You Can't Get Lost in Cape Town (Women Writing Africa)

Zoë Wicomb's complex and deeply evocative fiction is among the most distinguished recent works of South African women's literature. It is also among the only works of fiction to explore the experience of "Coloured" citizens in apartheid-era South Africa, whose mixed heritage traps them, as Bharati Mukherjee wrote in the New York Times, "in the racial crucible of their country. "Wicomb deserves a wide American audience, on a part with Nadine Gordimer and J.M.Coetzee." - Wall St. Journal Wicomb is a gifted writer, and her compressed narratives work like brilliant splinters in the mind, suggesting a rich rhythm and shape."- Seattle Times "[Wicomb's] prose is vigorous, textured, lyrical. . . . [She] is a sophisticated storyteller who combines the open-endedness of contemporary fiction with the force of autobiography and the simplicity of family stories."-Bharati Mukherjee, New York Times Book Review For course use in: African literature, African... Zu Wicomb's complex and deeply evocative fiction is among the most distinguished recent works of South African women's literature. It is also among the only works of fiction to explore the experience of "Coloured" citizens in apartheid-era South Africa, whose mixed heritage traps them, as Bharati Mukherjee wrote in the New York Times, "in the racial crucible of their country. "Wicomb deserves a wide American audience, on a part with Nadine Gordimer and J.M. Cutzee."--Wall St. Journal Wicomb is a gifted writer, and her compressed narratives work like brilliant splinters in the mind, suggesting a rich rhythm and shape."-Seattle Times "[Wicomb's] prose is vigorous, textured, lyrical ... [She] is a sophisticated storyteller who combines the open-endedness of contemporary fiction with the force of autobiography and the simplicity of family stories."-Bharati Mukherjee, New York Times Book Review For course use in: African literature, African studies, growing up female, world literature, women's studies Zu Wicomb was born in 1948 and raised in Namaquland, South Africa. After 20 years voluntary exile, she returned to South Africa in 1991 to teach at the University of the Western Cape. She currently lives in Glasgow and teaches at the University of Strathclyde, Scotland. Marcia Wright is professor of history at Columbia University and a member of the executive committee for the Women Writing Africa series. Carol Sicherman is professor emerita of English at Lehman College, CUNY

In this rich compilation, Emeka Nwosu takes the reader to a journey of the issues that have helped to shape discourses on various aspects of the Nigerian state and society. The articles, originally published in his weekly column in the premier Nigerian daily newspaper, ThisDay, not only show his perspectives on these issues when they were written but also reveal how discussions on some of those issues have evolved over time and how they have mutated today.

Journalists, especially those who maintain regular columns, are often said to write 'history in a hurry'. For experienced writers like the author whose writings are research-based, it does not mean that what they write about is factually wrong but simply that their writings are infused with the passions and emotions that attended those issues as they unfolded.

This collection is therefore not only informed commentaries on some of the issues that have shaped the contour of the Nigerian state and society over the years but a good trip on the passions and emotions that attended those discourses. The articles, 66 of them, are written with remarkable candour and gusto and therefore a delight to read. They form a very important contribution to the corpus of works on Nigerian politics and society.

In this searing novel—praised by Toni Morrison as “seductive, brilliant, and precious”—Zoë Wicomb chronicles a woman's lifelong struggle with identity in apartheid-era South Africa. The daughter of “Coloured” parents in rural South Africa, Frieda Shenton is taught to emulate whites: speak standard English, straighten her hair, and do more than, as her father instructs, “peg out the madam's washing.” While a self-conscious and overweight adolescent, Frieda is sent away to be among the first to integrate a prestigious Anglican high school in Cape Town. Here, she discovers a city with racial lines so strictly drawn, it is impossible to step out of one's place. When Frieda returns to Cape Town after more than a decade in England, she finds herself in the midst of a violently rebelling city—seemingly still without a place for her. Only as Frieda summons the courage to tell her “terrible stories” does she begin to find herself in a world where she has always felt in exile. In You Can't Get Lost in Cape Town, Windham Campbell Prize winner Zoë Wicomb stakes her claim as one of South Africa's great contemporary writers, illuminating for readers “a bleak but wise perspective on people and on the South African world” (The Wall Street Journal) You Can't Get Lost in Cape Town is among the only works of fiction to explore the experience of “Coloured" citizens in apartheid-era South Africa, whose mixed heritage traps them, as Bharati Mukherjee wrote in the New York Times, “in the racial crucible of their country." Frieda Shenton, the daughter of Coloured parents in rural South Africa, is taught as a child to emulate whites: she is encouraged to learn correct English, to straighten her hair, and to do more than, as her father says, “peg out the madam's washing." While still a self-conscious and overweight adolescent, Frieda is sent away from home to be among the first to integrate a prestigious Anglican high school in Cape Town, and finds herself in a city where racial lines are so strictly drawn that it is not possible to step out of one's place. At last, Frieda flees to England, only to return more than a decade later to a South Africa now in violent rebellion against apartheid—but still, seemingly, without a place for her. It is only as Frieda finds the courage to tell her “terrible stories" that she at last begins to create her own place in a world where she has always felt herself an exile.