Nadine Gordimer’s literary work is rich with themes of apartheid, brilliant insight, concise ideas, and shifting points of views that make her work so unique. Her writing is stitched together in the most unusual way, unlike any other author. In a simple one hundred pages of My Son’s Story, you can find an explosion of politics, strong opinion, and pushed limits, buried underneath a seemingly ordinary story. It takes much more than a skim over the page to fully comprehend her depth. Without any pre-knowledge of her themes, diving into a work of hers can be overwhelming. The readers must dig into the novel and fully immerse themselves. When you are able to explore all of the layers hidden in her stories, you are able to fully understand Nadine’s work.
Nadine, a strong campaigner against apartheid, incorporates complex themes and insight of racism, particularly prevalent in South Africa during the time of her most famous works. The depth that makes her novel so intriguing stems from this theme of racism. A notable quote from My Son’s Story is the line of “Whites don’t know what they are seeing when they look at us” (Gordimer 261). Here, Nadine writes from the perspective of Will, a black male. She does this to emphasize the way his society views those of his color versus the way society views the whites. Another strategy the author uses is explained in an online article, saying “Gordimer reveals situations when reality suddenly takes another course and we are caught in our roles and expectation, in the traps of skin color, class, family, and the body itself” (Watsberg 1). Perhaps the most admirable skill of Nadine is her ability to touch on the subject so delicately. She is not shoving her beliefs down the readers throat, not persua...
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...ld be helpful to have insight on South African Apartheid. Without any, the book is of course comprehensible, but with knowledge comes an advantage to the reader. A critic offers an explanation of her purpose for writing this way, saying “In order to process such complicated thought processes, it takes immense concentration.” (Coles 1).
The complexity of the authors style and diction matches the complexity of the story. Her style may seem complex for those who do not work to interpret, but for those who do, the outcome is a truly rewarding experience. Any reader could tell that Nadine writes from an extremely personal perspective and incorporates her beliefs without any sugar coating. She shows a certain rawness in her literature that is difficult to come across anywhere else. Nadine simply writes what she knows- which makes her novels so genuine and unique.
In the article, “A Letter My Son,” Ta-Nehisi Coates utilizes both ethical and pathetic appeal to address his audience in a personable manner. The purpose of this article is to enlighten the audience, and in particular his son, on what it looks like, feels like, and means to be encompassed in his black body through a series of personal anecdotes and self-reflection on what it means to be black. In comparison, Coates goes a step further and analyzes how a black body moves and is perceived in a world that is centered on whiteness. This is established in the first half of the text when the author states that,“white America’s progress, or rather the progress of those Americans who believe that they are white, was built on looting and violence,”
Ever since the abolition of slavery in the United States, America has been an ever-evolving nation, but it cannot permanently erase the imprint prejudice has left. The realities of a ‘post-race world’ include the acts of everyday racism – those off-handed remarks, glances, implied judgments –which flourish in a place where explicit acts of discrimination have been outlawed. It has become a wound that leaves a scar on every generation, where all have felt what Rankine had showcased the words in Ligon’s art, “I feel most colored when I am thrown against a sharp white background” (53). Furthermore, her book works in constant concert with itself as seen in the setting of the drugstore as a man cuts in front of the speaker saying, “Oh my god, I didn’t see you./ You must be in a hurry, you offer./ No, no, no, I really didn’t see you” (77). Particularly troublesome to the reader, as the man’s initial alarm, containing an assumed sense of fear, immediately changing tone to overtly insistent over what should be an accidental mistake. It is in these moments that meaning becomes complex and attention is heightened, illuminating everyday prejudice. Thus, her use of the second person instigates curiosity, ultimately reaching its motive of self-reflections, when juxtaposed with the other pieces in
She leaves behind her family in order to pursue what she believes is the greater good. She leaves behind a family of nine, living in extreme poverty, to live with her biological father—who runs out on her at a young age to satisfy his need to feel big and important, simply based on anxieties about the hardships around him. Moody comes from a highly difficult and stressful situation, but she stands as the only hope for her starving family and leaves them behind for a life of scholarship and opportunity. This memoir leaves the reader with a sense of guilt for Moody’s decisions, and one may even argue that these decisions happened in vain, as the movement never made a massive impact on race relations. Unfortunately for Moody, she would continue to witness atrocious hate crimes up until the year of her
Anne Moody’s Coming of Age in Mississippi and Mark Mathabane’s Kaffir Boy are both coming-of-age narratives that were written through the eyes and experiences of young people who grew up in a world of apartheid. Although, it should be noted that they both have parallels in their stories as well as distinctions one should take into account the times and places in which each occurred. While Coming of Age in Mississippi occurred during a Jim Crow era in the American South, between 1944 and 1968, Kaffir Boy’s autobiographical narrative occurred in the regime of South Africa’s apartheid struggle from 1960 to 1978 in the town of Alexandra. During the late 20th century both narratives offer a framework of racism, a value and yearn for education and the struggle and will to survive. This essay will compile how both narratives experienced their areas race-relations given the time and place that they are in.
This book addresses the issue of race all throughout the story, which is while it is probably the most discussed aspects of it. The books presentation is very complex in many ways. There is no clear-cut stance on race but the book uses racist language. The racist language durin...
...f South African language and culture, acknowledgement of the racial oppression in South Africa, past and present, that it was wrong and positive action is required to make it right, and finally that all South Africans are legitimate and enjoy full moral equality (“About – DA”). In order for all this to be possible, the state must ensure it does not compromise the freedom of the individual (“About – DA”).
Although the film is slow, it takes on surprising power from the dignity of its performances and the moral strength of its ideas. The book is the same way except you are being fed more of the characters emotion through words than through pictures. Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but as I said before overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit (Douglas 25). Alan Paton's novel of apartheid in 1940s South Africa receives a sanitized and overly sentimental treatment in this film, a little trivializing to the book's relentless power.
Massey, Douglas A. and Nancy A. Denton. American Apartheid. Cambridge, MA: Harvard University Press, 1993.
The novel is loaded with a plethora of imageries of a hostile white world. Wright shows how white racism affects the behavior, feelings, and thoughts of Bigger.
A biography about Nelson Mandela, which helped me compare and contrast Nelson Mandela and Paton’s Ideal leader to change South Africa.
Worse, barriers to communication, “obstacles that interrupt the flow of conveying and receiving messages,” had arisen due to the division between the whites and blacks (P.380). Because of this, the future of South Africa was not only misunderstood by South Africans, but by the international community as well. In order to promote his vision, Mandela understood that he would need to actively communicate, “the…transmitting [of] information, thoughts, and processes through various channels,” to make his intentions known, and to create motivation, “drive to complete a task,” throughout the country (P.
The young man’s predicaments all revolve around his need to satisfy those that will judge him and he becomes trapped between the apartheid rule and humanity’s desire for equality and respect towards others. This is purely a personal issue that can be resolved solely by him, but should take into the consideration of those involved. We see glimpses of this coming through the young man, but being raised in an era of apartheid it overpowers his common understanding of respect.
In July’s People, Nadine Gordimer gives a very detailed and knowledgeable explanation of the political turmoil within South Africa. By expressing the emotions of a family involved in the deteriorating situation and the misunderstandings between blacks and whites, she adds a very personal and emotional touch, which allows the reader to understand the true horror and terror these people experienced. Gordimer writes of how the Smales family reacts, survives, and adjusts to this life altering experience. She makes obvious throughout the book that prejudice plays a major role in uncovering the reactions of Bamford and Maureen Smales.
In July’s People, Nadine Gordimer gives a very detailed and knowledgeable explanation of the political turmoil within South Africa. By expressing the emotions of a family involved in the deteriorating situation and the misunderstandings between blacks and whites, she adds a very personal and emotional touch, which allows the reader to understand the true horror and terror these people experienced. Gordimer writes of how the Smales family reacts, survives, and adjusts to this life altering experience. She makes obvious throughout the book that prejudice plays a major role in uncovering the reactions of Bamford and Maureen Smales.
"Swize Bansi is Dead" tells the difficult reality of Africa under apartheid (1950s), analysing the complex issue of identity in that time. The rules of Apartheid meant that people were legally classified into a racial group, mainly Black and White, and separated from each others.