication, other beneficiaries of the past in a post-apartheid future? (2006b: 1579). As a journalist Krog (Samue l) could have chosen to operate solely from the ?objective? position of reportage m andated by professional practice which would have put her at a remove from the personal implications of the testimonies. By also adopting the beneficiary position Krog makes complex, and even undermines, the TRC?s binary of victim -perpetrator as the primary relation underpinning abuse of power, damage and forgiveness. This position also calls into question the one-to-one personal relationship demanded by confession in order for forgiveness to be sought and given. If millions are guilty and millions hold the power of forgiveness, how is that to be effected successfully except via holding to a belief in the hermeneutic value of vicarious participation which turns on feeling affect? But as Krog the au thor demonstrates through her literary enactment of confession, producing a work which not only documents a process faithfully but seeks also to allow others to understand and participate in the larger project of nati onal renewal and reconciliation is a difficult and complex task. As Whitlock po ints out, in responding to testimonies of atrocity a writer witness has to modulate her performance of culpability so as to be seen to act ethically and sincerely in response to the seriousness of the testimonies aired. The emphasis in such narratives, says Whitlock, is on the ?m aking of the ethical respondent? (2001: 205). The credibility of Krog?s perform ance of beneficiary culpability in Country of My Skull has been subjected to intense debate in reviews of the book both by academics and in the media. Meira Cook comments that ? Country of My Skull is a radically overdetermined narrative?. She says: ?her protestations of unworthine ss, self-indulgent guilt, and a frequently expressed ambivalence about the project that she has undertaken undermines our reliance on her objectivity as a w itness? her pain is represented in the fractured voice of her narrator, the jaggedness and angularity of her address, and the ambivalence with which she insists on her contingent position as interlocutor. At tim es forceful, even strident, at other times diffident, alternately addressing the reader directly and mediating her position through the reported speech of others, Krog ?s narrato r seems pathologically uncertain of her place in this text (2001: 77). This ?radical overdeterm ination? extends into Krog?s m ixing of genres and her melding, in particular, of the poetic with the journalistic with their two different 186 conventions of the factual, the experiential and indeed the emotional and affective. The sincerity and believability of Krog?s pe rformance of contrition and awareness of complicity is always at risk when she uses heavy-handed journalistic factual horror (a well-worn m edia technique for getting attention and conveying seriousness), as well as literary devices characterised by heightened affect. The paradox is that atrocities of this order should draw from a listener a requisite intensity of feeling and remorse. It is very important then that Krog find a register for her confession which rings true and is sincere and adequate to the complexity of the task; and f or the reader that the performance be judged as ethically sound. 3 . The assertion of the body ?This inside m e ? fights m y tongue. It is ? unshareable. It destroys ? words. Before he was blown up, they cut off his hands so he could not be fingerprinted ? So how do I say this? ? this terrible ? I want his hands back? (1998: 27). ?W hen I opened the door ? there was m y closest friend and comrade ? She was standing on the doorstep an d she screamed: ?My child, m y little Nom z amo is still in the house!? ? I stared at her ? my most beautiful friend ? her hair flam ing and her chest like a furnace ? she died a day later. I pulled out her baby from the burning house ? I put her on the grass ? only to find that her skin stayed behind on m y hands. She is with me here today? (1998: 27). ?They held m e ? they said, ?Please don?t go in there ?? I just skipped through their legs and went in ? I found Bheki ? he was in pieces ? he was hanging in pieces ? he was all over ? pieces of him and brain was scattered all around ? that was the end of Bheki ?? (1998: 28). We also learn quickly. B ulletin-wr iters and newsreaders squirm away from whatever is not fashionable or harmlessly clinical. For words like ?m enstruation? or ?pen is? there is no place on the news; a phrase such as ?they braaied m y child on a fire? is out of the question. We are told that the writer Rian Malan h as complained that he doesn?t want to m ix ?breakfast and blood? in the m orning? (How quickly our ow n language changes ? fantastic testimony, sexy s ubject, nice audible crying ?) (1998: 32). As we have seen in the previous two chap ters? in vestigation of Krog?s working with writer subjectiv ity and positioning, Krog has ne ver shied away from engagement with the body, and its messy situatedness. In Country of My Skull she is well-placed to take on the, at times, overwhelming and overtly graphic testimony of the victims. But again the modulating of her reaction to this material is very important. A ny hint that she is lapsing into overly graphic and salacious uses as the writer would undermine 187 her credibility as the second-person witness. Kro g uses her multiple writer positions to deal with this very tricky area, sometimes adopting objectiv e reporter position and putting the testimony in direct quotes, sometimes speaking as implicated beneficiary and reacting with powerful emotion directly to the hurt and ruin she sees. Asserting the value of writing and recording of such testimonial details, Ashleigh Harris remarks: It is precisely this transferring of the traumatic past from the individual?s body, to his/her speech, and finally to national discourse, that creates the cathartic potential of a nationally validated process such as the TRC. Within the discourses of the TRC individuals? narratives, and bodies, become traces to the broader national and historical trauma inflicted by the apartheid regime (2006 4 2 ). Harris calls the work that Krog does in Country of My Skull a ?shifting of traum a from the body of the victim to the realm of nationally validated speech?. It is important here to remember that in Warner?s study of public and mass subjectivity he rem arks that it is often the cataclysmic and dreadful that happens to the body that is the vehicle for others to imagine themselves as part of the ?non-corporeal mass witness? in th e public domain. There is no doubt that this was a distinct possibility for those participating in the TRC hearings via th e media, but through the pages of Krog?s book, the vicarious participant has more than just the details of the atrocities, they also have Krog?s perform ance, listening, relaying, shifting position, giving voice and responding ethically and with respect for the depth of pain and destruction. As a writer Krog is also containing the atrocities, giving words, shaping the flow of the experiences and ultimately asserting the meaning and value of the testimonies for the goal of reconciliation, healing and new nationhood. She is also enacting her own bodily affectedness, mirroring the witnesses? bodily distress, but within the pages of the book finding resolution in her belonging to a newly-constructed land. 4 . The assertion of a woman?s body as the bearer of truth She is sitting behind a m icrophone, dressed in beret or kopdoek and her Sunday best. Everybody recognises her. Truth has become Woman. Her voice distorted behind her rough hand, has undermined Man as the source of truth. And yet. Nobody knows her (1998: 56). 42 I?m working from the online version which has no page numbers http://0 - galenet.galegroup.com.wam.seals.ac.za/serv let/IOURL ? issn=0 256 - 4 718 &fin alAu th=tru e&lo cID=rhod es&title=Jo urnal+of+Literary+Stud ies&c=41 & ste=1&prod =LitRC accessed 23 Dece mber 2008. 188 We pick out a sequence. We remove some pauses and edit it into a 20- minute sound bite. We feed it to Johannesburg. We switch on a small transistor. The news comes through: ?I was m aking tea in the police station. I heard a noise, I looked up ? There he fell ? Som eone fell from the upper floor past the window ? I ran down ? It was m y child ? m y grandchild, but I raised him.? We lift our fists triumphantly. We?ve done it! The voice of an ordinary cleaning woman is the headline on the one o?clock news (1998: 32). In Krog?s earlier poetic work we have seen her assert the passion and depth of her capacity as a feeling, thinking, woman writer. We have also seen that she is not constrained by a feminist politics but that she gives this female voice what is often considered a male power to register strength of emotion and especially anger. We have also seen Krog?s experim entation with female interlocutors in her previous work where she has used their experiences (often written by them selves) and h er responses to them as an engagement in listening and hosting their embodied and situated knowledge of being in this country. In Country of My Skull in her dealing with the truth commission testimonies she takes this engagement much further by making the startling assertion: ?Truth is a wom an? (the title of Chapter 16 1998: 177). By dedicating the book ?for every victim who ha d an Afrikaner surnam e on her lips?, Krog is em phasising that the situated suffering female body has a great deal to say about the truth of South Af rican apartheid experience. When this assertion is laid alongside Krog?s stated discom fort with the truth (?The word ?Truth ? m akes me uncomfortable. The word ?tru th? s till trips the tongue. ?Your voice tightens up when you approach the word ?truth?,? the technical assistant says, irritated. ?Repeat it twenty tim es so that you become familiar with it. Truth is mos jou job!?? [Truth is your job!] (1998: 36).) In ch apter 16 when she focuses closely on the testimony at the special hearings into women she names each one, and allows each one space to speak in the book without comment. Krog seem s to be saying that the truth is to be found in the female experience, in the body of experience, in the words that each woman uses to give voice to her experience and that official, recorded and sanitised truth in documents is to be treated warily. This places Krog?s account of the TRC in an interesting relation of ambiva lence to the official TRC reports , and interestingly as commentators remark (such as M ark Sanders ) that for a re ader to understand the TRC process they should read Krog alongside the TRC Report. 189 A new public for Antjie Krog While Stephen Johnson certainly intended Country of My Skull to have an international audience43 , Krog was adam ant that she wrote with only South African readers in mind44 . Carli Coetzee, cons cious of the fact that Kro g had a previous devoted poetry-reading audi ence of primarily Afrikaans - speakers, analyses her attempts to find another audience for Country of My Skull. Coetzee claims that the primary addressee of the book is two-fold : ?Krog directs her work at both her traditional A frikaans-sp eaking audience and at a new audience by whom she wishes to be accepted? (2001: 685). Coetzee finds significance in the use of the poet?s nam e ?Krog? as author of the book, but points out that the resource material for the book was gathered as the journalist ?Samuel?. This divided identity, this double signature, is more than a case of a married woman making a choice to publish under her maiden name? The nature of the signature is this text points to a series of displacements and sometimes uncomfortable divisions: Krog uses the word written by Antjie Sam uel, publishing it here under her own name, her other name, but in English, which is not the langu age associated with the signature ?Krog?. The signature of the text is significant, in terms of the audience it evokes: A ntjie Krog is the nam e under which the author is known as the adored woman poet of the Afrik aans tradition? The sig nature thus captures the attention of her Af rikaans-speak ing readers, who are called on to take notice, and are forced to read this book alongside, or on top of, the other work produced by that signature ( 2001: 686-7). In the text K rog does calculated things to call into being another readership alongside her already- existing Afrikaans readership. Co etzee calls th is a ?self-cons cious desire to address an audience that includes black South Africans? (2001: 686). Notable among these are the dedication ?for every victim who had an Afrikaner surnam e on her lips?. Co etzee rem arks that Krog is calling her ?his toric reading public? to ?witness her addressing a bl ack woman? (2001: 688). 43 It was released in the US in 1 999 as Cou ntry of My Sku ll: Gu ilt, Sorro w, and the Limits o f Forgiveness in the Ne w So uth Af rica. Ne w Yo rk: Times Boo ks. 44 ?A ntji e Kr og has the most unusual reaction to the success of her book on the truth commission, Country of My Skull, an entrant in the Sunday Tim e s Al an Paton A ward for non-fi ction writing ? anger. B esides the 1 5 00 0 c opies sold in S outh Af rica ? a n extraordinary figure for a non- fiction work of this type ? t he book has also been published in L ondon and Ne w Yo rk. The Italian rights have been sold and the Germ an, Sp anish, Danish and Dutch rights are being negotiated. C hartoff Productions, a Califo rnian film company responsible for blockbusters such as The Righ t Stuff and Ra gi ng B ull, has bought a two-y ear option for the film rights. Yet chat to Kr og about overseas readers and, instead of expressing pride, she becomes aggressive and agitated. ?How can they understand a single word? ? she says. ?It is so S outh Af rican, so Af rikaans, so white. I don? t know what it is doing there.? From ?Wh en the truth hurts the heart? b y Gillian Anstey, T h e Su nday Ti m e s 23 May 1 999 : 10 . 190 The other interesting device in the text is the performance of alienation by the author from her Afr ikaner history, heritage and language. Coetzee co mments that the text shows the same concern and crisis many other South African au thors evidence about audience. It is a crisis about the name of the fathers, the legacy of the past and of the Afrikaans language; a nd a crisis around who the addressee of the text produced by a white South African coul d be. In texts such as this one, the author is at pains to distinguish herself from the men of her race (as she calls them), and the voice becom es one in search of a new ear, a new genealogy into which she can write herself?? (2001: 688). But as we have seen, ad ded to this reaching across the race and language barrier to attain a new public in South Africa, is also the evidence that the book found an international public immediately on its publication. While I have enumerated the factors that prepared the reception of the book and gave it salience internationally I want to make a further point here that is more about the subjectivity enacted in the book and its echoes internationally. Australian literary theorist David Carter (?Public Intelle ctuals, Book Culture and Civil Society? in Australia n Humanities Review online) who has an interest in burgeoning book clubs and the non-fiction m aterial they often consume, talks about there being ?a developing audience for certain modes of interiority and of aesthetic experience? and he defines aesthetic as ?what happens wh en style, voice or authorial persona is invested with ethical value?. Carter detects a: new ?specialist function for literary reading among the array of mediated lifestyle and entertainment choices, a specific kind of ethical training which the process of reading and talking about books enables in distinctive ways? My point, though, is to see this kind of literary reading as a distinct ?technology?; to emphasise, for example, the different temporality involved in reading and how this might be suited to certain forms of ethical exercise or the different ways books circulate as commodities? I don?t think we should say th at the new tastes are ?m erely? tastes or, for that m atter, ?merely? products of sm art marketing, as if there were a pure form of attachment to culture. We can instead conceive of lifestyle and consumption in terms of s elf-fashioning which extends to a whole range of ethical and political commitments. Carter says that reading gr oups that are consuming memoir and non-fiction are acting as ?occasion s for ethica l reflection? They address, as they constitute, readers who want ?history?, m oral and intellectual sophistication, cultural context, authenticity, and 191 structures for self-reflecti on?. Carter concludes this ar gument by saying that in this type of book history, ethics and aethestics come together in one package that allows a reader to use the book for engagement with the world, and understanding of the world ? in W arner?s term s, the book again is a vehicle for mass subjectivity, for being a public. If this is the case internationally, then it is no surprise that Country of My Skull found an international readership so readily. Conclusion I have shown that Krog?s ongoing experim entation with subjectivity, continued in her TRC reporting and subsequent book continue to be driven by her desire to relate ethically to the Others of South Africa. In response to the TR C testim onies this necessitated the adoption of the ?seco nd-person ? p osition so that Krog was able to make the creative space to allow these Others into her writing. This position, as I have shown above, still contains elements of Krog?s distinctive idio lect and her self- othering, particularly when she activates the experience of being female and being situated in the body. That this desire to fashion an ethical response found an echo in the experience of readers internationally as well as in Sout h Africa is b ecause, in the words of David Carter, a confluence of hist ory, aesthetics and ethics created the right environment for the reception of this experimentation with subject ivity. A global issue with great currency and impetus (the dealing with the past through the now powerfully pervasive framework of human rights) had found an exem plary local situation in the South African TRC; and a market-driven, international, publishing industry, attuned to the desire for real- life stories operating in the mode of the confessional, found an author with significant literary capital, and the factual journalistic m aterial to fashion into a book, which was a perfect fit. These impetuses came together in the representative author Antjie Krog and the book Country of My Skull. An investigation of her tr ajectory through three fields plus an examination of Krog?s adaptive capacity to m ould a writer subje ctivity responsive to those with the right to narrate (but not n ecessarily to be published) illum inates why Antjie Krog has become not only internationally known, but also the kind of public figure who continues to have voice and power to speak in a political context where many white, and especially Afrikaans-speaking, w hite voices, have now lost this automatic power. 192 Chapter Six Authority and Authenticity in the New South Africa If I have to find among Afrikaans thinkers one who I would call an ?African inte llectual? , it is her. I have been so formed as a ?Western? intellectual; that it is Antjie Krog who, every time I read her, challenges me to acknowledge the restrictions of that formation and to address them. Few other Afrikaans thinkers dig so deeply and insistently about Africa and the moral and intellectual challenges of our continent and land. Jakes Gerwel ?Laat ons met mekaar verskil sonder om te skel?, Rapport 1 1 November 2007: 20. Authority In December 1997, as Krog was putting the finishing touches to Country of My Skull the Mail&Guardian declared that she was one of their ?next hot one hundred? South Africans to pay attentio n to. The article proclaimed: The next generation: tho se who will be at the forefront of their fields in the years to come. We have captured a snapshot of 100 people, groups and trends that will be leading the pack as South Africa head s for the next millennium. The people featured here are not necessarily young; rather it is their plans and ideas that are on the ascent. They are the people who are set to influence (and are influenced by) the w ay we live and the issues which we debate. M& G reporters have searched and found them across the political terrain, cutting a swathe through each arts discipline, ploughing up land concerns or fashioning a new, homegrown sense of style. From opera stars to soccer heroes, the future could rest in their hands... Poet and journali st Antjie Krog is polishing off Country of My Skull, her account of the Truth and Reconciliation Comm ission ? which she attended from day one ? fo r Random House, due out in April 1998. Judging by the responses (including a prize) for her coverage of the commission in this newspaper, it could well be the definitive book on the subject. And 10 years later, long after the publication of Country of My Skull, and after Krog?s second book of non-fiction in English ( A Change of Tongue) plus a batch of new volumes of poetry1 , the editors of an edition of the academic journal Current Writing (Volum e 19 Issue 2 of 2007) which was entirel y devoted to Krog, talked about her as 1 Down To My Last Skin: Poems and Kleur Kom Nooit Alleen Nie (20 00); Met Woorde Soos Met Kerse ( 200 2) ; The Stars Say 'Tsau' ( 200 4) ; Body Bereft. ( 200 6) and Fynbos Fairies ( for children 2 007 ). 193 a ?m ediator of South Afr ican culture?, as a translator, journalist , poet and as a person ?on the world stage? 2 . As I have shown in chapter five, the Mail&Guardian article correctly predicted that Krog?s book would be definitive, but this article was also a portent of Krog?s newly- altered status in South Africa as a result. It was an indication that she was now entering the realm of those who step out of their fields as the pre-em inent and consecrated and are acclaimed as public figures who span the social landscape, who ?influence the way we live?. But this thesis goes further. I make the claim that Krog is not just considered a highly im portant writer, or public figure, or representative South African, I also claim that she now operates as a public intellectual, as claimed by Jakes Ge rwel in the citation above. But first, I want to look at the indications of Krog?s status as a public figure who spans fi elds and operates more generally in the public domain. In 2004 the SABC was also to lift Krog out of the literary and into the larger public arena when the broadcaster embarked on a programme to discover the ?100 Greatest South Africans of all tim e?. The se ries hosted by talkshow host Noeleen Maholwana Sangqu and journalist-author Denis B eckett involved a nationwide poll in which South Africans cast their votes by telephone , SMS, and on the website of channel which was broadcasting profiles and documentaries in the weeks leading up to the announcement of the top 100. Predictably Nelson Mandela was num ber 1. But Krog came in at 75, just behind Kaizer Mota ung, founder of Kaizer Chiefs Football Club (73) and Basetsana Kumalo, a form er Miss South Africa, and ahead of Nobel Literatue Laureate Nadine Gordim er at 80 3 . While Krog?s literary output has always been the topic of attention for literary study and theses, since the publication of Country of My Skull the academy has begun to treat her differently, as not just the a uthor of a literary corpus but as a producer of knowledge in her own right. This has taken the form of acknowledgement via the 2 Qu otations taken from the call for papers by the edition editors And ries Vi sagie and Judith L? tge Co ullie. 3 This was modelled on the 2 0 0 2 BBC programme in which a vote was held to determine whom the general public considered the ?100 Greatest Britons of all time?. The So uth Af rican list can be found at http://en .wikipedia.org/ wiki/SABC3 's_ G reat_ S outh_ African s#Th e_ list: 194 conferring of honorary doctorate status4 , her inclusion as a keynote speaker among academics at major conferences 5 , and more importantly in a post created specially for her as an Ex traordinary Professor attached to the Faculty of Arts a t the University of the Western Cape. In 1992 Krog had applied for senior lecturer positions at both UWC and UCT. Both univers ities turned her down because she didn?t hav e a doctorate6 or at that time the necessary symbolic capital to make the attainment of a doctorate unnecessary. Now, she had the capital and UWC appro ached her about the appointment. Her personal status (r ather than just her lite rary output) is also the serious subject of academ ic inquiry with, as in the edition of the jou rnal Current Writing devoted to her alone. When she was accused of plagiarism by fellow poet Stephen Watson in February of 2006 the m edia coverage was intense and sustained, showing clearly the media and literary worlds? anxiety about a figure of such stature being accused of a practice that is both undermining of personal status and has impacts on the field because the consecration of such a person is called into question, and therefore the field?s m ethods of such recognition7 . Krog em erged from these damaging allegations with barely a scratch on her reputation as a writer, evidenced by the tribute paid to her by Nobel Literature Laureate JM Coetzee in h is latest book, where he called her a ?phenom enon?. ?Utter sincerity back ed with an acute, feminine intelligence, and a body of heart-rending experi ence to draw upon? No one in Australia writes at a comparable white heat? (2007: 199). And, as has becom e a hallmark in Krog?s rela tionship with the media, she is not only the object of m edia attention but also continues to be a commentator and opinion writer who weighs into national debates. In 2006 when for mer Minister of Law and Order Adriaan Vlok atoned for his role in the apartheid repression by symbolically washed the feet of ANC activ ist Frank Chik ane (now a Minis ter in the Presidency) and causing an outraged public reaction, Krog appealed for ?A space for the 4 Krog has received these honours from the University of the Free State, Ste llenbosch University, Nelson Man dela Metrop olitan University and Tavistock Cl inic of the University of East Lon don, UK. 5 In 2007 s he was an invited speaker at the International Asso ciation for An alytical Psychology Congre ss XV11 in Cape Town and at the African Philosophy Con ference at Rh odes University. 6 See ?Burokratiese misvat? Vrye Weekblad 2 9 M ay to 4 J une 19 9 2 : 1 3 . 7 See Ap pendix A f or the reports and debates dealing with this issue. And see the very interesting 200 6 MA disse rtation by Claire Ve rstraete ?P lagiarism: Th e Cu ltural Ou tbreak?. 195 disgraced? in the Mail&Guardian ( 1 5 - 2 1 Septem ber). And when popular Afrikaans singer Bok van Blerk wrote a song calling fo r Boer W ar hero General de la Rey to come and lead his people and sparked and outcry, Krog weighed into the debate writing ?De la Rey: Afrikaner Absolution? for the Mail&Guardian (30 March-4 April 2007: 23). To this public recognition is added the attention of politicians who recognise her value for the national reconstruction project. This is dem onstrated by more than just the quoting of her work publicly (as President Mbeki did at the opening of Parliament in 2002). In June of 2 003 Krog was selected as part of a panel of ?em inent South Africans? to advise President Mbeki on appointments to the C ommission for the Promotion and Protection of the Rights of Cultural, Religious, and Linguistic Communitie s. South Africa has produced m any great writers, whose work and voices have moved beyond the literary domain and into public, political life, often at crucial moments. But in m ost cases it is the symbolic capital of the literary field which allows them at points to be heard, called upon or quoted. Kr og, I have argued, has a mobility across fields, and a facility to inject into pub lic her opinions and voice (often when she chooses to do so), that is som etimes substantially different from the usual behaviour of authors in public space and via the media. How did it transpire that what she does and says is received as so substantial in our public domain? I have argued that it is because of a systematic accumulation of capital across three fields and also because of a particular relationship of interest and mutual benefit developed over many years with the news media, that Krog is treated as m ore than just a well-known writer with important thoughts. Over four decad es she has maintained a relationship with an Afrikaans-s peaking public via the A frikaans press, but she has acquired an English- speaking public (both national and international) through th e attention of the English- language press, the work at the SA BC, a nd the publication of her English-language books Country of My Skull and A Change of Tongue. When compared, for example, with the fraught relationship another dissident poet ? Br eyten Breytenbach ? has had 196 both with the media and the Afrikaner volk 8 , Krog?s relationship with the news m edia has worked powerfully to advance her standing within the Af rikaans community and Afrikaans literary estab lishment, and then enabled her to transcend this community as her public when she began to work in English and was taken up as a representative voice of the post-apartheid South Africa by English-language m edia and a publishing house. Krog continues to be able to use he r specificity as an A frikaner (in producing poetry and translations in Af rikaans), but has acquired the power to also speak for the interests of the new South African nation, bot h here and abroad. This ability, I argue, is precisely because of a double-sided re lationship with the media: with th eir particular treatment of her as a newsmaker, their framing of her as valuable and important and of us (even as this ?us? wa s enlarged into the new nation), and her use of and involvement in the media both as a j ournalist and agenda-set ter. This sets her apart from other writers who enter the public domain and marks her as a person who has acquired ?m edia meta-cap ital? an d uses it. In seeking to understand how heightened attention by both the consecrators in a field and the news media, can attach to a human being and confer status, it is useful to be be reminded of Bourdieu?s ?th ree competing principles of legitimacy? (1 983: 331-2). These are, he says: 1. th e recognition by other producers in the autonomous field; 2. the taste of the dominant class and by bodies that sanction this taste; and 3. popular legitimacy ? ?consecration bestowed by the choice of ordinary consumers, the mass audience?. I would argue that what w e see from the reportage on Krog?s life, person and writing output is not just the acclaim of the field consecrators (category 1) and the acclaim of the dominant classes that sanction ?tas te? (category 2) but a lso a recognition of her by the mass audience. I have shown that Krog dem onstrates the Bourdieu su pposition that an individual who accumulates both cultural and economic capital within a field is able to take the resulting symbolic capital and convert it into forms of capital acknowledged as valuable in other fields (Bourdieu 2002: 17). In Krog?s case, I have also shown that the news media have been key to such transitions and have often been the reason Krog has been enabled to convert her capital. This has resulted in Krog acquiring ?prestige?, ?cel ebrity? and ?hono ur? (Johnso n?s words in 8 See Fra ncis Galloway 2004: 5. ? ? E k is nie meer een van ons nie?: B reyten en die volk.? Gal loway looks particularly at letters from readers, newspaper editorials and a website poll by Die Burger in 2001 to s how the degree of antipathy and annoyance against the man acclaimed by Rapport as unique in his talent ( 2 00 4 : 11 ) but considered an ?e nemy? by many fellow A frikaners. 197 Bourdieu 19 93a: 7). As a result Krog has th e ? almost magical power of mobilisation?, the ?power to construct r eality? (Bourdieu 2002: 170), wh ich has effects on other fields, and across the social landscape. Krog has indeed become part of the ?general culture? th rough a ?process of fa miliarisation? with the mass audience (Bourdieu and Nice 1980: 290). Authenticity Since the final poem that ended Country of My Skull with an appeal to those who testified to the TRC (in their m ultiple mother-to ngues) to ?take m e with you?, Krog has returned to the literary field as scene of action and powerful generator of the symbols and meanings which can make new community, and in particular to translation. As Stephan Meyer show s so clearly in his essay on Krog as a translator, the persistent symbol of the connection to the land which threads through Krog?s poetry and into Country of My Skull has found a second, more powerful, dimension in Krog?s turning to translation as a mechanism for a poet/write r to make the new nation. Since the su ccess of Country of My Skull, which was written in Af rikaans by Krog and then translated by her into English, th en edited by Ivan Vladislavic for Random House, Krog has em barked on a multiplicity of translation/tra nscription projects. Som e of these are of her own work9 , some are reclamations of older work in indigenous languages10 , some are commissions11 . Krog?s preoccupations with language, tongue, mother-tongue and w ith the metaphor of the tongvis12 [sole or literally ?tongue fish?] as a recurring symbol of change and therefore possibility, underlie many of her recent projects in cont inuing the TRC?s work of transfor mation. As Meyer p oints out there are two traditions of translation operating in South Africa (2002: 3). T he first is located historically when missionaries and colonisers learnt the 9 Down to My Last Skin, a selection of Krog?s poetry over the years translated into Eng lish for the first time in one volume in 2000. ?n Ander Tongval, translated by Kro g into Afrik aans from the Eng lish version A Change of Tongue, for an A frikaans-s peaking readership. M ore recently Kr og has been producing her own work in both En glish and Af rikaans: Body Bereft/Verweerskrif in 200 6. 10 Met Woorde Soos Met Kerse: Inheemse Verse Uitgesoek en Vertaal deur Antjie Krog 2002 and The Stars Say ?Tsau?: /Xam Poetry of Di?kwain, Kweiten-ta-//ken, /A!kunta, /Han?kass?o and //Kabbo and the Afri kaans version Die Sterre s? ?Ts au? 20 04 . 11 Mandela?s Long Walk to Freedom. 12 This poetic device appears first in Lady Anne in poem and picture, then again in her translated poetry Down to My Last Skin and then most prominently in the book focused on political and social change in So uth Af rica, A Change of Tongue. 198 indigenous languages, reduced them to writing and translated various oral texts for European au diences or for record (th e Bleek-Llo yd Bushm an archive is one such example). The second tradition is m ore interesting and it?s one in which Krog participates. Here certain key texts are translated into many South African tongues, thus allowing a choice of the same stories about who we are as a people to be available in most of the official languages. Notable here is N elson Mandela?s Long Walk to Freedom which Krog translated into Afrikaans. Says Meyer: The effect, if not already the aim, is to create a single South African text which most of us have read ? albeit in different languages. In this case, selected stories held in common (rather than one unifying national language which establishes a common national ground) become the basis of an imagined community. Instead of leaving behind our private languages to communicate in the public sphere of English, these texts help us to es tablish a community in languages which permeate our own immediate, everyday, linguistically structured lifeworlds, which are in turn enriched by these texts (2002: 3). It is clear that Krog has not waited f or some official agency to decide what are to be the key texts and has done her own work of reclamation in putting into Afrikaans and English th e Bushm an texts from the Bleek-Lloyd archive, and into Afrik aans a selection of poetry from /Xam , Xhos a, Zulu, Ndebele, Swati, Venda, Tsonga, Northern Sotho, Tswana and Southern Sotho. She is provoked into this translation of indigenous texts into Afrikaan s by the insularity she sees within the white Afrikaans- speaking community which she fears will be increasingly isolated from the circulating discussions and symbolic content other South Africans have access to. The translations into Afrikaans are about ensu ring that there is a significant amount of material available in this language which comes from a diversity of South Africans and which contributes to a broad conversation being possible in this language. Krog is putting material into Afrikaans so that the white Afrikaans speaker cannot be excluded from the bigger wider national conversation by default. She says: ?Af rikaans is falling out of the national debate? and is ?losing a foothold? 13 . 13 Personal communication at the launch of ?n Ander Tongval at B oekehuis in Johannesburg, 2 No vember 20 0 5 . 199 This concern for the national conversation and the creation of a talking, new, imagined community is considered a third tradition by Meyer. He sees Krog clearly locating ?translation within a political c ontext in which the power of different languages, as well as the historical moment of liberation are crucial? (2002: 4). Here ?trans lation/trans literation? is an ?act of transform ation? According to Van Coller and Odendaal: Her concern in the first place is with South African society and her ?rainbow nation? which grows out of the African spirit of ubuntu, and a tolerant multi- culturalism which flourishes into an inclusive, collective African identity? Krog has repeatedly said she strives for a (South) African cultural and language disp ensation in which all the country?s languages in all their variety are respected equally, where people cross language boundaries freely, aided where necessary by translation (2007: 114). I have established that with the authority that her symbolic capital gives her Krog has been acclaimed as a public figure who has entered general culture and is recognised by the masses. As Tom Gouws has comm ented: Krog is a ?contem porary people?s poet?, a ?forceful and innovative figure? in Afrikaans literature, and even a ?cult figure? who ?in each succeeding poetry volum e enlarges not only herself and world, but dedicates herself to enriching her people and her followers? (in Van Coller and Odendaal 2006: 101 quoting Gouws 1998: 562). But there is another aspe ct to Krog? s ability to perform in public as the literary host to many voices and facilitator of a great, multi-tongu e conversation, and that is authenticity. In order to understand how Krog has become not only a representative South African of the peaceful transition to the world, but also recognised as a transformed Afrikaner with a platform to speak in this country, I turn to some insights on citizenship in dem ocratic states. B oth Ivor Chipkin (2007a, 2007b and 2008) and Preben Kaarsholm (2008) point out, in their work on states and citizenship, that while anyone nominally the citizen of a co untry can claim citizens hip as a politico- legal status, in actual effect, citizen ship is a quality of relation to the type of state operating in a country. Chipkin shows that the ANC control of the South African governm ent since 1994, and m ore particularly between 1999 and 2008 when Mbeki was president, resulted in a state in which the nationalist project was param ount, and nation-building 200 its prime expression. The citizen who shows him/herself to be the ideal national subject comes to be as sociated with authentic citizenship. Chipkin argues: ?once we stop considering ci tizen ship as a political-legal status, then we have to consider its conditions beyond the political scene narrowly conceived. As far as the citizen is a subject, we have to consider the formations, processes, apparatuses that ?m anufacture? individuals as such. What counts is the form of the state? To the extent that these apparatuses play the dominant role in defining the measure of citizensh ip, of ?nationa l identity?, su ch an identity will be exclusionary and discriminatory, not simply for those who are not (yet) citizens. It will not be able to accommodate those who do not resemble the national subjec t. Nationalism is driven to invoke a distinction between citizenship as a status and citizensh ip as an authentic national identity. There may be individuals who are granted rights in the political community, but they are not necessarily authentic members of the nation ? ?tru ly? loyal to their country, ?properly? patr iotic and so on. (2007b: 16, 17). Chipkin reaches into history to find othe r examples of where the practice of democracy has privileged certain classes of people as ?authentic? citizens. He finds that: Democracy?s people is not a given. It does not simply refer to that body of actually existing persons in any particular country. Only som e amongst them are agents of the egalitarian project. Jefferson privileged the free, land-owning farm er. Marx pr ivileged the urban, working class. Hence, we must distinguish between the people qua datum and the people qua citizen. The ?people? are only ?c itizen s? to th e extent that they behave as democrats. Or agai n: citizens are only those amongst the ?people? that advance the egalitarian mission (2008: 7). He continues: What counts is the way that Mbeki?s administration has sought to give substance to ?the people? of South Africa?African values are democratic values, such that the two terms are interchangeable. This is what is sometimes implied in Thabo Mbeki?s well-known ?I am an African? speech of 1996. The figure of the ?African? is invoked as the true bearer of universal values such that he or she is the democratic subject par excellence? If, in terms of the constitution, it is not possible to constitute an ?Af rican? su bject, per se - other than as the name for the people generally, that is, people qua datum ? then it is no t possible to privilige them in the political community. Yet this is precisely what is required. The democratic proj ect can only succeed or, at least, be safeguarded, if that social class or group, for whom the democratic projec t is its project, is dom inant in the State (2008: 8, 9). This is why in the South African national public sphere we see many assertions of ?Africanness? by way of resort to birth on this continent or the fact of generations of ancestors located here geographically. At core is the anxiet y that simple politico- legal 201 citizenship is not powerful enough to incl ude those not considered ?Africans? by those with the power now to chart the course of democracy and nationhood. This kind of assertion is made by public figures like Frederik van Zyl Slabbert who addressed the statement ?I too, am an African ? if not, why not? ? at the University of the Witwatersrand on 22 Novem ber 2006 14 and even by self-described public intellectu al Xolela Mangcu, called a ?coconut? by m embers of the Native Club 15 , who performs an impeccable Eastern C ape heritage in his latest book To the Brink: The State of South Africa?s Democracy, in order to settle the question of his authenticity. The interesting distinction, when it comes to Kr og, is that the same anxiety of belonging and identity permeates Krog?s poetry and writi ngs, but her reaction is not to assert in public (in rational-critical m ode) her ?Africanness?, but to perform it. This she does in multi-faceted ways and prim arily by using the methods of the literary field, her accumulated symbolic capital, her voice and her adaptive subjectivity. As I have shown above, she uses her status as a literary consecrator (which includes her powerful relationships with publishers) to en large the literary space, to put into it new, reclaimed and Other voices, and to deliberately encourage its overflow into generalised public space via her newsmaker and agenda-setter status with the South African m edia. This she does this through collecting, editing, translating and curating. But for her own self, and presum ably this is done in public for the emulation of others, she performs ( mostly) through her poetry, but also through her recent books, the guilty, complicit, contrite and petitioning subject who kn ows that authenticity as a South African citizen can only be grante d to a white person by the previously damaged and dispossessed. But as Chipki n, points out most clearly, while the millions of South African poor are intended to be the recipients and beneficiaries of the new democracy, those with the actual power to define democracy and decide on its delivery are an elite in whom ?Africann ess? a s the marker of authenticity is key. If Krog wants her project of enlarging the conversation about transformation and change to have the ring of authenticity then she can not just rely on her own sym bolic capital, she must perform authenticity in a way that captures the attention of the 14 Transcript at http://www. public-co nversations.org.za/ _p dfs/ slabbert_lectu re.pdf. 15 Si pho M asondo, Herald reporter: ?Som e call him a coconut, some call him a celebrity intellectual and yet others call him a maverick; he is controversial Dr Xo lela Mang cu, one of Sou th Africa?s prominent public intellectuals?? h ttp://www.th eherald.co.za/h erald/ news/n 1 4 _26 022 008 .htm 202 carriers of the new South African democratic project. Hence the very high value of the attention paid to her poetry by Thabo Mbeki in his presidential speech in 2002 and the public acclamation by Jakes Ge rwel who said in a column in Rapport last year: ?If I have to find among Afrikaans thinkers one who I would call an ?African intellectual? , it is her? 16 . Conclusion In his enormous study The Civil Sphere, Jeffrey Alexander m akes the following remark in his chapter dealing with ?Encounter s with the Other?, in which he discusses the assimilation of disparate peoples and cultures into a single state or nation: The public has never been a dry and arid place composed of abstract arguments about reason. It has always been filled up by expressive images, by narratives, traditions, and symbolic codes (Alexander 2006: 409). The study of Krog?s position as a public fi gure in post-apartheid South Africa shows very clearly that it is not because she enters the public domain as a Said ian-type intellectual ?speaking truth to power? that she achieves a public and a hearing. Many commentators in South Africa?s public dom ains (writers, jou rnalists, researchers, political analysts) set the mselves up deliberately to ?speak truth to power? and to emulate the rational-critical form ulations of a persuasive argument and a faculty for representation (as espouse d by Said, 1994 and described by H abermas, 1991). But Krog is not this kind of public figure. Her st yle of operation is to use the literary and its formulations of public address, and the licence literary styles and devices provide, and to bend this to her particular purposes. She continues the TRC work s he did as a journalis t through her poetry, curations, collections, translations and other writings. She ventures into th e performance of Said ian public intellectualism only occasionally via the opinion and comment pages in newspapers. Unlike commentators like Xolela Mangcu, who boldly self-describes as a ?publ ic intellectual?, she never does so. Her firm location in the literary ? coupled to her reach way beyond the literary field ? gives Krog the freedom to continue to use literary tropes and techniques to perform the responsibilities of new South Afr ican citizenship in public. She uses the autobiographic and the personal to deftly craft a public persona for herself which shows itself to be responsive to national concerns of damage and discrimination, 16 ?Laat ons m et mekaar verskil sonder om te skel?, 11 N ovember 20 0 7 : 2 0 . 203 access to voice and the crafting of a democracy that gives rights and benefits to the majority of South Africans. This public person not only reacts to the affectedness of Others who have been marginalised but is affected herself by these struggles and shows herself to be so. In addition, in retrieving indigenous voices from the past and translating them into South Africa?s dom inant public languages (English and Afrikaans), and in curating festivals (and editing volum es), in which she puts poets and writers from around the world together with South Africans, and m ixes the established and the emerging, Krog has taken up a self-defined task to enlarge th e public sphere and the number and type of voices in it. She deliberately puts into c onversation, often via translation, those she thinks might be excluded by history and language from public deliberations about the issue most pressing ? new South Afr ican nationhood. And she doe s this all with literary means and techniques. If the public sphere is the arena in which the key questions of the day are thrashed out, then what ? and how ? does Antjie Krog cont ribute to debate around these questions? With Chipkin I assert th at among the multiple issues and debates taking place in our public sphere, the single most pressing question, which infects all others, is the question of who counts as an authentic citizen. E ssentially Krog contributes a performance, in the use of her self and her established poetic voice as the mode of both embodiment and address; by en acting contrition, guilt, culpability, complicity; by bearing the burden of the history of the Afrikaner nation; by s howing herself to be affected in the public domain; by using poetic language; by saying the words laden with emotion that are not used in rational- critical discourse, she sets the terms of inclusion for white South Africans into authentic citizenship. O ne can see this performance most clearly in those pieces in Country of My Skull which revert to poetic form: But I want to put it m ore simply. I want this hand of mine to write it. For us all; all vo ices, all victims: because of you this country no longer lies between us but within it breathes becalmed 204 after being wounded in its wondrous throat in the cradle of my skull it sings, it ignites my tongue, my inner ear, the cavity of my heart shudders towards the outline new in soft intimate clicks and gutturals of my soul the retina learns to expand daily because by a thousand stories I was scorched a new skin. I am changed for ever. I want to say forgive me forgive me forgive me You whom I have wronged, please take me with you (1998: 278-9). Which then becomes a further poem in Land van Genade en Verdriet (2000: 37, and its English translation Country of Grief and Grace, 2000b: 95). between you and me how desperately how it aches how desperately it aches between you and me so much hurt for truth so much destruction so little left for survival where do we go from here your voice slung in anger over the solid cold length of our past how long does it take for a voice to reach another in this country held bleeding between us? deepest heart of my heart 205 heart that can only come from this soil brave with its teeth firmly in the jugul ar of the only truth that matters and that heart is black I belong to that blinding black African heart my throat bloats with tears my pen falls to the floor I blubber behind my hand for one brief shimmering moment this country this country is also truly mine and my heart is on its feet because of you this country no longer lies between us but within it breathes becalmed after being wounded in its wondrous throat in the cradle of my skull it sings it ignites my tongue my inner ear the cavity of heart shudders towards the outline new in soft intimate clicks and gutturals I am changed for ever I want to say forgive me forgive me forgive me you whom I have wronged, please take me with you? This poem goes on to include the section Thabo Mbeki quoted in his State of the Nation address to Parliam ent in 2002. This public conversation, in which the president of the country responds to the poet, is more than just a seizing on a literary fragm ent to underscore a political point and spice up a public speech. Krog has en acted here exactly the public statement required from white South Africans which can then be considered by the leader and his government, and the people they represent, to have met the terms of inclusion for authentic citizenship. W hile many other white South Africans ass ert their citizensh ip and identity as S outh Af ricans (or m ore pointedly as ?Africans?) by invoking their legal or constitutional status, Krog perform atively 206 demonstrates her identity and subject status as an ?authen tic member of the nation? . It is precisely the distinction between ? political-leg al status? an d ?authen tic national identity? (as Chipkin 2007 points out) that makes the difference here. The importance in South Af rican public intellectual work of renegotiating the self into a new community, has been explored by Mark Sanders. He points out (2002: 1) that when the national society to which one belongs has been constructed at every level by apartheid, the intellectual, even in opposition, is shaped by this social structure. If the intellectual is white there must be recognition that one is a ? little perpetrator?, if black, the intellectual is theorising and negotiating ?m ental complicity? (a s in the case of Biko, 2002: 15). Sanders argues that the South African intellectual ?identifies [as complicit in apartheid] in or der to dis-identify? (2002: 3) , but this is only the first step. He then activates a second definition of complicity which he reads as ?a folded- together-ness ? in hum an-being? (2002:5). He sees in his exploration of South African public intellectuals, an affirmation of that larger complicity ? the ?being of being human? (2002: 5) which then driv es their intellectual projects. That a figure who operates like this and with this kind of public subj ectivity, is so deft and creative and responsive to the undercurrents of change in state and citizenship, has been far more interesting to explore than to use the traditional markers of intellectual activity to ju dge whether Krog?s is a performance of intellectualism that sits convincingly within the definition of ?speaking truth to power?. Krog by no means fits that category, but operates in ways that are captured by the Bov? (1994: 222) form ulation of the classic idea of an intellectual. Krog has ?perspicacious intelligence? and is a purveyor of ?sym bols and values? for th is country, par excellence. 207 Chapter Seven ? Conclusion Speaking Poetry to Power1 This thesis has made a theoretical shift in its consideration of a particular public figure in South Africa; instead of ta king at face value the necessity for public intellectuals to be the emblematic personae enabling rational-critical debate on m atters of general social and political importance, this study has been based on the theoretical premise that the public intellectual as an important figure in the public sphere is a ?structural or institutional effect? a nd not simply to be investigated ?in term s of individual capacities? (David Carter 2001 2 ). I have also em braced the E leanor Townsley position (2006) that ?public intellectual? is a ?tr ope? ? an em bodied means for societies to ?fram e meaning and practice? about nations and publics, about mass subjectivity and the meaning of citizen ship and identity. My assum ption, therefore, has been that an underlying discourse propels the purported need for intellectuals to be visible and vocal in the public sphere of this country. The proliferation of calls ? and nam es ? fo r these various types of intellectuals3 in South Africa indicates that ?sp ace, legitimacy and power? are being claim ed by differing groups of peoples seeking their proxies in the public domain and all three of these categories are very much under contestation. One cannot speak easily in S outh Africa of ?the public intellectual? as only a particular type of figure who is a thought-leader driving debate in public (as in Mem ela?s ?Black brainpower? Mail&Guardian 5 - 1 1 May 2006: 19), or even to use Said?s careful and thoughtful prescriptions in R e presentations of the In tellectua l (1994) about what an intellectual performance constitutes. As in other na tional public spheres S outh Afri can intellectuals differ in their assessments of both the state of the present and the prescriptions for the future. And the m ultiplicity of differing types of performers draw on differing sources of legitimacy and different lineages of knowledge and wisdom. What this multiplicity of voices, styles and arguments (and in partic ular those sharp disagreements where ad hominem attacks surface ? ?coconut?, ?free-floa ting liberal?) show ve ry clearly is that 1 I am indebted to Alette Schoo n for this wonderful formulation of Kr og?s p ublic performance. 2 Carter?s articl e is in the online Au stra lian Huma nities Review which has no page numbers. 3 See Ap pendix C : So uth Af rican M edia Debates about Types of Intellectuals. 208 there is a great deal of suspicion and anxiety about adopting the Western, universalising mode of proclaiming a social vision for a nation which calls on the lineage of Western knowledge practices. This thesis asserts that this proliferation of types of public intervention and engagement, together with the questioning about who represents what and whose interests, is indicative of a deep anxiety about what constitutes legitimate authority to speak, for whom and about what, in a post-colo nial state. As Martin Hollis points out, the questioning of the role of the intellectual all over the world is driven by ?the th reat that Enlightenm ent assumptions about the universal character of truth and reason are by now so uncompelling that they may be unsustainable? (1997: 289). But to this must be added the exclusion and alienation that the experiences of colonialism and apartheid generated which live on in an ongoing suspicion of Western-inform ed knowledge practices. For centuries these practices positioned indigenous peoples as uncivilised natives with no useful knowledge practices of their own and then as objects of a civilising project into western modes of knowledge acquisition. This is heightened by contemporary global debates about the spread of human rights, the inclusion of the marginalised peoples of the world into proper nationhood and the struggles in many democratic states for full citizenship and recognition. And in South Africa this suspicion was sharpened by the findings of the Truth and Reconciliation Comm ission hearings, which opened up the past for scrutiny of the atrocities committed by the apartheid government and allowed the dispossessed to speak for the first time in their thousands. Redress and restitution are high on the agenda in South Africa, not just officially, but also unoffi cially. Powerful doubt is cast over whether public intellectual performances rooted in Western forms of knowledge can help drive a programme of redress and reclamation of dignity, cultural authenticity and indigenous wisdom. But it is im portant to note that despite this high degree of suspicion of Western-rooted practices, the discourse motivating the calls for intellectuals of whatever type (African, black, native, organi c, collective, revolutionary) s till holds the desire that these public sphere actors should speak in universalising and socially-useful ways. Peter Osborne?s insights about the intellectual?s ?claim s on the present?, the ?value of thought and ideas? and the need for a ?total ising social vision? ? while they are 209 embedded in classic public sphere ideals, still hold power as mobilising ideas and desires, and are still considered useful in a post-colonial public sphere. In surveying the lineage of intellectuals from 1899 to Sa id, Osborne says that while all sorts of provisions of public sphere and intellectual performance have been contested what has ?stuck? is th e ?dis tinctive aspiration to universality, making the intellectual the e x e m plary figure for humanity as a whole? (1996: xii). As Helen Sm all says: ?There is nevertheless an evident desire? for a language of political and cultural life that can be in some measure holistic or at least coherently generalising. That desire may, I am suggesting, be one reason for the curious persistence of the old narratives of decline and/or imminent revitalisation of the intellectual ? and the dif ficulty for the critic of that literature in getting beyond the merely diagnostic? speaking about intellectuals has, in other words, been a way of posing the perennially troubling question of how much what we say matters (2002: 11). In surveying the debates on intellectuals in the So uth Af rican public sphere, it is evident that while the multiplicity of performers and performances being called into action is indicative of an unease about what constitutes legitimacy and authority; nevertheless, there is also a desire expressed for exemplary human beings, who will speak in ways that are universalising and visionary and not merely particular; and there is a concomitant anxiety about whether speaking has power and matters at all in spaces filled with government deafness and the proliferation of forms of mass media. The question this thesis has sought to address, given the complexity of the contemporary South African public dom ain, is how does a public figure acquire the authorisation to step out onto a public stage with contributions that are considered intellectually worthy? In dealing with the case study of Krog, a poet, journalist, book author, a literary figure and newsmaker, who herself eschews the appellation ?public intellectual?, I have chosen to study so meone who does not occupy the classic or normative position, neither is she one of the new types of South African intellectual being called upon to step into public, but who is, nevertheless, acclaimed widely as a voice worth listening to. If she has been able, over four decades, to continue, in this fractious and fraught public domain, to have presence, voice, platform and public, then what is the source of her legitimation as a public figure? 210 This study of Krog has shown that su ch a public figure acquires legitimacy and authorisation not through genius and brilliance of performance only, but significantly also through a series of consecrations and identifications which act as accumulating symbolic capital across the social landscape. Kro g has harnessed the powers of the aesthetic, and moved this knowledge, style and capacity through three different fields ? literary, p olitical and media, each of which she has entered, distinguished herself in, been consecrated by its significant figures and accumulated each field?s capita l. This resultant accrued symbolic capital, in Bour dieu?s words, has given her the ?alm ost magical power of mobilisation?, the ?power to construct reality?, which has ef fects across society, and not just in this country. The sources of Krog?s authorit y ? Literature? still constitutes a verbal horizon commanding respect?. Roland Barthes 1987: 27. As Haberm as points out so meticulously in the early sections of T h e Structural Transformation of the Public Sphere, the burgeoning use of literary materials by ordinary bourgeois people in their homes, and the consequent alteration of subjectivity and production of a sense of public (quite unlike the se nse of public of the feudal or monarchical systems) was the pr ecursor to the formation of the public sphere. Osborne comm ents that the bourgeois public sphere as a ?privileged site of intellectual activity, came about historically through a political refunctioning of the space of a pre-existing literary culture? (1996: x ii). But even more interesting for the purposes of my study has been the Warner emphasis that the literary is integral to the rise of the sense of ?public? as a mode of being. He says ?th e imaginary reference point of the public was constructed through an understanding of print? (2002: 162). It is in reading printed information that one participates in the awareness that the ?sam e printed goods are being consumed by an indefinite number of others?, says Warner. This awareness comes to be built into the meaning of the printed object and the reader is therefore partaking in mass subjectivity (as part of a public) by reading. Jos? van Dijck says: ??m aterial inscriptions mediate between individuality and collectivity as well as between past and present? (2004: 270). And an even further step is to recognise as John Thompson does, that this subjectivity-altering pow er also rests in the all-pervasive m edia of modern democracies. Thompson calls this attribute of 211 media ?self-for mation?. He says: ?? the process of self-for mation is increasingly nourished by mediated symbolic materials, greatly expanding the range of options available to individuals? ? (1995: 207). In m odern democracies the mass media facilitates not the idealised dialogue or conversation of the classic public sphere but very important social relations which, while they might be ? quasi -m ediated interactions?, are nevertheless the quintesse ntial methods used to experience the world and to gather knowledge and to form public senses of selves. I am arguing that the literary field?s centur ies old, very well-est ablished relationship with the public sphere and its functioning still operates today in our world as a site of power and authority, because of this very capacity ? the ability to cre ate a public, to generate mass subjectivity and to m ediate between past and future. But, I also argue that the mass media, which similarly has these capacities, operates in this way too, and takes further the reach of the literary. The literary ? and publishing ? continues to be a vibrant site of the creation, the assimilation and the diffusion of ideas. And publishing?s pre-em inent object ? the book ? still continues to be a useful and functional technology for the distribution of information and ideas. Despite the quantum shift to electronic and mobile forms of information distribution4 , widespread circulation of ideas is still greatly facilitated by print. The literary field?s creation of publics ? bo undless, unknowable publics, even publics of millions, is a powerful concomitant strength. The vicariousness of participation that is created by the sense of being part of a public in the consumption of circulating ideas, and the ability generated to position oneself as part of an imaginary community, and the taking on of the public dimension of subject ivity, are still all facilitated by the literary and the publishing industry in its multiple forms. But while the literary field holds this power to affect subjectivity and self-form ation and to create mass publics, its powers of consecration are usually contained within the field. It is the media, which uses many of the capacities of the literary (s ubjectivity- formation, creation of publics) which can mobilise these consecrations within the field and make them generally significant across society. I have used the media theory 4 Digital and web- based media continue this trend and multiplies its effects, as in the bloggers who have picked up Kr og and convey information further about her and her writings, see A ppendix H for a selection of blogs written during 20 08 which demonstrate this consumption of Krog . 212 ideas of news values, agenda-setting, fra ming, and priming to investigate how news media work to elevate certain issues, ideas and people as worthy of wide attention. But these th eories are usually confined in focus to internal media field operations. It is in the very useful Bourdieu concept of c onsecration that one can begin to unpick how media work to mobilise this attention in ways that have very wide effects socially. One sees that news m edia can reach into fields and, where consecration takes place within, disseminate the news of these consecrations more generally across fields. News m edia also activate consecrations by drawing ideas and people to the attention of those with specific authority and power, thus elevating those ideas and people and enhancing media power and reach at the same time. And as Bourdieu and the m edia theorists using field theory point out, those consecrated acquire an accoutrement, a symbolic attachment which they themselves can mobilise in their traj ectories. All th is is very clearly seen in the mediation of Kr og?s life and work and the resultant effects. Krog first en tered the literary in her traj ectory as a public figure, she acquired its capital by distinguishing herself as a writer of embodied, raw, autobiographic poetry with its tension between the personal and the political. She was acclaim ed by its consecrators and won its awards. But very im portantly, she also established for herself a public. It was in this field that Kro g learnt the techniques of self-fashioning via writing; of a two-fold working with subjec tivity ? the production of the s ubjectivity o f the poet evident in the poetry itself, and the provision of materials for readers to work on the production of their own self-form ation. She also established herself as having a political stance which married her poetry and literary field traj ectory to the political events of the time. And the m edia attention marked her as a person consecrated both by the literary field and the political field. The media coverage is quite meticulous in showing all the facets of Krog?s trajectory, her growing distinction as a poet and her growing political commitments. And the cove rage shows both the dissemination of consecrations within fields and drawing Kr og to the attention of consecrators, thus enhancing her symbolic capital. Then through the years of South Afri ca?s ?h orror? (the late 70s and the states of emergency in the 80s), Krog?s public battle against the Nationa list Party government and its tentacles into the cultural arena, saw her achieving consecration by those working in the political field to unseat the apartheid regime. The acclamation of the 213 local Kroonstad com rades, the hailing by Kath rada at the Soweto rally, the inclusion in the groups of intellectuals visiting the ANC in exile, are all powerful markers of her value and capital politically. In her writing of this time, and particularly in the 1989 volume Lady Anne , one can see the struggle with subj ectivity as an implicated white South African that Krog is engaged in. Fo llowing Dorothy Driver?s insights on Lady Anne Barnard?s writings in the South Africa of the late 18 th century, I have labelled this period of Krog?s self-fashioning ?self-ot hering?, as it is indicative of an ongoing struggle with coming to terms with the Others of the apartheid system and their legitimate claims to citiz enship. Although th e three-fold acclam ation she received from political actors across the spectrum of anti-apar theid activity was extraordinary for a white South A frica at the time and has had lasting effects for Krog? s status well into the ANC-governed new South Africa, I argue that it is in Kr og?s work on the Truth and Reconciliation Comm ission, that she takes on an exceptional, evocative public engagement with the newly-recognised Others of South Africa, and she does this as both a journalist and a poet-writer. It is this perf ormance, evident in the TRC radio reports, the features for the Mail&Guardian and the subsequent book, which won her political capital that overflowed the boundaries of this country and made her recognisable as a exemplary South Af rican dealing with a major s hift in politics and encounters with the Other that had echoes all over the world. The TRC book Country of My Skull shows that Krog the writer acknowledges the moral claim of the dispossessed of this country to take up first-person position and to speak for them selves. The writer models for her public the self-fashioning of a listeni ng, self-reflexive, and ethi cal ?s econd-person position ? (f ollowing Whitlock) in relation to the world?s m arginalised now making claims for recognition and speaking position. The argument I am making here is that the ethica l response to a morally unsettling and inherently complicit political situation is often to be found by engagement with the literary or, more specifically, in the aesthetic. David Carter, who has investigated Australian writing in which ?s tyle, voice or authorial persona is invested with ethical value? has found that such authors not only s upply for readers a means for the ethical encounter that leads to self-f ashioning, but such works also elevate the authors in the public domain. He says: 214 They have become writers in the fullest sense of the term, and this in turn has meant them becoming at least one kind of public intellectual. Literarin ess, as a value, has been transferred from ?everyday? kinds of fiction to these new, rarer ?non-fic tion? m odes, at once highly aesthetic and highly marketable. That the memoir is often a form of history- writing as well adds seriously to its ?being ethical? (2001). To the literary style and techniques that Krog acquired in the literary field, and which contain the capacities for the self-fashi oning of the author and the concomitant consumption and engagement in self-for mation by the readers, one must link the particular power of the media. Krog?s work is not just consum ed as poetry or non- fiction books, but also via the reviews, the excerpts, the interviews and the resulting circulating discussions on the ideas, works and on the writer herself. By drawing on Thompson, one can see that the techniques readers have learnt on how to use literary materials for self-f ormation and the joining of publics, have been carried over into mass media consumption. But there is anoth er media dimension to take into account. As I have shown, from the very first publication of her poems in the Kroonstad High School m agazine, Krog becam e a newsmaker for the South African press. As she acquired literary capital and awards, and attained notoriety for her public excoriation of the Afrikaner cultural institutions and for her acts of defiance (m arching with comrades, reading poetry at Free M andela rallies) , this newsmaker status grew into agenda-setter status. But with the publication of Country of My Skull and the attention of the world?s news m edia in reviewing the book, the invitations to speak overseas and the awards attached to the book, came celebrity status. I would also venture to say that this celebrity status attached to her second-person performance in the book, which gained international capital as the quandary of recognising and giving speaking space to those Othered by colonialism and globalisation has become a topic of heightened consideration. As I have shown in the thesis, celebrity st atus and the attention of the mass media is not just a ref eudalising return to personal publicity (as Haberm as would have it). Celebritie s have important institutional and structural functions in our public domains. As Rojek, Marshall and Turner show, it is sim ply impossible for every human being of the millions in a western-s tyle democracy to exercise their unique voice in the public domain as part of their democratic birthright, but it is possible for them to vicariously enter this domain via those distinctive individuals who achieve the status 215 of public figures. These representative people are consumed by publics in the same self-fashioning ways that are m ade possible by literature, but now this consumption is ? also, in the case of writer like Krog ? taking place via th e media. A public attuned to seeking out an ethical response to the dilemmas posed by encountering the Others of the world, can find in Krog?s literary wr itings the exemplary material for self- fashioning, and in the media the person of Kr og as further material for self-fashioning and action in the public domain. In focusing too on the news media coverage of Krog as prim ary research material this thesis has shown that journalists have a powerful capacity to influence the legitimation of such public figures and their intellectual contributions. They act as both communicators and consecrators and have an exponential effect in multiplying capital that might be acquired from consecrations made within fields. This thesis suggests that existing media theory has not adequately done justi ce to how this power works in society and attaches to individual agents. I suggest that field theory ? and in particular the concept of consecration ? is a more fruitful theoretical tool in dealing with media attention of this nature because of its scope across social space, its focus on the structural, institutional and contextual and its sensitivity to the possibilities of and constraints on agency. As the journalism field theorists show (Ben son, Cha mpagne and Couldry) to work in journalism (as Krog has done) and accum ulate the field?s capital for distinction of effort is not the same as becoming a public figure in which the persistent attention of the media is tantamount to a meta-capital ? the power which transcends the field, and reaches across the social landscape to insist on this person?s high social status and general value regardless of field of origin. This is what Bourdieu calls the power of ?heteronomous consecration? (2002:4), in whic h the ?the value of the plebiscite? ? the ?m ass? who are the publics of the m ass media ? intrudes. W hile Bourdieu is sceptical of, and treats this power negatively, I want to remark that in an age in which the marginalised masses are increasingly acknowledged as the new legitimate social actors, the media?s ideological claim to re present ?the public? of a society becom es a persuasive power for legitimation, especially when as in the case of South Africa, the public is enlarged with insistent political pressure to include those formerly marginalised. I argue that this media attention, married to the work of subjectivity 216 formation she makes possible via her writings, makes Krog more than a poet and writer and elevates her to public intellectual status even though her performance and subjec t matter is not classic or normative. But also interesting and important are Krog?s forays into journalism and her harnessing of the techniques of journalis m in her English-language books which are categorised as non-fiction or m emoir. Krog?s use of the techniques of reportage, using the subject m atter of the real (real events, real pe ople, real dialogue, real experiences), and the present-tense urgency of journalism , is an employment of techniques that are legitimised both politically and socially as valuable and important in public life because they place publics in touch with the real and significant. Krog is not sim ply a writer of books who has become a celebrity. She has taken her distinctive poetic style5 , married it to the non-fiction techni ques of journalism and produced in Country of My Skull a book which is a life narrative dealing with the challenge of recognition of the Other. This winding together of he r aesthetic style with journa listic reportage and the ongoing preoccupation with the ethical performance of self in relation to the changing reality of a political upheaval, plus the mediation of her self and her writing of this book, is what makes Krog m ore than a famous writer, and enables her to occupy the space of the public intellectual both nationally and internationally. In Neil Lazarus? assessm ent of Said?s cons ideration of the figure of the public intellectual (1994) he rem arks (and I now apply this insight to Krog): Particularly brilliant in S aid?s repr esentation of the intellectual, in my view, is his clear-sighted aw areness of what might be specific to intellectual work, that is, his grasp of what it is that intellectuals do that might be both socially valuable and also not within the remit of any other group of social agents ? not beca use intellectuals are cleverer than other people, still less because they are morally better than other people, but because they have been socially endowed with the resources, the status, the symbolic and social capital, to do this particular kind of work (2005: 117). It is this social endowment and particularly the media role in its creation ? this thesis has argued ? that has allowed Krog to m ake her poetic engagements with subjectivity in relation to the political, hugely socially relevant and useful for publics. 5 Described by literary theorist Lou ise Viljo en as ?tran sgressive?, ?strong ly feminist? an d autobiographic, with an ongoing preoccupation with ?th e conflict between aesthetics and politics?, ( 200 6 : 39 -4 0) . 217 Krog?s distinctive work as a South African public intellectual T h e perlocutionary act? that which we do in say ing ? the lea s t inscribable element of discou rse... discourse as stimulus. Paul Ricoeur 1997:76-77. Our time-inflected phenome nology places creating and maintaining meaning at the cen tre of all human activity. The Editors Lines of Narrative , 2000. Krog affirms the literary as a cultural repository of useful universalising wisdom Despite not operating normatively as a Saidian - type public intellectual, a literary performance such as Krog?s is able to generate visions for the future through creativity and imagination thus giving the literary field ongoing life in the public imagination as a valuable repository of visions for the future. Stephen Johnson MD of her publisher Random House asserted in a recent interview as he was leaving for the Frankfurt Book Fair that Krog is one of ?t he most exciting imaginations working in South Africa today? ( Financial Mail 1 7 October 2008) and that he was seeking out international publics for her work. But liter ary performances such as Krog?s also demonstrate that the literary has a unique ability to be responsive to the huge, critical issues involved in being human and engaging ethically with the world. A nd interestingly it is not through poetry alone that Krog has achieved this position as a writer. In the non-fiction work that brought Krog international acclaim she has taken literary techniques out of the literary field and married them to journalism ? s preoccupations with the real and in doing so has injected consequence, urgency, and a political imperative into her writing. Krog injects the personal into the political domain I return to the Hannah Arendt point that the state functions like a giant household bureaucracy feeding, educating and skilling the majority in a levelling and conformist way and that the devalued personal will therefore find its place in the public sphere through the aesthetic (1998: 39). Krog?s poetic style of integrating the fiercely personal with the particularly political, places into the public domain the private, the individual, the personal and the intimate, which validates what is real in the lives of millions but is not given credence in the public sphere of political ideas and economic problems. In this Krog is assisted by the ri se in the publishing industry of memoir and 218 non-fiction dealing with politic al change, and by the mass media with their increasing focus on individualising behaviours. Krog introduces the messy, emotional and passionate into public It was Said who called f or amateurs with emotional loyalties and passions (cited in Hollis 1997 : 292) to en ter the public sphere. In particular Krog?s oft-stated and fiercely held loyalty to the land of South Af rica is put into the public domain as an unwavering passion. As Leon de Kock comm ents: ??she refuses to give up trying to speak the voices of the land, she risks sentimentality everywhere, and she continues to be both publicly personal ? and very pers onally public?? (?Voices of the earth? Mail&Guardian 1 7 - 2 3 Nove mber 2000: 9). Krog ?hous es affect? (as the celebrity theorists point out) on behalf of publics who desire to see this attribute operating in public. Unlike other public figures (and esp ecially unlike public intellectuals who operate on the Habermasian notions of rational-critical inputs into debate) Krog?s public performance validates not just strong feeling about an issue?s im portance but the extremes of emotion such as shame, mourning, frustration, helplessness, irrational love etc, and their public expression. While the performance of such affect has to be finely calibrated for authenticity, and is always in danger of overstepping the boundaries of what is considered acceptable in public, the recognition of the experience of the Others now m aking claims for legitimate social space, is incomplete without the acknowledgement of pain and suffering attached to those experiences, and the adequate response to that pain and suffering. Krog?s pe rformance is finely tuned to reacting to major politica l shifts taking place globally, a reaction which the usual vehicles of the public sphere (such as the news media) are not yet accommodating because of the prohibitions on affect which constrain these vehicles. Krog personalises and humanises huge political shifts and events Krog asserts the value of the body, the subjec tive, the emotional, the affective, the female and the marginalised within and against upheavals and changes that are on the scale of the national and might better have been thought of as purely political or social. As W hitlock points out, Country of My Skull personalises history and historicises the personal, it places the self in relation to public history and culture, and enables ethical self-reflecti on (2007: 135). In fact in Country of My Skull we see Krog 219 asserting that the experience of the body (a nd most often the female-gendered body) is perhaps the only truth to be trusted. Krog enables self-formation by an encounter with the Other as fir st person Stephen Greenblatt (1980: 9), in his explanation of ?self- fashioning? via literature, points out that self-formation is often constructed ?in rela tion to something perceived as alien, strange or hostile?. But what if lite rature offers an encounter with an Other which recognises humanity and the claim of the Other to speak and requires a response of listening and subsequent ethical action? This is the very interesting possibility that Krog?s writings offer as gl obal shifts have required more ethical treatment and recognition of the Other. Krog deals with the past and enables her publics to imagine different futures It was Said who m ade the preoccupation with both past and future part of the task of the public intellectual. ?The in tellectual?s role is first to present alternative narratives and other perspectives on history than those provided by combatants on behalf of official memory and national identity? a nd, ?Therefore one inve nts? hypothesising a better situation from the known historical and social facts? (from ?The Public Role of Writers and Intellectuals? in Sm all 2002: 36) . The TRC process is the hinge on which past and future for South Africans rests in the new democracy. Krog?s self-reflexive performance in response to the TRC testifiers shows clearly the present imperative of acting ethically so that the future can be imagined as substantially different from the past. And m ost importantly of all ? Reading Krog (and consuming Krog?s person via media) enables agency Krog em bodies and performs the complexity of being a responsive and self-reflexive white person in South Africa. She puts out a repertoire of possibilities for take-up, modification, debate and even rejection. As Andrews, Slater, Squire and Treacher, th e editors of Lines of Narra tive: Psycho s ocial Persp ectives , say in their introduction, [life] narrative can ?recuperate individual and social agency (2000: 1); ?foreclose more imaginative ways of living? (2000: 2) and ?[ open] up new spaces for investigating relations between subjects and structures? (200 0: 8). Krog uses the m ode 220 of the personal-intim ate and the performance of embodiment, which she had honed in the art form of poetry, to bring into public subj ect matter and performances usually disallowed by the ideal of public sphere yet insistently present in contemporary politics. Considering her style of operati on, she is decidedly not a classic public intellectual. She doesn?t ge nerate a thought or idea and then seek a debate or discussion to enter. Krog takes into hersel f ideas, thoughts, feelings and fragments of experience, her own and others?. She eats, cannibalises and then uses them as raw material for poetry (which she is always e ngaged with regardless of what genre she is actually working in). The resulting product is usually her self, the altered, affected human being, and this is represented in her writing. Titles like Country of My Skull, and remarks like ?I am busy with the truth, my truth? ( 1 9 9 8 : 170) are indications that the site, vehicle and repository of Krog?s engagem ent with the big issues of public importance is Krog herself. This perform ance asserts and affirms individual agency and responsibility. But the ve ry interesting situation that obtains is that this performance is taking place within an enabling context and meeting the need of a desirous public. What the social situation of post-apartheid S outh Africa shows is that the political terrain has shifted in unexpected ways which have impacts on the constitution of the public sphere. The Cons titutional provisions which are rooted in the belief that all South Africans have shared hum anity (?ubuntu?) and are bound by sharing the same country into a ?m utuality as human beings? (Posel), is a significant marker that damage, the personal, the concerns of the Other, and the recognition of trauma and marginalisation has found a place in public discourse. When the TRC was set up as a process to exorcise the past by placing into public not only a research document in which statistics detailed the horrors of the past via scientific methods, but an e x p er ience in which actual individuals were invited to tell the stories of their lives, that social terrain that animated the public sphere ideals, also shifted dramatically into an encounter with actual Others speaking about self, the intimate and the personal affected by the political. The further point then to be made about the nature of the post-apartheid, public sphere is that it is permeated by performances of affect which are used to surface issues and experiences that are not able to be captured by the ?logos-centred rationales for deliberative democracy? (in the words of Huspek 2007: 330). That those who speak into it are no longer necessarily public intellectuals in the strict Saidian sense, and that 221 it is profoundly affected by issues and events beyond its boundaries. Not only is the bounded sense of a national polity and citizenry within a national public sphere being challenged by globalised forces and flows of communication, but the question of what it is to be a responsible, 21 st century, human subject now is extrem ely pertinent. The crucial difference now obtaining in the transnationalising space a Krog s peaks into, is that a different type of authority sanctions her capacity to speak. In the case of the classic public intellectual (a Sa id), th e authority rested largely in his recognised excellence as an author and his facility to represent a particular issue and/or people. In the case of Krog, while recognised excellence as an author and capacity to represent are still important, to these must be added the requirements of the regimes of truth, confession, human rights and a performance which demonstrates affectedness, implication and connection to other suffering bodies. For a public figure now to have a hearing in a transnationalising space the person must not just facilitate speech and debate but must also embody pain and empathy. Krog?s is no t a classic performance of opposition ? not a speaking tru th to power, it is not the antithesis to the state?s thesis in a dialectical public debate. Krog?s is a presentation of affect and effect in which the personal and political are entwined. Krog shows a public how an individual, in a complex, rapidly-altering political situation, negotiates an adaptive subjectivity as the prim ary means of ethical agency. In a reformulation of the much-used Said ian phrase: Krog speaks poetry to power ? and by ?poetry? I m ean aetheticised and affected embodied communication inflected by literary techniques, and by ?power?, not th e political entities in formal government but in the most general sense the structures of the world that exclude and alienate. 222 Appendix A: Media Coverage of Plagiarism Accusations against Krog Note: this list is organised by publication and date to show the spread and duration of media attention paid to this issue Sunday Times 19 February 2006 ?Top writers in plag iarism row? by Celean Jacobson. Mail&Guardian Online www.mg.co.za 21 February 2006 ?Antjie Krog denies plagiarism claims?. T h e Guardian ? South African autho r accused of plagiarism? by Rory Carroll. http://books.guardian.co. uk/news/articles/0,,1714421,00.htm l accessed 9 February 2009. Mail&Guardian 2 4 Feb-2 March 2006 ?Krog: publis hers may sue? by Colin Bouwer. Mail&Guardian 3 - 9 March 2006 ?New claim s against Krog? by Colin Bouwer. Mail&Guardian Friday 3 - 9 March 2 006: 4-5 ?T he Antjie Krog Saga? by Shaun de Waal, Tom Eaton and Colin Bouwer. The Sunday Independent 5 March 2006 ?Repetition and the other perils of plagiarism? by Maureen Isaacson. Cape Argus 1 6 March 20 06 ?A guilty silence in the house of Krog? by Gavin Haynes. Mail&Guardian 1 7 - 2 3 March 2006 ?In Antjie Krog? s corner? by Ingrid de Kok. Daily Dispatch 1 8 March 2006 ?The Antjie Krog affair is bad for South Africa? by Mathew Blatchford. The Sunday Independent 2 6 March 2006 ?The great S outh African tongue-lashing: first it was Antjie Krog, now it?s Stellenbos ch University. Afrikaans is fighting for its survival? by Hans Pienaar. And the substantial debate in the Litnet Sem inar Room online ( www.oulitnet.co.za / seminrroom/def ault.asp accessed 25 February 2008) with contributions by Nelleke de Jager, publis her for Kwela Books; Eve Gray, Strategic Publishing S olutions; Stephen Johnso n, MD Random House; Antjie Krog ; Annie Gagiano; Jo hann de Lan ge; Sam Raditlh alo; Mik e Stevenson ; Etienne van Heerden; Willemien le Roux; Mathew Blatchford ; Helen Moffett; Barbara Adair; Rosalind Morris; Mad ame Lacoste; Shaun de Waa l; Colin Bouwer; Craig Mason-Jones; and Ian-Ma lcolm Rijsdijk. Academ ic analysis: Morris, Rosalind. 2006. ?Plagiarism and the Ends of Reading? Rhodes Journalism Review 26: 14-15. Verstraete, Claire. 2006. ?Plagiarism : The Cult ural Outbreak? Master of Philosophy Minor Dissertation. Univer sity of Cape Town. And: Bauer, C. 2005. Plagiarism isn?t am biguous; it?s just theft, plain and sim ple. T h e Sunday Times, 6 February. www.suntimes.co.za accessed 27 May 2005. 223 Appendix B: Texts dealing w ith the Debate on Public Intellectuals Alatas, Syed Hussein. 1977. Inte llec tuals in D eveloping Societies . London: Frank Cass Alcoff, Linda Martin. 2002. ?Does the Public Intellectual have Intellectual Integrity.? Metaphilosophy October 35(5): 521-534. Baum an, Zygm unt. 1987. Legislators and Interpreters: On Modernity, Post- Modernity a nd Inte llec tuals . Cam bridge: Polity Press. Becher, Tony. 1989. A cademic Tribes and Territories: Intellectual Enquiry and the Cultures o f Disciplines . Milton Keynes: SRHE and Open University Press. Bourdieu, Pierre. 2002. ?The Role of Intellectuals Today.? T h eoria June: 1-6. Brantlinger, Patrick. 2003. ?Professors and Public Intellectuals in the Information Age.? Shofar: An Interdisciplinary Journal of Jewish Studies 2 1 ( 3 ) Spring: 122-136. Calavita, Kitty. 2002. ?E ngaged Research, ' G oose Bum ps' , and the Role of the Public Intellectual.? Law&Society Review 36(1): 5-20. Clausen, Christopher. 2003. ?Public Intellectual Num ber One.? The New Leader July/August 86(4): 15-16. Chom sky, Noam . 1967. ?The Responsibility of Intellectuals.? N e w York Review of Books http://www.nybooks.com /articles/12172 accessed 3 Novem ber 2008. Coetzee, JM. 2000. ?Critic and Citizen: A Response? Pretexts : Litera ry and Cultural Studies 9(1): 109-111. Cowley, Jason and Malik, Kenyan. 2002. ?The Death of Ideas.? New Statesman 1 3 1 ( 4 5 8 4 ) : 53-54. Du Toit, Andr?. 2000. ?Critic and Citizen : The Intellectual, Transform ation and Academ ic Freedom.? Pretexts: Literary and Cultural Studies 9(1): 91-104. Eyerm an, Ron. 1994. B etween Culture and Politics: Inte llectuals in Modern Society. Cam bridge: Polity Pre ss. Furedi, Frank. 2004. Where Have All the Intellectuals Gone? Confronting 21 st Century Philistinism. London and New York: Continuum . Galtung, Johan. 2002. ?The Role of the Inte llectual ? an Excursion in to S elf- Criticism .? Higher Education in Europe 2 7 ( 1 - 2 ) : 59-63. Galtung, Johan. 2002. ?The Role of the In tellectual II ? This Tim e as Other- Criticism .? Higher Education in Europe 2 7 ( 1 - 2 ) : 65-68. 224 Haney, Joe. 2002. ?Ha! Som e Intelle c tuals Aren ?t So Sm art.? National Journal 3 4 ( 1 4 ) : 1008. Johnson, Paul. 1988. Intellectuals. New York: Harper&Row. Karabell, Zachary. 1999. ?The Uncertain Va lue of Training Public Intellectuals.? Chronicle of Higher Education 46(5): B8. Khalidi, Rashid I. 1998. ?Edward W Said a nd the Am erican Public Sphere: Speaking Truth to Power.? boundary 2 25(2): 161-17 7. Konrad, George and Selenyi, Ivan. 1979. T h e Intellectuals on the Road to Class Power. Brighton: Harvester Press. La Capra, Dom inic. 1983. R ethinking Intellectual Hist ory, Texts, Contexts, Language . Ithaca and L ondon: Cornell University Press. Lasch, Christopher. 1986. ?A Typology of In tellectuals: The Fe minist Subject.? Salmagundi Spring-Summ er 70-71: 27-43. Lem ert, Cha rles C (ed). 1991. Intellectuals and P olitics: Social Theory in a Changing World. London: Sage. Mazrui, Ali A. 2003. ?Pan-Africanism and the Intellectuals: Rise, Decline and Revival.? K eynote address for Codesria?s 30 th anniversary on the theme ?Intellectuals, Nationalsim and the Pan-African Idea l?. Dakar, Senegal, Decem ber 10-12. McKee, Alan (ed). 2002. ?Public Intellect uals: an Introduction to Continuum' s New Series of Interviews? in Continuum: Journal of Media and Cultural Studies 16(2): 221-223. Michael, John. 2000. Anxious Intellects: Academic Prof essionals, Public Intellectuals, and Enlightenment Values . Durham and London: Duke University P ress. Mkandawire, Thandika (ed). 2005. African Intellectuals: Rethinking Politics, Language, Gender and Developmen t. Pretoria: Unisa Press. Morrison, Toni. 2002. ?How can Va lues be Taught in the University? ? Peer Review Summ er 4(4): 4-7. http://www.aacu.o rg/peerreview/docum ents/PR-SU02.pdf accessed 29 January 200 9. Ndlyetyana, Mcebisi. 2008. Inte llec tuals in 19 th and Early 20 th Century South Africa. Cape Town: HSRC Press. Ozick, Cynthia. 1995. ?Public and P rivate Intellectuals.? American Scholar Su mmer 64(3): 353-358. Peterson, Bhekizizwe. 2000. Monarchs, Missionaries and African Intellectuals: African Theatre and the Unmaki ng of Colonial Marginality . Johannesburg: W its University Press. 225 Ra mphele, Mam phela. 2000. ?Critic and Citizen: A Response? Pretexts : Litera ry and Cultural Studies 9(1): 105-107. Reeves, Richard. 2003. ?There is a Character Missing from the Cast of Political Life: the Public Intellectual.? New Statesman 7 July 16(764): 23-25. Robbins, Bruce. 1993. Secular Vocations: Intellectual s, Professionalism, Culture. London and New York: Verso. Robbins, Bruce (ed). 1990. Inte llec tuals: Aes the tics, Po litics , Academics. Minneapo lis: Univers ity of Minnesota Press. Said, Edward W . 1994. R e presentations of the Intell ectual: T h e 1993 Reith Lectures. London: Vintage. Said, Edward. 1985-6. ?Intellectuals in the Post-C olonial World.? Salmagundi Spring- Summ er No 70-71: 44-81. Sanders, Mark. 2002. Complicities: the Intellectual and Apartheid. Pietermaritzburg: University of Natal Press . Sanders, Mark. 1999. ??Problem s of Europe?: NP van Wyk Louw, the Intellectual and Apartheid. ? Journal of Southern African Studies December 25(4): 607 -6 3 2. Showalter, Elaine. 2000. ?Laughing Medus a: Fem inist Intellectuals at the Millennium .? Women: A Cultural Re view 11(1,2): 131-138. Sm all, Helen (ed). 2002. T h e Public Inte llec tual. Oxford: Blackwell Publishing. Swartz, David L. 2003. ?From Critical Socio logy to Public Intellectual: Pierre Bourdieu and Politics.? T h eory and Society 32: 791-823 ?The Future of the Public Intellectual: A Forum .? 2001. Natio n 2 7 2 ( 6 ) : 25-32. Von Vegesack, Thom as. 1989. D e Intellectuelen: 1898-1968 . trans. Petra Broom ans and Wiveca Joneneel. A msterdam: Meulenhoff. Whimster, Sam . 1992. ? S ocial Theory and the Decline of the Public Intellectual.? BJS 4 3 ( 2 ) June: 289-297. Wolfe, Alan. 2001. ?The Calling of the Public Intellectual.? Ch ronicle of Higher Education 25 May 47(37): B20. Zizek, Slavoj. 2005. ?The Em pty Wheelbarrow.? T h e Guardian 1 9 February. 226 Appendix C: South African Media Deba tes about Types of Intellectuals A survey of the news m edia shows that there are debates about: ? ?African intellectuals? (Chris van Gass ?Tim e for Af rica?s inte llectuals to lead change, says Mbeki? Business Day 2 3 February 2005: 4. The newly formed African Union hosted the ?First Me eting of Intellectuals of Africa and the Diaspora?, in Dakar, Senegal in October 2004. The Council for the Development of Social S cience Res earch in Africa (Codesria, based in Dakar) held a conference in December 2003 on ?Intellectuals, Nationalism and the Pan-African idea? and released a book of the papers ( African Intellectuals: Rethinking Politics, Lan guage, Gender and Development edited by Thandika Mkandawire) and see Them ba Sono. 1994. Dilemmas of Afric an Inte llec tuals in South Africa: Political and Cultural Constraints. Pretoria: Unisa Press. ? ?Revolutionary intellectuals? (See Jerem y Cronin?s ?Blank Pages in History should not be Allowed: The Role of Revolutionary Intellectuals? Umrabulo 25. http://w ww.anc.org.za/ancdocs/pubs/um rabulo/um rabulo25/pages.htm l). ? ?Collective intellectuals? (Suttner, Raym ond. 2005. ?The Character and Formation of Intellectuals within the ANC-led South African Liberation Movem ent.? African Intellectuals: Rethinki ng Politics, Language, Gender and Developmen t. Pretoria: Unisa Press: 117-154). ? ?Organic? and ?organic-collective intellectuals? (Mandla N komfe ?The Role of Intellectuals in our Movem ent and Society? Umrabulo 25 http://www.anc.org.za/ancdocs/ pubs/um rabulo/um rabulo25/role.htm l) ? The ?intelligentsia? (Mokubung Nkom o ?Not many intellectuals in our intelligentsia? City Pre s s 1 5 December 2002: 24 ). ? The ?White Left? (Raymond Suttner ?W hat happened to the white left?? 18 January 2005. ? ?White int ellectuals? (Denis Davis ?Beyond cheer ing and pie-throwing? 2 February 2004. ? ?Black in tellectuals? (Mathatha Tsedu ?Our black intellectuals shouldn?t be so afraid to speak? Sunday Times 1 2 October 2003: 19. Jonathan Jansen ?Silen t black intellectuals? City Press 8 Decem ber 2002: 25). ? ?Native intellectuals? (as in the form ation of the Native Club. See Sandile Mem ela ?Black brainpower? Mail&Guardian 5 - 1 1 May 2006: 19 and ?B lack intellectuals need space to look at themselves? Sunday Independent 21 May 2006: 10). ? ?Afrikaner intellectuals? ( ? Afrikaner intellectuals ?do not speak for all?? Citizen 9 Novem ber 2002: 11); ?independent intellectuals? (A ubrey Matshiqi ?Talking of power and the intellect? Business Da y 2 9 August 2008: 19). 227 ? ?Free-floating intellectuals?, ?liberal intellectuals?, self-proclaimed intellectuals (Xolela Mangcu ?Intellectual revolt against ruination? Busin e ss Day 2 1 February 2008: 15. And see his book To the Brink: Th e State o f Democracy in South Africa, 2007) . ? ?Coconut intellectuals? (Sandile Mem ela ? What makes a coconut intellectual?? Daily Dispatch 2 1 February 2008: 9); ascribed intellectuals (Sipho Seepe ?SA?s intellectual activ ists also show their courage? Busin e ss Day 4 June 2008: 11). ? ?Reclaimed intellectuals? from the past (See A frican Intellectuals in 19 th and Early 20 th Century South Africa edited by Mcebisi Nd letyana. 2008. Cape Town: HRS C Press). ? There are also discussions about the presence or non-presence of ? women intellectuals?, ?black w omen intellectuals? and ?gay intellectuals?. 228 Appendix D: ?Genadendal? by Antjie Krog Genadendal 10 Mei 1798 Drie Moraw iese broeders huisves ons sonder vertoon. Laatm iddage klink die klok (tot in Stellenbosch s? hulle) galm end deur die valley. Biduur. Ons sit m et skroom van aangesig tot (honderdvyftig) aangesig. My jas is gekreukel, onthou ek, hulle effens in vel, die kleivloer onder rietmatte l? in die smal vertrek loomkleurig in sonlig gesny. My jas bly my by. Ek ruik hulle, hulle m y. Die sendeling lig sy hande and s? gew oon: m ihn lieve vrienden? en meteens in hierdie eenvoud gewaar ek Hom ? still soos ?n blink be l in my brein voor Hom is almal naak maar ek sien soos altyd skaar Hy by hulle by die hongeres by die armes by die skares sonder hoop die stoppelende swyendes regteloos dat Hy mens word en in hierdie vertrek na my kyk dis goed ek is hier dink ek dis goed ek onthou van my kerk ? die fluwelige m atriks vol gesteentes en korrupte kakel en ek voel Here hoe w?g is ek van U hoe s mall ken ek maar steeds net myself ? kaduks van wit m unt slaan. En hulle? Uitkammers van pruike poleerders van silwer, afwitters van mure ken hulle buiten hulleself selfs my binneste bed. Here wat maak ek? Hoe raak ek onts lae Van hierdie eksklusiewe sm et? Onverwags ?n lied wat spoel wat swell tot ? n hartstogtelike skel verdriet feitlik oppermagtig van pyn. (Vir verby of vir vo rentoe?) Ek bly uitge lewer in liturgiese duister sit met gehawende polse my lippe bloei dig in sagste sweet hang my hoof voor die votum vou die sendeling sy hande na my kant netjies onverbiddelik in polyste naalde-oog? Dun kurk ek die ham tot stapeltjies blom blare waarna die hern h?tters gulsig m et vurke steek prits deur mosterdswamme: d?t m oet jy proe Broeder! 229 Ons Madeirawyn en wit arak plonk f eestelik die bekers vol. Ek hoor dit nie, sien dit nie ? buite rasper die maan hom mal oor die berge oor miljoene vanaand dig teen vure ruwe brood en bier sange verhale dryf kodes landvol uit die kole. Hoe gee ek die knusse holte prys waarna ek gebore is? Draai om. Deel uit. En my oorvret e siel? Soek di? nie bloots iets nuuts om te ril nie? Moet elk nie as sondebok sy ge?rfde goudgebinde bene as drag uitspeel en met waardige berou galvrek? Die keuse stink wellig na voorreg. terwyl di nag nog klooflangs l? en bloed reeds aan die pieke bars, is ek op. Sabelkwaste, ink, waterhouers. Ek sluk haastig koffie, brood, koue wild, my vingers dom aan my jas. Voetpad uit, m y o? tier op ?n hoogte inderhaas bladsy strek verf m eng groene ja groen is die kleur van balans groen verduur alle kleur groen word aanhoudend gebreek om to absorber as verder of nader swart is net ?n skakering ?n dieps te groen in transparante waterverf is wit verbode. Dimensie kom deur die weglating? Die volledige landskop m??t ek in ?n raam werk pak om ontroering te oorleef die dal orent trek in perspektief. Die res vul vanself. Maar die sendeling hand tussen my en die son. Ga spar hou later sambreel. Ek wuif hulle ongeduldig uit di pad m aar toe bars die palle son brutal van bo en trammel Genadendal in deins. Ek kry dit nie geteken nie, nie ingepas geskaal ek vee dit korrel tuur tot dit my oorval die weet die besef: m y bladsye bly altyd ruit, spel altyd afstand, die invalshoek bly passief. En so wil Madam e di? land deur glas bly waarneem in prentjies en p?esietjies strik. Stadig sou my hand kon terugtrek ?n klip vasvat en gooi snakkend deur die gestrekte ruit kon gooi om in die heuphoog landskap kokhalsend te ontdooi Lady Anne 1 9 8 7 : 55-57 230 Appendix E: ?Tour into the interior? by Anne Barnard ?Tour into the Inte rior? T h e Letters of Anne Barnard to Henry Dundas (in Robinson 1973 from page 106) ?Mr Barnard furnished on his part two good hams and a half, a large piece of Hamburgh beef, and two tongues. He added a small cask of good Madeira, a box of gin, rum, and liqueurs, and plenty of powder and shot; which baggage, with som e other things in great coats which lined the sides of the waggon (and which I did not attend to), he stowed up him self? Saturday the 5 th of May, 1798, we set out in our waggon and eight , ? on the front seat of which sat the illustrious Gaspar on his box ? behind him Lady Anne Barnard, on her knee an old drawing-book stoutly bound, which had descended from mitre to mitre in the Barnard fam ily, and which little thought in its old age, as Sarah says, that it should be caught turning over a new leaf and producing hasty sketches in the wilds of Africa. By her was Myn heer the ?Secretariu s,? for the exp ress purpose of popping out at the partridges in half a minute when they appeared? T hursday, May 10 th , 1798? The Fathers, of whom there were three, came out to meet us in their working jack ets, each man being employed in following the business of his original profession ? a miller, a smith ? a carpenter and tailo r in one. They welcomed us simply and frankly, without artificial gladness or more than hospitable civility, and led us into their sitting-room, a s mall, but neat apartment, in which there was a chimney and a grate? Howe ver, they made us comprehend that the house we were then in was built with their own hands five years ago; that they were sent by the Moravian C hurch in Germ any; that their object was to conv ert the Hottentots, to render them industrious, religious, and happy; that they had spent som e time in looking out for a proper situation, sheltered, of a good soil, near water ? and that they had fixed here, ? th at they had been furnished with money by their Church to collect materials, and to assist them till they could earn something for themselves, ? that they had procured some Hottentots to assist them in the beginning of their work and by their treatment of them more had been encouraged to creep round them? ?W e retired to our parlour, and, the church-bell now ringing to bring them all together, when the church was full and all was ready, we begged leave to make part of the congregation. I doubt much whether I should have entered St. P eter?s at Rom e with the triple crown itself present in all its ancient splendour, with a more awed impression of the Deity and his presence that I did this little church, of a few feet square, where the simple disciples of Christianity, dressed in the skin of animals, knew no purple or fine line, no pride, no hypocrisy. I felt as if I was creeping back seventeen hundred years, to hear from the rude but inspired lips of evangelists the simple sacred words of wisdom and purity. ?about one hundred and fifty Hottentos jo ined in the twenty-third psalm in a tone so sweet, so loud, but so just and tr ue that it was impossible to hear it without being surprised? The Father?s discourse was short, and seemed to be whatever came first without study, ? the tone of his voice ha d no Puritanism in it, it was even and natural; but when he used th e words, which he often did, myn e lieve vr ien de, ?m y beloved friends,? I thought he felt to them all as his children. Not a Hottentot did I see in this congregation that had a bad passion in the countenance; I watched them closely, ? all was sweetness and attention; I was even surprised to observe so few 231 vacant eyes, and so little curiosity directed to ourselves; I own our dress es, the great coats I have mentioned, well pounded in the waggon, were not very attracting. ?The Father and I clim bed the mountain to the right; the sun was warm, and shone inconveniently bright on my paper, ? I pu t him between it and me till such time as little Charles should reach me with my umbrella. I then gave the old man his liberty, but he was pleased to see me work, and would not go. I did not succeed to my wish ? the sun was too vertical to gi ve me the proper shadows, and I do not understand drawing from a height. 232 Appendix F : SABC Sound Archive on Antjie Samuel TRC reports 1. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE JACK CRONJE BEFORE THE TRC CO NCEPT PRO F IL E O F A FO RMER CO MMANDE R OF VLAKPLAAS, BRIG JACK CRONJE, CO MPILED B Y ANTJIE SAMUEL CATN O T 97/311 RECOR D BC 1997-03 -17 2. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE ROEL F VENTER AT THE TRC CO NCEPT PRO F IL E O F A FO RME R MEMBER O F VLAKPL AAS, CO L RO EL F VENTER, COMPILED BY ANTJIE SAMUEL CATN O T 97/311 RECOR D BC 1997-03 -18 3. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE HECHTER A T THE TRC CO NCEPT PRO F IL E O F A FO RMER MEMBER OF VLA KPLAAS, CAPT JACQ UES HE CHTER, CO MPILED B Y ANTJIE SAMUEL CATN O T 97/311 RECOR D BC 1997-03 -19 4. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE VAN VUUREN A T THE TRC CO NCEPT PRO F IL E O F A FO RME R MEM BER O F VLAKP LAAS, WARRANT O F FICER PA UL VAN VUUREN, C O MP ILED B Y AN TJI E SAMUEL CATN O T 97/311 RECOR D BC 1997-03 -20 5. SERVICE AFRIKAANS STEREO CLASS O NDERHOUD PROGRAM MONI TOR TITLE VRY W ARIN G KW ESSIE CON CEPT ONDER HOUD DEUR ANTJIE SAMUEL MET DR ALEX BO RAINE VAN DIE STIGTING JUSTICE IN TRANSITI O N OO R DIE VRYWARING SL Y S WAT DEUR DIE NP AANG EKONDI G IS EN GRO O T O N TEV REDENHEID B Y ANDER P ARTY E VEROO RSAAK HET CATN O T 94/1235 RECOR D BC 1995-01 -17 6. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: SUBPE O N AS CO NCEPT ANTJIE SAMUEL REPO RTS O N THE TRC WHO WANTS TO SUBPO E N A ANC LEADERS IN K W AZULU/NA TAL FOR ATRO CITIES CO MMITTE D CATN O CDR 00/3 6 RECOR D BC 1997-02 -04 7. SERVICE SAFM CLASS SPECIAL REPORT PROG RAM AMLIVE TITLE W O MEN'S DA Y CO NCEPT SPECIAL REPORT B Y AN TJIE SAMUEL O N NATIONAL W O MEN' S DA Y IN SO UTH AFRICA - I T CONTAINS M O STL Y EXTRACTS OF SO NG S BY W O MEN CATN O T 95/195 RECOR D BC 1995-08 -09 233 8. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE JACK CRONJE AT THE TRC CON CEPT REPOR T BY AN TJIE SAMUEL ON F O RMER SE CURIT Y POLIC E MAN JACK C RO NJE'S TESTIM O N Y AT THE TRUTH A ND RECO NCIL IATION CO MMISSION W ITH ACTUALIT Y O F MR CRO N JE WHO SAY S VL AKPLAAS WAS DIFFERE NT UNDER HIS CO MMAND CATN O T 97/304 RECOR D BC 1997-03 -17 9. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE BAREND STRYDO M ASKS FO R AMNESTY CO NCEPT JO HN MA Y THAM IN CONVERS ATIO N WI TH ANTJIE SAMUEL ABO UT THE APPLICATION FO R AMNES TY BY MASS MURDERER BAREND STRY DO M CATN O T 97/306 RECOR D BC 1997-03 -14 10. SERVICE RADIO S O NDE R GRE N SE CLASS O NDERHOUD PROGRAM MONI TOR TITLE JACQ UES PAUW O O R PRIME EVIL CON CEPT ONDER HOUD DEUR AN TJIE SAMUEL MET JOERNALIS JA CQUES PAUW OOR S Y O PSPRAAKWEKKENDE TEL EVISIEPRO GRAM, PRIME E V IL, WAT OO R DIE BEDRY WI GHEDE VAN VLAKPLAAS BEVELVO ERDER, EUG E NE DE KO CK, HANDEL CATN O T 95/675 RECOR D BC 1996-10 -28 11. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROGRAM MONI TOR TITLE VRY HEI DSFRONT VOO R DIE WVK CO NCEPT VERSLAG DE UR ANTJIE SAMUEL OO R DIE VOO RLEG GING VA N DI E VRY HEI DSFRONT VOO R DIE WAARHEIDS- EN VOO RSIE N ING SKO MMISSIE MET AKTUALITEI T V AN GENL CONS TAND VILJOE N CATN O T 97/396 RECOR D BC 1997-05 -19 12. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE W O UTER MENT Z AT T HE TR C CO NCEPT REPO RT BY AN TJIE SAMUEL O N THE TESTIMO N Y O F WOUTER ME NTZ AT THE TRUT H AND RE CON CILIATI ON COMMISSI ON CATN O T 97/392 RECOR D BC 1997-03 -21 13. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROGRAM MONI TOR TITLE KAPT JACQ UES HECHTER VOOR DIE WVK CO NCEPT VERSLAG DEUR ANTJIE SAMUEL O O R DIE G E TUIE NIS VAN ' N GE WESE LID VAN VLAKPLAAS, KAPT JACQ UES HECHTER, VO OR DIE WAARHEIDS- EN VERSO ENING SKO MMISSIE CATN O T 97/393 RECOR D BC 1997-03 -19 14. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROGRAM MONI TOR TITLE BRIG JACK CRO N JE VOO R DI E WVK CO NCEPT VERSLAG DE UR ANTJIE SAMUEL OO R DIE G E TUIE NI S VAN ' N GEWESE BEVELVO ERDE R VAN VLAKPLAAS, BRIG JACK CRO NJE, VOO R DIE WAARHEIDS- EN VERSO ENI N GSKO MMISSIE CATN O T 97/393 RECOR D BC 1997-03 -17 15. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T 234 PROGRAM MONI TOR TITLE KO L RO ELF VE NTER V O OR DI E WVK CO NCEPT VERSLAG DEUR ANTJIE SAMUEL O O R DIE G E TUIE NIS VAN ' N GE WESE LID VAN VLAKPLAAS, KO L ROELF VENTER, VO OR DIE WAARHEIDS- EN VERSO ENING SKO MMISSIE CATN O T 97/393 RECOR D BC 1997-03 -18 16. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROGRAM MONI TOR TITLE AO PAUL VAN V UUREN V O OR DIE WVK CO NCEPT VERSLAG DEUR ANTJIE SAMUEL O O R DIE G E TUIE NIS VAN ' N GE WESE LID VAN VLAKPLAAS, AO PAUL VAN VUUREN, VOOR DIE WAARHEIDS- EN VERSO ENING SKO MMISSIE CATN O T 97/393 RECOR D BC 1997-03 -20 17. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROGRAM MONI TOR TITLE KAPT WO UTER MENTZ V O O R DIE WVK CO NCEPT VERSLAG DEUR ANTJIE SAMUEL O O R DIE G E TUIE NIS VAN ' N GE WESE LID VAN VLAKPLAAS, KAPT WO UTER MENTZ, VO O R DI E WAARHEIDS- EN VERSO ENING SKO MMISSIE CATN O T 97/393 RECOR D BC 1997-03 -21 18. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE MRS BIKO AT THE TRC CO NCEPT INTERVIEW B Y ANTJIE SAMUEL WITH MRS BIKO , THE WI DO W OF THE L ATE MR STEVE BIKO , ABO U T HER TES TIMONY AT THE TRC CATN O T 97/401 RECOR D BC 1997-06 -20 19. SERVICE SAFM CLASS INTERVIEW PROG RAM PM LIVE TITLE PW BOTHA ON TRIAL CO NCEPT INTERVIEW B Y TIM MO DISE WI TH SABC REPORTER A N TJIE S AMUEL ON THE FIRST APPEARANCE O F FO RMER S TATE PRESI DE NT P W BOTHA IN CO URT IN GE ORG E FOR REFUSI NG TO TESTIF Y A T THE TR C CATN O T 98/90 RECOR D BC 1998-01 -23 20. SERVICE RADIO S O NDE R GRE N SE CLASS O NDERHOUD PROG RAM SPEKTRUM TITLE PW BO THA VERHOO R CO NCEPT IRIS BESTER IN G ESPREK MET ANTJIE SAMUEL VAN DIE SABC O O R DI E BEG IN VAN DIE VERHO OR VAN G E WESE STAATSPR ESIDENT P W BO THA IN G E ORG E NADAT H Y GE WEIER HET OM VOOR DIE WV K TE GET U IG CATN O T 98/90 RECOR D BC 1998-01 -23 21. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE WO RKERS' DA Y CO NCEPT INTERVIEW B Y ANTJIE SAMUEL WITH SACP MEMBER RA Y AL EXANDER ABOUT THE HISTORY OF W O RKERS ' DA Y CATN O T 98/184 RECOR D BC 1998-05 -01 22. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE ANC SUBMISSI O N TO THE TRC 235 CO NCEPT REPO RT BY ANTJIE SAMUEL ON THE SUBMIS SIO N O F THE ANC AT THE TRC WITH ACTUALI TY OF MR THABO MBEKI AND BISHOP DESMO ND TUTU CATN O T 98/189 RECOR D BC 1997-05 -14 23. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE NP SUBMISSION TO THE TRC CO NCEPT REPO RT BY ANTJIE SAMUEL O N THE SUBMI SSIO N O F THE NP TO THE TRC WITH ACTUALI TY O F NP LEADER F W DE KLERK WHO REFERS TO POLICIES O F THE FORME R GOVE RNMENT CATN O T 98/189 RECOR D BC 1997-05 -15 24. SERVICE RADIO S O NDE R GRE N SE CLASS AKTUALITEI T PROG RAM SPEKTRUM TITLE ANC VOO RLE GGING VOO R DI E WVK CO NCEPT ANNEMARIE BE ZDRO B IN GESPREK MET A N TJIE SAMUEL VA N DIE SA UK SE WVK SPAN OO R DIE ANC SE VOO RL E GGING AAN DI E WVK CATN O T 98/190 RECOR D BC 1997-05 -12 25. SERVICE SAFM CLASS ACTUALI TY PROG RAM PM LIVE TITLE EVITA BEZUIDE NHOUT CO NCEPT REPO RT BY AN TJIE SAMUEL O N A SPEECH B Y THE FORM ER AMBASSADO R TO BAPHETIKO SW E TI, MRS EVITA BEZUIDENHOU T IN PARLIAM ENT WITH ACTUALITY OF M RS BEZUI DENHOUT CATN O T 99/109 RECOR D BC 1999-02 -09 26. SERVICE RADIO SO U TH AFRICA CLASS ACTUALI TY PROG RAM PM LIVE TITLE TRC CO NCEPT ANTJIE SAMUE L REPO RTS O N THE TRC IN W O RCES TER WHERE THE FO CUS WAS ON WHA T HAP PENED DURI NG THE MID 19 80S CATN O CDR 99/0 002 RECOR D BC 1996-06 -24 27. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: VICTIMS O F APARTHEID CO NCEPT ANTJIE SAMUE L REPO RTS ON THE TESTIM O N IES O F VI CTIMS OF APARTHEID THAT WERE O U TSIDE THE B O RDERS OF SA CATN O CDR 200 0/3 RECOR D BC 1996-08 -19 28. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: DI RK CO E TZEE CO NCEPT ANTJIE SAMUEL REPO RTS O N THE AM NESTY APPLICATIO N O F DI RK CO E TZEE IN DURBAN CATN O CDR 00/3 0 RECOR D BC 1996-11 -08 29. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUE L SPO KE TO STEVE CARNIV ITZ AB O U T W HO MU ST APP L Y FOR AMNESTY CATN O CDR 00/3 3 RECOR D BC 1996-12 -11 236 3 0. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON AMNESTY GRAN TED TO PE O P L E WHO APPLI E D CATN O CDR 00/3 3 RECOR D BC 1996-12 -12 31. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: SUBMISSI O N S CO NCEPT ANTJIE SAMUEL REPO RTS O N THE SUB MISSIO N S TO BE MADE B Y O THER PRO F ESSI O N S TO THE TRC CATN O CDR 00/3 4 RECOR D BC 1997-01 -17 32. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: THAMI MAZW AI CO NCEPT ANTJIE SAMUEL SPO KE TO THAMI MAZWAI ABO UT THE FREEDO M O F EXPRESSIO N IN STITUTE WHO IS TO HANDLE THE SUBMISSI O N O F THE TRC CATN O CDR 00/3 4 RECOR D BC 1997-01 -20 33. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: PREVIEW CO NCEPT ANTJIE SAMUEL G IVES A PRE V IEW O N TRC HEARING S FOR THE NEW Y EAR CATN O CDR 00/3 4 RECOR D BC 1997-01 -21 34. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: LI NDLE Y CO NCEPT ANTJIE SAMUE L REPO RTS ON ATRO CITIES O F VLAKPLAAS MEMBERS IN AREAS ARO U ND LINDL E Y IN THE FRE E STATE CATN O CDR 00/3 4 RECOR D BC 1997-01 -21 35. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: DI RK CO E TZEE CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING OF DI RK CO E TZEE CATN O CDR 00/3 5 RECOR D BC 1997-01 -22 36. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: LAW Y ERS CO NCEPT ANTJIE SAMUE L REPO RTS ON THE V O ICES BEHIND THE AMNESTY APPLICANTS THAT ARE THE LAW Y ERS O F THE APPLICANTS CATN O CDR 00/3 5 RECOR D BC 1997-01 -22 37. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: ALM O N D NOF O MELA CO NCEPT ANTJIE SAMUE L REPORTS ON THE AMNES TY HEARING OF ALM O ND NOFO MELA AT THE AMNES TY HEARING S IN JO HANNESB URG CATN O CDR 00/3 5 RECOR D BC 1997-01 -23 38. SERVICE SAFM 237 CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: JO E MAMASELA CO NCEPT ANTJIE SAMUEL SPO KE TO J O E MA MASELA ABO UT THE STATEMENT OF DIRK CO ETZEE TO THE TRC SA Y ING THAT DI RK LI ED IN HIS STA TEMENT CATN O CDR 00/3 5 RECOR D BC 1997-01 -23 39. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: ACE M O E MA CO NCEPT ANTJIE SAMUE L REPORTS ON THE S TATEM ENT O F TELLE Y MO EMA AB OUT THE KILLING O F HIS BRO THER ACE MO EMA CATN O CDR 00/3 5 RECOR D BC 1997-01 -23 40. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: ALM O N D NOF O MELA CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNES TY HEARING S IN JO HANNE SBURG WHERE ALMO ND NOFOMELA TESTIFIED ABO U T THE KILLI NG O F GL O RY SEDIBI CATN O CDR 00/3 5 RECOR D BC 1997-01 -24 41. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN JO HANNESB URG CATN O CDR 00/3 5 RECOR D BC 1997-01 -29 42. SERVICE SAFM CLASS ACTUALI TY PROG RAM PM LIVE TITLE TRC: PRESS CO NFE RENCE CO NCEPT ANTJIE SAMUEL LIVE FRO M THE PRESS CO NFE RENCE OF THE TRC IN CAPE TOW N CATN O CDR 00/3 6 RECOR D BC 1997-01 -30 43. SERVICE SAFM CLASS ACTUALI TY PROG RAM PM LIVE TITLE TRC: PRESS CO NFE RENCE CO NCEPT ANTJIE SAMUEL LIVE O N THE PRESS CO NFE RENCE OF THE TRC IN CAPE TO WN CATN O CDR 00/3 6 RECOR D BC 1997-01 -30 44. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS O N AMNESTY APPLICATIO NS TO THE AMNESTY CO MMITTEE AB O U T BO MBINGS CATN O CDR 00/3 6 RECOR D BC 1997-01 -31 45. SERVICE SAFM CLASS INTERVIEW PROG RAM PM LIVE TITLE TRC: R+ R CO MMITTEE CO NCEPT ANTJIE SAMUEL SPO KE TO CO MMISSIO N E R MAPULE RA MASHALA ABOUT THE WO RK O F THE REPARATION A ND REHABILI TATIO N CO MMITTEE (R+R) CATN O CDR 00/3 7 RECOR D BC 1997-02 -18 238 4 6. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: R+ R CO MMITTEE CO NCEPT ANTJIE SAMUE L REPORTS ON THE R+R COM MITTEE HEARI N GS IN OUD TSHOORN ABO UT THE HE ALING O F THE O U DTSHO O RN PEO PLE CATN O CDR 00/3 7 RECOR D BC 1997-02 -20 47. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC CO NCEPT ANTJIE SAMUEL REPO RTS O N THE T RC WHO WANTS TO STREAMLINE THEIR BULK OF W O RK CATN O CDR 00/3 7 RECOR D BC 1997-02 -21 48. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUE L REPO RTS ON THE TRC W HO WANTS J O E MAMASELA AND JAAP VAN JAARSVELD TO APPEAR BEFO RE THE AMNESTY CO MMITTEE IN PRETO RIA CATN O CDR 00/3 7 RECOR D BC 1997-02 -24 49. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 7 RECOR D BC 1997-02 -25 50. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 7 RECOR D BC 1997-02 -25 51. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 8 RECOR D BC 1997-02 -26 52. SERVICE SAFM CLASS INTERVIEW PROG RAM PM LIVE TITLE TRC: AMNES TY CON CEPT ANTJIE SAMUEL SPOKE TO B RIAN CURRE N ABOUT RA CIAL HATRED T HAT'S NOT A PO LITI CAL MOTIVATIO N FO R AMNESTY CATN O CDR 00/3 8 RECOR D BC 1997-02 -26 53. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 8 RECOR D BC 1997-02 -27 54. SERVICE SAFM CLASS REPO RT 239 PROG RAM AM LIVE TITLE TRC: LAW Y ERS CO NCEPT ANTJIE SAMUEL AND ANG IE KAPELIANIS REPO RTS O N THE RO LE THA T THE LAW Y ERS PLA Y AT THE TRC AND WHAT THE SIG N IF ICANCE O F THE HE ARING S ARE TO THEM CATN O CDR 00/3 8 RECOR D BC 1997-02 -28 55. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 8 RECOR D BC 1997-02 -28 56. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN P RETORIA CATN O CDR 00/3 8 RECOR D BC 1997-03 -05 57. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: IN F O RME RS CO NCEPT ANTJIE SAMUEL REPO RTS ON THE TRC AND THE ISSUE O F NAMING IN FO RMERS CATN O CDR 00/3 8 RECOR D BC 1997-03 -07 58. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE TRC: BAREND STRY DO M CO NCEPT ANTJIE SAMUEL LIVE O N THE AMNESTY APPLICATION OF BA REND STRY DOM CATN O CDR 00/3 9 RECOR D BC 1997-03 -14 59. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON TH E AMNESTY HEARING S IN CAPE TO WN CATN O CDR 00/3 9 RECOR D BC 1997-03 -11 60. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE TRC: EXH UMAT IONS CO NCEPT ANTJIE SAMUEL SPO KE TO CO MMISSIONER RICHA RD LISTER ABOUT THE EXHUMATI O NS OF B O DIES IN NATAL CATN O CDR 00/3 9 RECOR D BC 1997-03 -13 61. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: J ACK CRO N J E CO NCEPT ANTJIE SAMUEL SPO KE TO CO MMISSIO N E R JACK CRO NJE ABO UT THE THEI R WO RK AT VLAK PLAAS AND ABO UT HIMSELF CATN O CDR 00/3 9 RECOR D BC 1997-03 -17 62. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: SUBP O E NAS 240 CO NCEPT ANTJIE SAMUEL REPO RTS O N THE TRC WHO WANTS TO SUB P O E NA S PERPETRATO RS CATN O CDR 00/4 2 RECOR D BC 1997-03 -26 63. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE TRC: WEND Y ORR CO NCEPT ANTJIE SAMUEL SPO KE TO W E ND Y O RR ABOUT REPARATION TO VICTIMS CATN O CDR 00/4 2 RECOR D BC 1997-04 -04 64. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE TRC: REPARA TIO N CO NCEPT ANTJIE SAMUEL SPO KE TO HEAD O F THE REPARATION CO MMITTEE ABO UT REPARATION TO THE VI CTIMS O F APARTHEID CATN O CDR 00/4 2 RECOR D BC 1997-04 -07 65. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: KILLI NG F ARMS CON CEPT ANTJIE SAMUE L REPORTS ON THE KILLIN G FARMS USE D BY THE SE CURIT Y PO LICE TO BURY THE B O DIE S O F KILLE D A CTIVISTS CATN O CDR 00/4 5 RECOR D BC 1997-04 -17 66. SERVICE SAFM CLASS ACTUALI TY PROG RAM AM LIVE TITLE TRC: ALEX B O RAINE CO NCEPT ANTJIE SAMUE L SPEAKS TO DR ALEX B O RAINE DEP CHA IRMAN O F THE TRC ABO UT THE JUDG EMENT OF J UDGE COMB RINK CATN O CDR 00/4 5 RECOR D BC 1997-04 -23 67. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: AMNES TY CO NCEPT ANTJIE SAMUEL REPO RTS ON THE AMNES TY APPLI CATIO NS RECIEVED BY THE TRC CATN O CDR 00/4 6 RECOR D BC 1997-05 -12 68. SERVICE SAFM CLASS ACTUALI TY PROG RAM PM LIVE TITLE TRC: ANC SUB MISSIO N CO NCEPT TIM MODISE SPEAKS TO ANTJIE SAMUEL ABO UT THE SE CO ND SUBMIS SIO N O F THE ANC TO TH E TRC CATN O CDR 00/4 6 RECOR D BC 1997-05 -12 69. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: ANC 2ND SUBMISSIO N CO NCEPT ANTJIE SAMUEL REPO RTS ON THE SECO N D SUBMISSIO N O F THE ANC TO THE TRC CATN O CDR 00/4 7 RECOR D BC 1997-05 -14 70. SERVICE SAFM CLASS ACTUALI TY PROG RAM PM LIVE 241 TITLE TRC: NP 2ND S U BMISSION CO NCEPT SALL Y BURDETT SPEAKS TO ANTJIE SAMUEL ABO UT THE SECO ND S U BMISSION OF THE NP TO THE TRC CATN O CDR 00/4 7 RECOR D BC 1997-05 -14 71. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: NP 2ND S U BMISSION CO NCEPT ANTJIE SAMUEL REPO RTS ON THE SEC O ND SUBMISSIO N OF THE NP TO THE TRC CATN O CDR 00/4 7 RECOR D BC 1997-05 -15 72. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: MEDIA CO NCEPT ANTJIE SAMUEL REPO RTS ON THE RO LE THE MEDIA PLAY ED DU RING THE T RC HEARING IN ATHLO N E AB O U T THE TRO J AN HO RSE KILLING S CATN O CDR 00/5 2 RECOR D BC 1997-05 -21 73. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: TROJ AN H O RSE KILLIN G CO NCEPT ANTJIE SAMUEL AND KENNETH MAKATEES REPO RTS ON A SPECIAL EVENT HEARING OF TRC ON THE TRO J AN HO RSE K ILLING S IN ATHLO N E CATN O CDR 00/5 2 RECOR D BC 1997-05 -22 74. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: SEVERANCE PACKAG ES CO NCEPT ANTJIE SAMUEL SPEAKS TO BHEKI MINY UKU ABO UT THE SEVERANCE PACKAG ES FOR THE TRC STAFF CATN O CDR 00/5 2 RECOR D BC 1997-05 -30 75. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: MEDI CAL PRO F ESSI O N CO NCEPT ANTJIE SAMUE L REPORTS O N THE TRC HE ARIN GS ABO UT THE RO L E OF ME D ICAL DO CTORS DURING APARTHEI D CATN O CDR 01/5 RECOR D BC 1997-06 -18 76. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: CHRIS HANI CO NCEPT ANTJIE SAMUEL SPEAKS TO THE TR C EVIDENCE LEADER ADV KO KIE M O CHE ABO UT THE P O STPO NEMENT O F THE HEARI N G CATN O CDR 01/5 RECOR D BC 1997-06 -19 77. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: DESM ON D TUT U CO NCEPT ANTJIE SAMUE L SPEAKS TO REV DESMO N D TUTU AB O U T THE NP WHO WANTS TO TAKE THE TRC TO CO URT CATN O CDR 01/5 RECOR D BC 1997-06 -20 78. SERVICE SAFM CLASS REPO RT 242 PROG RAM AM LIVE TITLE TRC: ADRIAAN VLO K CO NCEPT ANTJIE SAMUEL REPO RTS ON THE LEAKAGE O F MR ADRI AAN VLO K' S AMNESTY APPLICATION CATN O CDR 01/5 RECOR D BC 1997-06 -20 79. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: LAD Y BRAND CO NCEPT A REPO RT COMPILED B Y GILLIAN NEEDHA M, ANTJIE SA MUEL AND MILLICENT ADAMS O N THE HUMAN RI GHTS VIO L ATIO NS HEARING S IN L ADY BRAND CATN O CDR 200 2/63 RECOR D BC 1997-06 -26 80. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: TO N Y Y E NGENI CO NCEPT ANTJIE SAMUE L SPEAKS TO TO NY Y E NG E N I ABO UT HIS A PPEARANCE AT JEFF BENZIEN' S AMNESTY HEARING CATN O CDR 200 3/31 RECOR D BC 1997-07 -15 81. SERVICE SAFM CLASS INTERVIEW PROG RAM AM LIVE TITLE TRC: ALEX B O RAINE CO NCEPT ANTJIE SAMUE L SPEAKS TO DR A L EX BORAINE ABOUT DATES TO HAND I N SUBMISSIO N S TO THE TRC CATN O CDR 200 3/31 RECOR D BC 1997-07 -16 82. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC CO NCEPT ANTJIE SAMUEL REPO RTS ON THE TESTIM O N Y OF JO E SER EMANE AT THE TRC HEARING S CATN O CDR 200 3/55 RECOR D BC 1997-07 -23 83. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: W O MEN CO NCEPT ANTJIE SAMUE L REPO RTS ON THE TRC HE ARING S WHE RE O N L Y W O ME N ARE TESTIFY ING CATN O CDR 200 3/55 RECOR D BC 1997-07 -28 84. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: W O MEN CO NCEPT ANTJIE SAMUE L REPORTS ON THE TRC HE ARING S FO R WO MEN O N L Y WHERE LITHA MAZIB U KO GAVE TESTI MO N Y O N HE R O RDEAL I N AN ANC CAMP CATN O CDR 200 3/55 RECOR D BC 1997-07 -29 85. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: MAJOR-GENERAL JAN GRIEBENO W CO NCEPT ANTJIE SAMUEL REPORTS O N THE TRC HEARING OF MAJOR- GENER AL JAN GRIEBENO W CATN O CDR 200 4/318 RECOR D BC 1997-10 -20 243 8 6. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: GLEN G O O SEN CO NCEPT ANTJIE SAMUE L REPORTS ON THE RESIGNATION OF TH E DIRECT OR OF THE TRUTH AND RE CO NCILIATI O N CO MMISSIO N ' S INVESTIG ATIV E UNIT G L EN GO O SE N CATN O CDR 200 5/221 RECOR D BC 1997-10 -27 87. SERVICE SAFM CLASS REPO RT PROG RAM PM LIVE TITLE TRC: DUMISA NTSEBEZA CO NCEPT ANTJIE SAMUEL IN CO NVERS ATIO N WI TH TIM MO DISE AB OUT DUMISA NTSEBEZA DURIN G THE TRUTH COMM ISSION'S P RESS CON F ERENCE CATN O CDR 200 5/223 RECOR D BC 1997-10 -30 88. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: CHRISTIN E QUN TA CON CEPT ANTJIE SAMUE L GIVES AN OV ERVIEW OF T HE DISCREPAN CIES CHRIS TINE QUN TA PO INTE D OUT AT THE TRUTH CO MMISSIO N S' AMNESTY COMMITTEE. CATN O CDR 200 5/223 RECOR D BC 1997-10 -31 89. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: BEN NET S IBAY A CO NCEPT ANTJIE SAMUE L REPORTS ON THE CO NFE SSIO N MADE B Y BENNET SIB AY A AT THE TR UTH A N D REC O NCILIA TION CO MMISSION'S OFFICES. CATN O CDR 200 5/223 RECOR D BC 1997-11 -04 90. SERVICE SAFM CLASS DISCUSSION PROG RAM PM LIVE TITLE TRC: ESK O M SU BMISSIO N S CO NCEPT TIM MO DISE IN CO NVERSA TION WITH ANTJIE SAMUEL O N THE SUBMISSIONS OF ESKO M AT THE TRC HEA RINGS. CATN O CDR 200 5/225 RECOR D BC 1997-11 -11 91. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: L O RD N D LOVU; D O N MKHWANAZI; A ND JOHA N R U PERT BUSINES S AND LABO UR CO NCEPT ANTJIE SAMUE L REPORTS O N THE TRC SPE CIAL HEARING O N THE RO LE O F THE BUSINESS SECTOR DURIN G THE APARTHEID ER A. ACTUALI TY OF L O RD N D LOVU , DON MK HWAN AZI AND JOHAN RUPERT ALS O INCLUDE D. CATN O CDR 200 5/225 RECOR D BC 1997-11 -13 92. SERVICE SAFM CLASS REPO RT PROG RAM AM LIVE TITLE TRC: L O RD NDL OVU BUSINESS SECTO R CO NCEPT ANTJIE SAMUEL REPO RTS O N THE RO LE OF BUSINESS AND LABO UR DURI N G THE APARTHEID ERA AT THE TRUTH AND RECO NCILIATI O N CO MMISSIO N . CATN O CDR 200 5/225 RECOR D BC 1997-11 -13 244 Appendix G: Review s of Country of My Skull, Excerpts a nd Interviews South African Sunday Times 1 9 April 1998. ?Choking on the truth, piece by piece? extract from Country of My Skull. Sunday Independent 2 6 April 1998. ?Truth com mission book fuses poetic vision with horror of a brutal past?. Sunday Times 2 6 April 1998. ?Quest for truth bringi ng more pain and division than healing?. T h e Star 28 April 1998. ?Intensely pers onal look at the TRC?. B e eld 2 8 April 1998. ?WVK ?n storie anderk ant woorde, s? Krog oor boek?. Mail&Guardian 30 April to 7 May 1 998. Mark Gevisser ?H ope in the place of violence?. Insig May 1998. Frederick van Zyl S labbert ?Ons storie po?ties vertel?. City Press 3 May 1998. ?Holding a search light up to evil of apartheid? by ZB Molefe. Business Da y Afterhou rs 8 May 1998. ?Nothing by the tr uth from Krog? by Stephen Laufer. Eastern Pro v ince Hera ld 1 3 May 1998. ?Brilliant in sight into TRC?. Die Burger 13 May 1998. ?Antjie m oes haar boek skryf om ?n anker te vind? by Stephanie N iewoud. Pretoria News 1 3 May 1998. ?Part of our shameful history?s soul is bared?. Rapport 1 7 May 1998. ?W reed-eerlike verslag van digter-joernalis: Soeke na ?n eie waarheid?. T h e Citizen 1 8 May 1998. ?Tutu-worshipping Krog revi ews TRC? by Te rence Friend. Die Burger 2 1 May 1998. ?Em osies kry aangrypend gestalte?. Mail&Guardian 12 to 18 June 1998. ?Elusive trut hs: Antjie Krog?s book on the truth commission has been highly acclaimed. Bu t, argues Claudie B raude, Krog is too creative with the truth.? B e eld 1 5 June 1998. ??n Boek waarvan m ens nie gou herself nie?. Rooi Rose 24 June 1998. ?Anderkandt die waarheid ?, Ruda Landm an interviews Krog about Country of my skull. Mail&Guardian 26 June to 2 July 1998. ?Flawed by potent version of the truth? by Steven Robins. Rhodes Journalism Review No 16 July 1998: 27. ?Inside Antjie?s Head? by Anthea Garm an. Finance Week 2 to 8 July 1998. ?A guilt-stricken orgy of self-flagellation? by Rian Malan. T h e Natal W itness 8 August 1998. Sue Segar interviews Krog about Country of my skull. 245 Cape Argus 1 2 August 1998. ?I can f inally say: ?I am an Afrikaner?, declares Antjie Krog? by Peter ter Horst. Sunday Independent 4 October 1998. Review by Andrie s Oliphant ?Personal journey mixed with fact touches heart of the unspeakable?. International Foreign Affairs Septem ber 1998. T h e Economist 12 December 1998. Booklist 1 January 1999. Publishers Week ly 11 January 1999. T h e Guardian 23 January 1999. Sunday Times 24 January 1999 by Barbara Trapido. N e w Statesman & Society 5 February 1999. Library Journal 15 February 1999 by Anthony O. Edm onds, Ball State University, Muncie, Indiana. T h e Village Voice 31 March ? 6 April 1999. World Literature Today Autum n 1999. The New Yo rk Times 30 May 1999 by Jerem y Harding. N e w Internationalist June 1999. Washington Monthly July 1999 by Jam es North. Los Angeles Times 2 9 August 1999. Harvard International R eview Fall 1999. Lancet ? Rebuilding the F uture??12 Septem ber 2000. Time International ?W ords of change? 19 April 2004. Kirkus Reviews . Literary R e view piece by Anthony Sampson, for mer Drum editor and biographer of Mandela. In addition important international public figures were sought out for comment: Desmond Tutu: ?This is a deeply m oving account of the South African Truth and Reconciliation Comm ission?South Africa' s attempt to come to terms with her often horrendous past. Antjie Krog writes with the sensitivity of a poet and the clarity of a journa list. Country of My Skull is a must-read fo r all who are fascinated by this unique attempt to deal with a post-conflict cont ext. It is a beautiful and powerful book.? Nadine Gordimer: ?Here is the extraordinary reportag e of one who, eyes staring into the filthiest places of atrocity, poet' s searing tongue speaking of them, is not afraid to go too far. Antjie Krog breaks all the rules of dispassionate recounts, the restraints of ' decent' prose, because this is where the truth might be reached and reconciliation with it is posited like a bewildered angel thrust down into hell.? 246 Andre Brink: ?T rying to understand the new S outh Africa without the Truth and Reconciliation Comm ission would be futile; try ing to understand the Co mmission without this book would be irresponsible.? Douglas Brinkley : ? Country of My Skull is an unforgettable passion play about the ongoing struggle for political freedom and human rights in S outh Africa. By analyzing the Truth and R econciliation Comm ission in such absorbing and poetic detail, Antjie Krog has rendere d the world a great service. This elegant manifesto for justice will haunt the soul l ong after the reading is done.? 247 Appendix H: Blog posts on Antjie Krog A selection assembled by the search engine Google Alerts in 2008 Welcome to Subvert the Dom inant Paradigm http://www.africancham eleon.com/ This is an eclectic collection of my experiences and thoughts. I have spent five years living in Africa, one year in Kuwait and have travelle d extensively. I spent many years in physics research after gaining my PhD in physics in 1993 and then decided to pursue a career in teaching. My first post was to Zim babwe - before the current crisis began. That was a very exciting experience and opened my eyes in many ways. I returned to the UK and spent about four years during which I got a PGCE (teach ing qualification) . I travelled round the world in 2003, learned to fly and skydive in S outh Af rica, went travelling in Mozambique and Na mibia and met many interesting people. It was an interesting time to live near South Africa. I now live in central Europe.These re views are not my won but I strongly recommend these seven books to you. Country of My Skull by Antjie Krog Although this deals with the South African T ruth & Reconciliation Co mmission and contains harrowing personal testimonies of suffering, it is a surprisingly uplifting book. The author, an Afrikaner wom an journalist and poet, writes with such sensitivity, intelligence and integrity about her country?s agony and the ways it is reflected in herself. While one is made all too aware of the capacity for evil in ordinary people, stories of courage, steadfastness and devotion to others (not least from Desmond Tutu) are inspiring. It is interesting to compare this experience with that of post-war Germ any or the experiences of the Congolese (told vividly in Adam Hochschild: King L eopold?s Ghost) which have never been resolved. by Charles Christian on Mon 10 Nov 2008 07:34 PM GMT http://ink-sw eat-and-tears.blogharbor.c om/blog/_archives/2008/11 / 1 0 / 3 9 7 1 3 3 1.htm l Ink Sweat & Tears spen t last weekend at the seaside ? at Aldeburgh in Suffolk (UK) for the Twentieth A ldeburgh Poetry Festival, where Ink Sweat was sponsoring a series of close readings by six poets. Highlights for us included... the debate of Saturday morning between Clive Jam es and Antjie Krog on the role of poetry in culture. Host of literary talent on Suf folk coast By Keiron Pim 05 November 2008 http://new.edp24.co.uk/content/W hatsOn/story.a spx? brand=EDPOnline&category=WhatsOn &tBrand=E DPOnline&tCategory=What sOn&item id=NOED05%20Nov%202008% 2 0 0 9 % 3 A59%3A10%3A953 The Suffolk coast is the place to be for book-lo vers this weekend, as two literary festivals offer an exciting array of talent. Antjie Krog, the winner of every major literary prize in her native South Africa, a poet renowned for her taboo-breaking work a nd on-stage intensity. able at www.thepoetrytrust.org. The box office number is 01728 687110. More on Justice and the Canadian T R C? January 5, 2009 248 http://tracingm emory.com/ My last post of 2008 raised the i ssue of justice. What type of justice can com e out of a truth and reconciliation commission? Is justice about punishing thos e responsible for human rights abuses? Is it about reparation or retribution? Is it about righting past wrongs by allowing for new relations of power? Or is it abou t rectifying national histories to include previously denied or suppressed narratives? I think it?s f itting that my first post of the new year continues with this thread, and explores these questions. I recently read Antje Krog?s book entitled ?Cou ntry of My Skull,? which is a personal account of the South African T ruth and R econciliation Comm ission. Krog follows the Comm ission as a radio journali st covering the events as they unfold. She traces how the proceedings affect her both personally and professionally. One of her insights relates to the highly controversial aspect of granting amnesty in exchange for full truth. In her exploration, she recognizes the entanglem ent and confusion regarding the terms ?truth? and ?justice,? and explains how their meanings can shift and change. She asks, ? Will a Comm ission be sensitive to the word ?tru th? ? ? and highlights the dif ferent ways in which the concept of truth has been mobilized. She g oes on to explain the nuances in definitions of ?justice? an d how it relates to ?tru th:? ?If [ the Commission' s] interest in truth is linked only to amnesty and compensation, then it will have chosen not truth, but ju stice. If it sees truth as the widest possible compilation of people?s perceptions, stories, m yths and experiences, it will have chosen to restore memory and foster a new humanity, and perhaps that is jus tice in its deepest sense? (1 6). I tend to agree with Krog?s form ulation of justic e, and it may be particularly relevant in the Canadian co ntext. Becau se the focus of the Cana dian TRC is on rectifying a lack in historical responsibility, a broader definition of justice m ust be invoked. The process of reconciliation is not solely about individuals (victim s facing perpetrators, whites facing blacks, non- Aboriginals facing Aboriginals for example). It is also abou t a larger process, of communities and individuals alike taking responsibility for past actions and their current consequences. As Krog notes, perhaps this allows for a deeper sense of justice, one that is focused on communities and individuals alike. Sunday, Novem ber 2, 2008 No Future W ithout Forgiveness by Archbishop Des mond Tutu. http://spiritbook.blogspot.com / 2008/11/ no-future-without-forgiveness.htm l No Future W ithout Forgiveness could be profitably read alongside Antjie Krog' s equally compelling Country of My Skull, as it consider s the emotional toll that such a process of national soul-searching has had upon its particip ants. As Tutu him self points out, "It is a costly business to try to heal a wounded and traumatized people, and those engaging in that crucial task will perhaps bear the brunt themselves ... we were, in Henri Nouwen' s celebrated phrase, ' wounded healers.' " Rachel Holm es, Am az on.co.uk 249 Kristin in the City W ednesday October 22, 2008 South Africa on m y mind http://kristininth ecity.blogspot.com/2008/10/so uth-africa-on-my- mind.html My head is com pletely filled with info, data, thoughts, views, opinions, beliefs and any times unanswered questions on South Africa, the im pact of Apartheid on its people, and the workings and impact of its Truth and Reconc iliation Comm ission. It will be like this until Monday night next week, if not always... I have a multitude of articles to read, hearing transcripts, the AZAPO case, the Prom otion of National Un ity and Reco nciliation Act, the book "Country of My Skull" b y Antjie Kro g, and as you know I watched the documentary "Long Night ' s Journey into Day" last week. A bit overwhelming, not exactly a light topic. Tomorrow in our Transitional Justice class, Gr aeme ? who is South Af rican ? will g ive us as much input as possible on the issue. He rarely gives any straight answers though, most of the time he' s posing more questions than he' s giving answers to, and in the end you walk away from an amaz ing class but your head is spinning and you' re trying desperately to get a sense of it all. To grasp it, and cling on to something. I guess that is part of his purpose though, and he definitely gets me thinking... The TRC and South Africa is also the topic of my Human Ri ghts and the Question of Culture class on Monday. I am writing one of two discussion papers for the class, to be posted online on Friday in time for everybody to read it. I don' t know where I will end up but I think I know where to start. But we' ll see, I' ll write it after Graem e' s class. Gonna try to fall asleep to Without a Trace. Wednesday, October 8, 2008 " Our Word is Our W eapon" http://glim pseofvictory.blogspot.com/2008/10 /our-word- is-our-weapon.htm l Tomorrow is my last day of class. I can' t believe it' s finally coming to an end. I was not very thrilled about coming to South Africa and I rem ember when I arrived four months seemed like such a long time. But it' s gone by so fast and I' ve had a blast, really. It' s amazing how familiar and normal life is now, when I think to myself "I'm in South Africa" it sounds so different, like another place entirely, but here I am, it' s become a home for the time being. I worry that I haven' t changed much, that this trip won' t have affected me "enough." I feel so alive and interested here and I'm afraid I will become jaded and apathetic again upon returning to the states. Last nigh t I went to a poetry reading by An tjie Krog who wrote one of the books we had to read Country of My Skull I really like her writing style. Sh e' s actually Afrikaans so m ost of her work is in Afrikaans, and apparently she can ' t write her poetry in English, it just doesn' t come to her that way so she translates it after if she wants. She read som e of her Afrikaans poetry, it was interesting, the language is quite harsh. There were three other readers as well and one of them was a hip hop guy from Zi mbabwe. He was white and he had dreadlocks all the way down to his waist. He was amazing, hi s work was really good and he was funny too. His name is Com rade Fatso and I want to get his album Hous e of Hunger. The other poetry read was also beautiful. I'm really glad I went. Posted by Blackonyx at 10.31am 250 Hans Engdahl Saturday 4 October 2008 http://han sengdahl.blogspot.com/2008/10 /on-identity.h tml It was one of those almost rare occasions when the students had taken over the discussion: it was about reconciliation and the role of the church especially in South Africa. I was not in the chair and could just savour the m oment. We had quickly moved from reconciliation to the question of identity. Steve Biko had been quote d, among other things his statement that ?the black man was an empty shell?. This em pty shell has to be filled and it could be done if that man (or wom an) only realized his or her ow n humanity. One student felt that the more communal aspect was missing, as the African wa y would be to deliberate and negotiate together about a thing like the common humanity. While I was listening I was just stru ck by the fact that identity ju st now is the very thing that everybody is talking about; and rightly so. The c ourse we are having now is the going on its third year and it is becoming more and more relevant as time goes on. What strikes me more this year than before is that there are a number of unresolved conflicts or circumstances that become actualized while we are follo wing the trail of the Truth and Reconciliation Comm ission etc. Studen ts are concerned on a very personal level. One student has for example witnessed the A merican student Am y Biehl being killed in Gugulethu (1993) and had lots of inside information but also personally not had the opportunity to be debriefed on his experiences. What I want to say is that everyone seems to be struggling with his or her identity because a country in transformation requires a continuous rethinking of who we are. I hasten to add that I also am struggling with the same question. Bu t why is it so? The light that I saw flashing by at this rather rare moment of students having taken over the discussion had however little to do with South Africa; at its best this is how South Africa work s, it triggers off a reflection that is a common truth for all humankind. This was such an occasion. What struck me, and I saw the light for a very short moment, was the fact that identity now is the real global thing. It is not at all restricted to any particular group or place. I could imagine, even if I am not quite sure, that young Swedes who travel a lot and many do, also end up in the same predicament: new impressions and new chances of new experiences just add to the problem . It is not that easy just to return hom e to old Sweden ? but also not so easy to identify w ith another particular environment. Our students in this course are from South Africa, Angola, Congo (Kinshasa), Nigeria and Sweden. It m eans very enriching comments when these come. But I was thinking of something else: all the le ading thinkers who have taken on themselves to tell us that identity formation in the end has to do with the ability to relate to the stranger: philosophers like Hans-Georg Gada mer and Jacques Derrida, theologians like Miroslav Volf and leadership moguls like Stephen Covey, all stress this aspect. It is the in thing to say now. And it is right. Could we also do what these people say and we would come a long way in making this world a better place. I together with Professor Antjie Krog run a post- graduate course this semester on ?The S outh African Truth and Reconciliation Commissi on and its Theological Perspectives?. Posted by Hans Engdahl at 23:10 251 T h e Country of My Skull by Antjie Kr og http://m aribou.livejournal.com / 238335.htm l This book was brilliantly written and very important. And inform ative. And oh holy cow, it' s so sad and hard to read and I had to put it down about a million times. (Subject: South Africa' s Truth and Reconciliation Commission, and the author' s experiences reporting thereon - the sub title is Guilt, Sor row, and the Limits of F orgivenes s in the New South Africa .) Siyaham ba: A Mennonite Fam ily' s Sojourn in South Africa T hursday, October 2, 2008 greater things than these http://joeannasawatzky.blogspot.com / 2008/10/greater-things-than-these.htm l At the m oment I am also reading Country of My Skull by A ntjie Krog, an account of the Truth and R econciliation Comm ission and the author' s own coverage of it (the TRC was set up by the ANC governm ent in the mid-late ninetie s as an attempt to heal the wounds of the past by giving voice to those whose stories of loss had been suppressed). I am at a point now where the author is recounting how the ANC c ounselled individual members not to apply for amnesty for abuses they had committed in retaliation for apartheid, even though personal amnesty was the only kind of amnesty the TRC w ould hear. Rather, a certain ANC leader had told the author that the A N C would a pply for "collective am nesty"--not even an option according to the TRC. The ANC was pursuing th is course of action in order that individual members might have one another' s back, shielding one another from the shame of disclosing participation in abuses, however retaliatory or "defensible" in light of a supposed "just war". Such a stance, then, in effect, am ounted to a continuation of suppression of stories for "innocent" victim s caught in the midst of violent acts ? the very thi ng the ANC had hoped to ameliorate in creating the TRC. The author repor ts that the A N C had thus chosen party unity over truth, or party unity over the overall healing of the country--for all its citizens, regardless of party. Posted by Joe and Anna at 2.32am alongwaygone http://alongwaygone. livejournal.com / 984.ht ml 29 Septem ber 2008 @ 06:53 pm I just started reading the "Country of my Skull" by Antjie Kro g. I am so excited about it. I am almost nervous to start it because I want it to be everything I hope it is, everything i need it to be. i' ll keep you posted. 252 Thursday, October 2, 2008 Rocking the Rhodent- a Profile on Alice Mckay Posted by Meg at 6.03am http://4burstbubbles.blogspot.com /2008/10/rocking-rhodent- profile-on-alice-m ckay.html Alice Mck ay nicknamed ?Gran? by her roommate, lights a Dunhill L ight at her desk. Inhaling deeply, she hums along to Counting Crows, her favourite band. Alice cam e to Rhodes an outspoken, irreverent and amusing ANC supporter, and has remained the same person since. While many other people have transformed themselves into the people they supposedly wish to be, Alice has never comprom ised herself in order to ?conform to the boxed-in version of a typical Rhodent?? Alice picks up ?Country of My Skull? by Antjie Krog, and turn s the book over in her hands, carefully studying the cover illustration. ?I don?t want to live a lie and live within constructs that are not my own? she says , while discussing her political views and religious beliefs. ?I have always been an open minded person, that?s the one thing I cannot stand- these B C OM students who just study for a well paying job one day. They?re capitalist monsters who are all jum ping off the same bridge?. She is politically incorrect, som etimes rude, but most times she is honest, straightforward and a rebel who stands up for what she believes in. A lice walks through campus a true Rhodent, one who embodies the spirit of forward thinking and humanitarian views. She is a leader in her own right, a red wine-loving Af rican who is defiant in her views on life. She will n ever give herself up to ?the slaught er of open minds? that m any others do, and expresses her anger at the political apathy of the students who did not register to vote in the IE C elections next year. ?Those too lazy to get a sticker in thei r ids should just immigrat e to Canada and New Zealand- South Africa doesn?t need a whole bunch of idiots living here?. It is this combination of her wicked sense of humour and anti- establishment attitude that smashes boldly through the Rhodes student c lich?, placing her indefinitely am ong the minority of students who have managed to scrape through first year with their personalities and standards unscathed by negative influence. L aughing, she tells me she wants to be an English teacher, and does not care about the salary issue. ?L ife is not about money, and if we all just realis ed that, people would be a lot happier. I want to teach and love and learn, not gloat over my new BMW and a m ock-Tuscan ?villa??. 253 Saturday August 23 2008 http://weareinafrica.blogspot.com /2008/08/you- are-hanging-on-by-very -thin-thread.htm l Antjie Krog is a jou rnalist, poet, and author. Sh e wrote lots of things, but as far as I' m concerned, she' s the author of Country of My Skull, a crushingly powerful novel chronicling the work of the Sotuh African T ruth and Reconciliation Comm ission. It (along with Mandela' s biography and Jo' s suggestion) is a bi g reason I' m in Africa at all, a big reason I'm working on transitional justice, and a big reason my thesis is taking the shape it is. So like - it' s a bit of an understatement to say that the book had an impact on me. And I got to interview her. The night before, I was a little intimidated. When I read the book, I wrote down some of the excerpts that hit me the most, and I was re-readi ng those so that I could get fired up and prep for the interview. I stopped, and said out loud - ha lf to Jo, half to myself, "I don' t think I can interview this woman. She' s just too good." How am I - with my clum sy words, my clanking thoughts, to speak with, to confront in some way, the author of some of the best poetry and finest prose I' ve ever seen? Jo told me to shut up, which was a good thing, and so the next day after interview #1 I found myself making the long trek out to the University of the Western Cape where she' s and "Extrao rdinary Professor" (pos sibly, that is simultaneously the awesomest and most accurate job title ever). That was a story in itself - two m inibus rides, with a transfer in the township of Delft, a couple of hours waiting on campus, and some serious getting lost there. But I saw her, and I did the interview. All I can really say for sure is that she talk as she writes. Which, consdiering that she writes in her first language (Afrikaans) a nd did the interview in E nglish, is pretty amazing. She said a lot - a lot about lan guage, and its use in (or its being? ) politics. It was all amazing, and I' m going to treasure the recording. Oh, and she signed m y book. I was embarrassed to ask, but she seemed happy to do it. And she wrote a little note about what we had talked about, and then drew a picture, of a fish. She was very emphatic that transition has to be about transformation - of people; potentially the process of becoming human that Tutu talked about. The fish in question is the sole - it starts its life as pretty much a normal fish, but as it matures it undergoes a radical transformation to a flatfish - one eye m igrates so that they are both on one side, and the mouth moves around to the bottom. At the end, its seem ingly an entirely different animal...but one that can survive well on the ocean bottom. She labelled it as a "s oul fish" - I' m not sure if that was on purpose or a 2nd language slip, but ei ther way I think it' s lovely. Anyhow, she write crazy awesom e, and is crazy awesom e, and I got to interview her...so maybe I' ll throw in a couple of bits from the book: ?No poetry should com e forth from this. May m y hand fall off if I write this. So I sit around. Naturally and unnaturally w ithout words. Stunned by the knowledge of the price people have paid for their words. If I write this, I exploit and betray. If I don?t, I die. Suddenly my grandm other?s m otto comes to mind: when in despair, bake a cake. To bake a cake is a restorative process.? Posted by Teddy at 10.41pm 254 14 Septem ber 2008 @ 07:07 pm http://recycledfaery.livejournal.com / 89116.htm l My Country, My Shame The days of bending over backwards to accommodate, of gritting the teeth in tolerance, are over. Reconciliation will only be possible if whites say: Ap artheid was evil and we were responsible for it. Resisting it wa s justified - even if excesses o ccurred within this framework. Mbeki says that if this acknowledgment is no t forthcoming, reconciliation is no longer on the agenda. An Afrikaner son from a National Party hom e. NG Kerk, Voortr ekkers, Rietfontein Laerskool and Wonderboom Hoer. God has given South Africa to the A frikaner. Willing to die, but also to murder for this land. It' s them! It's truly them ... I go cold with recognition. The specific salacious laughter, that brotherly slap on the hairy shoulder, that guaffing circle using crude yet idiomatic Afrikaans. The manne . More spec ifically the Af rikaner manne . The nightmare of my youth. The bullies with their wives ? the ch atty women with impressive cleavages and well-behaved children. Aversion. I want to distance m yself. They are nothing to me. I am not of them. When the amnesty hearing begins, I go sit on a a bench close to them. To look for signs ? their hands, their fingernails, in their eyes, on their lips ? signs that these are the faces of killers, of The Other. What do I have in common with the men I hate the most? They all say they did the dirty work for you and for me. And all of us a trying to deal with that, with the responsibility of that, with the guilt of such a claim... And hundreds of Afrikaners are walking this ro ad ? on their own with their own fears and shame and guilt. And so me say it, most jus t live it. We are so utterly sorry. We are deeply ashamed and gripped with remorse. But hear us, we are from here. We will live it ? right here ? with you, for you. The above quotes taken from An tjie Krog' s Country of m y Skull My reaction : I feel the guilt of the past sticking to me like tar. It cannot be removed. I cannot wash it off. I, who was part of the privileged Afrikaner r ace and who then ran away from the country of my birth when things got rough, how can I forgive myself for that ? 255 Berl in Safari July 8, 2008 by Sean Jacobs http://theleoafricanus.c om/2008/07/ 0 8 /berlin-safari/ Back in Brooklyn, but here?s the final pict ure from my Germ an Safari; with painter Mustafa Maluka (soon relocating to Finland) a nd one of my favorite writers, Antjie Krog (her p oetry especially) in Berlin. From here to Finvara Wednesday May 07 2008 http://kelseyhoppe.blogspot.com /2008/05/som etimes-tim es- we-live-in-overflow.html Som etimes the times we live in overflow with light... I was reminded of Antjie Krog' s excellent book, Country of My Skull: G uilt, Sor row, and the Limits of Forgiveness in the New South Africa , this evening and so reread some. Here' s a great part: ?And I wonder: God. Does he hear us? Does he know what our hearts are yearning for? That we all just w ant to be human beings ... some with more colour, some with less, but all with air and sun. And I wade into song ... in a language that is not mine, in a tongue I do not know. It is fragrant inside the song, and among the keynotes of sorrow and suffering there are soft silences where we who belong to this landscape,?all of us,?can com e to rest. Sometim es the times we live in overflow with light.? Posted b Kelsey at 12/06am 256 Book Review: Country of My Skull by Antjie Krog By Alistair Boddy-Ev ans http://africanhistory.about.com / od/af ricanhistorybookcase/fr/MySkullBook_2.htm If you want to understand modern South Africa you must understand the politics of the last century. There is no better place to start than with the Truth and Reconciliation Commission (TRC). Antjie Krog' s masterwork places you in the mind of both oppressed black freedom fighters and entrenched white Afrikaner. The very pages are suffused with the people, and their struggle to come to terms with decades of Apartheid. The overwhelm ing need for understanding and release, or closure as American psychologists put it, speaks in volumes throughout the eloquent writing in this book. If you are going to buy one book about modern South Africa, m ake it this one... Oliver? s Blo g A scattershot description of my life in South Africa. http://oliverborzo.blogspot .com/2008/04/greetings.htm l Wednesday, April 23, 2008 Since I got here I?ve also read a few murder mysteries I borrowed from my boss, two books by Alexandra Fuller, Country of My Skull by Antjie Krog, Lo lita, The Common Reader by Virginia W olf, and a novel set in 11 th century Britain about the Norm an invasion. I?m currently as far as the book of Ruth in the King Jam es Bible, halfway through a book on African history, and working m y way through a massive book on physics. Posted by Oliver Borzo http://kom buis.wordpress.com/ 2008/08/ 2 8 /pissaladiere-vir-alda- iets-vir-wipneus-en-dankie- vir-m y-m a/ My m om subscribed to the Encyclop edia of Ro ck for my eldest brother, which led to him having a preternatural knowledge of people like Muddy W aters and Little Richard. S he brought home the first Bob Dylan album , and explained who he was and what he was doing. When I lived in England and got so hom esick I wanted to thow myself off Battersea bridge, she?d read Antjie Krog to m e over the telephone and tell me to stay just one m ore year. http://fondly withcheese.wordpress.com/ 2008/07 / 2 2 /summ er-reading / Last but f ar from least, is this: A Change of Tongue by Antjie Krog is without a doubt the be st book I have read in the last two or three years. THE BEST. Cons idering how much I read and that I worked in a book store for the past few years, this is a large feat, my friends. It?s rare to com e across an author who writes with as much poise and literary genius as Ms. Krog does; this is a piece of non- fiction which reads like a novel. As a white South African, Krog describes the change and pain of belonging during the time when South Africans are discovering their new places in a democratic environment. And as a non-South Afri can, one can easily relate to it, as we?ve all experienced transformation in one way or another. 257 Re membering, forgetting, forgiving? ... The experience of South Africa.. . ?You can?t f orget what you don?t know?` Sevgul Uludag caramel_cy@yahoo.com We fly to Istanbul to take part in the panel and forum of the Heinrich B?ll Foundation called : `Com ing to Terms with the Past: Dif ferent Fields, Different Experiences? `The speakers are myself and Andreas Par aschos from Cypr us and Antjie Krog f rom South Af rica. When I hear that she will be a speaker, I have to call all my friends and explain: `You know what? Krog is com ing to Istanbul! She had written a book called My Country of Skulls and then they m ade a movie called In My Country starring Juliette Binoche and Sa muel Jackson? It`s a stunning film and won the Peace Prize at the Berlin Film Festival in 2004?` Finally I meet her, a woman in her 50s with s hort, white hair? She too says she is excited about our work in Cyprus concerning the `m issing` and `m ass graves?` She was a radio journalist when they set up the `T ruth and Reconciliation Comm ission` in South Africa. In essence, they call on the public and say that there will be an amnesty to those who confess to the crimes they have committed - they would be pardoned if they come forward and confess in front of the `T ruth and Reconciliation Comm ission`. But if they don?t confess the crimes they have committed and if there are witnesses to these crimes, then they would have to go to jail? This is the South African m odel of finding out what has happened in the past and dealing with it. Krog is a ra dio journalist and she would broadcast for two years (y es, TWO YEARS) live, wh at was going on in these commissions. In her presentation in Istanbul, she focuses on `W hy, one should deal with the past?` Here is a summary of what she says: `It?s a controversial subject. Som e people are saying we should forget? That is the whole idea of going forward psychologically? But othe rs are saying, `You can only forget, what you know? If you don?t know, you cannot forget? ` In many ways, I didn?t know what happened in aparth eid. It is crucial to deal with the past, if you want to make a future? If I think that apartheid had nothing to do with it, that no violence happened during apartheid, I would not be willing to make a contribution to the new South Africa because I would think, all those things that had happened, I didn?t do an ything wrong so why should I now, make contributions? So it is important, if you want to build a future that you have to know what happened. It determines your future. And with the stories you hear, you realize that racism and apartheid could only be withheld with violence. There were killings, violence and torture to keep the systems intact. And we need to know that? My people, Afrikaaners had been colonized by the British and there was a war fought in 1900 against the British. And the British put m y people in concentration camps. These were the first concentration camps in the world, it wasn?t done by the Germ ans but by the British. And a third of my population died in those camps. That was never dealt with when the war was over. They had said `Ok let?s forgive and forg et and move forward?` W hat happened is that the grief and the anger of that war became privatized. No one talked about it except us. And because there was no truth established around it, it became mythology! All English were bad! Because no facts were p ut on the table, we could say, it?s only us who suffered. Changing the truth is a very dangerous thing ? I believe by privatiz ing our anger at the British, that m ade us do apartheid. M y people thought that the English were agains t us and in fact, the whole world is against you! So we m ust make laws to protect ourselves, even if those laws kill other people, it doesn?t m atter ? we protec t ourselves. So one injus tice makes us `injustice doers` in a way? 258 There?s also another important thing for dealing with the past and that is to prevent making an `evil` out of others. And by not saying a nything about ourselves, it means `we can do nothing wrong!` It?s no t us, it?s them ! That is so problematic because it will make something evil, it becomes `sexy`! They are th e `evil` and we are the `s aints` and peo ple are fascinated with this! How did we cover as journalist s, the `Truth Comm ission` in South Africa? I was asked to head the team that covered these different stories. So one of the first lessons that we learnt was to realize that if you talk a bout the past, you have to expect that there are more than `one truth`. If you are not ready to deal w ith more than one truth, you shouldn?t deal with the past. Because for people, th e past has different versions. Maybe those vers ions are lies ? b ut it?s a reality in their lives. So even if people are believing lies, you have to be aware that, that is the truth that shaped their lives. You have to acco mmodate all these different truths so that you create a legitimate reporting voice if you accommodate all these truths. You m ust question all these truths. You have experts where you discuss the different versions, you analyze w hy the different lies have made this. I think it is important to report how you feel as a reporter while doing this so that other people and other countries, don?t take your story away. It?s like saying `C an I live with this? What is it in this that I cannot tolerate? `A country itself decide s, what it can forgive and why it can?t forgive? Others shouldn?t tell you `Thi s you can forgive, that you can?t forgive? ` It?s the coun try itself that has to make that decision. Final word: Are we truly prepared for this? It ?s extrem ely important to prepare the ground for any truth telling and that means to explain international incidents, to explain the context, explain the jargon, `trans itional ju stice` etc. We had a lot of groups coming from Sout h Am erica coming to explain and prepare the ground for `truth telling`? What is the difference between `forgiveness` and `r econciliation`? You have to prepare the ground, otherwise people wouldn?t particip ate in the process?` http://www.toplum postasi.net/index.php/cat /11/col/96/art/1701/PageNam e/Editorden Sunday, May 25, 2008 http://66squarefeet.blogspot .com/search ?q=Antjie+Krog My country South Africa . What to say? From, Country of grief and grace i)(bu t if the old is not guilty does not confess then of course the new can also not be guilty nor be held accountable if it repeats the old things may then continue as before but in a different shade) Antjie Krog , Down to my Last Skin, 2000 259 Selasa 2008 Nove mber 11 http://m y-lawyer-case.blogspot.com /2008/ 11/africans-need-for-self-belief.ht ml Africans ? A Need for Self Belief At a book-reading event in Lagos , Nigeria, let us picture a South African (Antjie Krog) reading from her bestseller book on Truth and R econciliation Hearings. It was organized by a local group on the Arts. A renowned fe male Nigerian j ournalist ? Chris Anyanwu ? w ho was incarcerated during the infamous Abacha Military Govern ment of Nigeria also paired with her on stage. She too had her own turn to read from her book based on her prison experience. It appeared as a truly balanced set up. This scenario paints a recurrent picture of awaiting validation and approval outside Af rican continent before many needed initiatives are taken. Consider th e latest fad for a product promotional show, where a multinational company invites a music star from abroad supported with very impressive local artistes. The former plays for much less time but goes home with much higher fees. (Good for the foreign artistes as m any talented creative persons are accorded respect in their home countries) It is the way they want to be perceived and they naturally get a commensurate reward for that. On the other hand, the local stars are expected to count themselves lucky for the opportunity and they are treated as such by the local organizers. This brings me to ask: Are som e Africans still m entally enslaved and if this were to be true, could this be worse than the physical slavery as experienced in the past? Let us look at another instance. After a short stay, a foreigner on being prompted would say: Yes! I enjoyed m y stay in that country, they are very friendly! But deeply when you look am ongst the people you will find it difficult to see this so-called attribute in play. So what brings about the contra diction? Are we really friendl y to ourselves? Are we really friendly to a foreigner? On the intellectual platform , we continue to witness jam packed symposia, workshops and the likes. Attendees all clad in appropriate dresse s, purportedly listening in rapt attention, coupled with the expected demeanor reserved for such events. The scenario goes like this: At the centre st age is a globally renowned egghead or expert, who is supported by our local African intellectua l heroes who are given the chance to add few words after the main speaker. They talk about business, corporate governance, ethics and human development. Of late a well of m otivational speakers are springing up. This is a new idea expected to lift up the self inflicted impoverished spirits as we go through these challenging times. And I cannot but agree with that. The motivational rounds, I believe help if only they can be extended to the teeming citizens in the remote villages using their local dialects! But where are the real wheeler-dea lers within these halls? The power brokers at the helm of affairs in governance? Those who make things happen. Where are those who hold the destiny of African nations within their grips? Of course, they invite them to most of these intellectual gatherings of rhetoric, philosophies and theorems. However, the decision makers could possibly mumble to themselves in their privacy asking if all the postulations are needed. 260 To buttress this point, not too long ago, I also noticed on TV an event in L agos. What struck me was the large attendance of first class Nige rian intellectuals -m ostly well dressed- as I could identify some of them and as in many cases, the star attraction was not even a prominent Nigerian decision m aker. I was thinking: that the gentlem an, the guest speaker and the likes of him, get listened to in his country where his postulations are considered and some used for the general benefit of his fellow country men. His talent gets appreciated. Over here in a typical African country, one asks: what happens after all attendants disperse from these halls? W hat do the local influencers amongst the audience do thereafter? What do they do with strategies of new knowledge that they have imbibed, how do they make all of these become a reality for the betterment of all in the country? On the other hand, could it be just for m aking an appearance and to be seen to belong? Do they internalize what m ust have transpired at such events, waiting for that opportunity to persuade those at different levels of governance, in politics and business? Lastly we need to consider our own people worthy of being celebrated if they have done well. I believe there are many Nigerians w ho can hold their own anywhere in the world, who can speak the language we all understand for more fruitful results within our space. We need to start now. We need to be bold to encourage them to come forward, stand behind the rostrum, share their knowledge, and use such for the common good and the rest of humanity, visionary politicians inclusive. But there is a hope that this will h appen not too far into the future: that is , going by the quiet revolution going on amongst the young people who are getting unconsciously detached from the experience of the vestiges of the colonial mentality this being the attitude of most older generation (the post-independence generation) Young people m aking statements by their efforts, attitudes and utterances, breeding a new crop of confident partakers of this planet, who could hold their own any where in the world. They are fast acquiring new knowledge and putting them to practice showing positive results in many spheres of human endeavor despite the failed governance in some African countries. And if you ask m e what is mainly responsible for this? The increased education and exposure through the Western media (m ainly the TV) and the Internet, despite the misgivings about the aforementioned. Nothing is p erfect in life. I believe we will get there.. Muyiwa Osifuye is a photographer based in Africa. He works within the them atic, documentary and commercial modes. (catch a glimpse of his limited edition works at http://www.pictu res-of - nigeria.com) His docum entary works explore the rich cultural heritage of his country, Nigeria. Major interna tional exhibitions and events continually show his thematic works which address cogent issues that he feels are necessary for a global understanding. He is a regular columnist in a prominent Nigerian newspaper and a budding writer; sharing his thoughts and perc eption about humanity as a whole. diposkan oleh Xiang Mi @ 05:04 261 Bibliography A note on the organisation of the Bibliography: ? I have separated out from the Bibliography Krog?s published poetry and books an d the articles in the Mail&Guardi an that were significant in drawing a publisher?s attention to her journalism production. These appear in the An tjie Kr og Bibliogra phy . ? 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Waarom is die wat voor toyi-toyi altyd vet . (Play) 1999. ? The TRC a nd Na tional Unity.? in Dors man, Robert , Hartman, Hans and Noteboom - Kronemeijer , Lieneke (eds). Truth and Rec onciliation in Sout h Africa and t h e Netherlands : Utrecht: Net herlands Institute of Human Ri ghts: 14-31. 1999. Country of My Skull: Guilt, Sorrow, and the Limits of F orgiveness in the New South Africa. New York: Tim es Boo ks. 1998. Die Dye Trek Die Dye Aan: verse oor ly flike liefde saamgestel deur Johann de Lange en Antjie Krog. Cape Town: Hum an&Rousseau and Tafelberg. 1998. Country of My Skull. Johannesburg: Random House. 1997. A c count of a Murder. Johannesburg: Heinem an (translated by Karen Press). 1997. ?Unto the Third or Fourth Generation.? Mail&Guardian. 13-19 June: 13 1997. ?The Parable of the Bicycle.? Mail&Guardian. 7 February. 1996. ?Overwhelm ing trauma of the truth.? Mail&Guardian. 2 4 Decem ber: 10. 1996. ?Truth Trickle Becom es a Flood.? Mail&Guardian. 1 Nove mber. 1996. ?Pockets of hum anity.? Mail&Guardian. 2 4 - 3 0 May: 30-31. 1995. The South African Road: The Healing of a Nation? In Boraine, Ale x Boraine an d Levy, Janet. Cape Town: Justice in T ransition. 1995. Relaas van 'n Moord. Cape Town, Pretoria, Joha nnesburg: Hum an&Rousseau. 297 1995. Gedigte: 1989-199 5 . Pretoria: Hond. 1994. Siklus: Beminde A ntarktika en Mannin in een band. Cape Town and Johannesburg: Human&Rousseau. 1992. D eurloop: Keur uit die essays van Dot Serfontein saam gestel deur Antjie Krog. Cape Town and Johannesburg: Human&Rousseau. 1992. Vo?ls van anderste Vere, Buchu Books. English translation Michael Cope, Xhosa translation S andile Dikeni, illustrations Penni van Sietert. 1990. ?Untold dam age of the Anglo-Boer W ar? D e mocracy in Action 1 9. Cape Town: Institute for a Democratic Altern ative for South Africa. 1989. ?A Community as Liberated as its Women: A Critical L ook at Women in South African Poetry?. Idasa O ccasional Papers 18. Cape Town: Institu te for a Democratic Alterna tive for South Af rica. 1989. Lady Anne. Cape Town, Pretoria, Joha nnesburg: Human&Rousseau . 1985. Jerusalemgangers. Cape Town and Pretoria: Hum an&Rousseau. 1985. Mankepank en ander Monsters . Emm arentia, Johannesburg: Taurus. 1981. Otters in Bronslaa i. Cape Town: Hum an&Rousseau. 1975. Mannin. Cape Town and Pretoria: Hum an&Rousseau . 1975. Beminde Antarktika. Cape Town and Pretoria: Hum an&Rousseau. 1972. Januarie-suite. Cape Town and Pret oria: Hum an&Rousseau. 1970. Dogter van Jefta. Cape Town and Pretoria: Hum an&Rousseau. Translations by Krog 2 0 0 7. Ingrid Jonker. Bla ck Butterflies Selected P oems. Translated by Andr? Brink and Antjie Krog. Cape Town: Hum an&Rousseau. 2002. Mamma Medea by Tom Lanoye (1958). C ape Town: Quellerie. 2001. Lang Pad na Vryheid ( Long walk to Freedom by Nelson Mandela into Afrikaans). Florida Hills: Vivlia. 2000. Dome in van Glas by Henk van Woerden about Dimitri Tsafendas. Cape Town: Queller ie. 1990. Afrikaans version of the Dutch ?Die Rottevanger van H ameln?. Pretoria: Daan Retief Publishers. 298 Translations of Krog?s w ork Metz and Schilt (Holland) D e Kleur van je Hart (book about the Truth Comm ission translated into Dutch) Podium (Holland) Om te kan Asemhaal (po etry translated into Dutch) Kleur kom nooit Alleen (poetry translated into Dutch) R elaas van 'n Moord (no vel translated into Dutch) Liedere van die Bauwkraanvogel (po etry translated into Dutch) Wat de Sterren Zeggen ( 2 0 0 4 ) (poetry volum e plus CD) Lijfkr eet (2006) (poetry tran slated into Dutch) Actes Sud (France) La Douleur des Mots (book about the Truth Comm ission translated into French) Others ? Slaapliedjie? words by Antjie Krog, music by PJ Lemmer. Audio m usic score for Gra de 8 Soprano Singing Exam Dept Music, Unisa. 299 Media archive on Antjie Krog 1 9 7 0s ?Dorp gons oor gedigte in skoolblad? by Franz Kem p. Die Beeld 16 August 1970: 5 ?Verse by girl pupil ?shocking?.? Ran d Daily Ma il 1 7 August 1970 1 . ?Antjie se 1 ste bundel.? Die Beeld 6 Septem ber 1970: 10. ?Lesers onstoke? en vol lof: brand di? boek.? R apport. 3 January 1971: 10 (Opperm an poem) . ?Ons digters kan m oor sonder skoor: po?sie is veel vryer as prosa.? Rapport 17 January 1971. ?My beautiful land.? Sechaba 5(1) January 1971. ?Antjie se g edig misbruik teen ons land.? Rapport 2 8 March 1971: 3. ?Antjie se s koolgedig verduidelik: Dot skryf oor haar dog ter.? Rapport 4 April 1971: 9. ?Afrikaans protes t cry sparks a big row? by Colin Legum . Daily Despa tc h 17 May 1971. ??Ons praa t ?n ander taa l?: Kare l Sch oeman in Suid-Af rika? b y Antjie Kro g. Die Burger 1 2 April 1974. ?Die dilemm a van Antjie Krog? by Dene Sm uts. Saterdag, B eeld 30 August 1975: 9. ?Twee nuwe digbundels van Antjie Krog? by PD van der Walt. Die Tr ansvaler 20 Septem ber 1975. ?Antjie Kro g raak oordadig, berekend, irriterend?? by Andr? P Brink. Rapport 21 Septem ber 1975. ?Antjie Kro g van om te skei.? Die T ransvaler 23 April 1976. ?Antjie Kro g skei n? twee jaa r.? Die Vaderland 2 3 April 1976. ?Antjie Kro g kry tydelike bevel teen haar man.? Die Burger 2 3 April 1976. ?Antjie trou m et ou vriend.? Die Transvaler. 5 October 1976. ?Antjie trou weer.? Beeld 5 October 1976. ?Antjie in so mer van haar liefde? by Jan Coetzee. Rapport 1 0 October 1976. ?Antjie Kro g kry prys vir bundels.? Die Volksblad 2 7 October 1977: 2. ??n Prys vir Antjie.? Beel d 2 8 October 1977. ?Award for SA authors.? Daily Despatch. 28 October 1977: 15. ?Antjie Kro g wins.? T h e Argus. 1 Novem ber 1977: 1. ?Antjie wen ?n prys.? Die Oosterlig 2 Nove mber 1977: 2. ?Top poetry prize for Antjie.? T h e Citizen 17 Novem ber 1977: 7. 1 It has not always been possible to establish page numbers for newspaper articles. Depending on how they have been archived originally, some have page numbers recorded and others not. 300 ? Antjie Kro g kry letterkunde-prys.? Die Transva ler 26 November 1977: 9. ?Van di? verse hoort in ?n bloem lesing.? Die Volksblad 2 6 Septem ber 1979: 2. 1980s ?Di? debuut kyk en s? on bevange? by Antjie Krog . Die Volksb lad 12 November 1980; 15. ?Getem perde Antjie Kro g is terug? b y Annelie de Wet. B e eld 8 Septem ber 1981. ?Antjie Kro g, gewildste SA digteres : werklikheid met eerlikheid verwoord.? Die Burger 9 Septem ber 1981. ? Waar is dolla minas? ? letterkunde deur LI Bertyn. B e eld 2 3 Septem ber 1981: 18. ??n Krog-oplewing? met woede? re sensie deur Andr? le Roux. B e eld 1 9 October 1981: 16. ?Nuwe Krog-bundel dalk nog ?n kultusroering.? Die Volksblad 2 7 October 1981: 10. ??Ek skryf omdat ek woedend is?? by Willem Pretorius. Rapport 1 Novem ber 1981: 40. ?Antjie Kro g ? daar is p o?sie in di? vr ou? boeke onder red aksie van Joan Kruger. Die Tranvaler 2 Nove mber 1981: 9. ?Antjie Kro g neem po?ties wraak ? b y Fanie Oliv ier. Die Bur g er 2 6 November 1981: 21. ??n Letterkundige jaar met ?n skrale oes? by Antjie Krog. Die Transvaler 28 December 1981: 7. ?Antjie g ee nog gedigte van waarde? by Prof HJ Schutte. Hoofstad 1 1 January 1982: 6. ?Antjie Kro g: baldad igste po?s ie in Af rikaans.? Die Suidwester 1 February 1982: 2. ?Digteres in huis vrou voelbaarste teenwoordig? by Louise Viljoen. Die Vaderland 29 April 1982: 21. ? Women?s role in Afrikaans poetry? by Jan Rabie. T h e Cape Times 2 2 Septem ber 1982: 10. ?Kritiek ontstel m y geweldig, s? Antjie? by P ieter Claassen s. O g g endblad Vir die vrou 2 3 Septem ber 1982: 11. ?Antjie d ig, boer en is moeder? by S alom? du Plessis. Beeld 2 2 April 1983. ?Mamm a Antjie kry ?n M.A. dig-dig.? Volksbla d 2 2 April 1983: 3. ?MA en nuwe baba kom saam vir Antjie.? Die Oosterlig 22 April 1983: 3. ?MA Antjie M.A.? Die Burger 27 April 1983: 19. ?Skoliere wen pryse m et skrywery.? Die Volksblad 19 September 1983: 6. ?Krog by skrywers.? Die Volksblad 11 October 1983: 8. ?Prize for O ranje m atric girl? by Rita Pansegrou w. T h e Friend 1 1 October 1983: 2. ?Ek stem ja om dat?? Die Volksb lad 3 1 October 1983: 11. ?Ek stem JA.? B e eld 2 9 October 1983: 7. 301 ? Everywoman?s poet laureate? Antjie Krog Samuel? by Cathy Knox. Fair Lady The woman you are: our series about women and fulfilment. 13 June 1984: 101. ?Digbundels n? ?n stilte.? Die Burger 27 June 1984: 24. ?Taal kan vir hom self sorg ? Antjie Krog.? Die Volksblad 18 July 1984: 13. ?Lekker aards en hartseer? by Andr? le Roux. Die Burger 30 August 1984: 20. ?Antjie Kro g is die egte? resens ie: Rika Cillie rs- Preller. Beeld 19 Nove mber 1984: 14. ?Kragtig e en sensitiewe poesie? by Helene Stephan. Daily Dispatch 1 8 February 1985: 4. ?Antjie Kro g raak betrokke.? Ooster lig 16 August 1985: 10. ?Antjie v ind ?n roeping in die onderwys? by Roline Badenho rst. Oosterlig 1 6 August 1985: 10. ?Rapport pols ?n paar Suid-Afrik aners oor? weg hol of vas byt? ? Rapport 1 Septem ber 1985: 21. ?Antjie Kro g word hier nou ?n Antjie Som ers.? Rapport 1 5 Septem ber 1985: 11. ??n Bundeltjie ?m onsterverse? vir jonk en oud? resensie: Joan Ha mbidge. B e eld 4 Nove mber 1985: 8. ?Di? bundel is aan pa te danke.? Beeld 27 Nove mber 1985: 26. ?Is die Afrikaner nog op sy tog na ?Jerusalem ?? ? by Koos Prinsloo. Beeld 30 Nove mber 1985: 7. ?Antjie Kro g bring merkwaardigste po?sie van 1 985? Boeke Rapport deur Andr? P Brink. Rapport 19 January 1986: 16. ?Minder outobiographies: Krog kyk na ruim er konteks van S A samelewing? resensie: M Nienaber-Luitingh. B e eld 3 February 1986: 6. ?Bundel van gem engde waarde? by Prof TT Cloete. Die Volksblad 22 February 1986: 10. ?Vasvat-van-die-ding? by Marietjie van Rooyen Sarie 26 February 1986: 11. ?Antjie Kro g slaan hier nuwe rigting in? res ensent: Joan Ha mbidge. Die Transvaler 2 7 February 1986: 34. ?Antjie Kro g bekyk Suid-Afrika? b y M Nienab er-Luitingh. Die Burger 1 3 March 1986: 9. ?Krog?s latest is not easy to read? b y MC Botha. T h e Cape Times 1 2 March 1986: 8. ?Skeppende drif? m edewerker: Aletta Greyling. D ie Vaderland 7 April 1986: 15. ?Finaliste, alfabeties: Antjie Krog.? Rapport 1 3 April 1986: 13. ?Vrae, antw oorde om Br eyten.? Rapport 2 0 April 1986: 13. ?Antjie hou cabaret vir k os en klere.? B e eld 16 June 1986: 7. ?Skeppende drif? by Gerrit Olivier. D e Kat June 1986: 82. ?He mel op aarde? by Dr Jan Ploeger. D e Kat June 1986: 84. ?Antjie Kro g.? Fair Lady Book W eek programme 1986. 302 ? Skrywers, fotograwe praat oor eie werk: Fair L ady se Boekeweek.? Die Burger 6 Nove mber 1986: 15. ?Daar?s iets verkeerd m et die CAN- prys? Boekpraatjies: Andr? le Roux. Die Burger 1 7 Decem ber 1986: 15. ?Skrywers g ee rekenskap? by Antjie Krog. Die Suid-Afrikaan January 1987: 43. ? What book week meant to me by best-selling poet, Antjie Krog.? Fair Lady 4 February 1987: 78. ?Krog en persbaas bots? by Sakkie Perold. Rapport 1 9 April 1987: 4. ?Nasionale Pers en Fair Lady? Antji e Krog, Joubertstraat 9, Kroonstad, skryf. Die Burger 16 April 1987: 12. ?Agt digters op kortlys vir gesogte Hertzog-prys.? Die Volksb lad 23 April 1987: 8. ?Antjie Kro g wen Rapport-p rys.? B e eld 2 7 April 1987: 10. ?Afrikaans press under fire.? T h e Cape Times 2 7 April 1987: 7. ?Antjie b ly dat harde werk erken is? by Marinda Delport. Die Volksblad 2 7 April 1987: 7. ?Cloete en Krog.? Die Volksblad 27 April 1987: 12. ?Antjie k ry die prys!? b y Coenie Sla bber: Paa rl. Rapport 2 6 April 1987: 1. ?Die m inste skade met my gedigte? by Andr? le Roux. Die Burger 28 April 1987: 13. ?Antjie : ?d ie minste skade met my gedigte? ? by Andr? le Rou x. Die Volks b lad 2 May 1987: 6. ?Antjie se mense? by Coenie Slabb er. Rapport 3 May 1987: 15. ?Die feite en fiksie in vandag se lite r?re kritiek? boekpraa tjies: Andr? le Roux. Die Burger 6 May 1987: 8. ?Ha mer daardie voorkop? by Irna van Zyl. D e Kat September 1987: 78. ?Die ywerig e digteres en akademikus dr Joan Hambidge, het onlangs die program Digterskeu s e oor Radio Suid-Af rika aangebied. Op haar lysie van gedigte was Antjie Krog se Die skryfproses, as sonnet, waarin Krog haar m an van kop tot tone beskryf.? Rapport 1 1 Nove mber 1987: 12. ?Debat was ?Great W altz? m et 2 akteurs? by Anna-Maria Fourie. Die Vo lksblad 1 March 1988: 5. ?Die onderdrukte m oet ?n stem kry.? Die Vaderland 4 July 1988: 9. ??Aparth eid tussen skrywer en leser?? by Anna van Zyl. Die Volksblad 6 October 1988: 5. ?Sem inaar vol pluspunte.? Die Volks b lad 5 November 1988: 15. ?Vroue praat, lees en skryf? by V M unnik. Vrye Weekb lad 25 Nove mber 1988: 2. ?Die vreugde van voorless vi r jou kinders? by A ntjie Krog. Vrye Weekblad 2 December 1988: 6. ?Ek en m y gesien bly liewer voorstedelik tuis? ? by Antjie Krog. Vrye Weekb lad 15 December 1988: 8. 303 ? Krog bied kursus in po?sie by UV aan.? Die V olksblad 1 F ebruary 1989: 11. ?Swart en br uin kinders word ?stor ies werd?? by Antjie Krog. Vrye Weekb lad 3 February 1989: 6. ?Di? Susann a se lief en leed sal boei? by Henrietta Roos. Rapport 16 April 1989: 15. ?Protes weerklink luid, virile en toeganklik? Lospraatjies: A ntjie Krog. Vrye Weekb lad 12 May 1989: 11. ?Die lief de wat jou laat moor of ly.? Die Volksblad 2 2 May 1989: 6. ?Net een toets: hou die kind daarvan? ? by Antjie Krog. Vrye Weekb lad 7 July 1989: 16. ?Authors join pilgrim age to ANC.? City Pre ss 9 July 1989: 2. ?S? jou s?.? Die Volksblad 19 July 1989: 10. ?Moeders en dogters.? B e eld 27 July 1989. ?Kyk wat bring die laatwint er!? by Coenie Slabber. Rapport 8 August 1989: 25. ??n Hele land ontbloot: Kr og-bundel se vroulike verset tref? by Pieter Conradie. Rapport 1 9 August 1989: 18. ?Antjie Kro g se Lady Anne: ?n rom an van ?n bun del? by Andr? P Brink. Vrye Weekb lad 18 August 1989: 13. ??Te veel boek en te m in menslikheid?? by TT Cloete. Die Volksblad 9 S eptember 1989: 15. ?Lively charm ? by Jan Rabie. The Cape Times 9 Septem ber 1989: 4. ?Belangwekkende digbundel: Antjie Krog se Lady Anne wys sy k?n sonder Opperm an werk? resensie: Joan Hambidge. B e eld 18 September 1989: 10. ?Krog se Lady Anne gelyke van Tris tia? by Tom Gouws. Insig October 1989: 43. ?Antjie Kro g ?jamm erlik naief? ? letter by Annem arie van Niekerk. Die Suid-Afrikaan October/Novem ber 1989: 4. ? Wat van Kuzwayo en Stockenstr?m? ? by Antjie Krog. Vrye Weekb lad 1 3 October 1989: 4. ?Gee ?n kind a boek present? by Antjie Krog. Vrye Weekblad 1 3 October 1989: 17. ??Bevry Afrikaans van die Gilde!?.? Rapport 1 4 October 1989: 41. ?Antjie Kro g se gedig roer Kathrad a? by Schalk le Roux. B e eld 30 October 1989: 1. ?Ou tyd en eie tyd? by L ucas Malan. D e Kat 31 October 1989: 103. ?Antjie en d ie vrouedinge maak opslae? by Jeann e Goosen. Die Transvaler 2 Nove mber 1989: 7. ?Antjie k aart die totale menswees.? Die Volksblad 4 Nove mber 1989: 3. ?Antjie?s ?lo st? poem was ANC m an? s ray of hope? by Evely n Holtzhaus en. T h e Sunday Times 5 November 1989: 15. ?Antjie Kro g kaart totale menswees in bundel.? B e eld 8 Novem ber 1989. ?Groot digters verskil nog oor boikot? by Coenie Slabber. Rapport 2 0 Novem ber 1989: 34. 304 ? Antjie Kro g, Brink ook na Parys-beraad.? Beeld 2 5 Nove mber 1989: 2. ?ANC kuier in Af rikaan, maar werk is als Enge ls: Antjie Krog by Parysberaad? by Thinus Prinsloo in Parys, Frankryk. B e eld 1 December 1989. ?Antjie en ?n druppel gal: van Kroon stad aan die Vals tot Paris sur la Sein e? by Thinus Prinsloo. Die Volksblad 1 Decem ber 1989: 5. ?Antjie, the poet from Kroonstad, takes up an angry pen? by Hans Pienaar. W e e kly Mail 1 4 Decem ber 1989: 18. ?Krog se virtuose kom pleksiteit? by Andr? le Roux. Die Burger 28 December 1989: 11. ?Spanning tussen estetiek en pol itiek? by Helize van Vuuren. Die Suid-Afrikaan 31 December 1989: 45. ?Niem an was ?n skoon wit pap ier nie? by Antjie Krog. Die Suid-Afrikaan December 1989: 6. 1990s ? Virtuoos: eitydse epos dwing bewondering af.? Die Volksblad 1 3 January 1990: 15 ?Geesdrif vir FW van SA skrywers? by Coenie Slabber Rapport 4 February 1990: 2. Skrywers reageer m et geesdrif op aankondigings.? Die Burger 5 February 1990: 9. ?Die skrywe r as leser? by Antjie Kro g. D e Kat March 1990: 97. ?Op weg na Judith Kranzt? ? by Antjie Krog Vrye Weekb lad 2 March 1990: 15. ?Boekm ense ken mekaar? by Antjie Krog. D e K at April 1990: 81. ?Skrywers moet om gewing help red? by Coenie Slabber. R apport 1 April 1990: 20. ?Antjie s? s y vat die prys.? B e eld 2 1 April 1990: 4. ?Krog wen Hertzogprys.? Die Burger 2 1 April 1990. ?Antjie s? s y vat die prys, dankie? b y Andreij H orn. Die Volksblad 21 April 1990: 1. ?Deurbraak m et Antjie se ?Anne?? b y Coenie Sla bber. Rapport 2 2 April 1990: 6. ?Free Sta te? s controversial Antjie joins estab lishment as priz ewinner? by Corinna le Grange. T h e Star. 26 April 1990: 21. ?Krog se Rottevange nie ?n hoogtepunt? by Fanie Olivier. Vrye Weekb lad 1 1 May 1990: 15. ?Vurige wenner van Hertzog-prys.? Die Tranvaler 15 May 1990: 8. ? Wat het die paddas gedink? ? by W illie K?hn. Beeld 1 5 May 1990: 12. ?Kugel-rom an propvol issues? by A ntjie Krog. Vrye Weekblad 1 8 May 1990: 15. ?Mens soek jou lewe in ? n boek? by Antjie Krog. D e Kat June 1990: 111. ?Fierce and powerful? by Jan Rabie. T h e Cape Times. 16 June 1990: 4. ?Antjie Kro g se toespraak.? B e eld 26 June 1990: 1. ?Krog herverdeel Hertzogprys? by Koos Prinsloo. Vrye Weekblad 29 June 1990: 15. ?Kinders en boeke? by Antjie Krog. D e Kat July 1990: 111. 305 ? New Jerusalem ? by Pippa Green. Leadership SA August 1990: 44. ?Sit liefde in die leerplan? by Antjie Krog. D e K at August 1990: 101. ?Antjie Kro g loop haar vas teen SA P? by Andre Potgieter. T ransvaler 14 August 1990. ?Sit pr?t in die bib lioteek? by Antjie Krog. D e K at Septem ber 1990: 85. ?Lady Anne.? T h e Sunday Star 2 Septem ber 1990. ?The las t word? by Jennif er Crwys-W illiams. _ _ _ _ _ _ _ _ _ _ _ 2 Septem ber 1990. ?Antjie Kro g na polisie oor slagspreuke op haar motor.? Die Volksblad. 7 Septem ber 1990: 1. ?Antjie Kro g ?scared? af ter car vandalised? by J ohn Miller. Saturday Star 8 Septem ber 1990: 3. ?Geterroriseerde Antjie s e motor ?n vandale-teken.? B e eld 8 S eptember 1990. ??ANC? letters pain ted on poet?s c ar.? T h e Citiz e n 8 Septem ber 1990: 15. ?The sparks fly at m eeting? by Gaye Davis. T h e Weekly Ma il 1 9 - 2 5 October 1990: 10-11. ?Signs of change? but where is the action?? by R onald Scheffer. D e moc racy in Action. October/Novem ber 1990: 1. ??n Boekehem el te koop? by Antjie Krog. D e K at October 1990: 96. ?Lees, skryf prioriteite in nuwe SA? by Coenie Slabber. Rapport 7 October 1990: 17. ?Bevry Afrikaans van die Gilde? by Coenie Slab ber. Rapport 1 4 October 1990: 4. ?Bevry Afrikaans van gild e ? Krog? by Andre le Roux. Die Burger 1 5 October 1990: 11. ?Skrywersgilde op soek na betekenis? by Andre le Roux. Die Burger 1 6 October 1990: 6. ?In Afrikaan s ?net God en die dood?? by Antjie K rog. Die Bur g er 16 October 1990: 6. ??Bevry Afrikaans van gilde?? by Andre le Roux. B e eld 1 7 October 1990. ??Debat oor boikot was n odig?? by H ans Pienaar. Vrye Weekblad 1 9 October 1990: 14. ?Om strede Antjie in Ps almkommissie.? Beeld 22 October 1990. ?Antjie Kro g benoem in Psalm- kommissie.? Die Volksblad 22 October 1990: 7. ??ANC-steu n sluit nie C hristenskap uit nie?? by Jeanne Goosen. Die Transvaler 23 October 1990: 4. ?ANC-gesinde m oet help om Psalms te herberym.? Die Afrikaner 31 October 1990: 5. ?W atter Af rikaans? ? by Antjie Krog. D e Kat Novem ber 1990: 90. ?Kannem eyer ?n voortreflike lykbesoger? by Antjie Krog. Vrye Weekblad 9 Nove mber 1990: 15. ?Hoe ruik die baas se huis?? by Antjie Krog. Vrye Weekb lad 23 Nove mber 1990: 15. 306 ? Lina Spies kap kwaai n a Gilde? en ?n dwarsklap no Antjie Krog.? Beeld 26 Nove mber 1990: 1. ?Lina Spies kap hard na Gilde.? Die Volksblad 27 Nove mber 1990: 21. ?Psalm kommissie van wysie af.? Die Volksb lad 28 Nove mber 1990: 14. ?Krog bly ryklik prut.? D ie Republikein 1 4 December 1990: 9. ?Kerk s? oor Antjie nee vir psalm s? by Neels Jackson. B e eld 1 5 January 1991: 1. ?Opslae na besluit oor die psalm s? by Andre du Plessis. Beeld 16 January 1991. ?Psalm s-storm : nuwe beruiming gaan voort.? Beeld 17 January 1991. ? Waar is die klagtes oor Totius? ? by Ina van der Linde. Vrye Weekb lad 18 January 1991: 9. ?Dit was die ?laagtepunt? van die rustige, gem agtigde sinode.? Vrye Weekb lad 18 January 1991: 9. ?30 jaa r na ? 60? by Hein W illemse. Vrye Weekblad 1 8 January 1991: 25. ?Sinode-besluit: dit stro ok nie? by JC Kanne meyer. B e eld 18 January 1991: 12. ?Jerem iades om Antjie e n psalms? by Andre Horn. Die Volks b lad 1 9 January 1991: 15. ?Jerem iades om Antjie e n psalms: er otiese po?sie ?diskwalif iseer? d igters? by Andre Horn. B e eld 2 3 January 1991: 2. ?Psalm berymings? by Daniel Hugo. Die Volksblad 2 9 January 1991: 12. ? Waarom luister mense meer na my raad oor Leo nie Bridges ?? by Antjie Krog. Vrye Weekb lad 1 February 1991: 15. ?Los van die Afrikanerlaer: ?n Gans a nder w?reld het vir m y oopgegaan? by Antjie Krog. Rapport 3 February 1991. ?Sinode-besluite betreur.? Die Kerkblad 2 7 February 1991: 36. ?Dis nie altyd ?blye galme?? by TT Cloete. Insig March 1991: 24. ?Kroonstad restoureer stadsaal sond er argitek? by Phil du Plessis. Die Bur g er 4 May 1991: 2. ??Recognise Afrikaners who fought apartheid?.? T h e Citizen 1 4 June 1991: 8. ?Focus on writers.? The New Nation 3 0 August-5 Septem ber 1991: 24. ? Wil ons nog Afrika in pleknam e h?? ? by Annika Marincowitz. B e eld 2 0 Septem ber 1991: 4. ?Bevry die s temloses? by Antjie Kro g. Vrye Weekblad 3 1 January-6 February 1992: 25. ?Antjie Kro g se ?Klein vrede? ? by J C Kannem eyer. B e eld 7 May 1992: 2. ?Burokratiese m isvat.? Vrye Weekbla d 2 9 May-4 June 1992: 13. ?Die aans telling verbaas nie? by Joe Nel. Vrye Weekblad 5-11 June 1992: 4. ?Aanklag van m oord kom vir ANC- man? by Joe Venter. Rapport 1 July 1992: 8. ?Antjie sal v ir staat getuig? by Andre Potgieter. D ie Transvaler 6 July 1992: 7. 307 ? Antjie k rog is getuier vir staat in moord verhoer? by Jan Bote s. Die Volks b lad 6 July 1992: 2. ?The rebel poet, the activist? and the dead gang leader? by Mark Gevisser. T h e Week ly Mail 1 0 - 1 6 July 1992: 7. ?Krog bekoor Nederlanders? by Etienne Brits. B e eld 22 July 1992: 2. ?Taal nie vir Krog kosbare kleinnood? by Helena Malan. Beeld 5 August 1992: 3. ?Skel gil Lady verby die m oederspeen? by Joan Ha mbidge. B e eld 20 August 1992: 2. ?Joan se gegil oor Antjie te veel? by W ilhelm Liebenberg. Beeld 2 7 August 1992: 4. ?O hoor die geknor-knor van dictator? by Joan Ham bidge. B e eld 3 September 1992: 3. ?Afrikaans (3)? by Jan P retorius. Die Afrikaner 9 Septem ber 1992: 8. ?En nou gaan staan Joan an hou h aar dom? by Wilhelm Liebenberg. Beeld 10 Septem ber 1992: 2. ??Hier leer ek skryf ? ek ka n nie anders nie? by A ntjie Krog. Die Suid-Afrikaan October/Novem ber 1992: 35. ??n Letterkunde uit Suider-Afrikaanse bodem ? by Gerrit Olivier. Die Suid-Afrikaan October/Novem ber 1992: 30. ?Krog verlewendig taal m et ratse woorkeuse? by JC Kanne meyer. Beeld 2 2 October 1992: 4. ?Is onderhoude m et skrywers ontkleerdanse? ? by Joan Hambidge. B e eld 2 9 August 1992: 3. ?Pistool is glo op Antjie Krog se stoep gevind na moord.? B e eld 3 November 1992: 2. ?Op dat ons nie vergeet nie? by Antjie Krog. Vrye Weekb lad 6 - 1 2 November 1992: 29. ?Kerke besin weer oor deelnam e aan Psalmkommissie? by Neels Jackson. B e eld 1 December 1992: 3. ?Krog bedank uit psalmkomm issie.? B e eld 3 Decem ber 1992: 2. ?Antjie en d ie Psalms.? Die Volksblad 4 December 1992: 10 . ?Fam iliebloed vloei deur bundel? by Alta Beetge. Die Volksb lad 11 December 1992: 25. ?Dot bewaar Af rikaner se mentaliteit? by Lucas Malan. Rapport 24 January 1993: 16. ?Juweel uit Dot se pen? by JC Kannem eyer. Die Transvaler 1 1 February 1993: 8. ?Dot se essays ?n genoeglike leeservaring? by Gretel W ybenga. B e eld 1 5 F ebruary 1993: 6. ?Collections that could foster a love of poetry? by Jane Rosenthal. T h e Weekly Mail 2 6 February-4 March 1993: 7. ?Dot se m ense leef in woorde? by Henriette Grove. Insig 2 8 F ebruary 1993: 4. ?A gallery of funny, moving sketches.? T h e Cape Times 3 April 1993: 6. ?It?s ANC facing ANC in this trial? by Jo-Anne Collinge. The Star 1 2 April 1993: 6. 308 ? Antjie Kro g moet s? oo r moord wapen? by Andre Potgie ter. Die Transva ler 1 5 April 1993: 10. ?Hof hoor van digteres en vuurwapen? by Phillip Hayes. Die Volksblad 1 6 April 1993: 4. ?Antjie Kro g ?tuis ? by ANC.? Die Transvaler 2 2 April 1993: 4. ?Antjie Kro g na Die Suid-Af rikaan.? B e eld 22 April 1993: 5. ?Ma Dot en Antjie ve rskil in vrede? by Philip de Bruin. B e eld 10 July 1993: 3. ?Antjie kom Kaap toe? b y Jacquelin Leuvennink. Sarie 21 July 1993: 82-83. ??n Lofsang oor die geboorte va n ?n kind? by JC Kanne meyer. B e eld 5 August 1993: 2. ?Afrikaans m agazine relaunched.? T h e Cape Times 1 9 August 1993: 2. ?Op Koueberg? by Antjie Krog. Sash Septem ber 1993: 35. ?Veralgem enings op lady Anne Krog se liter?re stoep? by Joan Ha mbidge. B e eld 16 Septem ber 1993: 5. ?It?s Antjie?s baby now? by Gorrie B owes Taylor. W e ekend A rgus 2 5 - 2 6 Septem ber 1993: 5. ?Graham stad? by Antjie Krog, Sandile Dikeni an d Phylicia Oppelt. Die S uid-Afr ikaan 3 0 Septem ber 1993: 26. ? White PAC m an speaks out.? Busin e ss Day 2 4 Nove mber 1993: 2. ?Skrywer Ronnie Phillips? by Antjie Krog. Die Suid-Afrikaan 3 1 December 1993: 48 . ?Taal is ?n virus? by Antjie Krog. Die Suid-Afrikaan January/February 1994: 60. ?Die digter wat voor ?n gr oot leier loop? by Antjie Krog. Die Suid-Afrikaan July/August 1994: 12. ?Am nestie mag nie amnesie wees nie? by Antjie Krog. Die Suid-Afrikaan July/Augu st 1994: 25. ?Alternative beat of the techno tribe? by Alex Dodd. Mail&Guardian 15 July 1994. ??Lyfpo?sie? opnuut beskikbaar? by JC Kanne meyer. Rapport 31 July 1994: 34. ?Untold dam age of Anglo- Boer War? by Antjie Krog. D e mocracy in Action August 1994: 19. ?Op pad na ?n [word m issing]? by Antjie Krog and Marijke du Toit. Die Suid- Afrikaan October 1994: 22. ?Swakhede van Bem inde Antarktika en Mannin in ?een band? was gevang.? Die Volksblad 3 October 1994: 10. ?Focus on healing? by Antjie Krog. Sowetan 4 October 1994: 8. ?Laat elke ?waarheid? help om morele baken te bou ? Krog.? Die Burger 4 October 1994: 11. ?Poet unfair to British? by AB Page, Pieterm aritzburg. Democracy in Action 15 October 1994: 29. ?Polkas van nasie? by A ntjie Krog. Die Suid-Afrikaan December 1994: 46. 309 ? Let the tru th set us free? by Khaba Mkhize. T h e Natal Witne ss 16 December 1994: 6. ?Antjie Krog nou ?n SAUK-radiojoernalis.? Beeld 1 4 January 1995: 7. ?Krog groet blad vir SAUK pos? by Sean Jacobs. Die Burger 1 4 January 1995: 2. ?He mel behoede ons taal as Antjie dit so ?m ix?? by Hannes de Beer. Die Burger 27 January 1995: 8. ?Old-tim ers old news.? Weekly Mail and Guardian. 24 February-2 March 1995: 30. ?W ill the truth set us free? ? by Amm a Ogen. W e ekly Mail and Guardian 5-11 May 1995. ?Sien jou by die parlem ent!? by Antjie Krog. Die Suid-Afrikaan May/June 1995: 12. ?Piety of oppression and pain? by Antjie Krog. D e mocracy in Action 15 July 1995: 27. ?Parlem ent? re wrap-up v an die tweede sessie? by Antjie Krog. Die Suid-Afrikaan Septem ber/October 1995: 20. ?Prosadebuut in uiterste pyn? by Joan Ha mbidge. Die Burger 2 0 Decem ber 1995: 9. ?Die stemme van vroue? by Tim Huiseman. Die Suid-Afrikaan December 1995/January 1996: 39-41. ?Van ons skuld en van skuld? by Louise Viljoen. Insig February 1996: 33. ?Antjie m oet liewer bly gedigte skryf? by Fanie Olivie r. Beeld 4 March 1996: 8. ?Affidavits for Afrikaans? by Jane Rosenthal. Mail&Guardian 15-21 March 1996: 4- 5. ?Kragtig e, vernuwende po?sie van Antjie Krog ? by Tom Gouws. B e eld 1 April 1996: 8. ?Antjie Krog aan steer van SAUK se nuus oor WVK.? B e eld 1 3 April 1996: 8. ?Verhaal v an bevryding word vertaal en gevier? by Louise Viljo en. Die Burger 24 April 1996: 7. ?Krog se dogter vir skryfwerk bekroon.? Die Volksblad 30 April 1996: 4. ?Getuigskrifte van m oederskap? by Alta Beetge. Die Volksblad 1 0 May 1996: 8. ?Pockets of humanity? b y Antjie Kro g. Mail&Guardian 24-30 May 1996: 30. ?Tot op die been? by Ena Jansen. In s ig 30 June 1996: 36. ?Moenie ?n rassistiese bobbejaan ag ter bult gaan haal? by Adam Sm all. Rapport 13 October 1996: 21. ?A tapestry of despair and hope in South Africa? by Mike Nicol. T h e Cape Times 31 October 1996: 10. ?A country in transition ? a nd the truth? by Mike Nicol. T h e Cape Times 1 Nove mber 1996: 6. ?Verkenning van pad vir Afrikaans begin opberaad.? Die B urger 2 Decem ber 1996: 1. ?Krog kap vir onversetlike Afrikaner.? Die Burger 2 Decem ber 1996: 7. ? Weg met ons! Bulder party Afrikaanse s met oorgawe? by Pieter Spaarw ater. Die Burger 5 Decem ber 1996: 14. 310 ?More colour needed in Afri kaans groups? by Rehana Rossouw. Mail&Guardian 6 December 1996. ?No need for a language lager? by Ken Owen. Mail&Guardian 6 December 1996. ?Antjie. ? Rapport 8 Decem ber 1996: 14. ?Mom ents that made the Constitu tion? by Pippa Green. Mail&Guardian 13 December 1996. ?Mandela to open ?am nesty flood gate?? by Eddie Koch. Mail&Guardian 13 December 1996. ?Overwhelm ing trauma of the truth? by Antjie Krog. Mail&Guardian 2 4 Decem ber 1996-9 January 1997: 10. ?Verhelde r baai aspekte van Antjie Krog se wer k? by Piete r Conradie. Die Volksb lad 5 May 1997: 6. ?Insiggewende studie oor Antjie Krog se werk? by JC Kannem eyer. Rapport 1 1 May 1997: 19. ?Helder nuwe insigte gebied in werk oor voorste vrouedigte? by Joan Ham bidge. Di e Burger 28 May 1997: 5. ?Antjie Kro g Gedigte? b y Barend J Toerien. World Literature Today Winter 1997: 211-12. ?Boeiende, insiggewende studie oor werk van Antjie Krog? by Fanie Olivier. Beeld 1 6 June 1997: 6. ?Unto the th ird or fourth generation? by Antjie K rog. Mail&Guardian 1 3 - 1 9 June 1997: 13. ?France f ? tes SA writing ? by Stephe n Grey. Mail&Guardian 1 0 Nove mber 1997. ?Form er Star journalist is co-winner of correspondents? award.? T h e Star 17 Nove mber 1997: 2. ?Antjie Kro g moet s? oo r ras- vra? by Desmond Thompson. B e eld 1 9 Novem ber 1997: 2. ?FM journalist honoured.? Financial Mail 21 Novem ber 1997: 42. ?Goosen bly weg; saak teen Antjie Sam uel uitgestel.? Die Burger 2 8 Novem ber 1997: 21. ?Verhoor oo r klagtes teen Antjie u itgestel? by Jan - Jan Joubert. B e eld 28 Novem ber 1997: 9. ?Goosen hits SABC for poor reporting? by Gillian Farquhar and Jacquie Golding- Duffy. W e ekend/Saturda y Argus 29-30 Nove mber 1997: 13. ?Komm issie sal in 1998 s? oor oudhoof van WVK en SABC? by Desm ond Thompson. B e eld 1 2 Decem ber 1997: 12. ?Five poem s by Antjie K rog.? Mail&Guardian 2 4 Decem ber 1997-8 Janu ary 1998: 30. ?The next hot one hundred.? Mail&Guardian 2 3 Decem ber 1997. ? Waarheidskommissie het haar ingesluk en alles hou heeldag net aan? by Hanlie Retief . Rapport 4 January 1998: 15. 311 ?Defenceles s in the face of De Kok?s poetry? by Antjie Krog. Mail&Guardian 1 6 - 2 2 January 1998: 33. ?Sam uel se bewerings so ?uitgebalanseer?? by Jan-Jan Joubert. Beeld 30 January 1998: 6. ?Sales show that money talks, but you don?t have to listen? b y Maureen Isaacson. The Sunday Independent 8 F ebruary 1998: 20. ?Account of a m urder.? Off the Book shelf April/May 1998: 9. ?Choking on the truth, p iece by piece? by Antjie Krog. Sunday Times 1 9 April 1998: 21. ?Krog delivers on the truth? by W ilhelm Snym an. T h e Cape Times 24 April 1998: 16. ?Antjie?s s tunning book convinced me SA will work? by Carol Lazar. T h e Star 29 April 1998: 18. ?Truth com mission book fuses poetic vision with horror of a brutal past? by Maureen Isaacson. The Sunday Independent 26 April 1998: 4. ?Quest for truth bringing m ore pain and division than healing? by Doug Kidson. Sunday Times 2 6 April 1998: 22. ? WVK ?n storie anderkant woorde, s? Krog oor boek? by Stephanie Niew oudt. B e eld 2 8 April 1998: 11. ?Intensely personal look at the TRC? by Joanna Walus. T h e Star 2 8 April 1998: 18 ?SABCer launches book on TRC? by Michael R Phalatse. SABC Intekom 3 0 April-13 May 1998: 21. ?Mini book cut.? Femina May 1998: 133. ?Hope in the place of vio lence? by M ark Gevisser. Mail&Guardian 3 0 April-7 May 1998: 26. ?Ons storie po?ties vertel? by Frederik van Zyl Slabbert. Insig May 1998: 29. ?Holding a searchlight up to evil of apartheid? by ZB Molefe. City Press 3 May 1998: 13. ?Nothing but the truth from Krog? by Stephen L aufer. Busin e ss Day 8 May 1998: 9. ?Brillian t insight into TRC? by Lourens Schoem an. Eastern Province Herald 1 3 May 1998: 4. ?Antjie m oes haar boek skryf om ?n anker te vin d? by Steph anie Niewou dt. Die Burger 13 May 1998: 17. ?Part of our sham eful history?s s oul is bared? by Diane de Beer. Pretoria News 13 May 1998: 3. ?Soeke na ?n eie waarheid? by Cecile Cilliers. R apport 17 May 1998: 35. ?W ithin the vortex? by Gilber t A Lewthwaite. T h e Star Tonight 1 8 May 1998: 11. ?Tutu-worshipping Krog review s TRC? by Terence Friend. T h e Citiz en 18 May 1998: 6. ?Sonder elite kunswerke is ?dood in pot ? vir Afrikaans? by Roline Norwal. Die Burger 19 May 1998: 6. 312 ? Em osies kry aangrypend gestalte? by Am pie Muller. Die Bur g er 2 7 May 1998: 14. ?Gordim er and Krog chronicle the changes.? T h e Mercury The Good Life 1 June 1998: 4-5. ?Elusive truths? by Claudie Braudie. Mail&Guardian 12-18 June 1998: 9. ?Crossfire? by Steven Robins. Mail&Guardian 12-18 June 1998. ??n Boek waarvan m ens nie gou herstel nie? by C hristof Heyns. B e eld 15 June 1998: 10. ?Lynwood-gem eente se groetse omreg te stel? by Jack Steyn. B e eld 20 June 1998: 6. ?Anderkant die waarheid? by Ruda Landm an. Rooi Rose 26 June 1998: 38. ?All white s are guilty of the apartheid sin? by Pieter Malan. Cape Argus 2 6 June 1998: 12. ?Flawed but potent version of the truth? by Steven Robins. Mail&Guardian 26 June-2 July 1998: 26. ?Bring back de W aal? by Elinor Sisulu. Mail&Guardian 26 June-2 July 1998: 23. ?Afrikaanses m oet ophou kla ? Krog.? B e eld 30 June 1998: 17. ?Inside Antjie?s Head ? b y Anthea Garm an. Rhode s Journalism Review No 16 July 1998: 27. ?A guilt-stricken orgy of self-flagellation? by Rian Malan. Financial Mail 2 - 8 July 1998: 36. ?Afrikaners must stop whingeing and do? by Antjie Krog. T h e Natal W itness 6 July 1998: 8. ?O, Antjie.? Die Burger 9 July 1998: 15. ?Book review? by Terence Beard. Grocott?s Mail 14 July 1998: 4. ?Krog kyk iets in praktyk m is.? Beeld 15 July 1998: 8. ?Looking at evil? by James Am brose Brown. Mail&Guardian 17 July 1998. ?How can SA becom e one?? Cape Argus 22 July 1998: 1. ?Creating oorleg out of past oorlog? by Howard Barrell. Mail&Guardian 2 4 July 1998. ?Risk is f irst step to reconciliation? b y Antjie Kro g. T h e Star 24 July 1998: 15. ?How can SA becom e one?? Saturday Star 25 July 1998: 10. ?The sins of the fathers? by Sue Segar. T h e Nata l Witness 8 August 1998: 7. ?I can finally say: ?I am an Afrikaner?, declares A ntjie Krog? by Pieter ter Horst. Cape Argus 1 2 August 1998: 10. ?Top line-up for Cape Argus.? Cape Argus 2 4 August 1998: 8. ?Verstaan v erlede? by Carel Boshoff. B e eld 29 August 1998: 8. ?Personal journey m ixed with fact touches heart of the unspeakable? by Andries Oliphant. The Sunday Independent 4 October 1998: 20. 313 ? Ses digters is hoogte punt van SA ja ar in Rotterdam ? by Gawie Keyser. D ie Burger 7 October 1998: 7. ?The tru th will out? by J eremy Watson. Daily Dispatch 2 8 Novem ber 1998: 4. ?On a wing and a prayer? by Gaye Davis. Mail&Guardian 3 0 October 1998. ?A new hearing for history? by Matthew Krouse. Mail&Guardian 4 December1998. ?VSA atelier koop film regte op Krog se boek oor WVK? by Laetitia Pople. Die Burger 8 Decem ber 1998: 4. ?Krog se WVK-boek dalk Hollywood-rolprent.? Die Volksblad 9 December 1998: 6. ?1985: Halssnoerm oorde steeds ?n we rklikheid in SA? by Inge Kuhne. B e eld 28 January 1999: 19. ?Now judge this? by Helen Grange. Saturday Argus 6 February 1999: 9. ?Veelvoed stemm e te hoor in boeiende bloemlesing? by Helize van Vuuren. Die Burger 1 7 February 1999: 12. ?Erotiese verse ook as stigtelike ervaring? by Louise Viljoen. Insig March 1999: 6. ?Al die erotiese verse is glad nie op standard? by Fanie Oliv ier. Rapport 7 March 1999: 18. ?Moet ons wroeg?? D e Kat April 1999: 80-87. ?Looking the beast in th e eye? by D an Jacobson. W e ekend P ost 1 7 April 1999: 8. ?Afrikaners start facing horror of the past? by Aggrey Klaaste. Sowetan 2 6 April 1999: 11. ?W hen the truth hurts the heart? by Gillian Anstey. Sunday Times 2 3 May 1999: 10- 11. ?The golden thread? by Anthony Sampson. Sunday Times 20 June 1999: 25. ?Krog ?over whelmed? by litera ry recognition? by Gillian Anstey. Sunday Times 20 June 1999: 24. ?Authors sh are Paton award? by Gillian Anstey. Sunday Times 20 June 1999: 24. ?Clingm an and Krog share Paton prize.? T h e Citiz e n 21 June 1999: 7. ?Antjie Sam uel weg by SABC ?oor eie redes?? b y Kobus Lourens. Die B urger 29 June 1999: 6. ?Krog, Clingm an wen Alan Paton-boekprys.? Die Volksblad 5 July 1999: 8. ? Women to the fore at Z imbabwe Book Fair? by Maureen Isaacson. The Sunday Independent 8 August 1999: 7. ?Hush-hush, sleep-a-bye, sweet, sleep soft: le tter- poem lullaby for Ntom bizana Atoo.? T h e Sunday Independent 1 5 August 1999: 18. ?Krog se dram a vol reguit vrae? by Barrie Hough. Rapport 2 6 Septem ber 1999: 2. ?Invis ible controllers? b y Antjie Kro g. T h e Natal Witn ess 2 8 Septem ber 1999: 8. ?Sweetstank van regte lewe in Krog se trefstuk? by Barrie H ough. Rapport 3 October 1999: 2. 314 ? Ann?s as proud as a peacock? by Peter Fabricius. T h e Star Tonight 8 October 1999: 2. ?Heartbeat of Aardklop? by Stephen Grey. Mail&Guardian 8 - 1 4 October 1999: 16. ?Antjie Kro g?s pen strik es the rawest of nerves without turning to lead? by Anthony Akerm an. T h e Sunday Independent 1 0 October 1999. ?It was a white m an?s war? by John Matshikiza. Mail&Guardian 1 5 October 1999. ? Women with attitude: the top 100 wom en who shook South Africa? by Nicola Koz , Mphoentle Mageza and Barry Streek . F e mina December 1999: 82-86. ?More than just m emories? by Janet Sm ith. T h e Star 2 1 Decem ber 1999: 19. ?Excerpts from a diary to Timbuktu? by Antjie Krog. Mail&Guardian 2 3 Decem ber 1999-6 January 2000: 44. 2000s ? More than black and w hite: Anita [ sic] Krog tells Melanie Mc Fadyean about truth and reconciliation.? Guardian 15 January 2000. ?Kani, poet Krog share Hiroshim a award? T h e Citiz en 4 January 2000: 4. ?Krog and Kani win for peace? T h e Star Tonight 2 6 January 2000: 4. ? World fetes Kani and Krog while back hom e the arts struggle to survive? by Pam ela Dube. T h e Sunday Independent 30 January 2000: 4. ?Antjie Kro g internasionaal vereer? Insig 31 January 2000: 52. ? Women face up to their pasts? Cape Argus Tonight 1 February 2000: 2. ?Soeke na waarheid: Antjie Krog on tvang lof ?n kritiek? by Dirk Kok. Die Volksb lad 1 4 February 2000: 8. ?En so voel Antjie Krog oor h??r v ertaling? Insig March 2000: 43. ?Krog in probe of apartheid? by Sim phiwe Sesanti. E v ening Post 2 4 February 2000: 5. ?Van Staden en Xaba boei? by Carin van Vuuren. Volksblad 2 5 February 2000: 5. ?Antwoorde op absoluut bleddie niks ? by Hannelie Booyens and Stephanie Nieuwoudt. B e eld 21 March 2000: 4. ?The deed that sym bolised the mortality of apartheid? by W ilhelm Snyman. Cape Times 2 4 March 2000: 8. ?Looking into the dark glass of a ssassination? by Fran?ois Loots. Cape Times 24 March 2000: 8 ?The Unfolding of Sky tells a harrowing tale? by Mfundo Ndebele. Sow etan 27 March 2000: 9. ?W hy is Antjie s till on top?? by Mich ael Rautenb ach. Mail&Guardian Friday 31 March to 6 April 2000: 5. ?A thousand and then som e voices? by Bonny Schoonakker. Sunday Times Lifestyle 2 April 2000: 7. 315 ?Her own quest for truth? and ?It take s two to toyi-toyi? by Diane de Beer. T h e Star Tonight 6 April 2000: 8. ?Dom ein van glas? In sig April 2000: 65. ?The Afrikaner-so-w?-t o? ? by Christina Kennedy. T h e Citizen 5 April 2000: 19. ?An Afrikaner nationalis t now under a new flag? [?Shadows pinned against a fam iliar backdrop?] by Robert Greig. The Sunday Independent 9 April 2000: 12. ?Krog se dram a kan rasse help versoen? by Barrie Hough. Rapport 9 April 2000: 2. ?Theatre m akes you healthy!? by Christina Kennedy. T h e Citizen 12 April 2000: 19. ?Andr? Brink wen prys as boekjoernalis? Die Bur g er 13 April 2000: 13. ?Politieke kanonne bulder te hard in koe rante, s? Krog? by Stephanie Niewoudt. B e eld 13 April 2000: 10. ?Author brings the press to book ov er reading? by Michael Morris. Cape Argus 13 April 2000: 2. ?Teaching u s to laugh as the once unlaughable? b y Mary Jord an. Business Day 13 April 2000: 14. ?Abuse and acceptance? by Joe Podbrey. Financial Times 1 4 April 2000: 107. ?Boeiende verhaal uit doofpot gelig? by Herm an Wasserman. Die Burger 1 9 April 2000: 18. ?Xaba ready for the best? by Eddie Mokoena Sowetan 5 May 2000: 12. ?Debat verval in ras ? Krog? by Christi van der Westhuizen. B e eld 12 May 2000: 3. ?Antjie Kro g ? wie is sy ?? A frikaner letters page 19-25 May 2000: 8. ?Rwanda?s fest of m emory? by Gregory Mthem bu-Salter. Mail&Guardian 2 - 8 June 2000: 16. ?Vesoening ?m oet deur geregtigheid gerug steun word?? by Ilse Bigalke. Die Burger 3 June 2000: 13. ?Antjie Kro g on alterity and awakening? by Davina Cohen. Cue 2 July 2000: 10. ?Tackling the burning issues? by A ndrew Worsdale. 7 July 2000 www.mg.co.za accessed 9 May 2005. ??Leon kan tog nie swart word ? kap wat hy s??: kleur in debat ontm agtig albei groepe, s? A ntjie Krog.? B e eld 17 August 2000: 11. ?The writin g of desire? by Antjie Krog. Mail&Guardian 2 5 - 3 1 August 2000: 4. ?A nation declares war o n racism? Daily Dispatch 4 Septem ber 2000: 1. ?Don?t write off whites, challenge them? by Char les Villa-Vicencio. T h e Cape Times 6 Septem ber 2000: 8. ? Whites need to make one single fateful gesture? by Zubeida Jaffer. T h e Cape Times 8 Septem ber 2000: 6. ? Waiting for the white prince(ss).? 15 Septem ber 2000 www.mg.co.za accessed 9 May 2005. 316 ?Poets, race m erchants no experts on reconciliation? by Kierin O?Malley. T h e Cape Times 2 2 Septem ber 2000: 8. ?Sy weet waarheen sy op pad is? by Hettie Scho ltz. Ins ig October 2000: 68. ?Die binnekant en buitekant van Sa muels ?n Krog? by Hanlie Retief. Rapport 15 October 2000: 5. ??Met di? bundel is alles vryer?: po?sie is iets want nie elitisties moet wees nie, meen Krog? by Stephanie Niewoudt. Beeld 1 6 October 2000. ?Aparthe id se emosionele skade erger as materi? le? by Herm an Giliom ee. Die Burger 1 7 October 2000: 8. ?Antjie in kleur? by Suz ette Truter. Sarie 18 October 2000: 36. ?A change for thinking whites to show so me backbone in cyberspace? by Marianne Tham. T h e Cape Times 1 9 October 2000: 11. ?Afrikaans vibreer van genade ? Krog? by Herm an Wasserman. Die Burger 24 October 2000: 4. ?Antjie, in v yf strofes? by Albie Sac hs. Die Burger Boekewereld Nasnuus Nove mber 2000: 3. ? When madness and power converge? by Michael Morris. Cape Argus 6 Nove mber 2000: 10. ?101 books for Christm as? Mail&Guardian 10-16 Nove mber 2000: 10. ?Krog bring gebrokenheid van die psig e tot heling? by Helize van Vuuren. Die Burger 1 5 Novem ber 2000: 12. ?Voices of the earth? by Leon de Kock. Mail&Guardian 17-23 Nove mber 2000: 9. ?Rich tales of the African soil brought to life though dazzlin g photography? by Alan Lipm an. T h e Sunday Independent. 26 Nove mber 2000: 18. ? Krog se kragtige digter stem ontroer intens: verwonding, heling in vernaam ste temas in negende bundel? by B ernard Odendaal. Die Vo lksblad 2 7 N ovember 2000: 8. ?Antjie v erwoord AFrika in skittere nde stukke vers? by Fan ie Oliv ier. B e eld 27 Nove mber 2000: 13. ?Engelse gedig van Krog haal h?e prys? by Stephanie Niewoudt. Die Burger 30 Nove mber 2000: 4. ?Krog se beste bundel nog? by Henning Snym an. Rapport 3 Decem ber 2000: 9. Haar Engelse po?sie sterk Afrikaans gerig? Rapport 3 December 2000: 9. ?Onderm yning kom toe met lelike nadraai? by Herm an Wasserman. Die Burger 6 December 2000: 4. ?Digters tak el mekaar oor suiwer taalgebruik? by Herm an Wasserman. Die Burger 9 December 2000? 8. ?W ittes gevra: bely en be taal!? by Ma riechen Waldner. Rapport 1 0 December 2000: 1. ? Writers, artists and judges sign reconciliation pledge? The Star 1 4 December 2000: 3. 317 ? White must take joint responsibility? by Carl Niehaus. T h e Sunday Independent. ? Al weer bieg?? Die Bur g er 15 December 2000: 9. ? Whites split over guilt trip? ww.m g.co.za 15 Decem ber 2000 (accessed 9 May 2005). ?W ill blacks also have to apologise one day? ? The Star letters page 15 Decem ber 2000: 13. ?A long walk to reconciliation? by S onti Maseko. City Press 1 7 Decem ber 2000: 8. ?W hites need wake-up call? by Mfundo Ndebele. Sowetan Sunday World 17 December 2000: 16. ?Krog bursts out in English? Sunday Times 1 7 Decem ber 2000: 19. ?New collection speaks to truth? by Karin Schim ke. T h e Cape Times 1 9 Decem ber 2000: 11. ?Krog sears away the lay ers of artifice? by Beverly Rycroft. T h e Cape Times 19 December 2000: 11 ?Februar ie Antjie Krog : Sy krap sy krap verbete steeds aan ons volksgewete oor waarheid en versoening; oor sondeboete doening. Sy krap die oudste wonde oop want dis hoe diep die sonde loop. Dit is sowaar ?n lang e tog. Gaan vra gerus v ir Antjie Krog.? Insig Calendar January 2001 (page for February). ?Hier sien ? n mens jouself ? by Louise Viljo en. Insi g January 2001: 69. ?The faces a nd facets of An tjie Krog ? by Andrew W eiss. Cape Argus 5 February 2001: 10. ?Meditate on Paul W einberg?s superb book? by David Ha mmond-Tooke. T h e Citiz e n 1 2 February 2001: 12. ?Krog se intense verset in Enge lse verse afwesig? by Jo Nel. B e eld 19 February 2001: 11. ?Poetry co llection of the acclaimed Antjie Krog ? by Moira Lovell. T h e Natal Witne ss 3 March 2001: 13. ?Afrika se worsteling in moderne w?reld kunstig verhaal? by Anne-Marie Mischke. Rapport 4 March 2001: 14. ?Krog peels the everyday skin away to bare her poetic soul? by Evelyn John Holtzhausen. Cape Times 6 April 2001; 6. ?More accolades for Antjie Krog.? Sunday Times Lifestyle 11 March 2001: 11. ?But silky, smooth-tongued new right m essiah tore open the old wounds? by Beverley Roos Muller. T h e Sunday Independent 2 2 April 2001: 11. ?Following the TRC?s journey.? T h e Star Tonight 14 May 2001: 7. ?Poetry in motion.? Daily News Tonight 1 6 May 2001: 1. ?A diverse country speaks with many voices? by Phylicia Oppelt. Sunday Times 20 May 2001: 16. ?Award for ?household? poetry.? Cape Argus 21 May 2001: 10. ?Poetry award for Krog.? T h e Natal Witn ess 22 May 2001: 20. ?Vita Award for Krog?s English work.? T h e Citiz en 22 May 2001: 21. 318 ? Antjie Kro g takes Vita. ? Kwana 24 May 2001: 4. ?Justice done to the TR C? by Janine W alker. T h e Star Tonight 2 5 May 2001: 4. ?Long walk to truth.? Saturday Star The Good Weekend 26 May 2001: 4. ?Docum entary scraped jaded TRC palate clean? by Robert Greig. The Sunday Independent 2 7 May 2001: 11. ?Antjie is be ginselvas? b y Ds SJ Eitner, Rooihuis kraal. De Kat letter?s page. June 2001: 8. ?Antjie Kro g breaks fresh earth? by Marinus Clo ete. Independent on Saturday 2 June 2001: 12. ?Boekgesprek m et Antjie Krog.? Sarie 11 Jully 2001: 17. ?Manifesto on values, education and dem ocracy essay competition. R20 000 in prizes and mentoring opportunities with three of South Africa?s great writers ? Nadine Gordim er, Antjie Krog and Njabulo Ndebele ? are offered to encourage and support young emergent writers of fiction.? Advertisem ent in Sunday Argus 2 6 August 2001: 16. ?Rolm odelle nie altyd die beroemdes nie? by Annem arie Marais. Beeld 8 August 2001: 20. ?Projek bereik honderde vroue? by Annem arie Marais. B e el 8 August 2001: 20. ?Die lang pad na Afrikaans? by Karin Brynard. In sig 31 August 2001: 29. ?Gesoek: Af rikaans vir sy lang pad na vryheid? b y Antjie Kro g. B e eld 1 S eptember 2001: 11. ?Pad vol taalknope na vertaling van ?Long W alk?.? Burger 4 Septem ber 2001: 4. ?Vertaling v an Mandela-boek ??n unieke ervaring? by Antjie Krog. Volks b lad 5 Septem ber 2001: 7. ? WVK se pr oses val plat s? Krog? by Malixole G watyu. Burger 6 October 2001: 7. ?Antjie Kro g gee lesing by UPE? by Piete r van Z yl. Die Burg er 1 8 October 2001: 7. ?Antjie Kro g we RAU se prys vir digbundel.? B e eld 20 October 2001: 4. ?Vertaling m aak ? mindere taal magtig? ? Krog? by Roslyn Baatjies. Die Burger 22 October 2001: 12. ?Krog se po?sie kry eerste RAU-prys? by Jo Prins. B e eld 17 Nove mber 2001: 4. ?Antjie Kro g kry prys vir nuwe bundel? by Johan Eybers. Rapport 1 8 Novem ber 2001: 10. ?Goedversorgde teks te benodig nie di? kierie? by Antjie Krog . Rapport ( Boeke en kultuur onder redaksie van Antjie Kro g) 18 November 2001: 34. ?Nobelwenner spot m et ?Turd W orld?? by Antjie Krog. Rapport 2 5 November 2001: 26. ?Abdoltjie was bruin en sy kultuur bekend? by Antjie Krog. Rapport 2 Decem ber 2001: 26. ?Healing s tream petered out too soon? by Antjie Krog. T h e Sunday Independent 2 December 2001: 6. 319 ? Onder ekle Kersfeeskous behoort ?n boek te l?? b y Antjie Kro g. Rapport 9 December 2001: 22. ?Ons is gemaak om met mekaar te lewe? by Antjie Krog. Rapport 1 6 Decem ber 2001: 16. ??Swart sk ryweres skryf hier anders?? by Antjie Krog. Rapport 6 January 2002: 18. ?Literally yours.? The Star 2 1 January 2002: 3. ?Sekere leue ns oor die verlede durf jy nie m eer herhaal nie? b y Antjie Kro g. Rapport 2 7 January 2002: 16. ?Taal m igreer voorlopig saam.? Rapport 10 February 2002: 20. ?Presiden t Mbeki?s S tate of the Nation addres s.? South Africa @Work 3(1) 2002: 5. ?Op die rugkant? by Antjie Krog. Rapport 1 0 February 2002: 23. ?Blowing in from the north? by Jane Rosenthal. Mail&Guardian Friday 1 5 -21 March 2002: 1. ??Af rikaners deel van oplossing?? by W illem Jordaan. B e eld 15 February 2002: 2. ?So benoem ons m ekaar? by Antjie Krog. Rapport 17 February 2002: 15. ?Om uitgewipe to wees? by Antjie K rog. Rapport 2 4 February 2002: 17. ??n Mens m oet kan speel? by Antjie Krog. Rapport 3 March 2002: 14. ?Bestel ?n gedig per e-pos? by Antjie Krog. Rapport 10 March 2002: 13. ?Afrikaans presteer in Afri ka-literatuur? by Antjie Krog. Rapport 17 March 2002: 27. ?Afrikaans s oos nog nooit tevore nie? by Antjie Krog. Rapport 17 March 2002: 27. ?Ons lees no g apart? by Antjie Krog. Rapport 2 4 March 2002: 15. ?Mbeki poem goes into print? by Hans Pienaar. T h e Star 3 April 2002: 5. ?Mbeki m akes his poetry debut in Afrikaans? by Han Pienaar. Daily News 3 April 2002: 1. ?Nege SA talek praat saam in Krog se bundel.? D ie Burger 5 April 2002: 6. ?Afrika-gedigte m aak nuwe w?re ld oop? by W aldimar Pelser. B e eld 5 April 2002: 3. ?Krog se nuwe bundel open nuwe w?reld? by Waldim ar Pelser. Die Burg er 5 April 2002: 3. ?Altyd ger eed vir die muse: Jac Kr itzinger ? by Antjie Krog. Rapport 7 April 2002: 13. ?W ie skryf jou boek?? b y Antjie Kro g. Rapport 7 April 2002: 13. ?S? lui Mbe ki se Mad iba-gedig. ? Beeld 8 April 2002: 5. ?Krog on film of her book: I don?t think ther e?ll be anything of me in it? by Tony Weaver. Cape Times 8 April 2002: 4. ?Antjie go es to Hollywood? by Mich ele Magwoo d. T h e Sunday Times 7 April 2002: 12. ?Binoche dalk in Krog-prent? by Laetitia Pople. B e eld 1 0 April 2002: 3. ?Film script leaves Krog in the dark? by Tony W eaver. Star T onight 11 April 2002: 7. 320 ? Antjie Kro g gives voice to SA?s mother tongues? by Hans Pienaar. The Sunday Independent 1 4 April 2002: 11. ?Boeke wat am per nie was nie? by E lize Parker. Sarie 17 April 2002: 50. ?Leeskultuure baie belangrik ? skryw ers? by Jo P rins. Beeld 24 April 2002: 4. ?Second edition in acco unt of Truth hearings? by Nosipho Kota. W e ekend Post Leisure 4 May 2002: 14. ?UPE gee eerste doktorsgrade in Suid-Afrikaanse letterkunde.? Die Burger 6 May 2002: 10. ?Krog?s harrowing coverage of TRC? by Kin Bentley. The Herald 15 May 2002: 4. ??n Bundel wat bekoor en bekeer? by Sandile Dikeni. Rapport 26 May 2002: 15. ?Suid(er) Afrikaans in vele gedaantes.? Insig 31 May 2002: 74. ?30 m ust-read books.? True Love June 2002: 34. ?Die stem van Antjie. ? Insi g June 2002: 47. ?Ons k?n meer wees as ?Moerm ekaarlanders?? b y Wilhelm Jordaan. Beeld 1 0 June 2002: 11. ??Regstellende? bloem lesing leersaam noodsaaklik.? Volksblad 1 0 June 2002: 6. ?Krog steek ?n kers op? by Karen de W et. B e eld 1 7 June 2002: 9. ?Afrika-po?sie bring begrip en plesier? by Daniel Hugo. Die Burger 22 July 2002: 7. ?Precep ts of humanity needed for better life, Madiba tells writers? by Bre ndan Boyle and Staff Writer. The Cape Times 29 July 2002: 9. ?Africa?s cyber drought has a silver lining? by Michael Mo rris and ?Our literary giants?. Cape Argus 30 Jully 2002: 10. ?Gee Afrika se woorde terug, vra skrywers.? Rapport 4 August 2002: 15. ?Af rikanervrou nie ?n w illose lappop? by Christi van der W esthuizen. Be e ld 7 August 2002: 14. ?Radical b lack literary movement vanishes? by Kelwyn Sole. Mail&Guardian letter? s page 8-15 August 2002: 12. ?Digters en die gruwels van die lewe? by Joan Ham bidge. B e eld 1 7 August 2002: 4. ?Kerslig hier verdof deur ideologie? by Gunther Pakendorf. Die Burger 1 9 August 2002: 7. ??Vertaling is altyd ?n vorm van verraad, maar hour taal soepel?? by Stephanie Niewoudt. B e eld 1 3 Septem ber 2002: 13. ?Griekse tragedie kry S A kleur.? Beeld 13 September 2002: 13. ?Aardklop sets out a feast? by Mary Jordan. Business Day 1 7 Septem ber 2002. ?All about identity? by Melvyn Minnaar. Mail&Guardian Friday 2 0 - 2 6 Septem ber 2002: 1. ?Beautiful words, beautiful wom en.? T h e Star Online 8 August 2002. www.iol.co.za accessed 8 October 200 2. 321 ? Krog se vertalings net seekoe i-oortjies? by Joan Ha mbidge. B e eld 7 Decem ber 2002: 4. ?Antjie se as em? by Johan van Zyl. Die Burger 1 3 December 2002: 17. ?Antjie se as em? by Johan van Zyl. B e eld 2 1 Decem ber 2002: 13. ?Krog poems entice in V ry Vrou? by Brian Berkm an. Cape Argus Tonight 30 January 2003: 2. ?Sensuality perm eates Krog?s graphic tr ibute to womanhood? by Wilhelm Snym an. Cape Times Top of the T imes 31 January 2003: 14. ?Engelse Sanlam -prys se ekskluwisiteit aangeval? by Jo Prins. B e eld 8 F ebruary 2003: 2. ?Film plays truth or dare.? T h e Star Tonight 1 2 February 2003: 1. ?Sam uel-boek word prent vol se ntiment? by Annem arie van Wyk. Rapport 23 February 2003: 8. ?Krog laat Medea pr??t? by JC Kannem eyer. Die Burger 2 4 February 2003: 9. ?Play gives you food for thought? by Rafiek Mammon. Cape Argus Tonight 7 March 2003: 2. ?Kerk m oet rasse versoen ? Kr og? by Johannes de Villiers. Die Burger 1 4 March 2003: 4. ?Krog bepleit NG Kerk: ee nheid? by Neels Jackson. B e eld 14 March 2003: 8. ?Rassism e moet wegge?et word nes olif ant: h appie vir happie? by Neels Jackson. B e eld 21 March 2003: 11. ?Krog s? swart en wits moet saam eet? by Neels Jackson. Vo lksblad 2 4 March 2003: 7. ?Jackson, Binoche to bring TRC to big screen.? Cape Argus 4 April 2003: 3. ?Krog?s ?Skull? shows w ar is not the answer, says producer? by Gustav Thiel. Cape Times 4 April 2003: 5. ?Binoche snuffel by Ant jie Krog vir ?C ountry of My Skull?? by Valda Jansen. Die Burger 4 April 2003: 3. ?Binoche krap in Krog se klerekas vir rolprent? by Anne marie van Wyk. Rapport 6 April 2003: 5. ?Oor grense heen: eet rassism e happie vir happie? by Neels Jackson. Die Burger 9 April 2003: 13. ? 2 0 0 Langa residents to be ex tras in Country of My Skull? by Stepehn Majors, L isa Em anuel and Andrew Green. Cape Times 1 1 April 2003: 3. ?Binoche witness to writer?s journe y of forgiveness? by Michael Morris. Cape Argus 1 7 April 2003: 6. ?Binoche?s gripping taste of a r eal-life dram a? by Michael Morris. Pretoria News 23 April 2003: 10. ?Can the TRC work on the big screen? by W illiam Snook. Drum 2 4 April 2003: 96. 322 ? Movie-m aker victim of hate attack at his home? by Gustav Thiel. The Star 3 0 April 2003: 6. ?Acclaim ed actors take film to heart? by Marilyn Beck. Cape Argus Tonight 9 May 2003: 11. ?Stardust rubs off on Jefferine? by P eter Cardwell. Cape Argus 12 May 2003: 3. ?Hanging out with Hollywood honchos? by Peter Cardwell. Daily News 1 3 May 2003: 9. ?Mandela book now in Xhosa, Afrikaans? by Ncedo Kum baca. Daily Dispatch 20 May 2003: 5. ?The truth be told?? by Tanya Farber. T h e Star 1 0 June 2003: 7. ?Give us a chance to tell our stories too? by Tanya Farber. Daily News Tonight 11 June 2003: 2. ?Frans, m aar Afrikaans? by Henk Rossouw. Insig July 2003: 30. ?Krog finds m eaning in translation? by San Knoetze. Wordstock 2 July 2003: 2. ?Long road to reconciliation? by Anthea Garm an. Cue 3 July 2003: 5. ?Tutu leads ?reconciliati on march?.? 4 July 2003. www.mg.co.za accessed 9 May 2005. ?Ek en Julie tte en Antjie en Holomisa se motor-bestuurder? by Francois S mith. Insig 31 July 2003: 34. ?The power of telling stories.? 31 August 2003. www.mg.co.za accessed 9 May 2005. ?Outsider w en nobelprys.? D e Kat Summ er (October) 2003: 16. ?Krog?s poetic journey? by Beverley Roos Muller. Cape Argus 3 October 2003: 10. ?Gift of tongues? by Jane Rosenthal. Mail&Guardian 3 - 9 October 2003: 1-2. ?The gift of tongues? by Diane Awerbuck. Sunday Times Lifestyle 5 October 2003: 14. ?Levelling the playing fields? ex tract from Change of Tongue. The Sunday Times 5 October 2003: 17. ?Festival presents tw o sides of Afrikaans? by Trevor Oosterw yk. Cape Argus 6 October 2003: 6. ?Krog bekroon vir woordkerse.? Beel d 6 October 2003: 12. ?Krog bekroon vir vertaling.? Die Bu rger 7 October 2003: 14. ?Hoekom nagtegaal kap, maar nie Snyders ni e: Afrikaans m oet sterf om nuut te word.? Die Burger 7 October 2003: 11. ? Wie was die bitsige een? ? by L eon Rousseau. Die Burger letter?s page 10 October 2003: 14. ?Antjie Kro g: Griot of the Platteland? by Irm a du Plessis. This Day 10 October 2003: 10. ?Ego laat die tonge klap? by Stephanie Niewoudt. B e eld 1 1 October 2003: 10. 323 ? Mbeki onder vyf m ense wat ?n eregraad van U S kry.? Die Burger 11 October 2003: 5. ?As jy nie d eel van ma se skryfsels wil wees nie?? B e eld 11 October 2003: 10. ?Voorbereidings? excerpt from Kleur Kom Nooit Alleen Nie. Rapport 1 2 October 2003: 17. ?Die tong van transform asie? by Sonja Loots. Rapport 12 October 2003: 17. ? Wet-nosed gods connect Krog to the la nd and to the Afrikaner? by Maureen Isaacson. The Sunday Independent 12 October 2003: 11. ?A poet?s caravan through Mali: extract from A Change of Tongue? by Antjie Krog. T h e Natal W itness 13 October 2003: 7. ?Krog-boek trek baie op ?n out obiografie? by Stephanie Niew oudt. Volksb lad 15 October 2003: 9. ?Laat jou volledig vertaal? by Francois Sm it. Die Burger 16 October 2003: 10. ?Vroedvrou vir ?n ?nuwe? taal? by Joan Ha mbridge. Die Burger 18 October 2003: 11. ?Brouhaha about plagiarism is a threat to creativity? by Robert Greig. T h e Sunday Independent 1 9 October 2003: 11. ?Met ?nuwe tong? by W illie Burger. B e eld 20 October 2003: 13. ?Antjie Kro g moves out of her mind zone? by Dawn Kennedy. T h e Cape Times 21 October 2003: 4-5. ?Antjie Kro g: a change of place? by Dawn Kennedy. T h e Sunday Tribune 2 6 October 2003: 25. ?Antjie b ares her soul in latest book? by Diane de Beer. Pretoria News Interval 27 October 2003: 3. ?Antjie h as the gift of tongues? by Diane de Beer. T h e Star 28 October 2003: 6. ? Wording van ?n digter? by Francois Sm ith. Die Burger 20 October 2003: 3. ?Krog finds hum our in transformation of SA? by Lourens Schoem an. T h e Herald 5 Nove mber 2003: 6. ?Lunch with Antjie Krog at luxury hotel sure to be food for thought? by Gorry Bowes Taylor. T h e Cape Times 7 Nove mber 2003: 10. ?A river runs through it? by Trish Murphy. T h e Citizen 8 Novem ber 2003: 16. ?Krog?s Woorde heads for stage.? Cape Argus Tonight 1 2 Novem ber 2003: 2. ?Krog spiel w?reld, lewe? by Johann Rossouw. Die Burger 17 Nove mber 2003: 7. ?Merkwaard ige intellektuele prestasie? by Anton van Niekerk. Rapport 2 3 Nove mber 2003: 24. ?Ons beeldestorm er ? nou wilder, m aar snaakser.? Insig December 2003: 19. ?A Change of Tongue ? extract? by Antjie Krog. Insig December 2003: 70-71. ?Afrikaans bly haar h artstaal? by Bettie Kem p. Rooi Rose December 2003: 62-64. ?The literary lions of Africa? by Lianda Martin. Lasa-in-Touch 5 ( 2 ) 2004: 10. 324 ?I write because I can?t speak? by Rory Carroll. T h e Guardian 2 January 2004. http://books.guardian.co. uk/poetry/features/0,12887,1114957,00.htm l (accessed 17 October 2005). ?Afrikaanse letterkunder se toekom s is duister en Antjie k ry ?n Engelse to ng? by Joan Hambidge. Rapport 4 January 2004: 13. ?TRC books make it to big screen? by Alex Dodd. T his Day 2 2 January 2004: 8. ?Is the W est?s God too sm all? ? by A ntjie Krog. T his Day ?Writer?s Co rner? 28 January 2004: 11. ?Reel sto ries from a free South Africa.? T h e Star Tonight 30 January 2004: 1. ?Krog appointed to Matie Council? by Naz ma Dreyer. T h e Cape Times 6 February 2004: 7. ?SA teenwoordigheid sterk op rolprentf ees in B erlyn? by Laetitia Pople. B e eld 9 February 2004: 5. ?Berlin fest focuses on SA.? Sowetan 9 February 2004: 3. ?SA fil ms in Berlin spotlight? by Christina Kennedy. T h e Citizen 9 February 2004: 16. ?Evil in carnate.? The Star 10 February 2004: 11. ?Show shines spotlight on SA?s democracy.? Cape Argus 1 2 February 2004: 2. ?Antjie Kro g word professor aan die UWK.? B e eld 13 February 2004: 2. ?Berlin film fest focuses on SA.? Independent on Saturday 1 4 February 2004: 20. ?Skaam te help om Anna te verstaan? by Helena Nogueira. Die Burger 2 0 February 2004: 8. ?Jaundiced eye? by W illiam Saunderson Mayer. Independent on Saturday 21 February 2004: 6. ?Death suck ed Machel?s plane down? by Antjie Krog. T his Day ?Writer ? s Corner 25 February 2004: 11. ? Waarom gaan vir Gideo n Niewoudt? by Antjie Krog. Die Burger 28 February 2004: 4. ?Versoening m aak menslikheid moontlik? wat SA verstaan, m aar Bush nie,? by Antjie Krog. Die Burger 2 8 February 2004: 21. ?Em barassed by forgiveness? by Antjie Krog. T h e Sunday Times 2 9 February 2004: 21. ?Soektog na onderrig van ho? gehalt ? SA kan by Noorwe? leer? by Antjie Krog. Die Burger 4 March 2004: 17. ?Collection is a treasu re trove of texts? by Jennif er Crocker. T h e Cape Times 5 March 2004: 9. ?W es-kaap s e w?reldk las-helde. ? Rapport (Kaap-Rapport) 7 March 2004: 6. ?Praise for libraries? top 10 SA books? by Penny Sukhraj. The Sunday Times 21 March 2004. 325 ? Skaam te help Binoche verstaan? by Helena Nogueira. Die Burger 2 3 March 2004: 12. ?Antjie Kro g stel bundle met San-verse bekend.? Die Burger 3 April 2004: 3. ?Niewoudt?s handlers m ust be interrogated too? by Mark Kaplan. The Sunday Independent 4 April 2004: 9. ?No resting on our laureates? by Fred Khum alo. T his Day ?On the Road? 5 April 2004: 11. ??Vertaal Afrikaans skry wers?? by Elsab? Brits. Die Burger 8 April 2004: 5. ?Afrikaanse skrywer ?in cul de sac?? by Elsab? B rits. B e eld 8 April 2004: 5. ?Maak Afrikaanse skrywers sigbaar? by Hennie Auca mp. Di e Burger letter?s page 10 April 2004: 16. ?Krog and Rupert honoured by St ellenbosch? by Candice Bailey. Cape Argus 16 April 2004: 6. ?Eredoktorsgraad vir Krog, Rupert? by Marlene Malan. Die Burger 17 April 2004: 8. ? We must all know tales of the Xa m? by Lisa Combrinck. Sowetan 16 April 2004: 13. ?Long live the righ t to debate, and to get it wrong? by Maureen Isaacson. T h e Sunday Independent 2 5 April 2004: 18. ?The sound of stars? by Rachelle Greef. T his Day 2 9 April 2004: 8. ?Antjie en d ie nagtegaaltjie? by F rancois Sm ith. Insig May 2004: 17. ?Boek gedenk verdwene kultuur? by Jaco Jacobs. Volksblad 3 May 2004: 6. ?Songs of innocence? by Leon de Kock. Sunday Times Lifestyle 1 6 May 2004: 13. ?Adaptation of an ethnographi c treasure? by Moira Lovell. T h e Witness 26 May 2004: 10. ?The words of the poet were written in prose? by Reesha Chibba. Independent on Saturday 29 May 2004: 20. ?Ryp, deurwinterde bundle? by Andr? Brink. Rapport 27 June 2004: 4. ?Krog terug na die elem ent?re? by Gunther Pakendorf. Die Burger 5 July 2004: 7. ?Books? by Heather Mackie. Busin e ss Day 5 July 2004: 7. ?Antjie, Ma x ding om prys mee.? B e eld 6 July 2004: 3. ?Krog stel S an-gedigte op fees bekend.? Volksbla d 6 July 2004: 3. ?Com e aboard? by Mich ael Gard iner. Mail&Guardian I9-15 July 2004: 3. ? ? Baie belangrike? flike oor ve rgifnis? by Heindrich W yngaard. Rapport 1 1 July 2004: 22. ??Bring die m enslike terug?? by Francois Sm ith. Die Burger 24 July 2004: 10. ?True Being? by Barry Ronge. Fair Lady August 2004: 21. ?Krog takes hom e the gold? by Alex Dodd. T his Day 1 9 August 2004: 8. 326 ?The books bookshops love to sell? by Janet Nicholson. SAWC News Septem ber 2004: 11. ?Jonges vermy digkuns om weg te kom van oues en hul stink verledge? by Elfra Erasm us. B e eld 18 September 2004: 9. ?Zoid-hulle in jong dig ters se plek? b y Antjie Kro g. Rapport 1 9 Septem ber 2004: 2. ?S? m aak die taaldebat wel saak? b y Antjie Kro g. Rapport 1 9 Septem ber 2004: 5. ? Waar is al die jong d igters heen, vra Antjie? by Elfra Erasmus. Die Burger 21 Septem ber 2004: 11. ?Mamm on se skyn laat digkuns kwyn? by Ferdi Greyling. Beeld-forum 2 3 Septem ber 2004: 20. ?Krog, Mbuli, Zoid ry in ?po?si ekaravaan? by Theunis Engelbrecht. Rapport 24 Septem ber 2004: 5. ?Top 100 South Africans.? Daily Dispatch 2 8 Septem ber 2004: 15. ?For the record? by Antjie Krog. Fair Lady October 2004: 12. ?Boodskap aan Krog en Gerwel: S? sleg g aan dit darem nie met Afrikaans nie!? by Herman Giliom ee. Rapport 3 October 2004: 16. ??Jonges wil self?: reaksie op Kr og se lesing? by Pierre Naud?. Die Burger 20 October 2004: 9. ?Moenie om jong digters voorsk ryf? by Charl-Pierre Naud?. B e eld 2 2 October 2004: 13. ?Get blown away by the Trad ewinds Fest? by Antjie Krog. The Cape Times 21 October 2004: 3. ?Tradewinds of words whirling through city? by Dawn Kennedy. T h e Cape Times 28 October 2004: 12. ?A Vagabond?s Voice? b y Antjie Kro g. Fair Lady Nove mber 2004: 98. ? Wonderful words traded under the unifying umbrella of poetry? by Dawn Kennedy. Sunday Independent 7 Novem ber 2004: 11. ?United Nations of Poetry? by Mike van Graan. Mail&Guardian 1 8 Novem ber 2004: 8. ? What South Africans really reading 2004? by Rowan Philp. T h e Sunday Times 22 December 2004: 31. ?Poetry is alive and well in Cape Town Unicity libraries? by Rheina Epstein. Liasa In Touch 6 (1) 2005: 15. ?Bitte rpits kunsskt? by Antoinette S labbert. Beeld 3 January 2005: 11. ?Po?sieskat van Schaffer spook by die leser? by Antjie Krog. Die Burger 7 February 2005: 9. ?Cheats, loots and thieves? by Robert Kirby. Mail&Guardian Loose Cannon 1 8 - 2 4 February 2005: 28. ?Krog op zoek naar het wezen van d e verandering.? Zuid-Afr ika 2 8 February 2005: 15. 327 ? Blik of indrukwekkende ?n skrikwek kende vrou? by Antjie K rog. Rapport 6 March 2005: 4. ?Truth, ju stice and love in South Af rica? film review by Stephen Holden. The New York Times 11 March 2005. ?Boekuitreiking m et ?n klank? by Theunis Engelbrecht. Rapport 20 March 2005: 23. ?Flawed ?Country? sets its bar too high: c ontrived romance mars drama set in South Africa? by Gary Arnold . The Washington Times 1 April 2005: D02. ?For Sam uel L Jackson, taking a break is never in the picture? by W illiam Booth. T h e Washington Post 1 April 2005:. ??In My Country?: out of its depth? by Ann Hornaday. T h e Washington Post 1 April 2005. ?Passion. Poetry. Post-Apart heid? by Peter Howell. T h e Toronto Star 8 A pril 2005. ?Madiba hails film of city writer?s book.? Cape Argus 2 1 April 2005: 1. ?Jong digters wil breek m et tradisie: ve rse delikaat en humoristies, skokkend en speels? by Joan Ha mbidge. Volksbla d 1 6 May 2005: 8. ?Doodloop straat vir stemmige stemmetjies? by Han Pienaar. Rapport 5 June 2005: 4. ?Digters, m aar nie profete? by Andries Visagie. B e eld 20 June 2005: 13. ?The hum an side of the TRC? by Christina Kennedy. T h e Citizen 24 June 2005: 6. ?Surprise! It?s not only S outh Africans w ho make lousy, clich?d film s? by Robert Greig. The Sunday Independent 26 June 2005: 11. ?This page 10 years on ? and sti ll not for sale? by Maureen Isaacson. The Sunday Independent 2 6 June 2005: 18. ?Not the m ovie of the week: In My Country? by Shaun de Waal. Mail&Guardian 24 June 2005. ?Hollywood in her skull? by Barry Ronge. T h e Sunday Times 26 June 2005. ?On screen, at hom e? by Agiza Hlongwane. The Sunday Tribune 26 June 2005: 3. ?Crying out? by Mary C orrigall. The Sunday Independent 26 June 2005: 5. ?Hollywood se WVK-prent ki l ontvang? by Johan Eybers. Rapport 26 June 2005: 11. ? Weak apartheid saga? by Kuben Chetty. Independent on Saturday 2 July 2005: 5. ?Ma, ek skryf vir jou ?n voorwood.? Insig August 2005: 44. ?A Change of Tongue? review under the headline ?Communicat ing with Agaat? by Nicole Devarenne. T h e L ondon Review of Books 4 August 2005: 37. ?Oum a Dot Serfontein skrywer ?n vrou van for mat? by Susan Sa muel. Die Burger 8 August 2005: 15. ?Nuwe digterstemm e ironiseer taal, klink goed op die oor? by Cecile Cillie rs. Die Burger 22 August 2005. ?Skep nuwe geskiedenis? by Thom as Blaser. Beeld 6 Septem ber 2005: 11. ?The f(riction) of au tobiographical writing.? T h e Witness 6 October 2005: 5. ?Sidderend eerlik? by A lbert van Zyl. Rapport P e rspektief 23 October 2005: 4. 328 ? At a glance?? by Adrienne Sichel. T h e Star 15 Nove mber 2005: 6-7. ?Krog vertel oor roetes tussen tale? by Dirk Klopper. Die Bur g er 1 9 November 2005: 14. ?10 years on, South Africans rem ember Truth C ommission? by Jan Hennop. Daily Dispatch 1 6 Decem ber 2005: 7. ?Random House offers a new home for local writing talent? by Maureen Isaacson. The Sunday Independent 1 5 January 2006: 18. ?Krog bult spiere m et po?siefees.? Die Burger 3 1 January 2006: 8. ?On W atson, Krog and ?plagiarism ? ? by Rosalind Morris 14 February 2006. www.oulitnet.co.za / seminarroom/kr og_m orris.asp accessed 25 February 2008. ?Top write rs in plagiarism row: UCT poet accu ses Antjie Kro g of using work of other authors? by Celean Jacobson. T h e Sunday Times 1 9 February 2006: 5. ?Stephen Watson in the annals of pl agiarism? by Antjie Krog 19 February 2006. www.oulitnet.co.za/sem inarroom/krog_krog.asp accessed 25 February 20 08. ?Statem ent in response to charges that Antjie Krog plagiarised Ted Hughes in Country of My Skull ( R andom House, Johannesburg 1998)? by Stephen Johnson, Managing D irector Random House 19 February 2006. www.oulitnet.co.za/sem inarroom/krog_random _house.asp accessed 25 Fe bruary 2008. ?Comm entary on Stephen W atson?s New Contrast article? by Eve Gray, Strategic Publishing S olutions 19 February 2006. www.oulitnet.co.za/sem inarroom/krog_eve_gray.asp accessed 25 Febru ary 2008. ?Kwela responds? by Nelleke de Jager, Publisher Kwela Books 19 February 2006. www.oulitnet.co.za/sem inarroom/krog_kwela.as p accessed 2 5 February 2 008. ?Publishe rs consider legal action in Krog plagiarism row? by Karen Breytenbach. The Cape Times 2 0 February 2006: 3. ?Bewerings van plagiaat teen Krog is ?las terlik?? by W illen de Vries. Die Burger 20 February 2006: 5. ?Plagia at-b ewerings lasterlik, s? Kro g se uitgewer? by W illem de Vries. Die Burger 2 0 February 2006: 2. ?Stephen Watson and A ntjie Krog, or The re turn of the repressed? by Johann de Lange 21 February 2006. www.oulitnet.co.za/sem inarroom/krog_delange. asp accessed 25 February 20 08 ?Just a touch of the cultural trophy- hunter? by Annie Gagiano 21 February 2006. www.oulitnet.co.za/sem inarroom/krog_gagiano. asp accessed 25 February 2008. ??Verm ooiing? dra vervalsingskiem ? by Hennie Aucam p. Die Burger letter?s page 22 February 2006: 13. ?Krog should have been allowed to respond before Watson?s essay went to print? by Sa m Radithlalo 28 February 2006. www.oulitnet.co.za/s eminarroom/krog_sam .asp accessed 25 February 20 08. ?Krog: publishers m ay sue? by Colin Bower. Mail&Guardian 2 March 2006: 11. 329 ? Repetition and the oth er perils of plagiarism? by Maureen Isaacson. The Sunday Independent 5 March 2006: 18. ?Dear Litnet? by Mike S tevenson 7 March 2006. www.oulitnet.co.za/sem inarroom/krog_stevenso n.asp accessed 25 Febru ary 2008. ?Dear Mike? by Etienne va n Heerden 7 March 2006. www.oulitnet.co.za/sem inarroom/krog_etienn e.asp accessed 25 February 2008. ?Krog had right of preview? by Sam Raditlha lo. Mail&Guardian letter?s page 9 March 2006: 2. ?New claims against Krog? by Colin Bower. Mail&Guardian 9 March 2006: 7. ?Much ado: the Antjie Krog saga? by Shaun de Waal. Mail&Guardian 9 March 2006: 4. ?Krog debate: what if we don?t want to take sides? by Helen Moffett 13 March 2006. www.oulitnet.co.za / seminarroom/kr og_m offett.asp accessed 25 February 2008. ?Som etimes one needs to wield a large chopper in defence of good sense? by Mathew Blatchford 13 March 2006. www.oulitnet.co.za/s eminarroom/krog_blatchford.asp accessed 25 February 20 08. ?To give voice to tho se original poets? by W illemien le Roux 13 March 20 06. www.oulitnet.co.za/sem inarroom/krog_leroux.asp accessed 25 February 2008. ?Speaking through the m ask of culture? by Barbara Adair 13 March 2006. www.oulitnet.co.za/sem inarroom/krog_adair. asp accessed 25 February 20 08. ?Literary polem ics: questions and anwers, claims and responses? by Madam e Lacoste 14 March 2006. www.oulitnet.co.za/s eminarroom/krog_lacoste.asp accessed 25 February 2008. ? Watson deserves an answer? by Chris Mann. Mail&Guardian letters page 16 March 2006: 22. ?A guilty s ilence in the house of Krog?? by Gav in Haynes. Cape Argus 1 6 March 2006: 12. ?The Antjie Krog affair is bad for South Africa? by Mathew Blatchford. Daily Dispatch 1 8 March 2006: 11. ?S? klink Antjie se woordverweer.? Rapport Perspektief 1 9 March 2006: 4. ?In response to Barbara Adair? by S haun de Waal 20 March 2006. www.oulitnet.co.za/sem inarroom/krog_dewaal.asp accessed 25 February 2008. ?Last tim e, this time? by Antjie Krog 20 March 2 006. www.oulitnet.co.za/sem inarroom/krog_krog2.as p accessed 2 5 February 2 008. ?The end of private ownership m eans the end of the publishing industry? by Colin Bower24 March 2006. www.oulitnet.co.za/sem inarroom/krog_bower.as p accessed 2 5 February 2008. ?The google of m y skull? by Craig Mason-Jones 24 March 2006. www.oulitnet.co.za / seminarroom/kr og_m asonjones.asp accessed 25 February 2008. ?Random launches SA imprint? by Jennifer Crocker. T h e Cape Times 2 4 March 2006: 13. 330 ? Clothing p roblems and literary darlings.? T h e Sunday Times 26 March 2006. ?Body Bereft ? Antjie Krog? by Alex Dodd. Business Day 2 7 March 2006: 11. ?The boggle of the google of m y skull? by Ian-Malcolm Rijsdijk 30 March 2006. www.oulitnet.co.za/sem inarroom/krog_rijsd ijk. asp accessed 25 February 2008. ?Fear and loathing: Nic Dawes takes a s econd look at Stephen Gray?s review of Antjie Krog ?s Verweerskrif/Body Bereft.? Mail&Guardian Online 31 March 2006 www.mg.co.za accessed 31 March 2 006. ?Oudtshoorn arts festival laden with fine fare? by Hans Pienaar. The Sunday Independent 2 April 2006: 11. ?Gentle portraits of /Xam spirit? by Melvyn Minnaar. T h e Cape Times 7 April 2006: 12. ?Krog se nuutste verweer van bl oed ?n ink? by Johann de Lange. Rapport Perspektief 1 6 April 2006: 4. ?Krog takel ouderdom , vrouwees? by Joan Ham bidge. Volksblad 1 7 April 2006: 6. ??Verweersk rif? tem aties en tegnies vernuwend? by Helize van Vuuren. B e eld 17 April 2006: 9. ?Antjie wil nie s? wie is die lyf op omslag van nuwe digbundel? by Alicestin e October. Beeld 1 9 April 2006: 3. ??Dis Antjie se bundel, m aar nie Antji e se foto?? by Alicestine October. Die Burger 2 0 April 2006: 3. ?Ontroer end en beeldryk, maar nie K rog se beste,? by Cecile Cilliers. Die Burger 24 April 2006: 9. ?Di? is leesstof vir oud, m iddeljarig, j onk en bloedjonk? by Marinda Schutte. Volksblad 24 April 2006: 10. ?Naledi Pan dor honours SA authors? by Maureen Isaacson. T h e Sunday Independent 1 4 May 2006: 18. ?Net ?n ou ? battleaxe? : Krog praat o or plagiaat, ouer word? by Willemien Br?mm er. B e eld 3 June 2006: 13. ?Powerful, fearless, conf rontational ? it?s pure Krog? by Isadora Verwey. Pretoria News 1 2 June 2006: 16. ?Liter?re pryse polities beoordeel.? Afrikaner 15 June 2006: 11. ?Krog?s hot pen flushes out m yths about ageing? by Dawn Kennedy. T h e Cape Times 2 0 June 2006: 7. ?Saturdagp rofiel Betty Misheik er: d id lappop se ma? by Antjie Krog. Die Burger 24 June 2006: 6. ?Em igrant het Afrikaanse hartstaal ge skep: ?Die lappop? se ma? by Antie Krog. B e eld 1 July 2006: 8. ?Die naakte waarheid oor tydlos e liefde? by Annem arie van Niekerk. Rapport 2 July 2006: 3. ?Ongebluste kole van wellus en geluk? by Lina Spies. Die Bur g er 15 July 2006: 9. 331 ?Daar is m eer as een soort feminisme? by Joan Ha mbidge. Die Burger letters page 22 July 2006: 2. ?Growing old with grace and dignity? by Arja Salafranca. Saturday Star 22 August 2006: 16. ?Literatu re enables you to examine your life.? M ichelle McGrane interviews Antjie Krog, Litnet 2 3 August 2006. http://www.oulitnet.co.za/nos ecret/an tjie_ krog.asp accessed 4 Decem ber 2008. ?Vlok wys aanvoeling v ir kollektiwiteit wat vir baie ?n les is? by Antjie K rog. B e eld 3 0 August 2006: 19. ??Die eerste eens m agtige wit man wat iets doen? by Antjie K rog. Volksblad 30 August 2006: 8. ?Sensuur bly steeds ?n pitsweer op vok se sitvlak? by George Claassen. Di e B urg e r 1 Septem ber 2006: 19. ?Krog teenoor MER gestel? by K K?nigk. Die Bu rger letters page 2 September 2006: 2. ?Die punt van jou lyf teen j ou gedraai het? by Marga Ley. Beeld 3 0 September 2006: 12. ?Die skrywe r as ?s tripper? uit die lakens? by Clinton V du Plessis. Rapport 8 October 2006: 5. ?Lite r?re po ster uit die lae lande? by Antjie Krog . B e eld 2 5 Novem ber 2006: 10. ?Di? podium letterkunder maak jou vuur en Vlaam ? by Gerrit Brand. Die Burger 1 December 2006: 14. ?Vloek m y maar, s? Antjie Krog? by Heindrich Wyngaard. Rapport 1 4 January 2007: 1. ?SA kort m eer toleransie? by Carien du Plessis. Die Burger 1 6 January 2007: 9. ?A m oment of bliss, and then it?s all gone? by Fred de Vries. T h e Weeken der 11 February 2007: 1. ?A space for the disg raced? by Antjie Krog. Mail&Guardian Online 30 March 2007. www.mg.co.za accessed 30 March 2 007. ?De la Rey: Afrikaner absolution? Comment by Antjie Krog. Mail&Guardian 4 April 2007: 23. ?Stop die Simunye-kaf!? by Antjie K rog. Die Bur g er 14 April 2007: 9. ? Wie sal ons nou lei? Nie Antjie n ie? by Dan Roodt. Mail&Guardian letters page 19 April 2007: 22. ?Doctorate for ?Country of My Skull? author? by Lynn W illiams. T h e Herald 23 April 2007: 3. ??Afrikaans-onnies hou skole staande?? by Liela Magnus. Beeld 2 8 April 2007: 7. ?As ?n tydskrif sterf?? by Irna van Zyl. Die Bur g er 1 9 May 2007: 14. ?Multilingual SA: a gift or a curse? by Chris Thurm an. T h e Weekender 3 0 June 2007: 4. ?Feetjieboek sieraad in beeld en klank? by Laetitia Pople. Die Burger 9 July 2007: 11. 332 ?Plea bargain lets accused off hook w ithout disclosure? by F iona Forde. T h e Sunday Independent 1 9 August 2007: 4. ?Nuweling digters laat jou ande rs kyk? by Rachelle Greeff. Rapport 9 Septem ber 2007: 4. ?Verse van dood en vergetelheid: Jonker se we rk al lank in Oos-Europa in vertaling beskikbaar.? Die Burger 22 Octobr 2007. ?Achebe on Darfur, Coetzee on Krog , and apologies to Jeanne? by Maureen Isaacson. The Sunday Independent 1 6 Septem ber 2007: 17. ?McNina-bu rger? by M arida Fitzpatrick. Die Bur g er 29 September 2007: 10. ?Laat ons m et mekaar verskil sonder om te skel? by Jakes Gerwel. Rapport 11 Nove mber 2007: 20. ?Jonker verse w? vertaal? by Joan Ham bidge. Volksblad 1 9 N ovember 2007: 6. ?Jonker?s lyrical scars? by Arja Salafranca. T h e Star 2 9 Novem ber 2007: 2. ?Moedersk ap en nasiebou? by Jacqu es Swart. Vo lksblad 2 9 D ecember 2007: 20. ??n Mens kan Ingrid in di? gedigte hoor? by Thys Hum an. B e eld 1 7 Decem ber 2007: 11. ?Po?siefees genoeglik en suksesvol: Bruisende energie en ironie verhelder optredes? by Gerrit Brand. Die Burger 5 February 2008: 10. ?Eer Mandela m et kritiek? by Gerrit Brand, Die Burger 19 July 2008: 6. ?No Random choice? Hilary Prendini Toffo li talks to Random House/Struik MD Stephen Johnson on the eve of his de parture for the Frankfurt Book Fair. Financial Mail 17 October 2008 . http://f ree.financialmail.co.za/08/1017 /people/people.htm accessed 11 Nove mber 2008. ?Opposites attract at vibrant W its poetry evening? by Liesl Jobson Weekender 18 October 2008: 8. ?TRC finding ignored by governm ent, says Kasrils? by Jessica Bell. T h e Cape Times 2 9 October 2008: 6. ?TRC?s unanswered questions? by Jessica Bell. T h e Cape Times 1 1 November 2008: 10. ?The TRC?s unanswered que stions? by Jessica Bell. The Star 12 Nove mber 2008: 15. 333 South Africa news media archive on intellectuals Note: this a rchive is in date order, as trends in public debate are tracked b est via chronology. ?Cerebral b ooks on the SA conditio n? by Cyrus Sm ith. T h e Citizen 2 0 March 1995: 6. ?Vicious jab s against academic vigilantes? by Tim Couzens. Sunday Times 4 June 1995: 23. ?Congress intellectuals advocate reform ism they once derided? by Dale T McKinley. The Sunday Independent 7 Nove mber 1999: 18. ?African intellectuals an d the Af rican crisis? by Herbert Vilakazi. Africa Insight 30 Septem ber 2001: 32. ?No reason why black wom en intellectuals can?t stake their claim ? by Xol ela Mangcu. Business Day 25 Nove mber 2001: 8. ?Input from black consciousness intellectuals needed? by Max du Preez. T h e Star 26 Septem ber 2002: 20. ?Exercise of the intellec t? by Mphoentle Mageza. M&G Leisure. October: 6. ?Afrikaner intellectu als ?do not speak for all?? by Citizen Reporter and Sapa. T h e Citizen 9 Novem ber 2002: 11. ?Silen t black intellectuals? by Jonathan D Jansen. City Pres s 8 Decem ber 2002: 25. ?Not m any intellectuals in our intelligentsia? by Mokubung Nkom o. City Press 15 December 2002: 24. ?Hlophe m isses point on intellectuals? by Them ba Sono. City Press 1 2 January 2003: 9. ? We need intellectuals, not gangsters, on campus? by Nkululeko Maseko. City Press 2 March 2003: 23. ?Lives and tim es of great intellectuals? by Kin Bentley. T h e Herald 23 April 2003: 8. ?Black in tellectuals in a corner? letter by Thabisi Hoeane, Graham stown. Business Day 1 5 July 2003: 14. ?Re-education call for black intellectuals? by Lulam ile Feni. Daily Dispatch 1 Septem ber 2003: 2. ?Our black intellectuals s houldn?t be so afraid to speak their m inds? by Mathatha Tsedu. Sunday Times 1 2 October 2003: 19. ?Black intellectuals m ust publish or be damned? by Solani Ngobeni. Sunday Times 19 October 2003: 18. ?Intellectuals are eng aged in ?easy debates?: Sono? by Jam eson Maluleke. T h e Citizen 3 0 October 2003: 6. ?The silence of the intellect uals: the voices of black ? public thinkers? have been noticeably silent over crucial issues? by Jonathan Jansen. Saturday Star 10 January 2004: 9. 334 ? Voices of black in tellectuals in SA must be heard, and strengthened? by Jonathan Jansen. Saturday Weekend Argus 1 0 January 2004: 11. ?Beyond cheering and pie throwing? by Dennis Davis, Mail&Guardian 2 February 2004. ? Where were the gay intellectuals hiding? ? by S uzy Bell. Cape Times 2 March 2004: 2. ??n Cleavage van verskil tussen intellectuals en reality.? Beeld 2 4 March 2004: 9. ?Inte llectuals must instil a sense of compassion in us? by Anwar Sulem an Mall. Cape Times 2 0 April 2004: 9. ?Intellectuals, ta ke up the pen? by Jam eson Maluleke. T h e Citizen 5 July 2004: 14. ?Utopia fades as public in tellectuals focus on the here and now? by Tim Cohen. Business Da y 16 July 2004: 10. ?The role of intellectuals in South African life is now more important than ever? by Annm arie Wolpe. Cape Times 28 July 2004: 13. ?Black intellectuals m ust now drive the new struggle? letter from Benzi Ka-Soko, Bethal. City Press 1 August 2004: 23. ?Intellectuals need not be strugglistas? le tter by Sibusiso Nyem be, Secunda. City Press 8 August 2004: 25. ?Intellectuals of Africa discuss rebuilding continent.? Sapa-A FP. T h e Star 8 October 2004: 4. ?Intellectuals ponder over Afri ca?s future? by Makhudu Sefara. City Pres s 1 0 October 2004: 24. ?Intellectuals face histo ric task of making the African Renaiss ance a reality? by Collins Nxu malo. T h e Sunday Independent 17 October 2004: 17. ?African intellectuals pave way to wards new direction? by Makhudu Sefara. City Press 1 7 October 2004: 19. ?Africa?s intellectuals in vited in? by Susan Booysen. The Star 21 October 2004: 14. ?Inte llectuals need to lead the way forward? by Z amikhaya Maseti. City P ress 24 October 2004: 25. ?Intellectuals overlook tyranny?s true progenitor? by John-Kane Berm an. Business Day 1 4 Decem ber 2004: 7. ?Beware ?co urt intellectuals? who seek to silence the citizens ? by Steven Friedm an. Business Da y 1 6 February 2005: 12. ?Tim e for Af rica?s inte llectuals to lead change, says Mbeki? by Chris van Gass. Business Da y 2 3 February 2005: 4. ?It? s a sad day for truth when intellectuals tell lies? by Fred Khum alo. Sunday Times 6 March 2005: 21. ?Inte llectuals will step forward when our political leaders fail us? by Xolela Mang cu. Business Da y 21 July 2005: 8. ?Preten tious intellectuals can breathe easier now Bellow?s gone? by Bart Barnes. T h e Sunday Independent 1 0 April 2005: 18. 335 ?Three world-clas s intellectuals are heading for our shores? by Xolela Mangcu. Business Da y 1 4 April 2005: 10. ?Radical intellectuals need to go where most people live ? the urban slum s? by Richard Pith ouse. Sunday Independent 27 November 2005: 8. ?The scarcity of intellectuals? by Nithaya Chetty. Natal Witne ss 7 March 2006: 8. ?Black intellectuals are c opping out? by Nithaya Chetty. Cape Times 2 7 March 2006: 11. ? Where are our black intellectuals? ? by Nithaya Chetty. T h e Star 3 April 2006: 8. ?The im portance of black intellectuals? by Nith aya Chetty. N atal W itne s s 4 April 2006: 8. ?Black in tellectuals? letter by Pr of P Sibanda, Pieterm artizburg. Natal Witness 6 April 2006: 17. ?Black brainpower? by Sandile Memela. Mail&Guardian 5-11 May 2006: 19. ?W here are the black thinkers of the left? by Ebrahim Harvey. Mail&Guardian 5 - 1 1 May 2006: 19. ?Not black and white at the Native Club? by Sipho Seepe. Business Day 9 May 2006: 15. ?State engag es intellectuals in a dance of lethal intimacy? by Robert Greig. Sunday Independent 1 4 May 2006: 10. ?Antwoorde van Mbeki ge?is oor Native Club? by Jan-Jan Joubert. Beeld 1 6 May 2006: 5. ?Native Clu b row? by Steven Motale. Citizen 16 May 2006: 1. ?Native Clu b? edito rial in Business Day 1 7 May 2006: 14. ?Awkward for black inte llectuals? by Fundile Nyati. The Star 1 8 May 2006: 14. ?Black in tellectuals have major role? by Fundile Nyati. Cape Times 18 May 2006: 15. ?Inside the Native Club ? by Angela Quintal. Cape Argus. 18 May 2006: 17. ?No im portant midns required? by Gladwell Monageng. Mail&Guardian 1 8 May 2006: 33. ??n Klub so reg uit apartheidstyd: die Nativ e Clu b is ?n aan slag teen nie-rassigheid? by Ferdi Greyling. Beeld 1 9 May 2006: 18. ?Native an tidote to liberals? by Titus Maf olo. Fin ancial Mail 1 9 May 2006: 56. ?Black intellectuals need to look criti cally at themselves? by Sandile Mem ela. Sunday Independent 2 1 May 2006: 10. ?Som e words are ju st better off buried? by Patrick Laurence. Sunday Independent 21 May 2006: 5. ?Native Clu b will help us become better Af ricans? City Pres s editorial 21 May 2006: 22. ?Native Clu b was formed to redress imbalances of the past? by Titus Mafolo. City Press 21 May 2006: 23. 336 ?The Native Club was a great idea? lette r by Phedi Tlhobolo, Atteridgeville. City Press 21 May 2006: 24. ?Professionals, intellectuals not the enem y? letter by W alter Mothapo, P olokwane. T h e Sowetan 2 3 May 2006: 12. ?Did they take the m oney and run? by Patrick Laurence. T h e Star 23 May 2006: 12. ?Af rican intellectuals feel sidelined ? Sbu Ndebele? by Edw ard West. Business Day 2 4 May 2006: 4. ?Intellectuals called to action? by Mary Papayya. T h e Sowetan 2 4 May 2006: 6. ?Intellectuals challenged : leave a legacy not a cash pile? by Bheko Madlala. Daily News 2 4 May 2006: 2. ?Beware of traps in s earching for the role of intellectuals? letter by Lum kile Mzukwa, Gugulethu. Cape Times 2 4 May 2006. ?Af rican intellectuals in a trap? by Kole Om otoso. T h e Citize n 2 4 May 2006: 13. ?Net swartes m ag organisasies slegs eie ras stig.? Afrikaner. 25 May 2006: 12. ?Natives are regrouping? by John Matshikiza. Mail&Guardian 2 5 May 2006: 26. ?A club of pom pous, self-im portant fat cats? by Max du Preez. T h e Star 25 May 2006: 20. ?The penny?s dropped as SA?s leaders finally face som e worrying facts? by Xolela Mangcu. Business Day 25 May 2006: 12. ?Think-tank could tackle serious so cial issues? by Olive Shisa na. T h e Star 2 5 May 2006: 20. ?Slegs swartes? by Sizw ekazi J ekwa. Finweek 25 May 2006: 28. ?Native Club racist? letter by Motlatjo Thetjeng, MP, DA national spokesperson. Financial Mail 2 6 May 2006: 10. ?Native club will challenge Eurocentric id eas? letter by Mo tshabi Kabelo, Noordwyk, Midrand. The Star 26 May 2006: 13. ? When ideology overshadows the intellect? letter by Ileana Dim itriu, Durban. T h e Sunday Independent 28 May 2006: 6. ?Native Club is about intellectuall y empowering black people? by Onkgopotse Tabane. City Press 28 May 2006: 4. ?Native Club a dangerous m ove to deflect attention from state failings? by Jonathan Jansen. Sunday Times 28 May 2006: 20. ?Native Clu b will polarise intellectuals? le tter by Motlatjo Th etjeng, MP, DA national spokesperson. City Pres s 28 May 2006: 24. ?Introspection is our firs t step? by Sandile Mem ela. T h e Star 29 May 2006: 14. ?Native question an anachronism ? letter by Solly Moeng, Cape Town. Business Day 2 9 May 2006: 10. ?Versoen eerder as om te verdeel: N ative Club behoort oop te wees vir alle SA ?natives?? by Henry Jeffries. Beeld 30 May 2006: 12. 337 ? All races are represented at Helen S uzm an Foundation? letter by Patrick Laurence, Editor of Focus . The Star 31 May 2006: 11. ?Native Club-style shock tactics no help on long road to truth? by Xolela Mangcu. Business Da y 1 June 2006: 12. ?Black m indpower: Native Club essential for strengthening A frican identity? by Derrick Thema. T h e Sowetan 1 June 2006: 13. ?It?s early days, but the Native Club already poses som e troubling questions? by Tyrone August. Cape Times 1 June 2006: 11. ?Let African s define themselves? by Tham i Mazwai. The Star 1 June 2006: 14. ?Lost natives render them selves useless? by Sango Patekile Holom isa. Business Day 1 June 2006: 13. ?A coconut knocks on the door of the Native Club? by Rhoda Kadalie. Business Day 1 June 2006: 13. ?Native, stop your whingeing! Educated Africans often exclude them selves from traditional society? by Phathekile Holomisa. Witness 2 June 2006: 10. ?Native Clu b will foster debate to benefit of all? by Sabelo Ndabazandile. Saturday Star 3 June 2006: 14. ?Jordan verdedig Native Cl ub? by Heindrich Wyngaard. Rapport 4 June 2006: 17. ?NP-leiers en Broeders regeer SA uit die graf? letter by Z Ven ter, Oos-Lon der. Rapport 4 June 2006: 23. ?Too crude to be in the f old? ? letter by Chris Kanyane, HSRC, Pretoria. Business Da y 5 June 2006: 10. ?Clarity on Native Club needed? letter by Dalton Rapetsoa. T h e Star 5 June 2006: 18. ?Govt policy reflects new racial nationalis m? writes Cilliers Brink of Sunnyside. The Citizen 6 June 2006: 13. ?Only goodwill, not legislation, can fight racism? letter by A nthony V Trowbridge, Muldersd rift. T h e Star 6 June 2006: 10. ?Native Club not for apol ogists? by Malusi Gigaba. T h e Star 7 June 2006: 14. ?Of intellectualism , common sense and Easter eggs? by John Kane-Berm an. Business Day 8 June 2006: 11. ?Mbeki ?hoop Afrikaners sluit hul aan by Native Club?? by Gert Coetzee. Die Burger 9 June 2006: 2. ?Native Club ?not president?s project?? by W yndham Hartley. Business D ay 9 June 2006: 1. ?Mbeki hop es Afrikaners will jo in club? by Thokoazi M tshali. Cape Argus 9 June 2006: 2. ?More queries from DA on Native Club.? Citiz en 1 0 June 2006: 2. ?N? 12 jaar saam dink ons nog apart? by Anne-Marie Mischke. Rapport 1 1 June 2006: 18. ?Clubby natives clubbed.? T h e Citiz e n 1 2 June 2006: 12. 338 ?Is the Nativ e Club anoth er Broederb ond or will it plug intellectual vacuum? ? by Rhoda Kadalie and Julia Bertelsm ann. Cape Argus 12 June 2006: 14. ?Native Clu b will inspire more black intellectuals? letter by Phil Mtim kulu, Braamfontein, Johannesburg. The Star 13 June 2006: 9. ?Native Club slamm ed? by Moshoeshoe Monare. T h e Star 15 June 2006: 3. ?Oor die veebesproke Native Club skry f Carel (i v) Boshoff ui t Orani a. Die Vrye Afrikaan 16 June 2006: 3. ? Culture club: diplom acy seems to be the trump card in the game of two clubs? by Sheena Adam s. Saturday Star 17 June 2006: 15. ?Infused with the definition of ubuntu? by Sheena Ada ms. Saturday Weekend Argus 1 7 June 2006: 15. ?Exhibition celebrates role of country?s early intellectuals? by Barbara Hollands. W e ekend Po st 17 June 2006: 4. ?The Native Club is not just for black Africans? by Robert Greig. Sunday Independent 1 8 June 2006: 11. ?Native Clu b is not a black Broederb ond? by Sam Raditlhalo. City Pres s 1 8 June 2006: 22. ?Native Club works on basis of distincti on, not discrimination? letter by Thabang Motsoeneng, Soweto. City Press 18 June 2006: 24. ?As Native Club starts talking, few will care or listen? by Saliem Fakir. Cape Times 1 9 June 2006: 13. ?Los ras se lektiewe denke? le tter by Dr AM Levin, Bryanston. Finweek 2 2 June 2006: 6. ?Native is b y origin, not choice? letter by Letep e Maisela, Sandton. Busin e ss Day 22 June 2006: 14. ?Nar Mbeki nou ook ?n ?native?? by Sarel Super. Afrikaner 22 June 2006: 8. ?Native Club is just like the Broeder bond? letter by Deon Potgieter, Sophiatown. T h e Star 23 June 2006: 15. ??Native Club? governm ent? by Duncan du Bois. Witness 23 June 2006: 10. ?Faceless un iformity not in interests of the oppressed? letter by Thami Ndlovu, Pinetown, KwaMashu. T h e Star 23 June 2006: 15. ?Modern sy stems need Christianity ? le tter by R on Schurink, Ke mpton Park. Saturday Star 24 June 2006: 14. ?The Native Club is long overdue? lette r by Nom z amo Phaz i Mpinga, Algoa Park. City Press 25 June 2006: 24. ?Look to culture? letter by Ben M S kosana, IFP Mem ber of Parliament. Cape Times 2 8 June 2006: 10. ?Unbanned, ignored and indignant? by Vusum uzi ka Nzapheza. Citiz en 28 June 2006: 13. ?Exclusive! Evita joins Na tive Club? letter by G ogo Evita B ezuidenhout, Nduna Catering, Native Club (BEE only). Mail&Guardian 2 9 June 2006: 23. 339 ?How to join the brains? by Robert Kirby. Mail&Guardian 2 9 June 2006: 28. ?Let?s g ive the Native Club a chance ? by Edna Molewa. T h e Star 30 June 2006: 20. ??Feared? Native Club d eserves a chance to show its worth? by Edna Molewa. Cape Argus 30 June 2006: 20. Editor ? s Point by Patrick Wadula. Enterprise 1 July 2006: 6. ?Presidency?s report on ?social trends? is a blueprint for control? by Joe S eremane. Sunday Independent. 2 July 2006: 8. ?Transform ing, we forget our minds? by Eddy Maloka. The Star 3 July 2006: 12. ?Don?t fear natives? letter by Edna Molewa, Mm abatho. Business Day 7 July 2006: 10. ?More ch allenges for the Native Clu b? by Saliem Fakir. T h e Star 11 July 2006: 12. ?Don?t club the natives, club the club cu lture? letter by Justin G Steyn, Birchleigh, Ke mpton Park. T h e Star 13 July 2006: 17. ?No cocooning? letter by Solly Moeng, Cape Town. Business Day 13 July 2006: 10. Ubuntu is hijacked, we must save it? by Max du Preez. T h e Star 13 July 2006: 14. ?Native Club onlok vuurwarm debat? by Anesca Sm ith. Die Burger 14 July 2006: 2. ?Politicians query Nativ e Club: acad emics say it will strain the country?s tense race relations? by Thokozani Mtshali. Daily News 14 July 2006: 3. ?Black intelligentsia not eli tist, but necessary for re-edu cation about our past? by Jill Merkel. Cape Times 19 July 2006: 11. ?Natives boobed ? on strate gy alone? by Adekeye Adebajo. Sunday Times 2 3 July 2006: 137. ?Let the d arkies meet whenever they want to? b y Abbey Makoe. Saturday Star 29 July 2006: 14. ?Brazil holds conference of African in tellectuals, diaspora? by Eddy Maloka. City Press 30 July 2006: 30. ??Nativ e Club? nog tjo epstil oor wit ANC-LP se aansoek om lidmaatskap? by Anesca Sm ith. Die Burger 4 August 2006: 8. ? Whiteys won?t start ap artheid again ? the blacks will? letter by Christo, Roodepoort. Saturday Star 5 August 2006: 14. ?Is m isdaad die problem? ? by Sydney Gregan. Afrikaner 1 0 August 2006: 4. ?The Native Club?s exclusivity sends out the wrong message? letter by Justin G Steyn, Birchleigh. Saturday Star 1 2 August 2006: 14. ?Native Clu b is needed to correct past imbalances? letter by B right Banda, Mofolo Central. City Press 20 August 2006: 24. ?Nation showing a healthy appetite for debate? Sunday Independent editorial 26 August 2007: 8. ?Success hard won by wom en intellectuals? by Margaret Lenta. Sunday Independent 2 7 August 2006: 10. 340 ? ? Nativ e? debate shows race issu e lives in SA psyche? by Tim Murith i. Cape Times 7 Septem ber 2006: 9. ?Native Clu b must soon see a bigger picture, or fail? by Su ren Pillay. Cape Times 9 October 2006: 9. ?SA has to find new form s of identity? by Mokopi Mokotedi and Pakiso Tondi. City Press 5 Novem ber 2006: 30. ?A new language of non-racialism needed? by Michael Cardo. Daily Dispatch 16 December 2006: 13. ? African nativist intellectu als need to counter settler colonialism? by Bennie Bunsee. Cape Times 1 7 January 2007: 11. ?Twee visies vir ?De la Rey?: dis iden titeitsvorming, hoor forum? by Neels Jackson. B e eld 26 February 2007: 5. ?Hotheads m asquerading as intellectuals? by Max du Preez. T h e Star 2 4 May 2007: 18. ?Met ?n ative?, setlaar an d al? tot reg in die leeukuil? by Kirby van der Merwe. Die Burger 23 June 2007: 10. ?Native Club gets down to its real business, at last? by Sipho Seepe. Business Day 27 June 2007: 15. ?Intellectuals need to think outside th e collective box? by Leslie Mxolisi Dikeni. Cape Times 23 August 2007: 9. ?A few things to keep in m ind about intellectuals? by Mokubung Nkom o. Business Day 4 September 2007: 11. ?Desertion o f the intellectuals has deep roots? by Patrick Laurence. Sunday Independent 2 1 October 2007: 8. ?Challenge f or ANC ?not about Mbeki, Zum a?: the party needs to decide whether it is time to replace its entire generation of leaders, says Pallo Jordan? by Mp umelelo Mkhabela. Sunday Times 2 8 October 2007: 14. ?An intellec tual revolt? by Tsakani Nethengwe. Witn ess 2 2 Nove mber 2007: 17. ?Defining the role of intellectuals? panel discussion led by Mohau Pheko. T h e Sunday Times 2 Decem ber 2007: 34. ?Our inte llectual ancestors? by Xolela Mangcu. Daily Dispatch 4 February 2008: 13. ?The tam ing of the intellectuals? by Nithaya Chetty and Denyse W ebbstock. Mail&Guardian 7 February 2008: 6. ? What makes a coconut intellectual?? by Sandile Mem ela. Da ily Dispatch 21 February 2008: 9. ?Intellectual revolt again st ruination? by Xolela Mangcu. Business Day 21 February 2008: 15. ?Im portance of balance in intellectual game? by Thando Mpulu. Daily D ispatch 3 March 2008: 11. ?Intellectuals take on what went wrong? by W ilson Johwa. T h e Weekend e r 22 March 2008: 4. 341 ? Accum ulating knowledge? by Yunus Mom oniat. Mail&Guardian 2 7 March 2008: 5. ?Tossing money at in tellectuals will not improve performance? by Mathew Blatchford. Daily Dispatch 1 April 2008: 7. ?W e need to protect intellectual thought? by Sello S Alcock and Prim arashni Gower. Mail&Guardian 1 0 April 2008: 8. ?Intellectuals are out of touch? le tter by Bennie Jacobs, Rust-ter-Vaal. The Star 4 June 2008: 10. ?SA?s inte llectual activists also show their courage? by Sip ho Seepe. Business Day 4 June 2008: 11. ?Talking of power and the in tellect? by Aubrey Matshiqi. B usiness Day 2 9 August 2008: 19. ?It? s the intellectual?s id eas that count, not his sponsors? by Xolela Mangcu. Sunday Times 31 August 2008: 18. ? Wanted: readers to push our publ ic intellectuals? by Xolela Mangcu. Business Day 4 Septem ber 2008: 11. 342 Antjie Krog Biography 1952 ? 2 3 October ? born Anna Elizabeth Krog on Middenspruit in Kroonstad, nam ed for her grandmother Anna Elizabeth. 1968 ? Going steady with John Sa muel. 1970 ? Publication of nine poems in Kroonstad High School yearbook. ? ?Dorp gons oor gedigte in skoolblad.? By Franz Ke mp. Die Beeld 16 August 1970. ? Dogter van Jefta published by Human&Rousseau. ? Matr iculated. 1971 ? Student doing BA at UOFS. ? ? My Beautif ul Land? appears in Sechaba, 5(1) January 1971: 16. ? ? Antjie se g edig misbruik teen ons land.? Rapport 28 March 1971: 3. ? Dot Serfontein. ?Antjie se skoolgedig ver duidelik: Dot skryf oor haar dogter.? Rapport 4 April 1971: 9. ? Colin Legu m. ?Afrikaans protes t cry sparks a big row.? in Daily Dispatch, 17 May 1971. 1972 ? Januarie-Suite published by Human&Rousseau. 1973 ? Winner of Eugene Marais Prize. 1974 ? Working for Die Burger in Cape Town. ? Mannin published by Human&Rouss eau (edited by DJ Opperm an). ? Beminde Antartika published by Human and Rousseau (edited by DJ Opperm an). ? ?Ons praat ?n ander taal? Karel Schoeman in Suid-Afrika by Antjie Krog f or Die Burger 12 April 1974. ? 2 2 July 1974 m arried A ndries Albertus (Albie) van Schalkwyk in W epener. 1975 ? Andries born. Living in Cape Town with Van Schalkwyk and doing Opperm an?s third-year Afrikaans class and his ?poetry labor atory? at honours level at Stellenbosch where she m eets Gerrit Olivier, a future editor. ? Interviewed by Dene Smuts for Beeld on Saturday 30 August 1975. 1976 ? Worked at Die Burger, Cape Town. 343 ? 2 2 April 1976: petition f or divorce in Bloemfontein Suprem e Court. Further date set for 16 June. ? Returned to Kroonstad from Cape Tow n. On 2 or 4 October married John Sam uel an architecture student at UOFS. Doing BA Hons in English at UOFS. ? Moved to Pretoria for four years. 1977 ? Wins Reina Prinsen-Gee rlig Prize f or Liter ature for Mannin and Beminde Antartika. 1978 ? Daughter Susan born 1979 ? Son Philip b orn ? Participates in SABC ye arly boekeveiling on 14 August. 1980 ? Returned to Kroonstad to live at Middenspruit. ? Writes for Volksblad about Annesu de Vos 12 Novem ber 1980. 1981 ? Otters in Bronslaai published by Human&Rouss eau. 1982 ? Louise Viljoen of Stellen bosch University reviews Otters in Bronslaai for Vaderland 29 April 1982. ? Cape Times ?W omen?s role in Af rikaans poetry? by Jan Rabie. Antjie Kr og mentioned with five others, 22 Septem ber 1982. 1983 ? Starts working at Mphohadi Technical College in Maokeng. ? MA degree awarded by University of Pr etoria. Thesis ?Fam iliefigure in die po?sie van DJ Opper man.? ? 9 April ? so n Willem Krog Sam uel born. ? Krog votes yes in the referendum to determine whether whites South Africans are willing to create a tricameral parliament involving ?coloureds? and Indians. Beeld 29 October 1983. 1984 ? Eerste Gedigte (Dogter van Jefta en Januarie Suite) published by Human&Rouseaau. ? ? Everywoman?s Poet Laureate ? Antjie Krog Samuel? in Fair Lady 13 June 1984 (part of the ?W oman You Are: Our Series about W omen and Fulfillment). Poem s in English pr inted in this article were translated for Fair Lady by Krog. ? ?Taal kan v ir himself sorg? Antjie tells audience at the Af rikaans Olym piad in Bloemfontein. Volksblad 18 July 1984. 344 1985 ? Jerusalemgangers published by Human&Rousseau. ? Mankepank en ander Monsters published by Taurus. ? Starts teaching at Mphoh adi Teachers? Training College as a lecturer in Afrikaans and English ? 1985 to 1986. (W hite schools won?t accept h er without a teaching diploma, Oosterlig 16 August 1985.) ? Tells the Afrikaanse Le tterkundevereniging at UPE that ?Die Afrikaanse letterkunde van vandag is feitlik een groot neurose?, Oosterlig 16 August 1985. 1986 ? Beeld asks Krog and AP Grove to write p ieces about the book DJ Opperman ? ?n Biografie, 3 Nove mber 1986. ? Fair Lady B ook Week 3 to 6 Novemb er at the Baxter Theatre Krog participates with Stephen W atson and Douglas Reid Skinner, Petra Muller, Patrick Cullinan, Paul Alberts, Om ar Badsha, Andre Brink, R eza de W et, Menan du Plessis, Steve Jacobs, Mewa Ra mgobin, Etienne van Heerden and Lettie Viljo en. Die Burger 6 November 1986. 1987 ? Writes about being challenged by Book W eek audience to justify writing in a state of emergency, Die Suid-Afrikaan January 1987, Fair Lady 4 February reprinted from Die Suid-Afrikaan. ? Gets involved in furore around the fi ring of Dene Sm uts as editor of Fair Lady, letter to Die Burger 16 April andr esponse by Ton Vosloo. Rapport 19 April 1987 reports on the public disagreem ent between Krog and Vosloo. ? 2 7 April ? wins Rapport Prize for Jerusalemgangers. ? Cape Times 27 April 1987 ?Afrikaans press under fire? report on the prize ceremony where Wits University Prof Ernst Lindenberg attacked the Afrikaans press saying it didn?t inform the Afrikaans public of events in the country regarding the black population. Kr og(h) rem arked she considered the prize m oney to be a reward for the emotional trauma of having to wait for the result. This is not reported by Afrikaans papers. 1988 ? Cape Times 12 March 1988 review of Jerusalemgangers ?Krog?s latest is not easy to read?. ? Elected on to the execu tive of the Afrikaans e Skrywersgilde, m et representatives of Cong ress of South Africa W riters at meeting in Broederstroom . ? Die Vaderland 4 July 1987 reports she warned against discourses about ?alternative and worker Afrikaans?. Kr og said: ?Words m ust break free of the borders and aspirations of groups ? fo r a free literature and free writers.? ? Die Volksblad 6 October 1988. Krog at the Nasionale Leeskring-sem inaar said apartheid had come between writer and reader. ?Leser en sk rywer is saam in die web van hierdie land.? Dougl as Reid Skinner present. ? Joined Cosaw. Starts doing poetry workshops in rural areas (1985-199 1 ). ? Dot Serfontein resigns from the Skrywersgilde in a letter to Die Burger. 345 ? October: Brink writes p iece on the A frikaners for National Geographic, mentions Krog . ? Rapport 14 October 1988 ?Bevry Afrikaans van die Gilde? at the 15 th annual meeting of the board of the Gilde. Die Gilde ?? laat die skrywers nie uit hul hokke kom nie?. ? Vrye Weekblad 13 October 1988. Krog writes ?W at van Kuzwayo en Stockenstr?m ? in a review of Cherry Clayton?s Women and Writing in South Africa. ? Rapport 1 6 October 1988. SABC does not allo w Joan Hambidge to read a Krog poem ( ? Die Skryfproses, as sonn et?description of her husband from head to toe!?) over Radio South Af rica on the programme Digterkeuse. ? 5 Nove mber ? HAUM-L iter?r sem inar in O FS. Krog delivers ?Die leser, die boek and die skrywer?. ? 2 5 Nove mber ? ?W omen Speak? with An tjie Krog, Nadine Gordim er, Miriam Tlali, Achm at Dangor and Mzwakhe (Mbuli? ). Cosaw event in Soweto. ? Krog starts writing for Vrye Weekblad?s books page. ? Vrye Weekblad 15 December 1988. Krog writes a colum n about the meaning of 16 December (the D ay of the Vow) for her. 1989 ? Teaching at Brent Park Ho?rskool (1989-1 9 9 2 ). Teaches Afrikaans and English, coaches singing, hockey and long- jum p. Participates in two marches. ? Gives course in creative writing at U O FS during the year for Prof Hennie van Coller, in the Departm ent of Afrikaans and Nederlands. ? January ? four Afrikaans poets incl uding Krog invited to the U C T Summer School. ? City Press 9 July 1989 ?Authors join pilgrim age to ANC?. 9 t o 12 July ? attended Idasa conference between A frikaans writers and ANC at Victoria Falls with Andre Brink and Etienne van Heerden. Others present: Breyten Breytenbach, Jerem y Cr onin, Vernon February, Mongane Wally Serote, Barbara Masekela. W riters endorsed selective cultural boycott. Volksblad 19 July 1989 Krog gives statem ent on boycott, ?n m ens verkies a boikot bo geweld.? ? 2 7 July Beeld reports that Dot Serfontein is angry with the writers who met with the ANC. ? Die Suid-Afrikaan August 1989 ? Krog writes ?W aarom praat ons van ?vroue? skrywers? ? based on visit to Victor ia Falls. ? Lady Anne. released in August by ?radical ? publishing house Taurus, edited by Gerrit Olivier, acco rding to Joan Hambidge in Beeld 18 S eptember. ? Cape Times reviews Lady Anne by Jan Rabie on 9 Septem ber 1989. ?One of South Af rica?s top Af rikaans poets, Antjie Krog, proves to be something of a feminist with the publication of her seventh volume?? ? Joan Hambidge in Beeld 18 Septem ber 1989 says ?Antjie Kro g se Lady Anne wys sy kan sonder Opperm an werk.? ? Radio Suid-Afrika 21 Septem ber 1989 ? Betta van Huysteen anchors a discussion on the future of Afrikaan s with various writers including Krog. ? On Sunday 29 October 1989 Ahm ed Kathrada , Rivonia trialist who was jailed for life and now newly released from Robben Island is g iven a reception with 346 other ANC leaders at So ccer City stadiu m in Soweto and befo re a crowd of 80 000 he reads four lines from Krog?s ?My Mooi Land?. ? October/Novem ber Die Suid-Afrikaan carries a letter from Annem arie van Niekerk of Um tata in response to Kr og?s piece on wom en writers, ?Antjie Krog ?jammerlik na?ef?. ? Novem ber: the furore ov er the menstrual chart in Lady Anne is aired in Die Transvaler, Die Volksblad, Beeld and on ? Woman?s W orld?. ? Rapport 20 Nove mber ?Groot digters ve rskil nog oor boikot? quotes Hein Willemse for and Wilma Stockenstro m against. A Frikaanse S krywersgilde met in Broederstroom this week. ? Beeld 25 Novem ber ? Kr og and Brink at Paris Idasa-ANC Summit m eeting. ? Beeld 1 Decem ber ? ?Antjie Krog by Pary sberaad: ANC kuier in Afrikaans, maar werk is als Engels ?. ? Hans Pienaar in Weekly Mail 8 December 1989 writes ?Antjie, the poet from Kroonstad, takes up an angry pen? and ?Antjie?s prison of roses in Kroonstad?. ? Die Suid-Afrikaan December 1989 ? Krog writes ?Niem and was ?n skoon wit papier nie? about the Victoria Fall s ANC m eeting and the Skrywersgilde reaction. 1990 ? Joined ANC. ? OFS m anaging member of Af rikaanse Skrywersg ilde. ? Teacher at Brent Park High School. ? Rapport 4 February 1990 ? Krog interviewed by Jan Rabie about FW de Klerk?s ann ouncements. ? March 1990 starts writing for De Kat. ? April Groen Kongres takes place. ? April ? unsuccessful m arch of coloured and black students (from Maokeng) into white Kroonstad. ? 2 1 April announcem ent that Krog has won Hertzog Prize from the Akedemie van Wetenskap en Kuns in Afrikaans press. ? 2 6 April The Star ? ?Fre e State ? s controversial Antjie join s establishment as prize winner.? Mentions an ti-apar theid activities and that the publisher of Lady Anne Taurus is also anti-establishm ent. ? Translator of Afrikaans version of th e Dutch ?Die Rottevanger van Ham eln?. Publisher Daan Retief . ? June receives Hertzog Prize. Vrye Weekblad of 29 June reports that she said she would use part of the prize to bu y Afrikaans children?s book for the Cosaw library. She criticised the akadem ie saying ?die akadem ie is nie my bybie nie?. ? July ? resigned from NGK after they re fused to allow the Brent Park school choir to hold a weekend musical workshop at the church youth centre. ? August Leadership ? interviewed by Pippa Green, ?New Jerusalem ? . ? 1 4 August reported in Afrikaans press th at Krog participated in a m arch from Brentpark. ? Septem ber ? car vandalised, ?ANC? spra y painted on her Fiat, 8 Septem ber Beeld. 347 ? Idasa and the Afrikaanse Skrywersgilde hold a ?W riters? Indaba?. Reported in Idasa?s Democracy in Action October/Novem ber 1990. Krog said Afrikaans ?had failed this country?, it would need to reflect a broader reality to survive. ? At Skrywersgilde annual meeting Krog says ?bevry Afrikaans van gilde?. Shortened version of speech in Die Burger 16 October 1990. ? Vrye Weekblad 19 October runs ?Debat oor bo ikot was nodig? and interviews Krog. ? G K S A announced Krog as m ember of member of the Psalmkommissie, Beeld 22 October 1990. Reports on Krog supporti ng the ANC and being a Christian. ? Krog participates in the Weekly Mail Book W eek in Johannesburg and Cape Town (4 to 17 Nove mber). 1991 ? January ? G K SA decides to not go forwar d with the other two churches on the Psalms Comm ission because of Krog?s membership in the ANC. The NG and Hervormde Kerk decided to go ahead with the G K SA. ? Vrye Weekblad 1 February ? Krog writes and says this is the last she will say about her speech at the UCT Summer Sc hool ?Hoe hoorbaar is d ie digter? ? ? Rapport 3 February 1991 ? ?Los van die Afri kanerlaer? ?n gans ander w ? reld het vir my oopgestaan? an excerp t from Antjie Krog?s piece in the collection Afrikaners tussen die tye edited by B ernard Lategan and Hans M?ller published by Taurus. ? Insig March does a piece on Krog and the ?psalm-berym ing?. ? Citizen 14 J une 1991 ? Antjie Krog counted as o ne the Afrik aners who should be recognised for fighting against apartheid by DP MP Kobus Jordaan from Umhlanga. ? New Nation Focus on Writers 30 August to 5 Septem ber speaks of Krog as ?of all the Afrikaans poets A ntjie Krog is probably the best known amongst non- Afrikaans sp eakers? . 1992 ? Vo?ls van anderste Vere published by Buchu Books. ? Three Million Gang leader George R amasimong (?Diwiti?) murdered on 25 February ( Die Volksblad 6 July 1992). ? UWC and UCT refuse Krog a senio r lectureship because she doesn?t hav e a PhD. Vrye Weekblad 29 May to 4 June 1992 ?Burokratiese m isvat.? ? 16 June ? Poetry International Poetry Festival, Rotterdam . Kr og reported as saying democracy is more important to her than A frikaans in Beeld of 22 July 1992. ? For murder of Three Million Gang lead er, ANC m ember Dennis Victor Bloem arrested, Krog investigated but not charged, 5 July Rapport. ? Die Transvaler 6 July 19 92 ? Krog will tes tify for the state. R eported that a gun was found at Krog?s house and Sam uel and Bloem are old acquaintances. ? Weekly Mail 10 to 16 July ? ?The rebel poet, the activist? and the dead gang leader? by Mark Gevisser. ?She is Afri kanerdom?s renegade poet, an elegant wordsmith and eloquent conscience, one of only two white ANC m embers in town.? [The other being Cecile Antoni e also arrested for the murder but released and charges dropped]. 348 ? Die Suid-Afrikaan October/Novem ber ? Krog writes about Poetry International in Holland and Gerrit Olivie r interviews Krog about an authentic South African literature a nd what she said at Poetry International in Holland. ? December ? resigned as member of the Psalmkommissie of the Dutch Refor med Churches, Beeld 3 Decem ber 1992. ? Deurloop: Keur uit die essays van Dot Serfontein saamgestel deur Antjie Krog. Cape Town and Johannesburg: Hum an&Rousseau. 1993 ? 21 February Radio South Africa prog ramme The Poet Speaks ? Patrick Cullinan translates Krog into English along with readings of Baudelaire, Rilke, Cavafy and Montale. ? The Star 12 April ? I t?s ANC f acing ANC in this trial? by Jo - A nne Collin ge. ? Beeld 22 April announces Krog will becom e editor of Die Suid-Afrikaan in May in Cape Town. ? Krog delive rs a lecture at the Wits Winter Forum on the theme ?Have you seen the mirror? Meta -fictional questions?. ? The Cape Times 19 August 1993 ? Die Suid-Afrikaan re-launched with new editor poet Antjie Krog and redes igned by Jennifer Sorre ll. ? Krog writes for Sash Septem ber 1993 reviews Op Koueberg by Phil du Pless. ? Die Suid-Afrikaan 30 Septem ber ?Graham stad Fees? by Krog, Sandile Dikeni and Phylicia Oppelt who go to the fes tival and give their impressions. 1994 ? Siklus. Beminde Antarktika en Mannin in een band published by Human&Rousseau. ? Pryslied 10 May 1994 ? Krog?s praise poem written for Mandela. (Read on SABC with Charm aine Gallon on 20 April 1995.) ? 1 6 May SABC Radio South Africa ? Woman?s World? Marinda Claassen in conversation with Antjie Krog, executive editor of Die Suid-Afrikaan. ? July Krog reads work by Ingrid Jonker at the National Ar ts Festival in Graham stown ? 2 4 July Radio SA ?The Poet Speaks? ? Krog talks to Joan Hambidge about her poetry and her life. ? Die Suid-Afrikaan July/August, Krog writes about Dealing with the Past: Truth and Reconciliation in South Africa (Idas a) ?Am nestie mag nie amnesia wees nie?. ? Democracy in Action August, Krog writes ?Untol d damage of Anglo-Boer War? version of the speech she ga ve at the Truth and Reconciliation Conference. ? Die Suid-Afrikaan 31 August, Krog speaks to Prof Sizwe Satyo and Sandile Dikeni about the two iimbongi at the inauguration of President Nelson Mandela. ? Die Suid-Afrikaan Octob er, Mar ijk e du Toit and Antjie Krog investigate feminism. ? 4 October Sowetan carries ?Focus on healing? an edited version of Krog?s speech to the Truth and Reconcilatio n conference. Die Burger carries it in Afrikaans. 349 ? 1 0 October SABC Afrikaans Stereo ? Susan Booyens interviews Krog about Die Suid-Afrikaan. Questions involve writers m eeting the ANC, fe minism, Krog reads a Sotho praise song. ? The Natal Witness 16 Decem ber Kha ba Mkhize writes ?L et the truth set us free? and qu otes Krog?s speech to th e Truth and Reconcilatio n Conference. 1995 ? Gedigte 1989 ? 1995 published by Hond. ? Relaas van ?n Moord published by Human and Rousseau. ? Krog contributes to The South African Road: The Healing of a Nation? edited by Alex Boraine and J anet Levy. Cape Town: Justice in Tran sition. ? Beeld 14 January announced that Krog becomes SABC radio journalist in the parliamentary team using the name Sa muel. First broadcast on Monitor on 13 th. ? 17 January SABC Afrikaans stereo ? Sam uel interviews Dr Alex Boraine about justice in transition. ? 2 7 January letter to Die Burger by Hannes de Beer of W elgemoed ?He mel behoede ons taal as Antjie dit so ?m ix??. ? 20 April SABC Oral history project. Charm aine Gallon in terviews Krog who talks about working in radio and enjoying the w orld of sound. ? May/June Die Suid-Afrikaan Krog writes ?Sien jou by die parlem ent!? ? 1 5 July Democracy in Action Krog reviews Christina Landm an?s The Piety of Afrikaans Women, ?Piety of oppression and pain?. ? July Act governing TRC prom ulgated. ? Nove mber 1995 m ade head of the SABC TRC team. Reports as Antjie Sa muel. 1996 ? 2 1 March Mail&Guardian Jane Rosenthal reviews Relaas van ?n Moord. ? 1 3 April Beeld Krog to be the leader of the SABC radio TRC team . ? 2 4 May Mail and Guardian Krog writes ?Pockets of hum anity?. ? 1 Nove mber ? Krog writes?Truth T rickle becomes a Flood.? Mail&Guardian ? 1 Nove mber The Cape Times ?A country in transiti on and the truth? Mike Nicol repo rts on the Fault Line s symposium at which Krog speaks. ? 6 Decem ber Mail&Guardian reports on an initiative to form a new Afrikaans organisation. ?The gathering received a tongue-lashing from Afrikaans writer Antjie Krog who said Afrikane rs had a culture of intolerance.? ? 1 3 Decem ber Mail&Guardian reports the Constitution was signed this week at Sharpeville. ? 2 4 Decem ber ? Krog writes ?Overwh elming Trauma of the Truth.? Mail&Guardian, 24 Decem ber 1996-9 January 1997. 10-11. 1997 ? Account of a Murder published by Heineman (translated by Karen Press). ? 7 February ? Krog writes ?The Parable of the Bicycle.? Mail&Guardian, 7 February 1997. ? Invited to Aix-en-Provence for the Cite de Livre Book Festival in March as part of a group of seven SA writers. ? Writes ?Unto the Third or Fourth G eneration.? Mail&Guardian, 13 June 1997. 350 ? 1 7 Nove mber The Star reports that Justice Malala (senio r writer for the Financial Mail) and Antjie Krog have received the Foreign C orrespondents? Award for 1997. Krog for her series of articles on the TRC. ? Beeld 19 Novem ber Krog appears before Broadcast Com plaints Comm ission about a charge of racism involving the resignation of Glenn Goosen head of TRC investigations. Programm e on SAFM ?TRC in review?. ? Weekend Saturday Argus 29-30 Novem ber ?Goosen hits SA BC for poor reporting: report on TRC ?m alicious??. ? Mail&Guardian 2 3 Decem ber reports that Krog is am ong the ?Next hot o ne hundred? South Africans (nam ed with Ingrid de Kok and Jann Turner as writers to watch). 1998 ? Keynote speech at the Conference on Women and Violence organised by the World Bank in W ashington. ? Participated in the Nach der Poezie. ? Die Dye Trek Die Dye Aan: saamgestel deur Johann de Lange en Antjie Krog. Cape Town: Hum an&Rousseau and Tafelberg. ? Sunday Independent books page by Maureen Isa acson 8 February ?Another big book that looks at the country?s sham eful past and takes the reader to the heart of what it means to be a South African today, seen through the lens of the Truth and Reconciliation Comm ission, is Country of My Skull by the Hertzog prize-winning poet Antjie Krog.? ? April re lease of Country of My Skull. Johannesburg: Random House. ? Sunday Times 1 9 April ?Choking on the truth, p iece by piece? extract from Country of My Skull. ? Sunday Independent 2 6 April Maureen Isaacson reviews Country of My Skull. ?Truth com mission book fuses poetic vision with horror of a brutal past?. ? Sunday Times 2 6 April review of Country of My Skull ?Quest for truth bringing more pain and division than healing?. ? The Star 28 April. ?Intensely pe rsonal look at the TRC?. ? Beeld 28 April ?WVK ?n storie anderk ant woorde, s? Krog oor boek?. ? Mail&Guardian 30 April to 7 May by Mark Gevisser ?Hope in the lace of violence?. ? Insig May by Frederick van Zyl Slabbert ?Ons storie po?ties vertel?. ? City Press 3 May ?Holding a search light up to evil of apartheid? by ZB Molefe. ? Business Day Afterhours 8 May ?Nothing by the truth from Kr og? by Stephen Laufer. ? Eastern Province Herald 1 3 May ?Brilliant insight into TR C?. ? Die Burger 13 May ?Antjie m oes haar boek skryf om ?n anker te vind? by Stephanie N iewoud.. ? Pretoria News 1 3 May ?Part of our sham eful history?s soul is bared?. ? Rapport 1 7 May ?W reed-eerlike verslag van di gter-jo ernalis: Soeke na ?n eie waarheid?. ? The Citizen 1 8 May ?Tutu-worshipping Krog reviews TRC? by Terence Friend. ? Die Burger 2 1 May ?Emosies kry aangrypend gestalte?. 351 ? Weekly Mail&Guardian 12 to 18 June ?Elusive tr uths: Antjie Krog?s book on the truth commission has been highly acclaimed. But, argues Claudie Braude, Krog is too creative with the truth.? ? Beeld 15 June ??n Boek waarvan m ens nie gou herself nie?. ? Rooi Rose 2 4 June ?Anderkandt die waarhe id?, Ruda Landm an interviews Krog about Country of My Skull. ? Mail&Guardian 2 6June to 2 July ?F lawed by potent version of the truth? by Steven Robins. ? Finance Week 2 to 8 July ?A guilt-stricken or gy of self-flagellation? by Rian Malan. ? The Natal Witness 6 July Krog writes ?Af rikaners must stop whingeing and do: concrete steps m ust be taken to stop the language being eroded.? Speaks of ?co-ordinating parliam entary reporting for all languages?. In July Ton Vosloo instigated a meeting around an Afrikaan s movement (follow-up to a m eeting in 1996) included Krog, Van Zyl Slabbert , Jakes Gerwel, Neville Alexander, Carel Bosho ff, Herman Giliom ee. ? Cape Argus 2 2 July Krog writes about the end of white decision-m aking in SA. ? The Star 24 July Krog writes ?Risk is fi rst step to reconciliation?. ? Saturday Star 2 5 July Krog writes ?How can SA becom e one? ? ? The Natal Witness 8 August Sue Segar interviews Krog about Country of My Skull ?The sins of the fathers?. ? Cape Argus 1 2 August ?I can finally say: ?I am an Afrikaner?, declares A ntjie Krog? by Peter ter Horst. ? Sunday Independent 4 October review of Country of My Skull by Andries Oliphant ?P ersonal journey m ixed with fact touches heart of the unspeakable?. ? Stichting Po etry International in Ro tterdam ?Suid-Afrika Jaar? 9 to 11 October. ? Mail&Guardian 4 December reports that a series of docudramas called ?Saints, S inner and Settlers? will be broadcast, Krog will rese arch Lord Kitchener. ? Die Burger 8 Decem ber ?VSA ateljee koop f ilmregte op Kro g se boek oor WV K?. 1999 ? Krog m ade Parliamentary Editor for SA BC Radio. Also head of radio news team country-wide to re port on the second election. ? Invited by the Malian Minister of Cultu re to be one of 10 poets on the La Caravane de le Po?sie which retraced the slave route from Gor?e Is land back to Timbuktu. ? Sunday Times 18 April ?Choking on the truth, p iece by piece? extract from Country of My Skull. ? May: Krog and Phil Molefe interview Nelson Mandela for S A BC TV. ? Sunday Times 20 June Krog wins Alan Paton Award shared with Stephen Clingm an who wrote Bram Fischer: An Afrikaner Revolutionary. ? Die Burger 2 9 June repo rts ?Sam uel? will leave the SABC for persona l reasons. Krog says ?Ek weet nie of ek m eer kan skryf nie, dalk is ek nou te oud?? 352 ? Sunday Independent 8 August reports on ?W omen to the fore at Zim babwe Book Fair? with two-day indaba with keynote address by Krog. ? Krog writes ?A Hundred Years of Attitud e.? Mail and Guardian, 8 October 1999. ? Her play Waarom is die wat voor toyi-toyi altyd vet appears at Aardklop Festival, Potchefstroom. ? Krog writes ?Excerpts from a diary to Timbuktu.? Mail and Guardian, 23 December 1999. ? Country of My Skull: Guilt, Sorrow, and the Limits of Forgiveness in the New South Africa published. New York: Tim es Books. 2000 ? Kleur kom nooit alleen nie. Kwela Books. ? Down to My Last Skin: Poems. Random House. ? The Citizen 2 4 January ?Kani, Krog share Hiro shima award? for contributions to peace awarded in S tockholm yesterday. (2000 award for peace and culture). ? Die Volksblad 1 4 February ?Soeke na waarheid? review of Country of My Skull. ? March Waarom is die wat voor toyi-toyi altyd vet opens at Market Theatre in Johannesburg translated by Krog into English Why is it that those who toyi- toyi in front are always so fat?. ? June Fest?A frica in Kigali. Led the E nglish session at a conference on Writing as a Duty of Mem ory, held in Rwanda. Mail&Guardian 2 to 8 June. ? Krog writes ?Rem embering the day R wanda turned against itself.? Mail and Guardian, 15 to 22 June 2000. ? 7 July Mail&Guardian reports that SA Communications for Developm ent is releasing a three-p art series ?Lands cape of Memory? in which Krog interviews Debra Matshoba who testified at the TRC. ? Krog writes ?The m others of new nations.? Mail&Guardian 4 to 10 August. ? Krog writes ?The writing of desire? about Brink?s novel The Rights of Desire in Mail&Guardian 25 to 31 August. ? Antjie Krog m akes a plea for white action at the Human Rights Comm ission Racism Conference Cape Times 8 Septem ber. Krog called for a ?W hite prince of reconciliation? ( Mail&Guardian 1 5 Septem ber). ? 1 5 Decem ber Mail&Guardian reports that Krog, Colin Legum and Margaret Legum . Jonathan Shapiro, Tony Groga n and Mike King have signed the ?Declaration of Commitm ent by White South Africans?. 2001 ? Participated in the Barcelona Poetry F estival. ? Down to My Last Skin wins inaugural FNB Vita Poetry Award. ( Citiz en 22 May 2001.) ? Krog translating Mandela?s Long Walk to Freedom ( Beeld 1 Septem ber 2001.) ? Wins RAU prize for Kleur Kom Nooit Alleen Nie. ( Beeld 20 October 2001.) ? Nove mber begins editing Books and Culture s ection for Rapport (un til end April 2002). ? Gave talk on success of the TRC at the Chile/So uth Africa conference o n globalisation and South/South Co-ope ration held in Santiago, Chile in 353 Nove mber. ( Sunday Independent carried edited version ?Healing stream that petered out too soon? 2 Decem ber). 2002 ? Thabo Mbeki quotes her poetry in parliam ent at his State of the Nation address on 8 February. ? Met Woorde soos met Kerse: Inheemse Verse Uitgesoek en Vertaal deur Antjie Krog. Kwela Books. Includes praise poe m by Thabo Mbeki delivered in Xhosa and English when Nelson Mand ela took leave of Parliament on 26 March 1999. Star 3 April 2002. ? Country of My Skull is to be made into a film. Cape Times 9 April 2002. Juliette Bino che will play Krog, Beeld 10 April 2002. ? May: Second Edition of Country of My Skull published leading to further reviews. 2003 ? Mamma Medea by Tom Lanoye translated by Krog into Afrikaans for Queille rie. ( Burger 24 February). ? A Change of Tongue, Krog?s second book in English, published by Random House. ? 19 June 2003 ? Krog selected as part of a panel of eminent South Africans to advise President Thabo Mbeki on appoi ntments to the Commission for the Promotion and Protection of the Rights of Cultural, Religious, and Linguistic Communitie s. ? 4 July 2003 ECN reports that Tutu le ads a reconciliation march during the Graham stown Festival with Antjie Krog, Albie Sachs, Zubeida Jaffer and Pumla Gobodo-Madikizela. ? Krog is the winner of the Suid-Afrikaanse Vertalersinstituut (SA Translators? Institute) prize for Met Woorde soos met Kerse. Also m entioned for translation of Long Walk to Freedom and Mamma Medea. ? Septem ber 16 to 18 ?Literary Respon ses to Mass Violence? at Brandeis University, Krog on programm e. 2004 ? Keynote speaker at W internachten Li terature Festival in Den Haag. ? Poetry International Festival in Rott erdam: keynote speech in defence of poetry. ? Berlin Liter ature festival: keyno te speech. ? Invited by the Rockefeller Foundatio n to be resident in writing at Bellagio in Italy. ? 6 February Krog appointed to St ellenbosch University Council. ? The stars say ?tsau?: /Xam poetry of Di?!kwain, Kweiten-ta-//ken, /A!k?nta, /Han#kass?o and //Kabbo. Selected and adapted by Krog, Kwela Books. ? Krog writes ?Em barrassed by forgiveness.? Sunday Times, 4 March 2004. ? Featured writer at the Time of the Writer Festival 22-27 March at the Centre for Creative Arts, Univer sity of KwaZulu-Nata l. ? Cape Argus 16 April reports that Krog has been given an honorary doctorate by Stellenbosch University. 354 ? Change of Tongue wins 2004 Bookseller?s Choice Award. ThisDay 19 August. ? Eerste Gedigte: Dogter van Jefta en Januariesuite. Cape Town: Human&Rousseau. ? 2 7 Septem ber The Mercury reports that Antjie Krog has been nam ed 75 th on the list of the 100 Greatest South Africans. ? October ? curator of the Tradewinds Poetry Festival in Cape Town. ? 1 4 October given an honorar y doctorate (Dlitt) b y the University of the Free State. ? Made Extr aordinary Professor attached to the Faculty of Arts at the University of the Western Cape. ? LIASA (the Library Associat ion of South Africa) choose Country of My Skull and A Change of Tongue as two of the top 10 books of the South African democracy. 2005 ? Krog gives lecture: ?Fact bordering fi ction? at U K ZN Durba n and PMB campuses. ? Krog participated in a poetry festival in Indonesia as part of former Dutch colonial group visiting Djakarta, Bandung and Lam pung performing with local poets. ? Opened poetry festival in Colom bia; di d readings in Bogot a, Medillin and Kali. ? Read poetry at the Nig erian Arts Fes tival in Lagos. Shared a panel with Nigerian journalist Christina Anyanwu. ? Attended po etry festival in Saint Naz aire Ac te Su d in France. ? Did a travelling poetry show with Tom Lanoye in Belgium and the Netherlands. ? 1 8 February Mail&Guardian, ? Cheat, loots and thieves? Robert Kirby accuses Krog of plagiarising Ted Hughes. ? April: Krog announced as a m ember of the international ju ry for the 5 th International Liter ature Festival in Be rlin (Septem ber). ? 9 May receives honorary doctorate from Stellenbosch University. ? Nuwe Stemme 3 edited by Antjie Krog and Alfred Schaffer published by Tafelberg. ? 2 4 June Country of My Skull the movie, directed by John Boorm an released in South Africa, starring Juliette Binoche and Samuel L Jackson. ? 5 July Krog delivers a tribut e to Andre Brink on his 70 th birthday at the Baxter Theatre, Cape Town. ? 5 October Krog delivers ?The F(r)ic tion of Autobiographical W riting? at UKZN Pieterm aritzburg campus. ? Nove mber ?n Ander Tongval released by Human&Rousseau, published by Tafelberg, Afrikaans translation of A Change of Tongue. 2006 ? Participated in a literary festival in Vienna. ? Participated in the poetry festival HAIFA in Hara re. ? Writer?s retreat at Civitella, Um bertide in Italy. 355 ? Krog curates the 10 th Spier Arts Summ er Season Open-Air Poetry Festival 3 to 4 February. First ou ting of Philip Mille r?s TRC Cantata (Krog approached him after hearing his music for the film Forgiveness, she is the text advisor.) ? 1 9 February Sunday Times ?Top writers in plagiarism row?. Celean Jacobson reports on Stephen W atson?s accusations against Krog. ? 2 1 February www.mg.co.za ?Antjie Krog denies plag iarism claims?. Also The Guardian by Rory Carroll in Johannesburg ?South African author accused of plagiarism?. ? Mail&Guardian 24 February-2 March. ?Krog: publishers may sue? by Colin Bouwer. ? Mail&Guardian 3-9 March. ?New claim s against Krog? by Colin Bouwer. Friday: 4 - 5 ? The Antjie Krog Saga? by Sha un de Waal, Tom Eaton and Colin Bouwer. ? The Sunday Independent. 5 March. ?Repetition and the other perils of plagiarism? by Maureen Isaacson. ? Cape Argus. 1 6 March. ? A guilty silence in the house of Krog? by Gavin Haynes. ? Mail&Guardian 1 7 - 2 3 March. ? In Antjie Krog ?s corne r? c omment by Ingrid de Kok. ? Daily Dispatch. 1 8 March. ?The Antjie Krog affair is bad for South Africa? insight by Mathew Blatchford. ? The Sunday Independent. 2 6 March. ?The great Sout h African tongue-lashing: first it was Antjie Krog, now it?s St ellenbosch University. Afrikaans is fighting for its survival? by Hans Pienaar. ? Litnet Sem inar Room ( www.litnet.co.za/sem inrroom/default.asp ) pieces by: Nelleke de Jager, publisher for Kwela Books; Eve Gray, Strategic Publishing Solutions; Stephen Johnson, MD Ra ndom House; Antjie Krog; Annie Gagiano; Jo hann de Lan ge; Sam Raditlh alo; Mik e Stevenson ; Etienne van Heerden; Willem ien le Roux; Math ew Blatchford (Dept Engish and Com parative Lite rature, University of Fort Hare; Helen Mof fett; Barba ra Adair; Rosa lind Morr is; Madam e Lacost e; ?Last tim e, this time? by Antjie Krog (20 March); Shaun de W aal; Colin Bouwer; Craig Mason-Jones; Ian- Malco lm Rijsdijk. ? March Body Bereft and Verweerskrif published by Umuzi. Written during six weeks on a writer?s retreat at Chateau de Liavigny. ? March Spie r Festival: T RC Cantata by composer Philip Miller, dir ected by Janice Honeyman. (Claudia Braude ?Making art from tribulation? Mail&Guardian Friday 5 to 11 May: 4). ? April: Krog co-ordin ated and chaired the panel on art and the media at the Institute for Justice and Reconciliati on?s ?TRC: Ten Years On? conferen ce in Cape Town. ? April: ?Vonkverse? p roject invo lving Litn et, Krog and writer Charles J Fourie. Launched at KKNK with 6 Cape poe ts and video, music and dance.) ? Rapport 2 1 May. ?Skrywers en die gewraakte p-woord?. ? ? A space for the disg raced? by Antjie Krog in Mail&Guardian 1 5 - 2 1 Septem ber: 31 (reaction to Adriaan Vlok?s atonem ent by footwashing.) ? October-Novem ber: tour of Belgium and Netherlands with T om Lanoye. 29 Nove mber literary theatre at Oude Libertas Am phitheatre in Stellenbosch Kaap d(i )e Gooie Woord multimedia production. 356 ? 26 Nove mber Antjie Krog, Kopano Rate le, and Nosisi Mpolweni-Zantsi, (University of the W estern Cape) present ? Ndabethwa Lilitye: Language and Culture in the testim ony of one Person before the TRC? at the Mem ory, Narrative an d Forgiveness conference at UCT. 2007 ? Krog curates Spier Poetry Festival, 9 and 10 February (English, Afrikaans, Belgian, Egyptian, Nigerian and Portuguese poets as well as those speaking SA African languages). ? Krog writes ?De la Rey: Afrikaner Absolution.? Mail&Guardian 3 0 March to 4 April 2007: 23. ? 2 April plenary speaker at the African Philosophy Conference at Rhodes University. ? 2 0 April given honorary doctorate by NMMU. ? July publication of Fynbosfeetjies/Fynbos Fairies (Um uzi). ? 1 2 to 17 August speaker at the Intern ational Association for Analytical Psychology Congress XV11 Cape Town. ? Protea Prize for Poetry for Verweerskrif. Rapport 9 Septem ber 2007. ? Krog m entioned in JM C oetzee?s new novel Diary of a Bad Year as writing with ?white heat? (See Sunday Independent 1 7 S eptember 2007: 17). ? National Arts Festival production of Lady Anne in Graham stown, July. ? Aardklop festival production of ?n Ander Tongval with Annette Kellerm an as Dot Serforntein and Nina Swart as Antjie Krog. Prem ier was at the KKNK (reported 29 Septem ber Burger ). ? October publication of Krog- Brink translation of Ingr id Jonker?s poem s as Black Butterflies. ? Rapport 1 1 Nove mber 2007. Krog called an ?A frican intellectual? by Jakes Gerwel. 2008 ? Saturday 12 July Krog speaks on ?When does age creep into poetry?? at the Akadem ie der K?nste in Berlin with Johannes K?hn from Ge rmany, Ada m Zagajewski from Poland and hosted by Sebastian Kleinschm idt editor of Sinn und Form magazine in Berlin as part of a poetry festival from the 5 th to the 13 th. ? 1 4 - 1 5 August at the Bax ter Theatre in Cape Town, Antjie Krog?s experim ental memoir, A Change of Tongue / ?n Ander tongval, has been worked into an Afrikaans play directed by Jaco Bouwer , this is part of the Vleis, Rys & Aartappels Teater Fees maal. ? 1 5 - 1 7 September Indian-SA Shared Histor ies Festival at the Wits Origins Centre. Krog and Urvashi Butalia sp eak on a panel about ?Division and Mem ory: Writing on Partition and the TRC?. ? 7 October 2008 W its/ Weekender poetry evening at Wits. Krog, Leon de Kock, Gabeba Baderoon, Com rade Fatso (S amm Farai Monro) and Bianca W illiams read poetry. ? 1 8 October Random House/ Struik MD Stephen Johnson leaves for the Frankfurt Book Fair to prom ote, in particular, the work of Krog and Ivan Vladislavic. 357 ? 28-30 October Krog speaks at the TRC 10 th anniversary review conference (organised by the Institute for Jus tice and Reconciliati on, the Foundation for Human Rights and th e Desmond Tutu Peace C entre). ? 10 Nove mber launch of Open: Erotic Stories from South African Women Writers ( Os hun) includes writing by Krog. 358 Antjie Krog Awards and Accolades Literary aw ards for poetry 1 9 7 3 : Eugene Marais Prize for Januarie-Suite for ?the m ost promising young writer? 1976: Reina Prinsen-Geerlig Prize for Mannin and B e minde Antartika 1 9 8 7 : The Rapport Prize for J erusalemgangers 1 9 9 0 : The Hertzog Prize for Lady Anne 2 0 0 1 : The FNB Vita Poetry Award for Down to My Last Skin 2 0 0 1 : The RAU Prize for Kleur Kom Nooit Alleen Nie 2 0 0 3 : The South African Transl ators? Institute prize for Met Woorde Soos Met Kerse Awards for journalism 1997: The South African Union of Journali sts? Pringle Award for the TRC reporting 1997: The Foreign Correspondents? Award for the Mail&Guardian features on the TRC Awards for Country of My Skull 1 9 9 9 : T h e Sunday Times Alan Paton Award 1999: The BookData/South African Books ellers? Book of the Year prize 1999: An honourable m ention in the 1999 No ma Awards for Publishing in Africa 2000: The Olive Schreiner Award for the best work of prose published between 1998 and 2000 Listed as one of ?Africa?s 100 Best Books of the Twentieth C entury? 2000: The Hiroshim a Foundation A ward (shared with John Kani) Other litera ry awards 2 0 0 4 : The Bookseller?s Choice Award for A Change of Tongue 2004: Country of my Skull (no 1) and A Change of Tongue (no 10) were nom inated in the top 10 books of the 10 years of Sout h African dem ocracy by the South African libraries (LIASA) 2004: Krog received the Kanna Award at th e Klein Karoo Kunstefees for ?innovative thinking? 2004: The Nielsen BookData Booksellers? Award of the Year for A Change of Tongue Honorary doctorates a nd academic prizes conferred on Krog 2 0 0 7 : Honorary Doctorate from Nelson Mandela Metropoli tan University 2005: The Open Society Prize from the Cent ral European University (previous winners were J?rgen Haberm as and Vaclav Havel) 2004: Honorary Doctorate from the University of Stellenbosch in 2004 2004: Honorary Doctorate from the University of the Free State in 2004 -----: Honorary Doctorate from the Tavistock Clinic of the University of East London, UK 359 Antjie Krog in the SABC Sound Archives 1. SERVICE VOORDRA G-VE RSAMELING CLASS PO ESIE EN VOO RDRAG TITLE ANTJ IE KRO G C O NCEPT A NTJIE KROG , BEKENDE DIGTE R , LEES SES V A N H A A R EIE G E DI G T E VO OR - S A MES T E L L I NG BEST A A N UIT A L DIE BESKI K B A R E A R G I E F M A T E RI AA L ( A frikaa ns audio, p ossibl y also E nglis h ? Fa mous poet, A ntjie Kr og reads six of her poems ? t he programme comprises al l av ailable archiv es bet w een O ctober 1979 and A ugust 1980) CATN O T 93/1406 RECOR DBC 1979-10 -05 ? 1 9 90-08- 09 (Br oadcast) DURATI ON 9.59 R E S T R I C T I ON: SLEG S VIR DIE VERV A A R D I G I NG V A N R A DI O O F TV PRO D U K S I E S EN IN OORLE G MET KL A NK A R G IEF PE R S ONEEL ( R estriction on the use of this material : O nl y for radio and TV productions and in consulta tion w ith S A B C Soun d A rchiv es) PRO D UCER GALL O N , CHARMAINE CO NTENTS UIT DIE BUNDEL "G RO EN": "AFRIKAA NSE ABASADARIUM" (1. 56) - O P GE TEKENDE O RALE TRADI SIE: "MUTLA " (0 .40) - "SEPHEDI / TWEE KLEIN VO ELTJIES" (0. 57) - "DIE RY M WAT EEN MINUUT NEEM O M TE LEES" (2.48) - "WIELANEL" (1.55) - "I THINK I AM T HE FIRST LA D Y ANNE OP TAFELBER G" (3 .03) 2. SERVICE AFRIKAANSE DI ENS CLASS O NDERHOUD C O NCEPT RO BE R T Y O UNG I N G ESPR E K MET A NTJI E KRO G , SKRY F S T E R OO R H A A R BU NDEL "OTTE RS IN BRONSL A A I ". ( A frikaa ns A udio: Ro ber t Youn g chats to w riter A ntji e Krog on her poetry v olu me ? Ot ters in Watercress ? ? ? ) CATN O T 81/423 RECOR DBC 1981 DURATI ON 3.34 3. SERVICE AFRIKAANSE DI ENS CLASS BESPREKING PROG RAM LEESKRING OOR DIE LUG TITLE A NT J IE K R OG DOT SE RF ONT E IN (p oet mom) CO NCEPT 'N REEKS PROG R A M M E W A AR IN RUD A L A ND M A N E N NIC SW A NEP O E L MET SUID- A F R I K A A NSE LE TTER K UNDI GES GESELS . DIE PUBLIE K KR Y O O K DIE G E LE ENTHEID O M TELE F O NIES VR A E A A N DIE LETTER KUN DI GES TE STEL ( A frikaa ns A udio - A programme series in w hich Ruda La ndman and Nic Sw anepoel c hat to S outh A frican w riters. Liste ners chat to/qu estion the w riters) CATN O T 83/61 -62 RECOR DBC 1983-02 -17 DURATI ON 45:00 4. SERVICE RADIO SU ID-A FRIKA CLASS O NDERHOUD PROG RAM SKRY W ERS EN BO EKE C O NCEPT MO H A M E D SHA I K H G ESE L S MET A NTJIE KROG NA DIE TO EK ENNI NG V A N DIE R A P P O RT P R Y S VIR H A A R BUNDE L "D IE JERUS A L EM G A NGERS". ( A frikaans A udio ? Moham ed Sha ikh chat s to A ntjie Krog after she receiv ed the Rap port Prize for h er poetry v olu me,T he Jerusale m Goer s ?? ?) CATN O T 88/728 RECOR DBC 1987-03 -27 DURATI ON 7.55 5. SERVICE RADIO SU ID-A FRIKA CLASS O NDERHOUD PROG RAM SKRY W ERS EN BO EKE C O NCEPT RIN A THO M IN G ESPR E K MET A NTJIE KRO G OO R H A A R DIGB UNDE L,"LA D Y A NNE "- S Y LEES TWEE GEDI GT E UI T DIE BUN DEL VOO R . ( A frika ans audio ? Rina Tho m chats to A ntjie Kr og ab out her poetry v olu me, ?La dy A nne?. A ntji e als o reads tw o of her poems from the v ol ume. ) 360 CATN O T 89/843 RECOR DBC 1989-08 -03 DURATI ON 12.11 6. SERVICE RADIO SU ID-A FRIKA CLASS BESPREKING PROGRAM MONI TOR TITLE DO L F VAN NIEK ERK CHRIS BARNA RD A NT J IE K R OG GE RHARD J BEUKES LINA SPIES C O NCEPT BETT A V A N HUYSS T E EN LEI 'N BESPR E K I NG OO R DIE TO EK O M S V A N A F R I K A A NS W A A R AA N VE R S KEI E SKRYWE R S EN LETT ERK UNDI GES DEELNEEM ( A frikaans a udio ? Betta v an Hu y ssteen anchors a discussion on the future of A frikaa ns, in w hich v arious w riters take part.) CATN O T 89/917 RECOR DBC 1989-09 -21 DURATI ON 23:13 CO NTENTS DIE O N TSTAAN EN O N TWIKK E LING VAN AFRIKAANS WO RD BESPREEK (the origi n and dev elo pment of A frikaa ns is discussed) 7. SERVICE RADIO SU ID-A FRIKA CLASS PO ESIE EN VOO RDRAG PROG RAM SKRY W ERS EN BO EKE C O NCEPT A NTJIE KROG , V A NJ A A R SE HERT Z O G P R Y S W ENNER VIR PO ES I E , LEES V A N H A A R J O NGSTE GEDI GT E VOOR - DIE OPN A M E IS GE M A A K BY DI E EUG E NE M A R A I S SKRY W E R S V E R ENIG I NG TYDENS DI E G R O E N - KON G RES I N PRET ORI A . ( A frik aans audio ? This y ear? s Her tz og Prize w inner, A ntjie Kr og, reads some of her l atest poetry . T his recording w as done at the Eu gene Ma rais W riters? A ssociation during the Green Con gress in Pretoria) ) CATN O T 90/268 RECOR DBC 1990-05 -10 DURATI ON 5.55 8. SERVICE RADIO SU ID-A FRIKA CLASS PO ESIE EN VOO RDRAG PROG RAM SKRY W ERS EN BO EKE CON C EPT A NTJIE KR OG LEES 'N GEDI G V O OR UIT H A A R B UNDE L "L A D Y A NNE " TYDENS DIE OORH A NDI GIN G V A N DIE HER T ZO G P R Y S VI R POESIE AA N H A A R VIR DIE BUNDE L. ( A frik aans audio ? A ntjie Kr og reads a poem from her v ol ume ?La dy A nne? during the aw ard ceremony w here she receiv ed the Hertzog Prize fo r Poetr y for this v olu me) CATN O T 90/663 RECOR DBC 1990-08 -09 DURATI ON 3.40 9. SERVICE RADIO SO U TH AFRICA CLASS PO ETRY PROGRAMME PROG RAM THE PO E T SPE AKS TITLE FROM LAN GUA GE T O LAN GUA GE C ON C EPT P A T R IC K CU L L IN A N TR A NS L A T ES A F RIK A A NS POE T , A NT J IE K R OG I NT O ENGL I S H A ND R E A D IN GS O F B A U D E L A I R E , T R A NSLA T E D B Y RO Y C A M P BEL L - F URTHE R RE A D INGS OF RI LK E, C A V A F Y A ND MON T A L E , (Englis h A udio) CATN O E 93/409 RECOR DBC 1993-02 -21 DURATI ON 32.07 10. SERVICE PRIVAATVERSAMELING CLASS LESING PROGRAM DIE MARGINA L ISERING/ ON DERDRUKKIN G V AN GA Y SKR YWERS. (The marginalizatio n/ suppression of gay w riters? or not) PHIL DU PLESSIS, BEKENDE DI GTER, LEWER ' N SEMINAAR G E TITLED "PERSPE KTIEF VAN 'N GESKRY F DE " O O R DIE SUB-TEMA ' D IE MARGINALISE RING/ ONDE RDR UKKING VA N GAY SKRYWERS, AL DAN NIE', TY DENS DIE AFRIKAANSE SKRY W E RSGILDE SE TWEEJAARLIKSE BERAAD TE MA SELSPO ORT CATN O T 93/37 361 RECOR DBC 1993-04 -22 DURATI ON 14.55 PRO D UCER GALL O N , CHARMAINE CO NTENTS PERSPEKTIEF O P DIE EIE WAT G E IDENTIFI SEER KAN WO RD IN ANDE R GAY SKRY W ERS SE WERKE - VERW Y S NA DIE VO L GENDE WERKE TER ILLUSTRASIE: "ISIS, ISIS, ISIS" (ETIENNE LERO UX ) - "PEEPSHO W " (STEPHEN GR AY ) - " O T T E R S IN BRONS L A A I " ( A NT JIE KROG) - " D IE HEMEL HELP O N S" EN "SLAG P LAAS" (KOO S PRINSLOO) - "AS DIE NO OD HOO G IS" (WIL HELM LIEBENB E RG) 11. SERVICE PRIVAATVERSAMELING CLASS LESING TITLE HET J Y DIE SPI EEL G ESIEN? - METAFIKSIONE L E KWESSIES CON C EPT LOUISE VILJ OE N, KEN NER V A N MET A F I KSIE V A N STE LLEN B OSCH , BIE D 'N LESING A AN O NDER DIE TEM A "HET JY DIE SPIEE L G ESIEN? - MET A F I K S I O NE LE KWESS I E S " , TYDENS DIE WITS WINTERFO R U M (Me ta- fictional ex pert Loui se Viljoe n of Stell enb osch deli v ers a le cture under the theme Ha v e y ou seen the mirror? Meta-fi ctional ques tions/i ssues during the W its w inder forum) CATN O T 93/636 -63 7 RECOR DBC 1993-07 -17 DURATI ON 18.52 PRO D UCER GALL O N , CHARMAINE CO NTENTS PETER-JOHN M ASSY N LEI DIE SESSIE IN E N STEL DIE PANEEL VOO R - MASSY N NO E M VOO RBEEL DE VAN BO E KE WAT AS METAFIKSIE GEKLASSIFISE ER WO RD - IS DIE TEKS WA T INBUIG O P HOMSELF (7 .10) - METAFIKSIE I S SELF-RE FLE KSIEF EN SE LF-BESINNE ND - GRENSE TUSSEN WERK LIKHEID EN FI KSIE IS DIE KENMERKENDSTE EIENSKAP (the b orders/ bo undaries bet w een reali ty and fiction is the ke y qu alit y or characteristic of meta-f iction) 12. SERVICE PRIVAATVERSAMELING CLASS LESING TITLE HET HY DIE SPI EEL G ESIEN? - METAFIKSIONE L E KWESSIES C O NCEPT A NTJIE KROG , BEKENDE DI G T E R E S EN JO ERN A LIS, BIED 'N LESING A A N O NDER DIE TEM A "HET JY DIE SPIEE L G ESIEN? - ME T A F I K S I O NE LE KWESS I E S " , TYDENS DIE WI TS WINTE R FOR U M ( A frik aans audio ? w ell- kno w n poet and journ alist, A ntjie Krog, deli v ers a lecture u nder the theme Ha v e y ou seen the mirror?. Me ta-fi ctional que stions during the W its w inter forum) CATN O T 93/638 RECOR DBC 1993-07 -17 DURATI ON 10.36 PRO D UCER GALL O N , CHARMAINE CO NTENTS AS GEVO L G V AN HAAR ONV E RMO E O M OO R DIE O NDE RWERP TE KAN PRAAT, HET S Y ING E WILLI G OM O P TE TREE 13. SERVICE AFRIKAANS STEREO CLASS O NDERHOUD PROG RAM SKRY W ERS EN BO EKE TITLE ANTJ IE KRO G C O NCEPT D A NIEL HUGO IN G ESPR E K MET DIE DIGTE R , A NTJIE KRO G , OO R DIE TYDSK R I F , " D IE SUID- A F R I K A A N" , W A A R V A N SY DIE NUWE UITVOE RENDE RED A K T E UR IS ( A frikaans a udio ? Dani el H ugo chats to poet A ntjie Kr og abo ut the bili ngual magaz ine, Die Suid- A frik aan, of w hich she is the new executi v e editor.) CATN O T 93/1164 RECOR DBC 1993-09 -30 DURATI ON 7.12 PRODU CER HUGO DA NIEL 14. SERVICE RADIO SO U TH AFRICA CLASS INTERVIEW PROGRAM WOMAN'S W O RL D TITLE ANTJ IE KRO G C ON C EPT M A R I ND A CL AA S S E N IN CONVERS A T I ON WITH A NTJIE KR OG, EXECUT I V E E D ITOR OF 'DI E SUID- A F R I K A A N' , A BI -LI NGU A L NEWS M A G A Z I NE, WH O IS PER H A P S BEST KN OWN I N THIS COUNT RY F O R HE R PO ETR Y (Engli sh audio) CATN O T 94/725 362 RECOR DBC 1994-05 -16 DURATI ON 9.00 CON T ENTS GREW UP I N KR OONST A D - M O THE R A L SO P UBLIS H E D BOOKS - RESPO NSE TO 'DO G T E R V A N J A FT A ' - HERTZ O G - P R I Z E FO R 'L A D Y A NNE' - LINKS WITH A NC, EXPER I ENCES - M A G A Z INE NO T FOR A F R I K A NE R, BI-LIN GU A L A LTERN A T IVE M A G A Z I NE - NOT WR ITIN G PO ETR Y A NYM O R E, WHY ? 15. SERVICE RADIO SO U TH AFRICA CLASS PO ETRY PROGRAMME PROG RAM THE PO E T SPE AKS TITLE ANTJ IE KRO G C O NC EPT A NTJ I E KR O G T A L K IN G TO JO A N H A M B I D G E A B OUT HER POETRY A ND LIFE (E nglis h audio) CATN O E 94/233 RECOR DBC 1994-07 -24 DURATI ON 32.37 16. SERVICE AFRIKAANS STEREO CLASS O NDERHOUD PROG RAM KLANKBO RD TITLE ANTJ IE KRO G C O NCEPT SUS A N BO OYENS IN GESPR E K MET DIE B A I E BEKENDE DIGTE R / J O E RN A L I S , A NT J IE K R OG, OOR H A A R LEWE BY D I E TYDSKRI F "DIE SUID- A F R I K A A N" ( A frik aans audio - Sus an Bo oy sens speaks t o v ery w ell-kno w n poet/jour nalist , A ntj ie Krog , ab out her time at the magaz ine, Die Suid- A frikaa n) CATN O T 95/248 RECOR DBC 1994-10 -10 DURATI ON 21.57 PRO D UCER BO OY ENS, SU SAN CO NTENTS "DIE SUID-A FRI KAAN" IS NO U 10 JAAR O UD - ANTJIE IS DIE REDAKTEUR - DIE AARD VA N DIE T Y DSK RIF - ROL V AN DIE T Y DS KRIF IN DI E O N TMO E TING TUSSEN AFRIK AANSE SKRY W ERS EN DIE A N C SKRY W E RS - DIE VRAAG RO NDO M DIE FUNKSIE EN MISIE VAN DIE T Y DSKRI F HE T O N TSTAAN - I NHOUDELIKE VAN DIE FE ESUITG AWE - NEEM HAAR BESLUITE UI T VO LSLAE DO MHEID - SK UIF VAN K ROO NSTA D NA KAAPSTAD - DI E INHOUD VAN DIE TY DSKRIF IS DIT WAT S Y DAAR IN WIL HE - ANTJIE LE ES ' N GE DEEL TE OO R ' N STO KGEVEG WAT I N AFRIKAANS VERTAAL IS, V O OR - FEMINIS ME IN DIE UITG AWE BEK Y K - VERTALING S VAN PO ESIE HET BAIE PLAASG EVIND B Y DIE SUID-AFRIKAAN - ANTJIE SPEEL ' N SO THO PRY SLIE D VO OR - S Y VE RTEL DIE VE RHAAL VAN DIE LIED - LIED WORD NIE VOO RGESPEEL NIE ? AANPASSING IN DIE KAAP - TY D VIR EIE KREATIEWE SKRY F WERK 17. SERVICE MO NDELI NG E GESKIEDENIS CLASS O NDERHOUD TITLE ANTJ IE KRO G C ON C EPT CH A R M A I NE GA L L O N IN GES P REK MET DIE DIGTE R , A NT J I E KROG, OOR H A A R P O ESI E EN LEWENSG ESKI E D ENIS - A NTJIE LEE S 'N P A A R GEDI GTE V O O R ( A frikaa ns audio ? C harmaine Gallo n chats to poet, A ntj ie Krog, a b out her poetry and life story . A ntji e reads a few of her poems) CATN O T 95/230 -23 1 RECOR DBC 1995-04 -20 DURATI ON 37.53 PRO D UCER GALL O N , CHARMAINE CO NTENTS UIT "DO GTER VAN JEFTA" LEES SY "M A " (?m other? ) VOO R - ANTJIE LEES "BL A R E " (?lea v es?) VOO R - "M A" IS G ESKRY F TO E S Y IN ST 9 WAS (?ma? was written when she was in Std 9) - IN KR OONS TAD IN 1959 GE BORE EN MA WAS ' N JO ERNALIS (antjie w as born in kroo nstad in 1959 an d her mother w as a journali st) - HET DUS EIENAARDIG E VAKANSIES AANG EPAK - VERHO UDING TUSSEN ANTJIE EN HAAR MA, DOT SERFONTEIN - O U DSTE VAN V Y F KINDERS (she w as the elde st of fiv e childre n) , TW EE DOG TERS EN DRIE SEUNS - O P PLAAS G RO O TGEWO RD, MAAR AS GEVO LG VA N GE WELDI GE HO O IKO O RS HE T SY VEEL GEMIS ? IN BLO E MFO N TEIN STUDEER - VA NAF ST 3 DAA GLIKS G ESKRYF (star ted w riting dail y from Std 3) - IN MATRIEK IS HAAR G E DI GTE IN "DOG TE R VAN JEFTA" GEBUNDEL - ANTJIE LEES "DOGTE R V A N JEFT A " (d aughter of Ja fta) VO OR - INHOUDELIKE VAN DI E G E DI G WO RD BESPREEK - EEN VAN DIE JO NG STE DEB U TANTE - PROBLEEM RO NDOM JO NG DI GTERS - JO NG 363 DIG TE RS HET NIKS VAN HUL LE EIE STEM NIE - L E E S 'N LI EFDE S G E D I G VIR H A A R M A N OOR HY UIT H OU DES OND A NKS (reads a lo v e poem for her husba nd w ho surv iv es despite?) - LEES NO G 'N G E DI G VI R H A A R M A N VO OR (r eads another poem for her husba nd) - LEES UI T ON GEPUB L ISEERDE BUNDE L TWEE GEDI GT E (reads t w o poems from an unpublis hed v olume ) - ORALE KWALITEIT VA N HAAR P O ESI E - INVL O E D VAN HAAR MA (infl uence of her mom) - BELA N GRIKHEID VAN KLANK VIR HAAR (im portance of sound for her) - WERK NOU VIR RADI O EN GENIE T DIT OMDAT DIT DIE WERELD V AN KLANK IS - NA BLOEM F ON TEIN VIR " D I E BUR GER" I N K A A P S T A D KO M WERK - O PPE RMAN SE SKRY F - LABORAT O RIU M BY GEW O ON - NA PRETORIA, GE TROUD, NA KROO NSTAD, G ESKEI (di v orced) - WAS VIR TWEE JAAR RED AKTEUR VAN "DIE SUI D -AFRI KAAN" ( w as editor of Die S uid- A frikaa n for tw o y ears) - 1978 EN 1990 BEK RO ON VIR HAAR POESIE - BES PREEK HAAR B UNDELS - HE T VIER KINDERS WAARVAN DIE O UDS TE, ANDRIES, DERDE JA AR STUDENT IS - G E DI GTE V IR HAAR KINDE RS GESKRY F - DOG TER NO U I N MATRIEK - REDE WAAROM S Y SKRY F - SKRY F HET VIR HAAR OO RLE W ING GE WO RD - SKRY F PRO SES - PO LI TIES BETRO KKE GEDIG TE VA N DIE BEG IN AF GESKRY F - ANTJIE LEES " P R Y S L I E D 10 MEI 1994" (praise- song 10 Ma y 1994) W A T VI R PRES M A ND EL A GESKR Y F IS ( w hich w as w ritten for Nel son Ma ndel a) , VOO R - HOO GTEPUNTE IN HAAR LEWE AS SKRY W ER: VERBL Y F BY OPPERMAN O M "O TTERS EN B RO N SLAAI " AF TE HANDEL - O N TMO E TING MET DIE A NC S KRY WERS TY DENS DIE WATE RVALBERAAD - EERSTE MANDELA RALL Y IN BLO E MF ONTEI N - DIE LEWE A S SKRY W ER EN DIE LEWE AS MENS IS NIE TE SKEI NIE - BESKRY W ING VAN HAARSELF AS SKRY W ER EN AS MENS - AS MENS G EE SY NIE O M O M KO MPRO MIEE AAN TE G AAN NIE, MAAR NIE AS SKRY W ER NIE - BESKOU NIE HAARSELF AS ' N DIG TER/ SKRY W ER NIE, WANT S Y WEET NOO IT OF SY WEER GAAN SKRY F NIE - WAARO M O PPERMAN HAAR MET DIE EINDE VAN "OTTERS EN BRONSLAAI " B Y GESTAA N HET - GE DI G HANDEL OO R SUSANNA SMIT - TEGNIES HET S Y BAIE SLUHEDE B Y O PPERMAN GE LEER - GESTELD O P HAAR PRIVAATHEID, MAAR IN HAAR G E DI GTE I S SY NIE PRIVAA T NIE - HE T GEEN TO EK O MSV ERWAG TING E NIE EN IS NE T VERB Y STE RD O O R ALLES WA T SY BELEE F HET. 364