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Ruben Olivier leads an isolated existence in a Cape Town suburb. His wife has died, one of his sons has settled in Australia, and the other wants to emigrate to Canada. The only constants in Ruben's life are the old family home, the ghost of a seventeenth-century slave girl who haunts it, and Magrieta, the elderly housekeeper who comes in to look after him. When Ruben's neighbor and best friend is brutally murdered by marauding gangs, the subtle yet pervasive threat of violence hovering over life in Cape Town becomes frighteningly real.
All agree that taking in a boarder might be a good idea, and Ruben is pleasantly surprised when young Tessa Butler walks in out of the rain one Saturday night. She restores passion and intrigue to his life, but he has little time to enjoy the infatuation, for soon Ruben finds himself in a web of deceptions, manipulations, disappearances, and lies.
This extraordinary novel is at once a rich story of enigmatic characters and a boldly disquieting meditation on the attempt to build a future of hope and promise from the legacy of the past.
In a telegram dated 29 April 1963, thirty-year-old Afrikaans poet Ingrid Jonker thanks André Brink, a young novelist of twenty-eight, for flowers and a letter he sent her. In the more than two hundred letters that followed this telegram, one of South African literature’s most famous love affairs unfolds. Jonker’s final letter to Brink is dated 18 April 1965. She drowned herself in the ocean at Three Anchor Bay three months later.
More than fifty years on, this poignant, often stormy relationship still grips readers’ imaginations.
In December 2014, three months before his death on 6 February 2015, André Brink offered these never-before-seen letters, as well as personal photographs, for publication.
Hierdie boeiende drie novelles word op intrigerende wyse aan mekaar verbind deur oorvleuelende karakters en plekke, asook tematiese ooreenkomste. Die drie vertellers is al drie kunstenaars – ’n skilder, ’n argitek, ’n pianis.
Die Blou Deur begin met ’n droom en ’n verwysing na Kafka se Metamorfose. In hierdie verhaal vervaag die grense tussen die droomwêreld en die realiteit ook soos by Kafka. Kunstenaar David het ’n kothuis wat hy as ateljee gebruik en waarheen hy gaan om te skilder. En op ’n dag wanneer hy daar aankom, bevind hy hom in ’n ander werklikheid: ’n donkerkop vrou en twee kinders heet hom welkom asof hy deel is van hulle gesin ...
In Spieël maak argitek Steve een oggend die ontdekking dat hy nou swart is. Daardie dag ervaar hy dinge en mense telkens op ’n heel ander wyse, en word hy gekonfronteer met die probleem van identiteit. Totdat alles tot ’n keerpunt kom die aand toe hy en sy vrou Carla saam met ander mense in ’n restaurant deur ’n groep gemaskerde mans oorval word.
In Appassionata raak pianis Derek Hugo betrokke in ’n verhouding met sangeres Nina Rousseau – ’n verhouding wat egter op haar aandrang platonies bly. Maar alles verander na ’n gewelddadige voorval in ’n restaurant, toe Nina daarop aandring dat hulle vir ’n paar dae na haar ou familieplaas toe gaan – ’n plek met ’n donker geskiedenis.
Soos sy lesers van André Brink kan verwag: hier is weer eens die meesterverteller aan die woord!
Jan Wentzel, verhaleredakteur van Die voorpunt, kry te make met Marié Hurter, ’n aspirant-skrywer wat maar net nie wíl aanvaar dat haar liefdesverhaal afgekeur is nie. Jan het hoë ideale en neem sy werk ernstig op, maar ’n probleem ontstaan. Hoe gemaak as hy nou ook ’n ogie op Marié het? Of voer dié ondeunde rooikop iets in die mou?
In Die rooikop en die redakteur en ander stories bring H&R vroeë verhale deur een van Afrikaans se belangrikste skrywers in een band byeen. Vóór die Sestiger-beweging, etlike literêre pryse en internasionale aansien het André Brink sy loopbaan begin as skrywer van humoristiese stories en spannings- en liefdesverhale in gesinstydskrifte. Die vermaaklike stories in dié bundel het gedurende die 50's in die tydskrifte Die huisgenoot en Die brandwag verskyn. Dié bundel kombineer Brink se eiesoortige sin vir humor met ’n tikkie nostalgie – perfek vir ’n ouer én nuwe geslag lesers. Saamgestel deur Cecilia van Zyl, voormalige verhaleredakteur van Die huisgenoot.
Hierdie boeiende versameling kortverhale bevat skryfwerk van ervare misdaadskrywers en bekendes in ander genres. 'n Reeks geslepe misdadigers kom te staan teen hul ewekniee aan die ander kant van die gereg: polisiemanne, privaatspeurders of net doodgewone mense in ongewone omstandighede. Met verhale deur o.a. Karin Brynard, Kerneels Breytenbach, Bettina Wyngaard, Martin Steyn, Jacques Steenkamp, Nathan Trantraal en Deborah Steinmair. Saamgestel deur Rudie van Rensburg.
"The novel, Brink argues, is not about representation but the
self-conscious play of language. From its inception, he suggests,
the genre has been about the act of writing and self-reflection.
This thesis is not new but is part of the currency of postmodern
literary theory. Brink, himself a noted South African novelist, the
author of some 12 books, including "A Dry White Season" (1984), and
a university professor, brings the insight of an insider. He
surveys 15 celebrated novels, historically arranged from "Don
Quixote" and "La Princesse de Cleves" to A.S. Byatt's "Possession"
and Italo Calvino's "If on a Winter Night a Traveller" examining
each in terms of its play with writing and language. His
discussions are marked by clarity, insight, and comprehension. A
"What a treat to explore the novel as a genre through the lucid
eyes of AndrA(c) Brink, himself one of the world's foremost
novelists! I particularly enjoyed the way in which the most
traditional novels were revealed as contemporary and entirely
The postmodernist novel has become famous for the extremes of its narcissistic involvement with language. In this challenging and wide-ranging new study, AndrA(c) Brink argues that this self-consciousness has been a defining characteristic of the novel since its inception. Taking as his starting point "the propensity for story" embedded in all language, he demonstrates that the old familiar novels may be the more startlingly modern, while postmodernist texts remain more firmly rooted in convention.
From the beginnings of the genre with Don Quixote, through "classic" novels of theeighteenth and nineteenth centuries and modern and postmodern texts of the twentieth, Brink performs a sweeping analysis of 500 years of the novel, including "Moll Flanders," "Emma," "Madame Bovary," "The Trial," "One Hundred Years of Solitude," and "Possession," As an internationally recognized novelist, he brings a unique critical eye and enthusiasm to his exploration of the genre, offering the reader a refreshing and rewarding introduction to the novel and narrative theory.
THE BOOK: A narrative counterpoint between two women, two South Africas. Kristien Muller returns from London to her homeland to fulfil a promise. Her grandmother lies on her deathbed unleashing a turmult of myth, legend and brute fact. Confronted by the realities of a land hurtling towards change, Kristien discovers that the present holds its own moments of savagery. A searing panorama of South Africa's experience, reminiscent in its political & imaginative scope of Marquez's One Hundred Years Of Solitude.
Andre Brink grew up in the deep interior of South Africa, as his magistrate father moved from one dusty dorp to the next. With searing honesty he describes his conflicting experiences of growing up in a world where innocence was always surrounded by violence.
While living in Paris in the sixties, the tragedy of Sharpeville crystallised his growing political awareness and sparked the decision to return home and oppose the apartheid establishment with all his strength. This resulted in years of harassment by the South African secret police, in censorship, and in fractured relationships with many people close to him. Equally it led to extraordinary friendships sealed by meetings with leaders of the ANC in exile in both Africa and Europe.
Andre Brink tells the story of a life lived in tumultuous times. His long love affair with music, art, the theatre, literature and sport illuminate this memoir as do relationships with remarkable women, among them the poet Ingrid Jonker, who have shared and shaped his life, and encounters with people like Ariel Dorfman, Anna Netrebko, Nadine Gordimer, Gunter Grass, Beyers Naude, Desmond Tutu and Nelson Mandela. Above all, A Fork in the Road is a love song to the country where he was born, and where, despite its recent troubles and tragedies, he still lives.
Black Butterflies is a new translation from Ingrid Jonker's work by two of South Africa's most illustrious authors, Andre Brink and Antjie Krog.
Ben du Toit is an ordinary, decent, harmless man, unremarkable in every way - until his sense of justice is outraged by the death of a man he has known. His friend died at the hands of the police. In the beginning it appears a straightforward matter, an unfortunate error that can be explained and put right. But as Ben investigates further he finds that his curiosity becomes labelled rebellion - and for a rebel there is no way back.
As startling and powerful as when first published more than two decades ago, Andre Brink's classic novel, "A Dry White Season," is an unflinching and unforgettable look at racial intolerance, the human condition, and the heavy price of morality.
Ben Du Toit is a white schoolteacher in suburban Johannesburg in a dark time of intolerance and state-sanctioned apartheid. A simple, apolitical man, he believes in the essential fairness of the South African government and its policies—until the sudden arrest and subsequent "suicide" of a black janitor from Du Toit's school. Haunted by new questions and desperate to believe that the man's death was a tragic accident, Du Toit undertakes an investigation into the terrible affair—a quest for the truth that will have devastating consequences for the teacher and his family, as it draws him into a lethal morass of lies, corruption, and murder.
In his early years, growing up on a Dutch farm in the deep interior of the southern African Cape, Cupido Cockroach became the greatest drinker, liar, fornicator and fighter of his region. Coming under the spell of a woman, the soap-boiler Anna, and the great Dr Johannes Theodorus van der Kemp of the London Missionary Society, Cupido is then made the first Khoi or 'Hottentot' missionary ordained at the Cape of Good Hope. Received into the fold of the Church, Cupido passionately turns against all his early beliefs and is appointed as missionary in a remote and arid region in the North-western Cape. But this also marks the beginning of his decline, as the Society abandons him to his fate. One by one, the members of his congregation disappear into the desert, so that in the end, abandoned even by his wife and children, he is left to preach to the stones and thorn trees and tortoises, returning to the dream-world of his people.
As a small child in a wintry Bremen, Hanna dreams about the other side of silence, the place where the wind comes from and palm trees wave in the sun. Seeing her chance to escape from years of abuse in an orphanage and in service, Hanna joins one of the shiploads of young women transported in the early years of the twentieth century to the colony of German South-West Africa to assuage the needs of the male settlers. Following atrocious punishment for daring to resist the advances of an army officer, she arrives in a phantasmagoric refuge in the African desert - 'prison, nunnery, brothel, shithouse, Frauenstein'. When the drunken excesses of a visiting army detachment threaten her only companion, Hanna revolts. Mounting a ragtag army of female and natives, she sets out on an epic march through the desert to take on the might of the German Reich.
This apocalyptic journey through the darker regions of the soul will also reveal to her the hidden meanings of suffering, revenge, companionship, love and compassion.
Winter in South Africa - a time of searing drought, angry stirrings in Soweto, and the shadow of the Angolan conflict cast across the scorched bush. Martin Mynhardt, a wealthy Afrikaner, plans a weekend at his old family farm. But his visit coincides with a time of crisis in his personal life. In a few days, the security of a lifetime is destroyed and, with only the uncertain values of his past to guide him, Mynhardt is left to face the wreckage of his future.
Helping to research her lover's film on the great plague, Andrea retur ns to Provence. However, her journey becomes more a trip of personal d iscovery than one of pure academic research as she begins to enjoy mor e and more of the idyllic lifestyle. Travelling with Mandla, a fellow South African and Black activist, helps Andrea put into perspective th e more hedonistic elements of her new life. However, through the inten sity of his own convictions Mandla forces his friend to re-assess her own beliefs, casting a shadow on the relationship. As the story unfold s in a landscape evoked with a breathtaking mastery, Andrea and Mandla confront the uneasy relationships which develop between themselves an d their lovers. Their difficulties form an allegory for those faced by two disparate continents, as they undertake the process of reconcilin g Europe's past and Africa's present.
Estienne Barbier, born in the Loire Valley in 1699, lays claim to service in the armies of the kings of France and Prussia, but he is an inveterate liar, and the truth is less glorious: irate husbands have made the Lowlands too hot to hold him, and he has deserted his pregnant wife to stow away for the Cape of Good Hope. An expedition to the hinterland opens his eyes to the majesty of the African landscape and its wondrous animals and he is enchanted by the rumour of a fabled city of gold. But he also begins to see clearly the sordid dealing that underlies the self-righteous pomposity of the East India Company. It is a vision that makes him powerful enemies. Taking cover on a remote farm, and energetically consoling sundry widows, Barbier finds himself, to his own surprise, fomenting rebellion.
Banned for many years in the author's native South Africa, Looking on Darkness tells the story of actor Joseph Malan as he awaits execution for the murder of his white lover. Andre Brink panders to no one's political, ideological or religious beliefs in a controversial novel which has achieved international significance and abundant critical acclaim. From three time winner of South Africa's most prestigious literary prize, the CNA Award.
`A massive apartheid thriller centred on a plot to blow up none other than the State President outside the gates of Cape Town Castle. . . Brink at his robust and imaginative best' - Adam Low, Daily Telegraph. A profound novel set in South Africa that combines compelling action with an intellectual confrontation of the author's poitically volatile home country. A brave masterpiece from Booker Prize shortlisted, award-winning author Andre Brink.
&?Brink writes feelingly of South Africa-the land, the black,
the white, the terrible beauty and tragedy that lies therein.&?
A remarkable new novel from a world class writer about love in all its forms. Chris Minaar is a writer; a distinguished South African writer, an old writer, a writer who has lost whatever gift he had for writing. It is on New Year's Eve, courtesy of his stalled car, that he meets Rachel, a young sculptress, a good samaritan who becomes the great love of his life, a love greater for being unfulfilled. Having believed that his remaining function should be to comfort his mother, more than a century old but now inclined to talk with alarming frankness about her life, he finds himself captivated by Rachel and drawn into a close friendship with her photographer husband George. As their friendship develops Chris must reconcile himself to an unaccustomed type of intimacy but one that inevitably threatens this precarious triangular relationship. Woven through this is the story of his life and of a lifetime's loving. For he has known many women in his time. tender attachments; women who leave him unexpectedly, those whose leaving is agonisingly protracted and those, perhaps the greater number, who never really go at all. From Daphne, the troubled dancer, to Bonnie, his authoritarian father's secretary, and Grethe, who arranges for her many lovers to meet at a party in her absence, these women define and inform his life. As it becomes clear that this book is the final writing act of Chris's creative life so we understand that the recollection of these many loves is an attempt to bring order to an otherwise chaotic existence. Erotic, searingly honest, elegaic and profoundly moving, Before I Forget is the history of a life set against the history of a nation, and the history of a transforming love.
"This is what it is to be a slave: that everything is decided for
you from out there. You just got to listen and do as they tell you.
You don't say no. You don't ask questions. You just do what they
tell you. But far at the back of your head you think: Soon there
must come a day when I can say for myself: This and that I shall
do, this and that I shall not."
"Brink blends history with invention and African myth . . . This bloody fable, rooted in bloody reality, is one of Brink's most powerful works."-"Los Angeles Times Book Review
When Flip Lochner, a seedy, tired journalist fleeing a failed
marriage, sees a beautiful woman with four breasts in Devil's
Valley, he thinks it's a mirage. But then a man called Lukas Death
stands before him. So begins Lochner's search for "the truth" first
hinted at by a young student in Cape Town who was mysteriously
killed. Lochner meets Lukas Death's clan, where righteousness
prevails by day and depravity by night, where punishment for
misdemeanors is summary, yet brutal murderers walk unscathed.
Nothing in Devil's Valley is as it seems: the supernatural is an
ingredient of every day, the living and the dead are never quite
separate, the grotesque coexists with the banal.
When expatriate Afrikaner Kristien Muller hears of her
grandmother's impending death, she ends her self-imposed exile in
London and returns to the South Africa she thought she'd escaped.
But irrevocable change is sweeping the land, and reality itself
seems to be in flux as the country stages its first democratic
elections. Kristien's Ouma Kristina herself is dying because of the
upheavals: a terrorist attack on her isolated mansion has
terminally injured her. As Kristien keeps vigil by her
grandmother's sickbed, Ouma tells Kristien stories of nine
generations of women in the family, stories in which myth and
reality blur, in which legend and brute fact are confused, in which
magic, treachery, farce, and heroism are the stuff of the
day-to-day. Imaginings of Sand is the passionate tale of a nation
discovering itself and of the women who pioneered that
"This is what it is to be a slave: that everything is decided for you from out there. You just got to listen and do as they tell you. You don't say no. You don't ask questions. You just do what they tell you. But far at the back of your head you think: Soon there must come a day when I can say for myself: This and that I shall do, this and that I shall not."
In "Philida, " longlisted for the Man Booker Prize, Andre
Brink--"one of South Africa's greatest novelists"
("The""Telegraph)--"gives us his most powerful novel yet; the truly
unforgettable story of a female slave, and her fierce determination
to survive and to be free.
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