In the wild night hours, or during the heat of the day - whenever man's thoughts whirl feverishly - then truth and fantasy, the past and the future, life and death are indiscriminately mingled on Toorberg, home of the Moolman family. So the magistrate is to learn as he investigates the strange circumstances of the death of little Noah, child of grief, who was not entirely of this world. Every day the case becomes more complex, until it challenges the very foundations of the law. It seems as if the magistrate will have to judge an entire dynasty, both the living and the dead. Everyone's guilt has to be affirmed, or denied, and this means he will have to rip open the lives of all. The Moolmans are a tribe who have long since learned how to deal with their own. Parents cut children out of their lives, shunt them aside to live as stepchildren, scrag-ends of the clan, or as city-dwellers whose names are never uttered. The Moolmans cannot forgive; not when their tribal blood is betrayed.
After his heart bypass operation, former champion athlete Christian Lemmer needs to take stock. When a Cape Flats gang begins to target him, this becomes vitally important. Christian commutes between Johannesburg and Stellenbosch, where he returns at weekends to his amnesiac wife Christine and his confrontational son Siebert. But he also has a hideaway that no one knows about, a flat in Sea Point where his drug dealer meets him, and a Swazi prostitute becomes his confidante. And in Matjiesfontein the staff of the Lord Milner Hotel and the local pigeon breeders are in a state of excitement with the approach of the Southern Cross Derby - the most important event in the Karoo's pigeon racing calendar. But other things are afoot in Matjiesfontein as well, things in which the lives of the Lemmers are soon to become involved, from the arrival of the Piss-Man to the disappearance of prodigy Snaartjie Windvogel who, it is said, bewitches her father's pigeons with her violin playing. The Lemmers come to the village to try to unravel one mystery, only to find themselves caught up in another.
Zan de Melker is a beautiful but eccentric woman. She is Zan of the unpredictable seizures and Xusan of the mysterious glass room. She's the Susan whose inappropriate sexual behaviour scandalises the community she lives in. And she is Xan the political activist, and sometimes Xusan Dimelaki, star of the Amsterdam stage. Zan's nephew Henk de Melker is a museum assistant in a small Eastern Cape town. Self-effacing and introverted, he is a meticulous researcher who writes slim monographs of unremarkable historical figures. Out of the blue, he receives a letter from an Amsterdam lawyer informing him that his long-lost Aunt Zan has died and has left him her house in the city. He must come to Amsterdam to claim his inheritance. But Henk is unprepared for what awaits him in Amsterdam. Not only does he have to decide whether to move there permanently, or give up his aunt's legacy, but he finds himself being drawn into the maelstrom of life in the Dutch city with its canal belt, pickpockets, prostitutes and street musicians. More than this, he finds that he himself is changing in a way that forces him to confront his past - those secrets of his childhood that were 'never talked out'. The thirty nights he spends in Amsterdam will change him for ever.
T. S. Eliot enjoyed a profound relationship with Earth. Criticism of his work does not suggest that this exists in his poetic oeuvre. Writing into this gap, Etienne Terblanche demonstrates that Eliot presents Earth as a process in which humans immerse themselves. The Waste Land and Four Quartets in particular re-locate the modern reader towards mindfulness of Earth’s continuation and one’s radical becoming within that process. But what are the potential implications for ecocriticism? Based on its careful reading of the poems from a new material perspective, this book shows how vital it has become for ecocriticism to be skeptical about the extent of its skepticism, to follow instead the twentieth century’s most important poet who, at the end of searing skepticism, finds affirmation of Earth, art, and real presence.
This is the first book to combine a discussion of post-apartheid development initiatives with an extended historical analysis of South Africa's dynamic race, class, gender and ethnic identities. Bringing together the research of an historical geographer and two development geographers, the book enables us to locate the post-apartheid transition in a broad historical and spatial perspective. Within this perspective, the limitations as well as the achievements of South Africa's current transformation are highlighted.
God would never have designed such a species.' So says Seamus Butler of his famous fall-goats, the genetic strain his father inadvertently bred on this Settler family's farm. They have an inborn fault: when startled, they keel over instantly in a dead faint. But it is precisely this which makes them worth their weight in gold, as a single fall-goat placed in a flock of sheep becomes the only prey when an enemy strikes, leaving the flock unharmed. These pathetic goats, with their mocking yellow eyes, have given the Butlers wealth and influence in the Eastern Cape - important factors in a time of political upheaval - but even they are unprepared for the moment when oil is discovered right in the middle of Port Cecil, the local harbour town. The implications of this discovery bring the local black civic organisation's demand for a unified city council sharply into focus. At the forefront of these aspirations is MaNdlovu Thandani, larger than life and seemingly indestructible. In opposition: Seamus Butler himself - a man whose dark moods and recurring depressions surge relentlessly through him. And, while history dictates that these two separate worlds will inevitably converge, the families on both sides cannot remain unaffected, threatening to fall apart beneath the weight of their place in history. This is the backdrop to the story of the stud master of the farm known as Fata Morgana. It is a story which carves a path through the lives of the people of this Eastern Cape district, all of them inextricably involved, inescapably trapped in their heritage during a time when beauty and cruelty, violence and hope all become entangled.
In the wild night hours, or during the heat of the day - whenever man's thoughts whirl feverishly - then truth and fantasy, the past and the future, life and death are indiscriminately mingled on Toorberg, home of the Moolman family. So the magistrate is to learn as he investigates the strange circumstances of the death of little Noah, child of grief, who was not entirely of this world. Every day the case becomes more complex, until it challenges the very foundations of the law. It seems as if the magistrate will have to judge an entire dynasty, both the living and the dead. Everyone's guilt has to be affirmed, or denied, and this means he will have to rip open the lives of all. The Moolmans are a tribe who have long since learned how to deal with their own. Parents cut children out of their lives, shunt them aside to live as stepchildren, scrag-ends of the clan, or as city-dwellers whose names are never uttered. The Moolmans cannot forgive; not when their tribal blood is betrayed.
Journeying to a remote mountain village to purchase a sculpture of mysterious origins, art curator Ingi Friedlander learns about an elusive treasure trove and befriends a blind, deaf, and mute immigrant who holds the key to local secrets. Reprint. 15,000 first printing.
This is what's always kept us together," said Jonty quietly. "It's the dream and the possibility that give meaning to Yearsonend. . . . For years now it hasn't been about gold . . . it's been about much more than that. . . . Take Mario Salviati, for instance: once the gold is found, the general will let him go. We'd be able to leave the past where it belongs. . . ." Secrets abound in the South African Karoo -- a remote landscape of mountains and desert, where legend weaves its way into daily life. A fabulous merman sculpture miraculously appears one morning in the yard of eccentric artist Jonty Jack, and Ingi Friedlander, a young art curator for the National Gallery at Cape Town, comes to Yearsonend to buy the masterpiece. When Jonty refuses her offer, Ingi resolves to stay and win him over. Intrigued by hints of the town's unusual history, Ingi persistently questions its inhabitants, who reveal that a mythical trove of gold is buried nearby. For several centuries gold fever has gripped the town and sent ripples of suspicion through those who live there. Tracing the roots of Yearsonend's violent and magical history of feuding families, troubled love, and corrosive greed, the narrative shuttles between the past and the present, linking two patriarchs with shadowy pasts, an earthy angel, a woman without a face, a ragtag band of soldiers, and a host of other colorful characters. As Ingi delves deeper into the mysteries of Yearsonend, she is inexplicably drawn to Mario Salviati, a deaf, dumb, and blind Italian stonecutter who holds the key to many of the town's secrets. A spectacular climax sheds light on many unanswered questions, and Ingi and the Yearsonenders learn thatthey are searching not only for their past, but also for the promise of the future. With extraordinary imagination and lyricism, Etienne van Heerden captures the essence of a land steeped in myth, and of a culturally diverse people, for whom storytelling and history are inextricably linked. In the rich magic-realism tradition of" One Hundred Years of Solitude, The Long Silence of Mario Salviati is an unforgettable journey toward understanding and inspiration.
God would never have designed such a species.' So says Seamus Butler of his famous fall-goats, the genetic strain his father inadvertently bred on this Settler family's farm. They have an inborn fault: when startled, they keel over instantly in a dead faint. But it is precisely this which makes them worth their weight in gold, as a single fall-goat placed in a flock of sheep becomes the only prey when an enemy strikes, leaving the flock unharmed. These pathetic goats, with their mocking yellow eyes, have given the Butlers wealth and influence in the Eastern Cape - important factors in a time of political upheaval - but even they are unprepared for the moment when oil is discovered right in the middle of Port Cecil, the local harbour town. The implications of this discovery bring the local black civic organisation's demand for a unified city council sharply into focus. At the forefront of these aspirations is MaNdlovu Thandani, larger than life and seemingly indestructible. In opposition: Seamus Butler himself - a man whose dark moods and recurring depressions surge relentlessly through him. And, while history dictates that these two separate worlds will inevitably converge, the families on both sides cannot remain unaffected, threatening to fall apart beneath the weight of their place in history. This is the backdrop to the story of the stud master of the farm known as Fata Morgana. It is a story which carves a path through the lives of the people of this Eastern Cape district, all of them inextricably involved, inescapably trapped in their heritage during a time when beauty and cruelty, violence and hope all become entangled.
Henk Andreas de Melke, lowly museum assistant in a small town in the Easter Cape, is unexpectedly informed that he is the sole beneficiary of his late, long-lost Aunt Zan's estate. Her final years were apparently spent in Amsterdam.Zan was a beautiful but eccentric woman, but she was prone to seizures and extremely unsociable behaviour...but her 'other life' - her political activism, her acting ability, her involvement in cloak-and-dagger scenarios - was known to very few.Upon arriving in Amsterdam, Henk soon finds that his own life becomes inextricably bound to that of his late aunt. During the course of thirty nights in Holland's capital city many secrets are revealed, and Henk returns to South Africa with the knowledge that his life will never be the same again.
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