Arrested in 1962 as South Africa's apartheid regime intensified its brutal campaign against political opponents, forty-four-year-old lawyer and African National Congress activist Nelson Mandela had no idea that he would spend the next twenty-seven years in jail. During his 10,052 days of incarceration, the future leader of South Africa wrote a multitude of letters to unyielding prison authorities, fellow activists, government officials, and, most memorably, to his courageous wife, Winnie, and his five children. Now, 255 of these letters, many of which have never been published, provide exceptional insight into how Mandela maintained his inner spirits while living in almost complete isolation, and how he engaged with an outside world that became increasingly outraged by his plight.
Organized chronologically and divided by the four venues in which he was held as a sentenced prisoner, The Prison Letters of Nelson Mandela begins in Pretoria Local Prison, where Mandela was held following his 1962 trial. In 1964, Mandela was taken to Robben Island Prison, where a stark existence was lightened only by visits and letters from family. After eighteen years, Mandela was transferred to Pollsmoor Prison, a large complex outside of Cape Town with beds and better food, but where he and four of his comrades were confined to a rooftop cell, apart from the rest of the prison population. Finally, Mandela was taken to Victor Verster Prison in 1988, where he was held until his release on February 11, 1990.
With accompanying facsimiles of some of his actual letters, this landmark volume reveals how Mandela, a lawyer by training, advocated for prisoners' human rights. It reveals him to be a loving father, who wrote to his daughter, "I sometimes wish science could invent miracles and make my daughter get her missing birthday cards and have the pleasure of knowing that her Pa loves her," aware that photos and letters he sent had simply disappeared.
More painful still are the letters written in 1969, when Mandela--forbidden from attending the funerals of his mother and his son Thembi--was reduced to consoling family members through correspondence. Yet, what emerges most powerfully is Mandela's unfaltering optimism: "Honour belongs to those who never forsake the truth even when things seem dark & grim, who try over and & over again, who are never discouraged by insults, humiliation & even defeat."
Whether providing unwavering support to his also-imprisoned wife or outlining a human-rights philosophy that resonates today, The Prison Letters of Nelson Mandela reveals the heroism of a man who refused to compromise his moral values in the face of extraordinary punishment. Ultimately, these letters position Mandela as one of the most inspiring figures of the twentieth century.From The Prison Letters of Nelson Mandela
"A new world will be won not by those who stand at a distance with their arms folded, but by those who are in the arena, whose garments are torn by storms & whose bodies are maimed in the course of contest."
"I am convinced that floods of personal disaster can never drown a determined revolutionary nor can the cumulus of misery that accompanies tragedy suffocate him."
"My respect for human beings is based, not on the colour of a man's skin nor authority he may wield, but purely on merit."
"A good pen can also remind us of the happiest moments in our lives, bring noble ideas into our dens, our blood & our souls. It can turn tragedy into hope & victory."
The Politics of Transition in Africa: State, Democracy and Economic Development (ROAPE African Readers)
Fifty rogue's tales translated fifty waysAn itinerant con man. A gullible eyewitness narrator. Voices spanning continents and centuries. These elements come together in Impostures, a groundbreaking new translation of a celebrated work of Arabic literature. Impostures follows the roguish Abū Zayd al-Sarūjī in his adventures around the medieval Middle East-we encounter him impersonating a preacher, pretending to be blind, and lying to a judge. In every escapade he shows himself to be a brilliant and persuasive wordsmith, composing poetry, palindromes, and riddles on the spot. Award-winning translator Michael Cooperson transforms Arabic wordplay into English wordplay of his own, using fifty different registers of English, from the distinctive literary styles of authors such as Geoffrey Chaucer, Mark Twain, and Virginia Woolf, to global varieties of English including Cockney rhyming slang, Nigerian English, and Singaporean English. Featuring picaresque adventures and linguistic acrobatics, Impostures brings the spirit of this masterpiece of Arabic literature into English in a dazzling display of translation. An English-only edition.
Satirical verse on society and its hypocrisiesA master of satire known for his ribald humor, self-deprecation, and invective verse (hijāʾ), the poet Ḥmēdān al-Shwēʿir was an acerbic critic of his society and its morals. Living in the Najd region of the Arabian Peninsula, Ḥmēdān wrote in an idiom widely referred to as "Nabaṭī," here a mix of Najdī vernacular and archaic vocabulary and images dating to the origins of Arabic poetry. In Arabian Satire, Ḥmēdān is mostly concerned with worldly matters and addresses these in different guises: as the patriarch at the helm of the family boat and its unruly crew; as a picaresque anti-hero who revels in taking potshots at the established order, its hypocrisy, and its failings; as a peasant who labors over his palm trees, often to no avail and with no guarantee of success; and as a poet recording in verse how he thinks things ought to be. The poems in Arabian Satire reveal a plucky, headstrong, yet intensely socially committed figure--representative of the traditional Najdī ethos--who infuses his verse with proverbs, maxims, and words of wisdom expressed plainly and conversationally. Ḥmēdān is widely quoted by historians of the Gulf region and in anthologies of popular sayings. This is the first full translation of this remarkable poet.
In France of the early twentieth-century, the term art nègre was as likely to refer to the black music and dance of America as to the sculpture of Africa. Indeed, music and dance, which both racial theorists and novelists portrayed as the "primitive" arts par excellence, were widely believed to exemplify the "genius" of blacks. In Le Tumulte noir, Jody Blake traces the profound impact African sculpture and African American music and dance had upon Parisian popular entertainment as well as upon avant-garde, modernist art, literature, and theater.
Through her discussion of the reception of ragtime and jazz, as well as other African visual and performing art forms, Blake provides new ways of understanding the development of modernist "primitivism," from Matisse and Picasso to Dada and Surrealism. She also demonstrates that the influence of art nègre went well beyond the art world. From the notorious cakewalk to the Charleston, African American idioms played a key role in shaping modern cultural, social, and political life.
Little is known about Nefertiti, the Egyptian queen whose name means "a beautiful woman has come." She was the wife of Akhenaten, the pharaoh who ushered in the dramatic Amarna Age, and she bore him at least six children. She played a prominent role in political and religious affairs, but after Akhenaten's death she apparently vanished and was soon forgotten.
Yet Nefertiti remains one of the most famous and enigmatic women who ever lived. Her instantly recognizable face adorns a variety of modern artifacts, from expensive jewelry to cheap postcards, t-shirts, and bags, all over the world. She has appeared on page, stage, screen, and opera. In Britain, one woman has spent hundreds of thousands of pounds on plastic surgery in hope of resembling the long-dead royal. This enduring obsession is the result of just one object: the lovely and mysterious Nefertiti bust, created by the sculptor Thutmose and housed in Berlin's Neues Museum since before World War II.
In Nefertiti's Face, Egyptologist Joyce Tyldesley tells the story of the bust, from its origins in a busy workshop of the late Bronze Age to its rediscovery and controversial removal to Europe in 1912 and its present status as one of the world's most treasured artifacts. This wide-ranging history takes us from the temples and tombs of ancient Egypt to wartime Berlin and engages the latest in Pharaonic scholarship. Tyldesley sheds light on both Nefertiti's life and her improbable afterlife, in which she became famous simply for being famous.
Seventh grader Tristan Strong feels anything but strong ever since he failed to save his best friend when they were in a bus accident together. All he has left of Eddie is the journal his friend wrote stories in. Tristan is dreading the month he's going to spend on his grandparents' farm in Alabama, where he's being sent to heal from the tragedy. But on his first night there, a sticky creature shows up in his bedroom and steals Eddie's notebook. Tristan chases after it--is that a doll?--and a tug-of-war ensues between them underneath a Bottle Tree. In a last attempt to wrestle the journal out of the creature's hands, Tristan punches the tree, accidentally ripping open a chasm into the MidPass, a volatile place with a burning sea, haunted bone ships, and iron monsters that are hunting the inhabitants of this world. Tristan finds himself in the middle of a battle that has left black American folk heroes John Henry and Brer Rabbit exhausted. In order to get back home, Tristan and these new allies will need to entice the god Anansi, the Weaver, to come out of hiding and seal the hole in the sky. But bartering with the trickster Anansi always comes at a price. Can Tristan save this world before he loses more of the things he loves?
In Her Feminine Sign follows on the heels of Dunya Mikhail's devastating account of Daesh kidnappings and killings of Yazidi women in Iraq, The Beekeeper. It is the first book she has written in both Arabic and English, a process she talks about in her preface, saying "The poet is at home in both texts, yet she remains a stranger." With a subtle simplicity and disquieting humor reminiscent of Wislawa Szymborska and an unadorned lyricism wholly her own, Mikhail shifts between her childhood in Baghdad and her present life in Detroit, between Ground Zero and a mass grave, between a game of chess and a flamingo. At the heart of the book is the symbol of the tied circle, the Arabic suffix taa-marbuta--a circle with two dots above it that determines a feminine word, or sign. This tied circle transforms into the moon, a stone that binds friendship, birdsong over ruins, three kidnapped women, and a hymn to Nisaba, the goddess of writing. A section of "Iraqi haiku" unfolds like Sumerian symbols carved onto clay tablets, transmuted into the stuff of our ordinary, daily life. In another poem, Mikhail defines the Sumerian word for freedom, Ama-ar-gi, as "what seeps out / from the dead into our dreams."
Reflections on a lost poem and its rediscovery by contemporary poets
Gilgamesh is the most ancient long poem known to exist. It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it tells the story of a great king, his heroism, and his eventual defeat. It is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh and its profound influence on poets today.
Schmidt describes how the poem is a work in progress even now, an undertaking that has drawn on the talents and obsessions of an unlikely cast of characters, from archaeologists and museum curators to tomb raiders and jihadis. Fragments of the poem, incised on clay tablets, were scattered across a huge expanse of desert when it was recovered in the nineteenth century. The poem had to be reassembled, its languages deciphered. The discovery of a pre-Noah flood story was front-page news on both sides of the Atlantic, and the poem's allure only continues to grow as additional cuneiform tablets come to light. Its translation, interpretation, and integration are ongoing.
In this illuminating book, Schmidt discusses the special fascination Gilgamesh holds for contemporary poets, arguing that part of its appeal is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for readers.
This book brings together more than 60 of Africa's most creative contemporary artists, drawn from across the African continent as well as from Europe, North America, the Caribbean, and South America. Their art leaps off the page with over 350 color images (many especially commissioned). In addition to painters, sculptors, and photographers, there are a number of artists whose work embraces performance and installation. Many of the materials they use are as unorthodox astheir imagery, with ready made and found objects.