Brian Worsfold English Department University of Barcelona Lleida, Spain

Dear Brian,

Feb.24, 1993

I am enclosing a list of entries on Lewis Nkosi taken from three successive volumes of my bibliography, Black African Literature in English. If some of these materials are not available to you, send me a list of the item numbers preceding the essays you need, and I'll try to supply as many as I can. Nothing published after 1986 is listed, but I am currently working on a 1987-1991 update of the bibliography and will send you a list of more recent scholarship soon.

I trust that your writing is going well. Please remember that our deadline is June 1st. Earlier submissions are of course welcome.

Sincerely yours,

Bernth Lindfors

P.S. Yes, I certainly do remember Toloriu. It would be good to visit that place again, expecially to see the reroofing job, but I doubt that I'll be getting anywhere near southern Europe until the summer of 1994 at the earliest. I'll be in London from the 14th to the 29th of March and would be happy to meet you and Maria there if you will be in town then. If that proves impossible to arrange, Judith and I will look forward to seeing you in Austin this spring.

LEWIS NKOSI -- 1987-1991

Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. THE EMPIRE WRITES BACK: THEORY AND PRACTICE IN POST­COLONIAL LITERATURES. London and New York: Routledge, 1989.

Achebe, Awoonor, Chinweizu, Ngugi, Nkosi, Okara, Soyinka, Tutuola, et al.

Davis, Geoffrey V., ed. CRISIS AND CONFLICT: ESSAYS ON SOUTHERN AFRICAN LITERATURE: PROCEEDINGS OF THE Xlth ANNUAL CONFERENCE ON COMMONWEALTH LITERATURE AND LANGUAGE STUDIES IN GERMAN-SPEAKING COUNTRIES, AACHEN-LIEGE, 16-19 JUEN, 1988. African Literatures in English, 2. Essen: Die Blaue Eule, 1990.

Euba, Femi. ARCHETYPES, IMPRECATORS, AND VICTIMS OF FATE: ORIGINS AND DEVELOPMENTS OF SATIRE IN BLACK DRAMA. Contributions in Afro-American and African Studies, 126. New York: Westport, CT; London: Greenwood Press, 1989.

Nkosi, Rotimi, Soyinka, et al.

Metzger, Linda, Hal May, Deborah A. Straub, and Susan M. Trosky, eds. BLACK WRITERS: A SELECTION OF SKETCHES FROM CONTEMPORARY AUTHORS. Detroit and London: Gale Research, 1989.

Rpts. CA entries on Aidoo, Aluko, Amadi, Armah, A woonor, Clark, Ekwensi, Kayira, Kgositsile, Konadu, M. Kunenen, La Guma, Liyong, Mbiti, Nicol, Nkosi, Odaga, Okara, Okigbo, Okpaku, Onyeama, Peters, Rive, Rotimi, Selormey, Sutherland. Includes lengthier essays on major writers:

Nicol, Mike. A GOOD-LOOKING CORPSE. London: Secker and Warburg, 1991.

History of DRUM, including interviews, reminiscences and writings of those associated with it. Maimane, Matshikiza, Mattera, Modisane,

Research 183

Motsisis, Mphahlele, Musi, Nakasa, Nkosi, Mxumalo, Themba, et al.

Orkin, Martin. DRAMA AND THE SOUTH AFRICAN STA TE. Manchester and New York: Manchester University Press; Johannesburg: Witwatersrand University Press, 1991.

Discusses censorship, H.I.E. Dhlomo, Kani, Kente, Manaka, Maponya, Maqina, Mhangwane, Mtwa, Ngema, Nkosi, Ntshona, Shezi, et al.

Schinke, Martin. AFRIKANISCHE LITERA TUR IN DER KRITIK: EINE STUDIE ZUR THEORIE- UND METHODENDISKUSSION. Munich: Iudicium, 1989.

Achebe, Armah, Awoonor, Chinweizu, Clark, Echewa, Egudu, Ekwensi, Irele, Iyasere, Izevbaye, Jones, Liyong, Madubuike, Mphahlele, Nazareth, Ngugi, Nkosi, Nnolim, Nwoga, Ogungbesan, Okigbo, Okapku, Omotoso, Palmer, Soyinka, Tutuola, P. Zirimu, et al.

Schipper, Mineke. BEYOND THE BOUNDARIES: AFRICAN LITERATURE AND LITERARY THEORY. London: Allison & Busby with W.H. Allen, 1989.

Also treats fiction, drama, oral literature, images, literary history, censorship, et al. Rpts. Achebe, Mutwa, Ngugi, Nkosi, Okpewho, Soyinka, Tutuola, et al. Rpts. 6126, 6943, 7805-07,

Sevry, Jean. "Petit portrait de Lewis Nkosi." NOUVELLES DU SUD, 12 (1989), 150-154.

Shava, Piniel Viriri. A PEOPLE'S VOICE: BLACK SOUTH AFRICAN WRITING IN THE TWENTIETH CENTURY. London: Zed Books; Ahtnes, OH: Ohio University Press; Harare: Baobab Books, 1989.

Abbrahams, Brutus, R.R.R.Dhlomo, Dikobe, Essop, Gwala, La Guma, Manaka, Manganyi, Mattera, Matthews, Modisane, Mphahlele, Mtshali, Ndebele, Ngugi, Nkosi, Plaatje, Rive, Serote, Themba, Zwelonke, et al. Surveys early writing,

184 Research

protest literature, black consciousness poetry, popular theatre, et al.

Soyinka, Wole. MYTH, LITERATURE AND THE AFRICAN WORLD. Cambridge, New York, Melbourne: Cambridge University Press, 1990.

New paper ed. of BALE 604. Achebe, Arrnah, Brutus, Clark, Conton, La Guma, Nkosi, Rive, Soyinka, Worku, et al.

Tucker, Martin, ed. LITERARY EXILE IN THE TWENTIETH CENTURY: AN ANALYSIS AND BIOGRAPHICAL DICTIONARY. New York; Westport, CT; London: Greenwood Press, 1991.

Abrahams, Arrnah, Awoonor, Brutus, Emecheta, Farah, Gumah, Head, Kgositsile, D. Kunene, M. Kunene, La Guma, Liyong, Matshikiza, Modisane, Mphahlele, Mtshali, Mzamane, Nazareth, Ngugi, Nkosi, Nortje, Okri, p'Bitek, Pieterse, Rive, Serote, Soyinka, Themba, et al.

Watts, Jane. BLACK WRITERS FROM SOUTH AFRICA: TOWARDS A DISCOURSE OF LIBERATION. New York: St. Martin's Press, 1989.

Abrahams, Boetie, Head, Hutchinson, Jabavu, La Guma, Manganyi, Matshikiza, Modisane, Mphahlele, Mzamane, Nkosi, Rive, Sepamla, Serote, Tlali, et al.

Welch, Tessa. "Controlling the Story." EAR, 5 (1988), 201-205.

MATING BIRDS.

Worsfold, Brian. "In Conversation with Lewis Nkosi." In Worsfold, , pp. 63-72.

Worsfold, Brian, ed. FESTSCHRIFT FROM LLEIDA FOR PROFESSOR DOIREANN MACDERMOTT, UNIVERSITY OF BARCELONA. Pref. Victor Siurana. Lleida, Spain: Estudi General de Lleida, 1990.

Schadeberg, Jurgen, ed. THE FIFTIES PEOPLE OF SOUTH AFRICA. Lanseria, South Africa: Bailey's African Photo Archives, 1987.

Brief biographies and photos of Mairnane, Matshikiza, Modisane, Motsisi, Mphahlele, Nakasa, Nkosi, Nxumalo, Themba, et al.

,__')-· '-

30 Bibliographies

NKOSI -- CROSS REFERENCES

(Bibliography)

3315. Anon. DIE FUNKTION MODERNER AFRIKANISCHER LITERA TUREN: AFRIKANISCHES LITERA TURSYMPOSIUM: AUSWAHLBIBLIOGRAPHIE ZU AFRIIKANISCHEN AUTHOREN. Frankfurt am Main: Stadt- und Universitatsbibliothek Frankfurt am Main, 1980.

(Biography & Autobiography)

so.

58.

Zell, Hans M., and Helene Silver. A READER'S GUIDE TO AFRICAN LITERATURE. London: Heinemann; New York: Africana Publishing Corp., 1972.

Herdeck, Donald E. AFRICAN AUTHORS: A COMPANION TO BLACK AFRICAN WRITING. Vol. 1: 1300-1973. Washington, DC: Black Orpheus Press, 1973.

59. Jahn, Janheinz; Ulla Schild; and Almut Nordmann. WHO'S WHO IN AFRICAN LITERATURE: BIOGRAPHIES, WORKS, COMMENTARIES. Tiibingen, Germany: Erdmann, 1972.

61. Skurjat, Ernestyna. AFRYKA W TWORCZOSCI JEJ PISARZY [Africa through the works of its authors]. Studium Afrykanistyczne, Uniwersytetu Warszawskiego, 14. Warsaw: Wydawnictwa Uniwersytetu Warszawskiego, 1973.

6194. Zell, Hans M., Carol Bundy, and Virginia Coulon, eds. A NEW READER'S GUIDE TO AFRICAN LITERATURE. 2nd ed. London, Ibadan, Nairobi: Heinemann· , New York: Africana, 1983.

6196. Adey, David, Ridley Beeton, Michael Chapman, and Ernest Pereira, comps. COMP ANION TO SOUTH AFRICAN ENGLISH LITERATURE. Craighall, South Africa: Donker, 1986.

6197. Anon. AFRICAN ENCYCLOPEDIA. London: Oxford University Press, 1974.

6229. Richardson, Kenneth, ed. TWENTIETH CENTURY WRITING: A READER'S GUIDE TO CONTEMPORARY LITERATURE. London: Newness Books 1969; Levittown, NY: Transatlantic Ar;s, 1971.

9137. Wolfers, Michael. "A Harare Happening." WA, 26 September 1983, pp. 2232-34.

11430. Abu, Sully. "How Southern Africa Writers Celebrated Soyinka." GUARDIAN, 26 October 1986, p. B8.

(Interviews)

75. Lindfors, Bernth; Ian Munro; Richard [K.] Priebe; and Reinhard [W.] Sander, eds. PALA VER: INTERVIEWS WITH FIVE AFRICAN WRITERS IN TEXAS. Occasional Publication, 3. Austin: African and Afro-American Research Institute University of Texas, 1972. '

78. National Educational Television. "In French-Speaking Africa: The Literary Impact of Negritude." NegroD, 14, 7 (1965), 70-74.

79. National Educational Television. "The Problems of African Culture and Literature." NegroD, 14, 8 (1965), 61-69.

80. National Educational Television. "The African Writer in Search of His Audience." NegroD, 15, 1 (1965), 10-17.

81. National Educational Television. "African Writers Today: Relating Literature and Life." NegroD, 15, 9 (1966), 39-46; rpt. in Killam, 339, pp. 118-26.

82. Nkosi, Lewis. "Some Conversations with African Writers." AfricaR, 9, 7 (1964), 7-21.

83. Nkosi~ Lewis. "African Writers of Today: Interviews Conducted by Lewis Nkosi." CLASSIC, 1, 4 (1965), 55-78; Beier interview rpt. in TOPIC, 4 (1965), 17.

6267. Tetteh-Lartey, Alex. "[Interviews with Lewis Nkosi, Alfred Mukanaka and Moses Kwali at a Public Reading Sponsored by the Zambia National Association of Writers]." BBCAA, 497 (1983), 1-2.

8105. Garscha, Karsten, and Dieter Riemenschneider, eds. AFRIKANISCHE SCHRIFTSTELLER IM GESPRACH: DIE FUNKTION MODERNER AFRIKANISCHER LITERATUREN. Introd. Peter Weidhaas. Wuppertal: Hammer, 1983.

8512. Frederikse, Julie. "[Interview with David Martin, Lewis Nkosi, Nuruddin Farah, Ingoapele Madingoane, Jack Mapanje, Gabriel Okara and Chenjerai Hove about Zimbabwe Book Fair] ." BBCAA, 506 (1983), 1-5.

10753. Sander, Reinhard, ed. "Forum of Writers and Critics." In Breitinger and Sander, 6339, pp. 19-25.

(Criticism)

122. Apronti, E.O. "The Tyranny of Time: The Theme of Time in the Artistic Consciousness of South African Writers." ALT, 8 (1976), 106-14.

217. Dathorne, O[scar] R[onald]. THE BLACK MIND: A HISTORY OF AFRICAN LITERATURE. Minneapolis: University of Minnesota Press, 1974.

327. Kartuzov, S.P., and V.V. Oshis. "Literatura Iuzhno-Afrikanskoi Respubliki [Literature in the Republic of South Africa]." In Nikiforova, 469, pp. 109-95.

348. Klima, Vladimir; Karel Frantisek Ruzicka; and Petr Zima. BLACK AFRICA: LITERATURE AND LANGUAGE. Dordrecht, Netherlands; Boston: Reidel, 1975.

604. Soyinka, Wale. MYTH, LITERATURE AND THE AFRICAN WORLD. Cambridge: At the University Press, 1976.

617. Tibble, Anne, ed. AFRICAN-ENGLISH LITERATURE: A SHORT SURVEY AND ANTHOLOGY OF PROSE AND POETRY

Bibliographies 31

UP TO 1965. London: Peter Owen; New York: October House, 1965.

648. Wastberg, Per, ed. THE WRITER IN MODERN AFRICA: AFRICAN­SCANDINA VIAN WRITERS' CONFERENCE, STOCKHOLM 1967. Uppsala, Sweden: Scandinavian Institute of African Studies, 1968; New York: Africana Publishing Corp., 1969.

736. Kartuzov, S.P. "Znachenie literaturnykh svyazey v sovremennoy proze Yuzhno­afrikanskoy respubliki [The importance of literary junctures in the contemporary prose writing of the Republic of South Africa] ." In Nikiforova, 465, pp. 128-35.

737. Kartuzov, S.P. "Evolyuciya geroya v sovremennoy proze Juzhno-afrikanskoy respubliki [The evolution of the hero in contemporary prose writing of the Republic of South Africa]." In Ol'derogge, 509, pp. 375-98.

744 . Klima, Vladimir. SOUTH AFRICAN PROSE WRITING IN ENGLISH. Dissertationes Orientales, 32. Prague: Oriental Institute in Academia, Publishing House of the Czechoslovak Academy of Sciences, 1971.

953. Fiebach, J. "On the Social Function of Modern African Theatre and Brecht." DARLITE, 4, 2 (1970), 5-19; UMMA, 5 (1975), 159-71.

960. Gerard, Albert [S.]. "Tragedies africaines." RevN, 41 (1965), 184-94.

1011. McDowell, Robert E. "African Drama, West and South." AT, 15, 4 (1968), 25-28.

1077. Soyinka, Wale. "Modern Negro-African Theatre: The Nigerian Stage, A Study in Tyranny and Individual Survival." In Anon., 113, pp. 495-504.

1106. Woodrow, Mervyn. "South African Drama in English." CompD, 4 (1970), 132-48.

1347. Anderson, Susan. "Something in Me Died: Autobiographies of South African Writers in Exile." BA, 44 (1970), 398-404.

32 Bibliographies

1357. Olney, James. TELL ME AFRICA: AN APPROACH TO AFRICAN LITERATURE. Princeton, NJ: Princeton University Press, 1973.

1417. Brown, Lloyd W. "The Moral Significance of European Languages in African Literature." TODAY'S SPEECH, 19, 2 (1971), 3-11.

1494. Klima, Vladimir. "The South African Writer's Political Commitment." ArO, 42 (1974), 193-99.

1517. Onoge, Omafume F. "The Crisis of Consciousness in Modem African Literature: A Survey." CJAS, 8 (1974), 385-410.

1558. Moyana, T.T. "Problems of a Creative Writer in South Africa." In Heywood, 290, pp. 85-98.

3438. Cook, David. AFRICAN LITERATURE: A CRITICAL VIEW. London: Longman, 1977.

3490. Grant, Jane. "The Literature of Exile: A Comparative Study of Exiled Writers from the West Indies and South Africa." SARP, 3 (1978), 30-57.

3602. Niven, Alastair. "Exile and Expatriation in African Literature." LHY, 21, 1 (1980), 167-80.

3910. Dieltjens, Louis, and Digby Benn. "Theater en apartheid: Het zwart Engelstalig theater in Zuid-Afrika [Theatre and Apartheid: The Black English Theatre in South Africa]." KREATIEF, 11, 4-5 (1977), 68-93.

3920. Feichtinger, C. "Emanzipationsprobleme im schwarzamerikanischen und schwarzafrikanischen Drama der Gegenwart." DAI, 39 (1979), 370C (Vienna).

4028. Schipper-de Leeuw, Mineke. TONEEL EN MAATSCHAPPIJ IN AFRIKA [Theatre and Society in Africa]. Terreinverkenningen in de Culturele Antropologie, 8. Assen/ Amsterdam: Van Gorcum, 1977.

4479. February, V.A. MIND YOUR COLOUR: THE 'COLOURED' STEREOTYPE IN SOUTH AFRICAN LITERATURE. London and Boston: Kegan Paul International, 1981.

4574. Maximin, Daniel. "'Drum' ou la generation perdue: Les Intellectuels sud­africains de la revue 'Drum' dans les annees 50." In Society of African Culture, 3675, pp. 331-42.

6324. Barnett, Ursula A. A VISION OF ORDER: A STUDY OF BLACK SOUTH AFRICAN LITERATURE IN ENGLISH (1914-1980). London: Sinclair Browne; Amherst, MA: University of Massachusetts Press, 1983.

6946. Sevry, Jean. "Le Roman et les races en Afrique du Sud de la guerre des boers aux annees soixante." Ph.D. dissertation, University of Paris III, 1978. 2 Vols. Published at Lille: University of Lille, 1982.

7244. Kavanagh, Robert Mshengu. THEATRE AND CULTURAL STRUGGLE IN SOUTH AFRICA. London: Zed Books, 1985.

7399. Ruhumbika, Gabriel. "Le Theatre africain." Ph.D. dissertation, University of Paris, [1969].

7404. Schipper, Mineke. THEATRE AND SOCIETY IN AFRICA. Johannesburg: Ravan Press, 1982. THEATRE ET SOCIETE EN AFRIQUE. Dakar, Abidjan, Lome: Le Nouvelles Editions Africaines, 1984.

7419. Smith, Arthur Edgar E. "A Presentation of the Modern African Predicament in Modem African Drama." Master's thesis, Fourah Bay College, University of Sierra Leone, 1986.

7488. Woodrow, M.W. "A Critical Consideration of English Plays Written in South Africa, with Special Reference to the Emergence of a Dominant Theme." Master's thesis, University of Pretoria, 1972.

7676. Abubakar, Tanimu. "Black South African Fiction and the National Liberation

Struggle (1969-1984): A Problem of Criticism." WP, 4 (1986), 57-65.

7853. Smith, Rowland. "Autobiography in Black and White: South African Views of the Past." CE&S, 7, 2 (1985), 72-82.

8007. Abraham, Kinfe. FROM RACE TO CLASS: LINKS AND PARALLELS IN AFRICAN AND BLACK AMERICAN PROTEST EXPRESSION. Foreword Hailu Araya. London: Grassroots Publisher, 1982.

NKOSI -- CROSS REFERENCES FROM CROSS REFERENCES

6236. Vinson, James, and D.L. Kirkpatrick, eds. CONTEMPORARY DRAMATISTS. 3rd ed. Pref. Ruby Cohn. London: Macmillan; New York: St. Martin's Press, 1982.

1097. Vinson, James, ed. CONTEMPORARY DRAMATISTS. Pref. Ruby Cohn. London: St. James Press; New York: St. Martin's Press, 1973.

339. Killam, G. Douglas, ed. AFRICAN WRITERS ON AFRICAN WRITING. London: Heinemann; New York: Africana Publishing Corp., 1973.

6339. Breitinger, Eckhart, and Reinhard Sander, eds. S1VDIES IN COMMONWEALTH LITERATURE: PAPERS PRESENTED AT THE COMMONWEALTH LITERATURE AND LANGUAGE CONFERENCE AT BAYREUTH UNIVERSITY, JUNE 16-19, 1983. Tiibingen: Narr, 1985.

469. Nikiforova, Irina D., et al. SOVREMENNYE LITERA TURY AFRIKI: VOSTOCHNAIA I IUZHNAIA AFRIKA [Contemporary African literatures: North and West Africa]. Moscow: Nauka, 1973.

465. Nikiforova, Irina D., ed. AKTUALNYE PROBLEMY IZUCENIJA LITERA1VR AFRIKI [Present problems in the study of African literatures]. Moscow: Nauka, 1969.

Bibliographies 33

509. Ol'derogge, D.A., et al., eds. FOL'KLOR I LITERA TURA NARADOV AFRIKI [Folklore and literature of African peoples]. Moscow: Nauka, 1970.

113. Anon. COLLOQUIUM: FUNCTION AND SIGNIFICANCE OF AFRICAN NEGRO ART IN THE LIFE OF THE PEOPLE AND FOR THE PEOPLE (MARCH 30-APRIL 8, 1966). Paris: Presence Africaine, 1968.

290. Heywood, Christopher, ed. ASPECTS OF SOUTH AFRICAN LITERATURE. London: Heinemann; New York: Africana Publishing Corp., 1976.

3675. Society of African Culture. L'AFRIQUE DU SUD AUJOURD'HUI/SOUTH AFRICA TODAY. Paris: Presence Africaine, 1978.

184 Research

LEWIS NKOSI --1987-1991

Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. THE EMPIRE WRITES BACK: THEORY AND PRACTICE IN POST-COLONIAL LITERATURES. London and New York: Routledge, 1989.

Achebe, Awoonor, Chinweizu, Ngugi, Nkosi, Okara, Soyinka, Tutuola, et al.

Davis, Geoffrey V., ed. CRISIS AND CONFLICT: ESSAYS ON SOUTHERN AFRICAN LITERATURE: PROCEEDINGS OF THE Xlth ANNUAL CONFERENCE ON COMMONWEALTH LITERATURE AND LANGUAGE STUDIES IN GERMAN-SPEAKING COUNTRIES, AACHEN-LIEGE, 16-19 JUEN, 1988. African Literatures in English, 2. Essen: Die Blaue Eule, 1990.

Euba, Femi. ARCHETYPES, IMPRECA TORS, AND VICTIMS OF FATE: ORIGINS AND DEVELOPMENTS OF SATIRE IN BLACK DRAMA. Contributions in Afro-American and African Studies, 126. New York: Westport, CT; London: Greenwood Press, 1989.

Nkosi, Rotimi, Soyinka, et al.

Metzger, Linda, Hal May, Deborah A. Straub, and Susan M. Trosky, eds. BLACK WRITERS: A SELECTION OF SKETCHES FROM CONTEMPORARY AlITHORS. Detroit and London: Gale Research, 1989.

Rpts. CA entries on Aidoo, Aluko, Amadi, Armah, A woonor, Clark, Ekwensi, Kayira, Kgositsile, Konadu, M. Kunenen, La Guma, Liyong, Mbiti, Nicol, Nkosi, Odaga, Okara, Okigbo, Okpaku, Onyeama, Peters, Rive, Rotimi, Selormey, Sutherland. Includes lengthier essays on major writers:

Nicol, Mike. A GOOD-LOOKING CORPSE. London: Secker and Warburg, 1991.

History of DRUM, including interviews, reminiscences and writings of those associated with it. Maimane, Matshikiza, Mattera, Modisane, Motsisis, Mphahlele, Musi, Nakasa, Nkosi, Mxumalo, Themba, et al.

Orkin, Martin. DRAMA AND THE SOUTH AFRICAN ST ATE. Manchester and New York: Manchester University Press; Johannesburg: Witwatersrand University Press, 1991.

Discusses censorship, H .I.E. Dhlomo, Kani, Kente, Manaka, Maponya, Maqina, Mhangwane, Mtwa, Ngema, Nkosi, Ntshona, Shezi, et al.

Schinke, Martin. AFRIKANISCHE LITERATUR IN DER KRITIK: EINE STUDIE ZUR THEORIE- UND METHODENDISKUSSION. Munich: Iudicium, 1989.

Achebe, Armah, Awoonor, Chinweizu, Clark, Echewa, Egudu, Ekwensi, Irele, Iyasere, Izevbaye, Jones, Liyong, Madubuike, Mphahlele, Nazareth, Ngugi, Nkosi, Nnolim, Nwoga, Ogungbesan, Okigbo, Okapku, Omotoso, Palmer, Soyinka, Tutuola, P. Zirimu, et al.

Schipper, Mineke. BEYOND THE BOUNDARIES: AFRICAN LITERATURE AND LITERARY THEORY. London: Allison & Busby with W.H. Allen, 1989.

Also treats fiction, drama, oral literature, images, literary history, censorship, et al. Rpts. Achebe, Mutwa, Ngugi, Nkosi, Okpewho, Soyinka, Tutuola, et al. Rpts. 6126, 6943, 7805-07,

Sevry, Jean. "Petit portrait de Lewis Nkosi." NOUVELLES DU SUD, 12 (1989), 150-154.

Shava, Piniel Viriri. A PEOPLE'S VOICE: BLACK SOUTH AFRICAN WRITING IN THE TWENTIETH CENTURY. London: Zed Books; Ahtnes, OH: Ohio University Press; Harare: Baobab Books, 1989.

Abbrahams, Brutus, R.R.R.Dhlomo, Dikobe, Essop, Gwala, La Guma, Manaka, Manganyi, Mattera, Matthews, Modisane, Mphahlele, Mtshali, Ndebele, Ngugi, Nkosi, Plaatje, Rive, Serote, Themba, Zwelonke, et al. Surveys early writing, protest literature, black consciousness poetry, popular theatre, et al.

Soyinka, Wole. MYTH, LITERATURE AND THE AFRICAN WORLD. Cambridge, New York, Melbourne: Cambridge University Press, 1990.

New paper ed. of BALE 604. Achebe, Armah, Brutus, Clark, Conton, La Guma, Nkosi, Rive, Soyinka, Worku, et al.

Tucker, Martin, ed. LITERARY EXILE IN THE TWENTIETH CENTURY: AN ANALYSIS AND BIOGRAPHICAL DICTIONARY. New York; Westport, CT; London: Greenwood Press, 1991.

Abrahams, Armah, Awoonor, Brutus, Emecheta, Farah, Gurnah, Head, Kgositsile, D. Kunene, M. Kunene, La Guma, Liyong, Matshikiza, Modisane, Mphahlele, Mtshali, Mzamane, Nazareth, Ngugi, Nkosi, Nortje, Okri, p'Bitek, Pieterse, Rive, Serote, Soyinka, Themba, et al.

Watts, Jane. BLACK WRITERS FROM SOUTH AFRICA: TOW ARDS A DISCOURSE OF LIBERATION. New York: St. Martin's Press, 1989.

Abrahams, Boetie, Head, Hutchinson, Jabavu, La Guma, Manganyi, Matshikiza, Modisane, Mphahlele, Mzamane, Nkosi, Rive, Sepamla, Serote, Tlali, et al.

Welch, Tessa. "Controlling the Story." EAR, 5 (1988), 201-205.

MATING BIRDS.

Worsfold, Brian. "In Conversation with Lewis Nkosi." In Worsfold, , pp. 63-72.

Worsfold, Brian, ed. FESTSCHRIFr FROM LLEIDA FOR PROFESSOR

Research 185

OOIREANN MACDERMOTT, UNIVERSITY OF BARCELONA. Pref. Victor Siurana. Lleida, Spain: Estudi General de Lleida, 1990.

Schadeberg, Jurgen, ed. THE FIFTIES PEOPLE OF SOUTH AFRICA. Lanseria, South Africa: Bailey's African Photo Archives, 1987.

Brief biographies and photos of Maimane, Matshikiza, Modisane, Motsisi, Mphahlele, Nakasa, Nkosi, Nxumalo, Themba, et al.

NKOSI /

Dodd, Josephine. "The South African Literary Establishm~:nfand the Textual Production of 'Woman': J.M. Coetzee and Lewis Nkosi." <:YRRENT WRITING, 2 (1990), 117-129.

Kindermann, Wolf. "The Black Short Story in South Africa: Disintegration and th eBlack Phoenix." AW A-FINNABA, 11 (1988), 23-27.

-- Mphahlele, Nkosi, et al.

Kriger, Robert. "The Implications and Challenges of the Cultural Boycott: Panel and Plenary Discussion Conducted in the Protestant Academy, Bad Boll on Sunday, December 13, 1987." In Schafer and Kriger, , pp. 187-203.

-- Panel included Masilela, Mtshali, Nkosi, Smallberg.

Lepping, Christopher. "On Black Writers: Novels and Short Stories, with Lewis Nkosi and Farouk Asvat." In Schafer and Kriger, , pp. 155-157.

-- Summary of conference workshop, Bad Boll, 1987. Discussion of language, audience, et al.

Nwachukwu-Agbada, J.O.J. "Oppression and Resistance in South African Drama." LITERATURE OF THE OPPRESSED, 2, 1 (1990), 37-50.

-- H. Dhlomo, Mutwa, Nkosi, Shezi, et al.

Interview: See 6375.

NJURURI, NGUMBU

Biography

10938. Anon. "Njururi, Ngumbu." CAR, 17-20 (1976), 545.

Interview

2880. Lautre, Maxine. "Ngumbu Njururi Interviewed by Maxine Lautre." CulEA, 48 (1968), i-iv supp.

NKETIA, J.H. KWABENA

Biography; See 59.

NKOLOKOSA, JIKA

Criticism

10939. Kapalamula, O.G. "Jika Nkolokosa's Poetry: Meaningful or Obscure?" MUSEZ, 28 [1979], 10-11.

10940. Kishindo, Pas. '"We Are Brothers': Through the Critical Slaving Machine." MUSEZ, 20 [1979], 3-4.

G KOSI, LEWIS J Bibliography: See 3315.

Biography and Autobiography

10941. Anon. "Nkosi, Lewis." CA, 65-68 (1977), 435.

10942. Bruchac, Joseph. "Nkosi, Lewis." In Vinson and Kirkpatrick, 6236, pp. 597-99.

Rpt. of BALE 2882.

10943. Nkosi, Lewis. "TASKS AND MASKS." TLS, 26 November 1982, p. 1312.

Takes exception to biographical speculations in a review by Dennis Walder, 27 August.

See 50, 58-59, 61.

See 3315.

See also 6194, 6196-97, 6229, 9137, 11430.

Individual Authors 275

Interviews

2881. Duerden, Dennis et al. "Arcadia--or the Modem World." New A, 5, 2 (1966), 24-25.

Discussion of HOME AND EXILE.

10944. Omari, Ernrnan. "Lewis Nkosi Talks to Emrnan Omari: Drums and Dance 'No Longer Writer's Major Exponents."' SUNDAY TIMES (Nairobi), 19 August 1984, p. 5.

10945. Tetteh-Lartey, Alex. "[Interview with Lewis Nkosi about the Christian Influence on African Writing]." BBCAA, 117 (1976), 1-4.

See also 75, 78-83.

See also 6267, 8105, 8512, 10753.

Criticism

2882. Bruchac, Joseph. "Lewis Nkosi." In Vinson, 1097, pp. 577-78.

2883. Hyuwa, Daniel D. "A Short Commentary on Lewis Nkosi's THE RHYTHM OF VIOLENCE." MIRROR, 2 (1975-76), 76-86.

10946. Kirkwood, Mike. "Fifties' People." LEADERSHIP SA, 5, 6 (1986), 100-04.

MATING BIRDS.

10947. Kirogo, S.K. "An Author's Look at Apartheid." STANDARD, 1 June 1985, p. 14.

2884.

5775.

2885.

McCartney, Barney C. "Dramaturgical Movement in Lewis Nkosi's THE RHYTHM OF VIOLENCE." NALF, 8 (1974), 268-70.

Magel, Emil A. "Theme and Role-Ch~f]ne Motifs in Lewis Nkosi'a THE RHYTHM OF VIOLENCE." JAAAA, 3, 1 (1979), 80------~· ~- -Onibonoje, 'Biodun. THE RHYTHM OF VIOLENCE. NOTES, Q/ A. Ibadan, Nigeria: Onibonoje Press & Book Industries, 1975.

Study guide.

.. 276 Individual Authors

See also 122, 217, 327, 348, 604, 617, 648, 736-37, 744,953,960, 1011, 1077, 1106, 1347, 1357, 1417, 1494, 1517, 1558.

See also 3438, 3490, 3602, 3910, 3920, 4028, 4479, 4574.

See also 6324, 6946, 7244, 7399, 7404, 7419, 7488, 7676, 7853, 8007.

NKRUMAH, FRANCIS NWIA KOFIE KWAME

Biography: See 58-59. See 6226, 6529, 8451, 9379.

NNOLIM, CHARLES

Interview

10948. Ewuzie, Alvan. "Prof. Charles Nnolim Talks to TI-IE MUSE." MUSE, 16 (1983-84), 2-3.

Criticism; See 1265.

NNOLIM, SIMON ALAGBOGU

Criticism: See 5205.

NORTJE, KENNETH ARTHUR

Bibliography

10949. Williams, S., H. Colenbrander, and C. Owen, comps. A BIBLIOGRAPHY ON KENNETH ARTHUR NORTJE (1942-1970). Pretoria: Subject Reference Department, University of South Africa Sanlam Library, 1980.

Supplement to BALE 5776.

5776.* Woolley, H., and S. Williams. A BIBLIOGRAPHY OF KENNETH ARTIIUR NORTJE 1942-1970. Pretoria: Unisa Sanlam Library, 1979.

See also 7493.

Biography and Autobiography

2886. Brutus, Dennis. "In Memoriam: Arthur Nortje, 1942-1970." RAL, 2 (1971), 26-27.

10950. Davis, Hedy. "Extracts from Unpublished Letters." In Saunders, 6646, pp. 159-66.

2887. Leitch, R[aymond] G. "Arthur Nortje 1942-1970." NEW COIN POETRY, 9, 3-4 (1973), 1-7.

See also 58,566.

10951. Ravenscroft, Arthur. "Nortje, Arthur." In Blamires, 6205, pp. 200-01.

See 5904.

See also 6194, 6196, 6206, 7493.

Criticism

2888. Arthur, Donald H. "Arthur Kenneth Nortje, Poet and Teacher." NEW COIN POETRY, 9, 3-4 (1973), 8-18.

10952. Berthoud, Jacques. "Poetry and Exile: The Case of Arthur Nortje." AUETSAP, (1983), 1-10; EinA, 11, 1 (1984), 1-14.

5777. Brutus, Dennis. 'Two Poems by Nortje with a Note." ALT, 10 (1979), 231-32.

5778. Chapman, M.J.F. "Arthur Nortje: Poet of Exile." ENGLISH IN AFRICA, 6, 1 (1979), 60-71.

2889. Dameron, Charles. "Arthur Nortje: Craftsman for His Muse." In Heywood, 290, pp. 155-62.

5779. Davis, Hedy I. "Arthur Nortje, A Forgotten South African Poet." REALI1Y, 11, 4 (1979), 5-7.

5780. --------. "The Poetry of Arthur Nortje: Toward a New Appraisal." UES, 18, 2 (1980), 26-31.

5781. ---------. "Arthur Nortje: The Wayward Ego." BLOODY HORSE, 3 (1981), 14-24.

10953.* Davis, Hedy Irene. "The Poetry of Arthur Nortje: A Critical Introduction." Master's thesis, University of South Africa, 1984.

5782.* Lefevere, Andre. "Arthur Nortje's Poetry of Exile." RESTANT, 8, 2 (1980), 39-45.

2890.* Leitch, Raymond G. "A Critical Analysis of the Poetry of Arthur Kenneth Nortje." Master's thesis, University of Toronto, 1975.

30 Bibliographies

NKOSI H CROSS REFERENCES

(Bibliography)

3315. Anon. DIE FUNKTION MODERNER AFRIKANISCHER LITERATUREN: AFRIKANISCHES LITERA TURSYMPOSIUM: AUSW AHLBIBLIOGRAPHIE ZU AFRIIKANISCHEN AUTHOREN. Frankfurt am Main: Stadt- und Universitatsbibliothek Frankfurt am Main, 1980.

(Biography & Autobiography)

50.

58.

Zell, Hans M., and Helene Silver. A READER'S GUIDE TO AFRICAN LITERATURE. London: Heinemann; New York: Africana Publishing Corp., 1972.

Herdeck, Donald E. AFRICAN AUTHORS: A COMP ANION TO BLACK AFRICAN WRITING. Vol. 1: 1300-1973. Washington, DC: Black Orpheus Press, 1973.

59. Jahn, Janheinz; Ulla Schild; and Almut Nordmann. WHO'S WHO IN AFRICAN LITERATURE: BIOGRAPHIES, WORKS, COMMENTARIES. Tiibingen, Germany: Erdmann, 1972.

61. Skurjat, Ernestyna. AFRYKA W TWORCZOSCI JEJ PISARZY [Africa through the works of its authors]. Studium Afrykanistyczne, Uniwersytetu Warszawskiego, 14. Warsaw: Wydawnictwa Uniwersytetu Warszawskiego, 1973.

6194. Zell, Hans M., Carol Bundy, and Virginia Coulon, eds. A NEW READER'S GUIDE TO AFRICAN LITERATURE. 2nd ed. London, Ibadan, Nairobi: Heinemann· New York: Africana, 1983. '

6196. Adey, David, Ridley Beeton, Michael Chapman, and Ernest Pereira, comps. COMPANION TO SOUTH AFRICAN ENGLISH LITERATURE. Craighall, South Africa: Donker, 1986.

6197. Anon. AFRICAN ENCYCLOPEDIA. London: Oxford University Press, 1974.

6229. Richardson, Kenneth, ed. TWENTIETH CENTURY WRITING: A READER'S GUIDE TO CONTEMPORARY LITERATURE. London: Newness Books 1969; Levittown, NY: Transatlantic Ar;s 1971. '

9137. Wolfers, Michael. "A Harare Happening." WA, 26 September 1983, pp. 2232-34.

11430. Abu, Sully. "How Southern Africa Writers Celebrated Soyinka." GUARDIAN, 26 October 1986, p. B8.

(Interviews)

75. Lindfors, Bernth; Ian Munro; Richard [K.] Priebe; and Reinhard [W.] Sander, eds. PALA VER: INTERVIEWS WITH FIVE AFRICAN WRITERS IN TEXAS. Occasional Publication, 3. Austin: African and Afro-American Research Institute, University of Texas, 1972.

78.

79.

80.

81.

82.

83.

National Educational Television. "In French-Speaking Africa: The Literary Impact of Negritude." NegroD, 14, 7 (1965), 70-74.

National Educational Television. "The Problems of African Culture and Literature." NegroD, 14, 8 (1965), 61-69.

National Educational Television. "The African Writer in Search of His Audience." NegroD, 15, 1 (1965), 10-17.

National Educational Television. "African Writers Today: Relating Literature and Life." NegroD, 15, 9 (1966), 39-46; rpt. in Killam, 339, pp. 118-26.

Nkosi, Lewis. "Some Conversations with African Writers." AfricaR, 9, 7 (1964), 7-21.

Nkosi, Lewis. "African Writers of Today: Interviews Conducted by Lewis Nkosi." CLASSIC, 1, 4 (1965), 55-78; Beier interview rpt. in TOPIC, 4 (1965), 17.

6267. Tetteh-Lartey, Alex. "[Interviews with Lewis Nkosi, Alfred Mukanaka and Moses Kwali at a Public Reading Sponsored by the Zambia National Association of Writers] ." BBCAA, 497 (1983), 1-2.

8105. Garscha, Karsten, and Dieter Riemenschneider, eds. AFRIKANISCHE SCHRIFfSTELLER IM GESPRACH: DIE FUNKTION MODERNER AFRIKANISCHER LITERATUREN. Introd. Peter Weidhaas. Wuppertal: Hammer, 1983.

8512. Frederikse, Julie. "[Interview with David Martin, Lewis Nkosi, Nuruddin Farah, Ingoapele Madingoane, Jack Mapanje, Gabriel Okara and Chenjerai Hove about Zimbabwe Book Fair]." BBCAA, 506 (1983), 1-5.

10753. Sander, Reinhard, ed. "Forum of Writers and Critics." In Breitinger and Sander, 6339, pp. 19-25.

(Criticism)

122.

217.

327.

348.

Apronti, E.0. "The Tyranny of Time: The Theme of Time in the Artistic Consciousness of South African Writers." ALT, 8 (1976), 106-14.

Dathorne, O[scar] R[onald]. THE BLACK MIND: A HISTORY OF AFRICAN LITERATURE. Minneapolis: University of Minnesota Press, 1974.

Kartuzov, S.P., and V.V. Oshis. "Li tera tura I uzhno-Afrikanskoi Respubliki [Literature in the Republic of South Africa]." In Nikiforova, 469, pp. 109-95.

Klima, Vladimir; Karel Frantisek Ruzicka; and Petr Zima. BLACK AFRICA: LITERATURE AND LANGUAGE. Dordrecht, Netherlands; Boston: Reidel, 1975.

- Soyinka, Wole. MYTH, LITERATURE AND THE AFRICAN WORLD. Cambridge: At the University Press, 1976.

617. Tibble, Anne, ed. AFRICAN-ENGLISH LITERATURE: A SHORT SURVEY AND ANTHOLOGY OF PROSE AND POETRY

Bibliographies 31

UP TO 1965. London: Peter Owen; New York: October House, 1965.

648. Wastberg, Per, ed. THE WRITER IN MODERN AFRICA: AFRICAN­SCANDINA VIAN WRITERS' CONFERENCE, STOCKHOLM 1967. Uppsala, Sweden: Scandinavian Institute of African Studies, 1968; New York: Africana Publishing Corp., 1969.

736. Kartuzov, S.P. "Znachenie literaturnykh svyazey v sovremennoy proze Yuzhno­afrikanskoy respubliki [The importance of literary junctures in the contemporary prose writing of the Republic of South Africa]." In Nikiforova, 465, pp. 128-35.

737. Kartuzov, S.P. "Evolyuciya geroya v sovremennoy proze Juzhno-afrikanskoy respubliki [The evolution of the hero in contemporary prose writing of the Republic of South Africa]." In Ol'derogge, 509 I PP• 375-98.

744. Klima, Vladimir. SOUTH AFRICAN PROSE WRITING IN ENGLISH. Dissertationes Orientates, 32. Prague: Oriental Institute in Academia, Publishing House of the Czechoslovak Academy of Sciences, 1971.

953. Fiebach, J. "On the Social Function of Modern African Theatre and Brecht." DARLITE, 4, 2 (1970), 5-19; UMMA, 5 (1975), 159-71.

960. Gerard, Albert [S.]. "Tragedies africaines." RevN, 41 (1965), 184-94.

1011. McDowell, Robert E. "African Drama, West and South." AT, 15, 4 (1968), 25-28.

1077. Soyinka, Wole. "Modern Negro-African Theatre: The Nigerian Stage, A Study in Tyranny and Individual Survival." In Anon., 113, pp. 495-504.

1106. Woodrow, Mervyn. "South African Drama in English." CompD, 4 (1970), 132-48.

1347. Anderson, Susan. "Something in Me Died: Autobiographies of South African Writers in Exile." BA, 44 (1970), 398-404.

32 Bibliographies

1357. Olney, James. TELL ME AFRICA: AN APPROACH TO AFRICAN LITERATURE. Princeton, NJ: Princeton University Press, 1973.

1417. Brown, Lloyd W. "The Moral Significance of European Languages in African Literature." TODAY'S SPEECH, 19, 2 (1971), 3-11.

1494. Klima, Vladimir. "The South African Writer's Political Commitment." ArO, 42 (1974), 193-99.

1517. Onoge, Omafume F. "The Crisis of Consciousness in Modem African Literature: A Survey." CJAS, 8 (1974), 385-410.

1558. Moyana, T.T. "Problems of a Creative Writer in South Africa." In Heywood, 290, pp. 85-98.

3438. Cook, David. AFRICAN LITERATURE: A CRTI1CAL VIEW. London: Longman, 1977.

3490. Grant, Jane. "The Literature of Exile: A Comparative Study of Exiled Writers from the West Indies and South Africa." SARP, 3 (1978), 30-57.

3602. Niven, Alastair. "Exile and Expatriation in African Literature." LHY, 21, 1 (1980), 167-80.

3910. Dieltjens, Louis, and Digby Benn. "Theater en apartheid: Het zwart Engelstalig theater in Zuid-Afrika [Theatre and Apartheid: The Black English Theatre in South Africa]." KREATIEF, 11, 4-5 (1977), 68-93.

3920. Feichtinger, C. "Emanzipationsprobleme im schwarzamerikanischen und schwarzafrikanischen Drama der Gegenwart." DAI, 39 (1979), 370C (Vienna).

4028. Schipper-de Leeuw, Mineke. TONEEL EN MAATSCHAPPIJ IN AFRIKA [Theatre and Society in Africa]. Terreinverkenningen in de Culturele Antropologie, 8. Assen/ Amsterdam: Van Gorcum, 1977.

4479. February, V.A. MIND YOUR COLOUR: THE 'COLOURED' STEREOTYPE IN SOUTH AFRICAN LITERATURE. London and Boston: Kegan Paul International, 1981.

4574. Maximin, Daniel. "'Drum' ou la generation perdue: Les Intellectuels sud­africains de la revue 'Drum' dans les annees 50." In Society of African Culture, 3675, pp. 331-42.

6324. Barnett, Ursula A. A VISION OF ORDER: A STUDY OF BLACK SOUTH AFRICAN LITERATURE IN ENGLISH (1914-1980). London: Sinclair Browne; Amherst, MA: University of Massachusetts Press, 1983.

6946. Sevry, Jean. "Le Roman et les races en Afrique du Sud de la guerre des boers aux annees soixante." Ph.D. dissertation, University of Paris III, 1978. 2 Vols. Published at Lille: University of Lille, 1982.

7244. Kavanagh, Robert Mshengu. THEATRE AND CULTURAL STRUGGLE IN SOUTH AFRICA. London: Zed Books, 1985.

7399. Ruhumbika, Gabriel. "Le Theatre africain." Ph.D. dissertation, University of Paris, [1969].

7404. Schipper, Mineke. THEATRE AND SOCIETY IN AFRICA. Johannesburg: Ravan Press, 1982. THEATRE ET SOCIETE EN AFRIQUE. Dakar, Abidjan, Lome: Le Nouvelles Editions Africaines, 1984.

7419. Smith, Arthur Edgar E. "A Presentation of the Modern African Predicament in Modem African Drama." Master's thesis, Fourah Bay College, University of Sierra Leone, 1986.

7488. Woodrow, M.W. "A Critical Consideration of English Plays Written in South Africa, with Special Reference to the Emergence of a Dominant Theme." Master's thesis, University of Pretoria, 1972.

7676. Abubakar, Tanimu. "Black South African Fiction and the National Liberation

. , t~

Struggle (1969-1984): A Problem of Criticism." WP, 4 (1986), 57-65.

7853. Smith, Rowland. "Autobiography in Black and White: South African Views of the Past." CE&S, 7, 2 (1985), 72-82.

8007. Abraham, Kinfe. FROM RACE TO CLASS: LINKS AND PARALLELS IN AFRICAN AND BLACK AMERICAN PROTEST EXPRESSION. Foreword Hailu Araya. London: Grassroots Publisher, 1982.

NKOSI -- CROSS REFERENCES FROM CROSS REFERENCES

6236. Vinson, James, and D.L. Kirkpatrick, eds. CONTEMPORARY DRAMATISTS. 3rd ed. Pref. Ruby Cohn. London: Macmillan; New York: St. Martin's Press, 1982.

1097. Vinson, James, ed. CONTEMPORARY DRAMATISTS. Pref. Ruby Cohn. London: St. James Press; New York: St. Martin's Press, 1973.

339. Killam, G. Douglas, ed. AFRICAN WRITERS ON AFRICAN WRITING. London: Heinemann; New York: Africana Publishing Corp., 1973.

6339. Breitinger, Eckhart, and Reinhard Sander, eds. STUDIES IN COMMONWEALTH LITERATURE: PAPERS PRESENTED AT THE COMMONWEALTH LITERATURE AND LANGUAGE CONFERENCE AT BAYREUTH UNIVERSITY, JUNE 16-19, 1983. Tiibingen: Narr, 1985.

469. Nikiforova, Irina D., et al. SOVREMENNYE LITERATURY AFRIKI: VOSTOCHNAIA I IUZHNAIA AFRIKA [Contemporary African literatures: North and West Africa]. Moscow: Nauka, 1973.

465. Nikiforova, Irina D., ed. AKTUALNYE PROBLEMY IZUCENIJA LITERATUR AFRIKI [Present problems in the study of African literatures]. Moscow: Nauka, 1969.

Bibliographies 33

509. Ol'derogge, D.A., et al., eds. FOL'KLOR I LITERA TURA NARADOV AFRIKI [Folklore and literature of African peoples]. Moscow: Nauka, 1970.

113. Anon. COLLOQUIUM: FUNCTION AND SIGNIFICANCE OF AFRICAN NEGRO ART IN THE LIFE OF THE PEOPLE AND FOR THE PEOPLE (MARCH 30--APRIL 8, 1966). Paris: Presence Africaine, 1968.

290. Heywood, Christopher, ed. ASPECTS OF SOUTH AFRICAN LITERATURE. London: Heinemann; New York: Africana Publishing Corp., 1976.

3675. Society of African Culture. L'AFRIQUE DU SUD AUJOURD'HUI/SOUTH AFRICA TODAY. Paris: Presence Africaine, 1978.

DLB Volume 3 / Co-Editor: Bernth Lindfors, University of Texas at Austin Date: 18 May 1993

DICTIONARY OF LITERARY BIOGRAPHY

LEWIS NKOSI (5 December 1936 - )

Brian Worsfold University of Lleida Catalonia, Spain

BOOKS: Home and Exile and Other Selections (New York: Longman, 1965; London: Longman, 1965; enlarged edition, London: Longman, 1983);

The Transplanted Heart, Essays on South Africa (Benin City, Nigeria: Ethiope Publishing Corporation, 1975);

Tasks and Masks, Themes and Styles of African Literature (Harlow: Longman, 1981);

Mating Birds (London: Constable, 1986);

Underground People (to be published end of 1993).

MOTION PICTURES: Come Back Africa, screenplay co-authored by Lewis Nkosi, directed by Lionel Rogosin, 1959.

PLAY PRODUCTIONS: The Rhythm of Violence, London, 1963;

Malcolm, London, ICA and Bush Theatres, 1972-1973;

The Red Rooster, commissioned by NOS, Holland, 1976;

The Black Psychiatrist, Lusaka, Lusaka Theatre Playhouse, 1983.

RADIO SCRIPTS: We Can't All Be Martin Luther King, radio play by Lewis Nkosi, written for BBC Third Programme, 1971.

TV SCRIPTS: Malcolm, television play by Lewis Nkosi, commissioned by Swedish Television, 1967.

1

OTHER: 11The Prisoner", short-story by Lewis Nkosi, published in African Writing Today, ed. Ezekiel Mphahlele (Harmondsworth: Penguin, 1967);

The Chameleon and the Lizard, libretto in Zulu written by Lewis Nkosi, pertormed by the London Bach Society, Goldsmiths' College, London, 1971 and in Queen Elizabeth Hall, London, 1976;

Lale/a Zulu, a cycle of Zulu songs with texts written by Lewis Nkosi, commissioned by Halle Music Society, (Manchester) for The King Singers, pertormed in Manchester at the Manchester Trades Hall and in London at the Queen Elizabeth Hall and the Royal Festival Hall, broadcast on the BBC and recorded by EMI Recording Company.

"Under the Shadow of the Guns", short-story by Lewis Nkosi, published in Colours of a New Day, Writing tor South Africa, eds. Sarah Lefanu and Stephen Hayward (Great Britain: Lawrence & Wishart, 1990; revised edition, USA: Pantheon, 1991 ; Harmondsworth: Penguin, 1991) pp. 272-288;

SELECTED PERIODICAL PUBLICATIONS UNCOLLECTED: "Individualism and Social Commitment 11 in The Writer in Modern Africa, proceedings of the African-Scandinavian Writers' Conference, Stockholm, 1967, ed. Per Westberg (Uppsala: The Scandinavian Institute of African Studies, 1968), pp. 45-58;

"Sex and Politics in Southern African Literature, 11 in Papers on African Literature, Sheffield Papers on Literature and Society NQ 1 (1976), ed. Christopher Heywood (Sheffield: Sheffield University, 1976), pp. 1-12;

"Culture in Another South Africa" in Southern African Review of Books, Vol. 2, NQ 6, Issue 10, August/September 1989, pp. 3-5;

11A Country of Borders" in Southern African Review of Books, Vol. 3, NQ 6, Issue 16, August/October 1990, pp. 19-20;

"Crisis and Conflict in the New Literatures in English. A Keynote Address 11 in Crisis and Conflict Essays on Southern African Literature, proceedings of the Xlth Annual Conference on Commonwealth Literature and Language Studies in German-Speaking Countries, Aachen-Liege, 16-19 June, 1988, ed. Geoffrey V. Davis (Essen: Die Blaue Eule, 1990), pp. 19-26;

11Schrijven onder een nieuw Teken 11 C1Writing under a New Sign"), in Het Kantelend Wereld Beeld (Toppling World-View) , eds. Judith Herzeberg et al. (The Netherlands: Uitgeverij De Balie-Novib, 1992), p. 153;

2

"And ah, how I miss that angriest Angry Young Man, Lewis Nkosi!"

Casey 'Kid' Motsisi's poignant lament was written in March 1963 following the departure from South Africa into exile of many of his Drum colleagues, among them Lewis Nkosi. Throughout the second half of the 1950's Lewis Nkosi had worked for Drum publications in Johannesburg, one among that outstanding pleiad of journalists who made Drum the principal vehicle for African literature in English in South Africa during that period. It was while working for Drum that Lewis Nkosi first made his mark as a writer. His name ranks alongside those of Bloke Modisane, Can Themba, Nat Nakasa, Todd Matshikiza, Es'kia Mphahlele, Arthur Maimane, James Matthews and Casey Motsisi himself as one of that core group of Black South African writers whose works record for posterity in innovative, witty prose what life was like in the South African townships at the time when apartheid was beginning to tighten its grip. In the early 1960s, Lewis Nkosi, along with many of these writers, left his country, preferring life in exile to the restrictions and censorship of the apartheid state. Since that time Todd Matshikiza, Nat Nakasa and Bloke Modisane have died in exile, Es'kia Mphahlele returned home in 1977, while Lewis Nkosi, one of the last of 'the Drum writers' still lives far from South Africa.

Since 1961, enforced exile has meant that the focus of Lewis Nkosi's attention has been the condition of his countrymen living as 'non-Whites' within South Africa's apartheid society and the complex problems of Black South African exiles. As a contributor to numerous newspapers and magazines and as a television interviewer and presenter for British and American networks during the 1960s, Lewis Nkosi has become an acclaimed African literary critic and essayist. In the 1970s, he consolidated his knowledge and skills as a critic in academic qualifications which opened up opportunities in university departments in Zambia, Warsaw and most recently Wyoming, USA Parallel to this development has been his move into creative writing, notably short-stories and long prose fiction, which, together with his university lecturing and participation in the on-going South African literary discourse, has become a major pursuit for him.

Lewis Nkosi was born in Durban, South Africa on 5 December 1936. With both his parents having died in his early childhood, responsibility for his upbringing from the age of eight rested with his maternal grandmother. Living first at Hillcrest, where he received his first formal education, and then at Hammersdale, the loss of family property forced Lewis and his grandmother to move to his uncle's house near Durban. He went to primary schools at Claremont and Chesterville and began his secondary education in Durban, commuting each day by bus from Cato Manor. At High School he studied English and began to read extensively, in particular English translations of the novels of Alexandre Dumas, Gustave Flaubert, Honore de Balzac and Victor Hugo. It was at this time, too, that he started to write. Then, in 1952, at the age of sixteen, Lewis Nkosi was admitted to the Zulu Lutheran High School, a boarding school at Eshowe where he

3

spent the next two years. Thanks to the Zulu language teacher at this school, he became immersed in Zulu history and culture, an experience he found particularly powerful and memorable.

On leaving High School, Lewis Nkosi worked for one year for a construction company in Durban. On one occasion, he spent a whole week's wages - £2 1 Os - on Peter Abraham's recently-published Tell Freedom (1954). Later, he worked for a fertilizer manufacturer and lived in a single-men's compound in conditions which were not conducive to reading. He left the company and began to write freelance for the Zulu newspaper, 1/anga lase Natal (Natal Sun). Before joining llanga, however, during a brief period spent working in a paint factory, Lewis Nkosi learnt of his grandmother's passing away. Lewis Nkosi had been closer to his grandmother than anybody else up until that time and her death made him determined to cut his ties with Durban.

Lewis Nkosi began working part-time for llanga Jase Natal in 1955, while studying for the matriculation examination at the M.L.Sultan Technical College in Durban. In 1956, at the age of eighteen, he took up a full-time position on the newspaper's staff, becoming the youngest journalist in South Africa with his own opinion column in a city newspaper. Soon after, Lewis Nkosi received an offer from Drum magazine in Johannesburg. He made no mention of the Drum offer at 1/anga, however, until R.R.R. Dhlomo, who was later to become 1/anga's chief editor, took him to task for publishing a letter supporting non-racism between African and Asians in a rival Durban newspaper. Lewis Nkosi seized this opportunity to resign from 1/anga Jase Natal and moved first to the Drum office in Durban and soon after to Drum in Johannesburg. He was then nineteen years old.

From 1956 until 1960, Lewis Nkosi worked as a journalist on Drum magazine and for Drum publication's Sunday newspaper, Golden City Post. A resident of Sophiatown until it was razed to the ground by bulldozers in 1958, it was there that he came into contact with Athol and Sheila Fugard. Together with Bloke Modisane, Can Themba, Nat Nakasa and Lewis himself, Athol Fugard formed an African Theatre Workshop and in August 1958 Lewis Nkosi participated in the production of the first performance of No-Good Friday, Fugard's first 'township' play, at the Bantu Men's Social Centre in Johannesburg. It was also during this period that Lewis Nkosi came into contact with Jack Thompson, a University of New York professor and representative of the Farfield Foundation, an organisation dedicated to supporting culture which, unknown to Lewis Nkosi at the time, was receiving funds from the Central Intelligence Agency.

Lewis Nkosi met Jack Thompson through Nat Nakasa, a Drum colleague and childhood friend, and was invited to apply for a scholarship. He accompanied his application with some of his writings and was offered a scholarship to study a one-year course in journalism at Harvard University. However, the decision to take up the offer was a difficult one since it would mean leaving a position in South Africa at the top of the Black journalist's profession. Then, in 1960, together with Nat Nakasa, Lewis Nkosi covered the massacre at Sharpeville, Nat for Drum magazine and Lewis for the Sunday newspaper. Lewis and Nat helped transport a wounded person to a hospital where they saw bodies - some of them still

4

alive - piled on top of one another. Later they drove off to make their reports to their respective newspapers. That same evening Lewis was invited to dinner at the home of Harold Wolpe, a left-wing lawyer and leading member of the Communist Party in the Congress of Democrats. As Sophiatown resident, Drum staff-member and a bright young Black intellectual, Lewis Nkosi had been frequently feted by Johannesburg's White liberal intellectual elite. Moreover, Drum journalists had developed a self-conscious code of behaviour which presented an image characterised by toughness, cynicism and a refusal to exhibit self-pity. So at dinner, in true Drum journalist fashion, Lewis told Harold Wolpe how he had 'witnessed some shooting' during the day. Soon after, Wolpe learnt from the Rand Daily Mail the true extent of the massacre. He then persuaded Lewis to take up the scholarship in the USA.

Lewis Nkosi was able to leave South Africa thanks to a law dating from the Union of South Africa which Harold Wolpe had discovered in the statute book. However, the fact that he needed a visa to enter the USA meant that he had first to go to London where officials in Harold Macmillan's Conservative government obtained a visa from the American Embassy for him on the condition that the United Kingdom would accept him back once his scholarship had expired. So, in 1961 he took up a one-year Nieman Fellowship at Harvard University, Cambridge, Massachusetts to study journalism, having left South Africa on a one-way exit permit. From then onwards, his name was added to the list of banned persons in South Africa which meant that his writings could no longer be published and his words no longer quoted in that country.

The Rhythm of Violence (1964) While studying at Harvard, Lewis Nkosi wrote The Rhythm of Violence

as an entry for a play competition to be put on at Harvard University's Brattle Theatre. Written just after the first Johannesburg bomb incident in 1961, the theme of the play develops around the relationship between Tula, a Black student, and Sarie Marais, an Afrikaner. The two university students meet for the first time at a party in a Hillbrow flat in which members of an underground cell who have planted a bomb inside Johannesburg City Hall wait nervously for midnight, the time it is to be detonated. A strong, mutual affection develops between Tula and Sarie and tension is heightened when Tula learns from Sarie, who does not know of the plot, that her father, a repetant National Party supporter, has gone to a National Party rally in the City Hall in order to resign as a member. Tula, who is infatuated with Sarie, realises that her father is about to be killed and makes a last minute attempt to stop the bomb from being detonated. Tula is killed as the bomb explodes and Sarie is arrested as she weeps over Tula's body and is taken off for interrogation.

Lewis Nkosi's intention with The Rhythm of Violence is not to condemn violence per se or to recommend, as Wale Soyinka's interpretation in Myth, Literature and the African World (1976, pp. 70-72) appears to maintain, that multi-racial love be considered as an alternative strategy to violence in the achievement of the goals of 'the Struggle'. The point of the play is to show that, caught between Black aspirations and the

5

the base for his sound, at times controversial opinions which are powerfully expressed in carefully-crafted texts.

Two of the essays written especially for this collection have become basic texts on their respective subject matter. The first, entitled 11The Fabulous Decade: the fifties 11

, derives from Lewis Nkosi's experience working on the popular Drum magazine. Rejecting along with the rest of his generation the character of Stephen Kumalo, Alan Paton's Black South African protagonist in Cry, The Beloved Country (1948), Nkosi remarks on the lack of role-models in the literature of the 1950s with which young Black South Africans could identify. In an attempt to compensate for this deficiency, the Drum journalists developed their own role-model whose code of behaviour exhibited 11a unique intellectual style; usually urbane, ironic, morally tough and detached:" (Nkosi, 1983, p. 9) . Moreover, Nkosi goes on to observe that 11A DRUM man took sex and alcohol in his stride •••

11 (Nkosi, 1983, p. 9) and never shied away from danger. Part and parcel of 'the Drum ethic' was the shebeen culture which thrived in Johannesburg due to the cultural vitality engendered by the city's large Jewish community. Nkosi goes on to argue that, far from being a decade of despair, the performing arts, in particular Todd Matshikiza's jazz opera King Kong and underground African jazz in which both Black and White South Africans participated, made the 1950s 11a time of infinite hope and possibility 11 (Nkosi, 1983, p. 16). However, racially-mixed party-going and musical soirees made Black South Africans aware of the sterile nature of White South African life-styles which in turn led to contempt for White South Africans. Nkosi writes: 111 think we began about this time subtly to despise white South Africans." (Nkosi, 1983, p. 23).

The second essay, "Fiction by Black South Africans", constitutes a provocative young man's perception of the current state of South African literature during the 1950s and early 1960s. Designed to stimulate discussion, it is a plea for Black South African writers to take their craft more seriously. Nkosi finds journalistic presentations of life under apartheid and the use of 11ready-made plots of racial violence, social apartheid, interracial love affairs which are doomed from the beginning 11 (Nkosi, 1983, p. 132), written without taking into account the literary techniques of writers such as Dostoyevsky, Kafka or Joyce, to be too crude and unsubtle. Nkosi cites Richard Rive's novel, Emergency, as a case in point and expresses a preference for a novel such as Ralph Ellison's The Invisible Man which, in his opinion, provides the key to a far more effective way of presenting the iniquities of racial discrimination to the readership.

Critics continue to refer specifically to this essay and to develop and expand on points first raised in it. While agreeing with Nkosi that Black South African writers have tended to present political themes in a journalistic style at the expense of literary form, Njabulo Ndebele believes the writer should develop ways to handle information more effectively. On the other hand, in an essay on Black South African oral forms published in Landeg White and Tim Couzen's collection (1984), Mbulelo Vizikhungo Mzamane has complained that Nkosi's position ignores "the African communal ethic which has given rise to the 'political tale'. 11 More recently, Piniel Viriri Shava has concluded in A People 's Voice (1989) that, as long

7

as Black South African writers are expected to support 'the struggle', the division between theme and literary form is bound to continue.

Other essays in the collection refer to the impact of European culture on African art. In 11A Question of Identity", for example, Nkosi assesses the impact of European colonisation on the Black individual in Africa and argues that African artists have been too self-conscious, allowing themselves to be swayed in their crafts by European critical perceptions. Condemning perceived European anxiety for African culture as misplaced self-indulgence and rejecting negritude as a misguided African response to colonial attitudes, Nkosi maintains that an African perception of African society derived through art will lead to an African identity. This argument is reinforced in 11Robinson Crusoe: Call me Master11 in which Nkosi, like James Joyce, sees Robinson Crusoe as a prototype Anglo-Saxon colonist 11

•••

hacking out of the wilderness a mode of civilized existence". (Nkosi, 1983, p. 155) For Nkosi, the whole colonising enterprise is fed by 11

• • • that extraordinary belief, rejected again and again by the native races, that what is good for Robinson Crusoe is good for Man Friday." (Nkosi, 1983, p. 154). In the last essay of the collection, 11Literature and Liberation 11

, Nkosi suggests an African response to the impact of European culture on African art. Criticising Black South African writers for producing propagandistic, tub-thumping prose, he argues that a Marxist approach to literature is complex and allows ideologies to be expressed through literature without producing simple propaganda, as the works of the Latin-American revolutionary writers like Gabriel Garcia Marquez and Mario Vargas Liesa have shown. More recently, in a book review in Southern African Review of Books, August/September 1989 of Willem Campschruer and Joost Divendal eds. Culture in Another South Africa (London: Zed Books, 1989), Nkosi has agreed with one of the contributors that a return to a pre-colonial traditional African culture in the new South Africa is untenable and that at the moment there exists in South Africa a ruling-class culture 11

• • • which is no longer 'European' or Western in any significant sense but is not yet African", with the only way forward being 11

••• to join in the building of an alternative and free democratic culture.11 (p. 5)

In three essays in the collection Nkosi describes his experiences in New York. In "Encounter with New York I (1964) 11

, he recalls his first arrival in January 1961 and his return there during the Harvard summer vacation when he stayed in Greenwich Village, shared the company of James Baldwin for whom he has a lasting admiration and listened to Sheila Jordan for the first time. The second essay, "Encounter with New York II, Portrait of Sheila Jordan" recalls a visit to New York in January 1965 on his way back to London from the southern states which he had toured for the London Observer to collect data for a series of articles on the Civil Rights Movement. The essay, a tribute to the jazz-singer, Sheila Jordan, whom he is overjoyed to find still appearing at Page Three, reveals Nkosi's passion for jazz and his appreciation of the White singer's sensitivity. In April 1971, on his way to take up a three-month visiting professorship at Irvine, California, Nkosi stopped over in New York once more. The third essay, "Out There on a Visit: American Notes" records his surprise and saddness at the apparent decline in the quality of life and diminished vitality among

8

11

are in favour and Es'kia Mphahlele who is strongly against the concept, Nkosi maintains that the only interest negritude can have as a critical concept is as part of a history of ideas, along with surrealism, romanticism, Freudianism and Marxism. He continues with a commentary on the works of writers who portray traditional African society - Chinua Achebe, Peter Abrahams, Ngugi wa Thiong'o, Sembene Ousmane and Yambo Ouologuem, all writers with a strong historical sense. He points out that there are various ways of presenting African events and societies and degrees to which African writers pander to European perceptions of African history. He distinguishes a blurred cleavage between traditional references in the works of Achebe and the early novels of Ngugi and the more 'experimental' writings of Amos Tutuola, Gabriel Okara, Kofi Awoonor, Ayi Kwei Armah and Wale Soyinka. Nkosi maintains that such writers make up an African modernist movement, facing forwards to the latest innovations in fiction as well as backwards to the roots of African tradition. As African writers and as the successors of an oral tradition, the aim of their craft is a story well told and, given the present situations in Africa, they still have stories to tell. Nkosi concludes the section on prose writing by dealing specifically with Black South African writers, authors whose task focusses on the situation in their country, with critical observations on the works of writers such as Modikwe Dikobe, Enver Carim, Alex La Guma, Es'kia Mphahlele, Bessie Head and D.M. Zwelonka.

Chapters Six and Seven are dedicated to an analysis of African poetry. In a chapter sub-titled 'The Pioneers', Nkosi writes on African poets such as Juan Latino, Phyllis Wheatley, B.W. Vilakazi, H.I.E. Dhlomo, J.J.R. Jolobe, Michael Dei-Anang and Raphael Armattoe, and in "The Moderns" he comments on the works of Jean-Joseph Rabearivelo, Flavian Ranaivo, Jacques Rabemananjara, David Diop, Bernard Dadie, Leopold Senghor, Birago Diop and Tchicaya U'Tamsi.

In the last essay of the collection, Nkosi deals with the themes and styles of African drama. In general terms, he contends that the current richness of African drama derives from a parallel development of modern and traditional forms which reflects the condition of contemporary African societies at a time of transition. He offers criticism of the works of Ulli Beier, Tsegaye Gabre-Medhin, Arna Ata Aidoo, Efua Sutherland, R. Sarif Easmon, J.C. De Graft, Wale Soyinka and John Pepper Clark, and ends with the suggestion that popular theatre is the most effective form of mass communication, especially of social comment, that the African artist has at his disposal.

With the publication of Tasks and Masks, Themes and Styles of African Literature (1981), Lewis Nkosi consolidated his position as a leading critic of African literature. Home and Exile and Other Selections, The Transplanted Heart and Tasks and Masks remain standard texts of critical thinking on African literatures, and the publication of the latter in 1981 undoubtedly led to Lewis Nkosi's appointment as Associate Professor of Literature at the University of Zambia in 1984 and his appointment to full professorship the following year.

11

Lewis Nkosi was awarded the Macmillan Silver Pen Prize for his novel, Mating Birds.

Underground People Well before Mating Birds was published, Lewis Nkosi had read

excerpts of Underground People in public on several occasions, especially at the University of Zambia. The plot of the novel had developed while thinking about the imprisoned Nelson Mandela and the possibility of exchanging White hostages for his release. However, worried that the story line was too similar to that of Graham Greene's The Honorary Consul (1973) and with a desire to write a novel with a complex chronology, somewhat in the vein of William Faulkner's Absa/om, Absalom! (1936), progress with the novel was slow. Then, in the first quarter of 1987 Lewis Nkosi moved from Lusaka to Poland where he began teaching a course on African Literature in English at the University of Warsaw and continued with his research on Joseph Conrad. The main reason for this move was not academic, but rather to join Jadwiga Lukanty, the Polish research historian whom he had met in Zambia. They married and set up home in Warsaw's Targowek district at a time of political and economic upheaval in Poland. Once settled, following critical acclaim for Mating Birds, Nkosi continued writing Underground People with renewed vigour. The same year he was appointed to the UNICEF Dakar Planning Committee to work for the African Child and was honoured with the Freedom of the City of Montpellier, France, in recognition of his contribution to the literary criticism of African literature. However, it was in Laramie, USA, following his appointment as Professor of English at the University of Wyoming in August 1991, that Underground People was completed, the final copy being despatched in March 1993 for publication at the end of the year.

In December 1992, after 32 years in exile, Lewis Nkosi paid his first visit to South Africa since leaving. He attended a conference of South African writers in Johannesburg (New Nation, Making Literature: Reconstruction in South Africa, 1-17 August 1991) and, in the company of other exiled writers like Dennis Brutus and Lauretta Ngcobo, visited Natal and the places where he grew up. He also maintains contact with his two London-based daughters, the children of his first marriage, and for the moment shows no firm intention of returning to South Africa.

Interviews: 11ln Conversation with Lewis Nkosi11 in Brian Worsfold (Comp.), Festschrift from Lleida for Professor Doireann MacDermott (Lleida: Publicacions de l'Estudi General de Lleida, 1990, pp. 63-72) ;

Mike Nicol, A Good-Looking Corpse (London: Secker and Warburg, 1991).

13

Bokforlaget Natur och Kulturtt~~~~ ---- KUNSKAP · KVALITET · OBEROENDE -

Stockholm May 25, 1993

Dear Sir,

Re: Lewis Nkosi

Bemth Lindfors Department of English The University of Texas at Austin PAR 108, Austin Texas 78712-1164 USA

Thank you for your letter. Unfortunately we do not have any photo left of Lewis Nkosi neither do we have any extra book jackets. I hereby enclose a copy of the jacket.

Sincerely Yours, ~

Ciuuud &? ~ , t~/C:&J! Gunilla Canvert Natur och Kultur Litteratur

ALLMA.NLITTERATUR

POST AD RESS Box 27323 102 54 Stockholm

BESOKSADRESS Sturegatan 10 Stockholm

TELEFON 08-666 86 00 TELEFAX 08-662 26 26 08-662 7416

BANKGIRO 295-8262 POSTGIRO 1924-0

ORDER/ DISTRIBUTION Forlagsdistribution. Tfn 08-583 531 00 Skarprattarvagen 1, Kallhall Postadress: Box 505, 175 26 Jarfalla Telefax 08-583 500 87

I denna sakert komponerade roman berattar en universitetsutbil­dad zuluyngling fran sin dodscell i den sydafrikanska hamnstaden Durban om de handelser som ledde from till dodsdomen for valdtakt mot en ung vit kvinna. Den redogi:irelse hon lamnar under samtal med en kriminolog former sig tillsammans med hans egna minnesanteckningar till en tat realistisk berattelse om en bild­ningskamp och till en engagerande kritik av apartheidsystemet.

Sibiya vi:ixer upp i en stor zulufamilj, uppmuntras till studier av modern och laser ocksa i tre ar vid universitetet innan hon relege­ras pa grund av deltagande i en studentdemonstration mot segre­gerad undervisning. Sa dogs her hons hemby utplanats av tvangs­forflyttningspolitiken, hons far avlidit och hons mor tvingats etab­lera sig i Durbans slumkvarter som svartspritsforsciljerska. Arbets­los driver hon omkring och fori:ilskar sig pa avstand i den engelska kvinna vars beteende hon tolkar som en serie erotiska inviter. Under den efterfoljande rattegangen anklagar hon honom for brutal valdttikt. Pa olika stitt faller de bada offer for ett samhalls­system som omojliggor mellanmansklig arlighet, sympati och karlek.

Lewis Nkosi berattar i en vardaglig, direkt stil praglad av stark sinnlig narvaro, frtin iron! och psykologiskt kanslig personkarak­teristik. Ett uppfordrande rcittspatos och en vital miljoskildring gor boken till en stimulerande ltisupplevelse. Den tir samtidigt en introduktion till apartheidsystemets moraliska och politiska pro­blematik. En intensiv roman med tempo, dramatik och skarpa kontraster.

Omslag av Ulrika Eklund

(Legenda)

ISBN 91-582-0913-1

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Lewis Nkosi foddes 1936 i Durban i Sydofriko. Etter universitetsstudier i England har hon undervisat i littera­tur vid universitetet i Zambia och vid UCLA. Han har verkat som bokre­censent och har tidigare publicerat ett antal noveller och skadespel. Parnings/ek ar Lewis Nkosis debut­roman.

• .. . · ~·- ~

•

DLB subject: LEWIS NKOSI Volume 3

DLB contributor:

Home address:

Home tel. nQ:

Office address:

Office tel. nC:

Office fax no:

DLB subject:

Home address:

Home tel. no:

Office address:

Office tel. no:

Office fax no:

Brian WORSFOLD

Partida Mariola, 29

25192 - LLEIDA,

Catalonia,

Spain.

+73 26 59 39

English Section,

Facutat de Filosofia i

UNIVERSITAT DE LLEIDA,

Apartat de Correus 471,

25080 - LLEIDA,

Catalonia,

Spain.

+73 70 20 00

+73 26 61 99

Lewis NKOSI

Lletres,

1000 Garfield Street nQ 15,

LARAMIE,

Wyoming 82070,

USA.

307 742 38 56

Department of English,

UNIVERSITY OF WYOMING,

P.O. Box 3353,

LARAMIE,

Wyoming 82071 - 3353.

307 766 64 52

307 766 52 47

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PORTRAIT

Exile Finds a Home in VJyomings High Plains By Peter Monaghan

LARAMIE, WYO.

T HIS HIGH-PLAINS TOWN is about as far from home as Lewis Nkosi could ever

have imagined wandering. Thirty-three years ago he accept­

ed exile from South Africa so he could spend a year at Harvard Uni­versity. Since then he has traveled the world, writing essays and fic­tion about the lives of black South Africans.

His 1986 novel, Mating Birds, about a young Zulu student await­ing hanging after being convicted of raping a white woman, has been re­printed in 10 languages. He also is the author of radio and screen plays, and even a libretto in Zulu for the King's Singers, a renowned British choral group.

'NO PRECONCEPTIONS'

Two years ago, he applied for a position teaching English at the University of Wyoming. He said he wanted to make the move because teaching provides a living and time to write.

But why Wyoming? "This is where there was a job." he says. But he adds: "I thought I would like to come and find out what it's like to teach students who are fairly iso­lated from the outside world."

Two years into a three-year con­tract, and considering whether to stay when his term is up, he says the move was a good one. He finds students in his courses on the Afri­can-American novel and on African literature and civilization "very open to the outside world. since they have no preconceptions." And he enjoys this town. He can write, without the pressure of big­city life. and do what he used to do in Johannesburg many years ago: chat with locals at taverns.

In 1960. Mr. Nkosi left South Af­rica so he could spend a year at Harvard, where he had been awarded a Nieman Fellowship for journalism. As a writer for the in­vestigative magazine Drum, he was · not popular with South African au­thorities. To get out of the country. he had to become the first person to obtain the so-called one-way exit permit. That loophole in migration laws-discovered by a friend of Mr. Nkosi's-permitted him to leave provided he would never re­turn.

" I'd have liked to leave my coun­try by choice." he says. "But to a certain extent it was a choice. If I try to measure the benefits against tho. rloh,-.;tC' ,-. 0, .,_.,.,,;..., 1., I""o c-on ..., , ,,.

rATRICIA BA RRY LEVY FOR TH£ CHROJl,IICLE

Lewis Nkosi: "I thought I would like to come and find out what it's like to teach stl.ldents who are fairly isolated from the outside world."

kanty, and moved to Warsaw. While writing and teaching African literature at the University of War­saw. he applied for the position in Wyoming at the suggestion of a friend at Harvard.

His second novel, Underground People. is due out at the end of the summer. Large and ambitious. it tells the story of an armchair critic who hounds a liberation organiza­tion for not sufficiently attacking the South African government. The organization. says Mr. Nkm,i, "de­cides. in a Machiavellian way. that the best way to silence him is to send him out to the bush to master­mind a small operation. "

The critic protests that he would be a weak link. but he accepts. And he grows into the job. to the extent that when the organization, having made a deal with the government to suspend the conflict, asks him to stop fighting, he refuses.

SIMILAR MORAL TWISTS

Mr. Nkosi 's first novel. ,\1atinR Birds , contains similar mo ra l twists. It is narrated by Ndi Sibiya.

was. Mr. Nkosi says. "an attempt to say something about the nature of desire."

"The young man desires desire , .. he says.

Still. his depiction did not satisfy several reviewers. They faulted the work, because Mr. Nkosi had failed to meet their expectation that the hero of a novel by a black South African should. foremost. champi­on the fight against apartheid.

'UNDER PRESSURE'

Says Mr. Nkosi: 'Tve always felt that black writers are so under pressure to tell this story of apart­heid that they sometimes lose some of these nuances in their haste to deliver a robust attack on the sys­tem. "

At the writers ' conference that Mr. Nkosi attended in South Afri­ca. he stayed in a hotel in a part of Johannesburg formerly reserved for whites.

He found many paradoxes: Thir­ty years ago. he would be harassed by the police after 11 p.m .. when a curfew for blacks began. ..This

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December 24, 1992 Brian Worsfold English Department University of Barcelona Lleida, Spain

Dear Brian, Thank you for agreeing to prepare an entry on Lewis Nkosi for the

third volume of the Dictionary of Literary Biography's Twentieth-Century Caribbean and Black African Writers. Please note that the entry should run between 6000 and 6500 words instead of between 4000 and 5000 words as previously stated. The publisher has given us more space for each of the entries in this volume so you will be able to deal with your author in greater detail.

I am enclosing: I. a memorandum of agreement which you should sign, address and

date; 2. a contributor's questionnaire which you should fill out with your

addresses, phone numbers, and fax number; 3. a contributor's style sheet; 4. a sample essay from the first volume in the series.

Please return items I and 2 to me at your earliest convenience. If any questions arise while you are preparing your entry for the volume, do not hesitate to contact me at the address above or by phone at 512-472-4712 (home) or 512-471-5522 (office) or by fax at 512-471-4909. Please keep in mind that our deadline is I June 1993.

Thanks again for offering to join us in this project. Sincerely yours,

Bernth Lindfors P.S. Lewis sent me a fine photo, but I would also like to see those you have. If you are planning a trip to the U.S.A. , do add Austin to your itinerary if you can. I'll be on leave during the spring semester, but I intend to spend most of my time at home, taking occasional trips to distant libraries. Delta Airlines offers a special 3-week package flight within the U.S.A.to any of its destinations. Other airlines may do so too. It's worth checking.

30 November 1992 Brian Worsfold English Department University of Lleida Lleida, Spain

Dear Brian, Reinhard Sander and I have edited two volumes of the Dictionary of

Literary Biography focusing on prominent African and Caribbean authors. The first volume has just appeared, and the second will be published in January. We are now in the process of preparing a third volume that will deal with a younger set of writers and with some of the older figures we were unable to include in the earlier volume. I am writing to ask if you would be willing to prepare a biobibliographical essay of 6000-6500 words on Lewis Nkosi for inclusion in this new volume. If so, we wi ll send you detailed instructions on how your typescript should be prepared. You will be paid $100 for your essay when the volume is published in 1994.

In order to bring this book to completion on schedule, we will need to receive your contribution to it no later than June I, 1993. Please do not offer to write an essay if you anticipate that it will be difficu lt or impossible for you to meet this deadline. We are ready to provide you with whatever bibliographical assistance we can, but we will not be able to grant extensions to tardy or delinquent contributors.

Volumes in the Dictionary of Literary Biography series are handsomely illustrated with photos of the author, reproductions of book jackets and manuscript pages, and even caricatures and cartoons. If you have access to such materials and can send us copies, we would be very grateful. Any originals sent will be returned to you after we have had copies made. If any photos or caricatures are included, we will need to know the name and address of each photographer or artist so that our publisher can clear permissions with those who hold rights to these items. Also, if you happen to know the home or business address of the author you are working on, please send that to us as well, for we would like to solicit additional visual materials directly from the person on whose work you are writing.

Until 1994 you will be able to reach me at the following address: English Department, University of Texas at Austin, Austin, Texas 78712.

My phone numbers are 512-472-4712 (home) and 512-471-8716 or 512-471-5522 (offices), and Fax messages can be sent to me at 512-471-4909. If you are willing and able to assist us in this project, please send me your address(es) and numbers to that we'll be able to contact you easily in the coming months.

I look forward to hearing from you.

Sincerely yours,

Bernth Lindfors

P.S. Ignore the part of the paragraph that asks for the author's address. happened to run into Nkosi and his Polish wife at the African Studies Association meeting in Seattle the weekend before last. His addresses, if you need them, are:

English Dept. 1000 Garfield St. #15 University of Wyoming Laramie, Wyoming Laramie, Wyoming 82071 82070

He agreed to prepare the entry on Njabulo Ndebele, so I'll be in touch with him off and on throughout the winter and spring and will ask him for photographs and other illustrative materials.

A big hello to Maria!

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