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\"The long history of censorship is a parallel and equally powerful history of literature. Censors bear witness to the power of the word even more forcefully than the writers and the readers they consider dangerous.\" (Index on Censorship 6/1996)A critical assessment of literature produced under censorship needs to take into account that the stategies of the censors are answered by strategies of the writers and the readers. To recognize self-censoring strategies in writing, it is necessary to know the specific restrictions of the censorship regime in question. In South Africa under apartheid all writers were confronted with the question of how to respond to the pressure of censorship. This confrontation took a different form however, depending on what group the writer belonged to and what language he/she used. By looking at white writers writing in Afrikaans and white and black writers writing in English, this book gives the impact of censorship on South African literature a comparative examination which it has not received before. The book considers works by J.M.Coetzee, Nadine Gordimer, André Brink, and others less known to readers outside South Africa like Karel Schoeman, Louis Krüger, Christopher Hope, Miriam Tlali and Mtutuzeli Matshoba. It treats the censorship laws of the apartheid regime as well as, in the final chapter, the new law of the Mandela government which shows some surprising similarities to its predecessor.Margreet de Lange teaches Comparative Literature at Utrecht University and coordinates the University's interdisciplinary program of South African Studies. She received her Ph.D. from the Graduate Center of the City University of New York.\"De Lange expertly sketches in the historical and literary backgrounds as she goes, taking us right up to the recent (unsatisfactory) revision of the censorship laws, making The Muzzled Muse a vitally important summary of literary censorship in South Africa, and a handbook of what to guard against in the future.\"Shaun de Waal, Mail & Guardian Sept. 26 to October 1, 1997.

In southern graveyards through the first decades of the twentieth century, the Confederate South was commemorated by tombstones and memorials, in Confederate flags, and in Memorial Day speeches and burial rituals. Cemeteries spoke the language of southern memory, and identity was displayed in ritualistic form-inscribed on tombs, in texts, and in bodily memories and messages. Katharine DuPre Lumpkin, Lillian Smith, and Pauli Murray wove sites of regional memory, particularly Confederate burial sites, into their autobiographies as a way of emphasizing how segregation divided more than just southern landscapes and people. Darlene O'Dell here considers the southern graveyard as one of three sites of memory-the other two being the southern body and southern memoir-upon which the region's catastrophic race relations are inscribed. O'Dell shows how Lumpkin, Smith, and Murray, all witnesses to commemorations of the Confederacy and efforts to maintain the social order of the New South, contended through their autobiographies against Lost Cause versions of southern identity. Sites of Southern Memory elucidates the ways in which these three writers joined in the dialogue on regional memory by placing the dead southern body as a site of memory within their texts. In this unique study of three women whose literary and personal lives were vitally concerned with southern race relations and the struggle for social justice, O'Dell provides a telling portrait of the troubled intellectual, literary, cultural, and social history of the American South.

Bless Me Father is the true story of an incredible South African life. Born into a violent and broken family, and growing up in a variety of institutions, Cape Town based poet and writer Mario d'Offizi tells his remarkable, often shocking and ultimately inspiring life adventure - one that spans several decades in a country undergoing radical change. From his tough days at Boys Town to wild years in the advertising world, a stint in the restaurant business and a sharp edged journalistic adventure in the DRC, d'Offizi tells his critically acclaimed story with the unfailing sensitivity and warmth of a true poet.

01 02 Disability and Modern Fiction explores shifting definitions and representations of physical and mental impairment in 20th and 21st century culture through a focus on the work of William Faulkner, Toni Morrison and JM Coetzee. Taking as its starting point Virginia Woolf's essay 'On Being Ill' (1930), the book argues that focusing on literary representations of disability opens up new critical categories for the analysis of fiction. Through consideration of their work as critics and Nobel Prize-winning public intellectuals, as well as authors, the book proposes new ways of reading Faulkner, Morrison and Coetzee in relation to one another, and in doing so highlights the ethical, aesthetic and imaginative challenges they pose to readers. 08 02 'This book is one of the best literary critical accounts I have read in a long time. Hall writes with great clarity and addresses the complexity of 'disability' in a highly intelligent and nuanced manner. Her insights into the representation of disability in the fiction of Faulkner, Morrison and Coetzee are first rate.' - Professor of Health Humanities,University of Nottingham, UK 31 02 Disability and Modern Fiction explores representations of disability in the works of William Faulkner, Toni Morrison and J.M.Coetzee in their roles as authors, critics and Nobel Laureates 19 02 Timely - taps into gap on disability studies and literature, as well as wider theme of the body in general Provides a fresh perspective on three well-studied writers (Toni Morrison, William Faulkner, J. M. Coetzee) Challenges the boundaries of 'disability studies', showing the diversity and ambiguity of the term 'disability' Medical/health humanities is a fast-growing area of study/research Adds to a call for disability perspectives to be incorporated into the wider university curriculum alongside feminist, post-colonial, queer and race studies 04 02 List of Illustrations Acknowledgements Disability and Modern Fiction: Charting New Territory Tales Told by an Idiot: Disability and Sensory Perception in William Faulkner's Fiction and Criticism Foreign Bodies: Disability and Beauty in the Work of Toni Morrison Dialectics of Dependency: Aging and Disability in J.M.Coetzee's Later Writing Disability as Metaphor: The Nobel Prize Lectures of Faulkner, Morrison and Coetzee Conclusion: 'You Can't Just Fly on off and Leave a Body' Notes Bibliography Index 02 02 Focusing on Faulkner, Morrison and Coetzee as authors, critics and Nobel Prize-winning intellectuals, this book explores shifting representations of disability in 20th and 21st century literature and proposes new ways of reading their works in relation to one another, whilst highlighting the ethical, aesthetic and imaginative challenges they pose. 13 02 ALICE HALL has recently completed a postdoctoral research fellowship at the Centre for Advanced Studies, University of Nottingham, UK. She holds an MPhil in Criticism and Culture and a PhD in Contemporary Literature from the University of Cambridge, UK. Alice currently teaches Twentieth Century Literature and Practical Criticism to undergraduate students at Cambridge, UK.

Ih considering the circumstances in which Coetzee's books were written and published, it is necessary to look at extra-diegetic, ancillary material beyond the ambit of conventional literary analysis: newspaper reviews and interviews, book contracts, jacket design, press releases, sales figures and, most importantly, private correspondence between the author and his publishers and agents.1 Such records enable us to understand the production context of the books and to trace how the relationship between Coetzee and his publishers shaped his sense of himself as an emerging author. [...]Ravan had hardly begun to exist, and had only published one work of literature, namely James Matthews' s poetry volume Cry Rage, Andrew van der Vlies has argued that Ravan provided \"a significant institutional context for Coetzee's writing, given its association, through Staffrider, with 'black consciousness' ideology, a self-consciously Marxist dedication to engaged writing, and a scepticism about aesthetic validations and categories of literariness\" (Textual Cultures 137). According to Randall, \"Coetzee in desperation sent his manuscript to Spro-Cas and it was accepted as one of the first books of Ravan\" (Wittenberg). [...]as we have seen in the way he chose to represent and style himself, Coetzee presented himself as an author who drew a line between himself and his novels, preferring to keep the personal and the literary as strictly separate domains.