Peter Abrahams (1)Besprekingen

HB-8

Published two years before Cry the beloved country, this explores similar themes, but in a subtly different way. The viewpoint is that of Xuma, the young black man from the country who comes to the big city to work in the mines, and it's the noisy, lively, disorderly world of the townships — and of Leah's shebeen, in particular — where he finds solidarity and companionship, whilst the values of "civilised" white society are often made to seem strange, arbitrary, and threatening. Where Paton's African rhythms are slow, disciplined and stately, the rumble of old men's conversations, this is written to a much rougher, wilder beat. And it can't help pulling us in.

And Abrahams wrote this whilst he was mixing with the future leaders of post-colonial Africa and the Caribbean in London: Paton's young man is doomed to his tragic fate, but we leave Xuma at a point where he has seen that black people cannot rely on white liberals and have to take leadership themselves to defend their rights. Maybe he will be crushed by the system all the same, but Abrahams doesn't see that as inevitable, and the ending of the book allows us to imagine that he will be able to do something to work towards change. Although perhaps not so much if we're reading it 75 years on and know how South Africa's history progressed...

The AWS edition comes with attractive, if slightly Sunday-schoolish, illustrations by Ruth Yudelowitz. All I could find out about her on the internet is that she was an artist working for the East Africa Literature Bureau in Nairobi in the 1950s, and illustrated a lot of African school-books.

A first person account of colored life in Africa pre apartheid. The author tells of everyday life from 1910 until he leaves the country in 1939. A gripping story.

This is a novel set in the Africa of the age of independence. It tells the story of Michael Udomo, the would-be leader of a new nation -- and of his ultimate failure at that task.

This combines memoir and political analysis of the condition of Africa and the African diaspora in the twentieth century. Abrahams has lived a very long life (he was 89 when this book was published and is still alive when I'm writing this at 94) and encountered many of the most important figures of the black struggles (American civil rights, African and Caribbean independence, South African anti-apartheid) of the past 80+ years. As a novelist and activist he has been well-placed both to observe and to participate in those struggles. This is both an analysis and a personal recollection of his life and family (and a reader of his earlier memoir *Tell Freedom* will benefit a great deal from having read that first).. It is a work of immense worth to anyone wanting to understand the past century from the perspective of those underneath.

This is a gripping account of growing up in the South Africa of the 1920s to 1940s. Abrahams recounts life in the Coloured location of Vrededorp in Johannesburg during his childhood and youth in the late 1920s and early 30s. He describes how he managed by luck to acquire a primary education in Vrededorp, and a secondary/post-secondary education at teachers' college. His descriptions of life as an activist and teacher in Johannesburg, Cape Town, and Durban are gripping. So is the tale of his departure from his homeland, the police having decided that they could do with one fewer activist in the country. There are moments of true horror in the book, and moments of astounding decency.

Mine Boy is an unsung gem, amazing and much more potent than Alan Paton's Cry the Beloved Country. In fact, the two do not necessarily warrant comparison except for the fact that Paton's book is one of the few classic South African novels taught in U.S. schools. Some readers have complained of the simplicity of Abraham's language or "cardboard" characters. For me, it's that very simplicity that makes the story such a dramatic tale; it's language that anyone can understand. It's primitive, if you will, or embryonic. As for the characters being underdeveloped, again, I think this adds to the effectiveness of this particular story. Caste systems, apartheid, and other types of sanctioned discrimination force people to come across as stereotypes. When we view our neighbors as "other," we're not seeing them as fully human. This is effectively dramatized in Mine Boy. It put me in a time and place that I would not have experienced otherwise, despite the universality of feeling that comes with the hardships of life. This is the knife's edge of thinking only in terms of black and white.

The story of the political transformation of a Caribbean island nation, and how this affects various people black and white, including the man who leads the transformation. This is a novel of its time (the 1960s) and the future it projects (as seen from the 1960s) was plausible then .

The story takes place in the mid-1960's. One theme is the attempt by some progressive forces to maintain alliances among the different non-white groups; another is the spread of a culture of resistance; and a third is the descent of once-liberal Afrikaaner intelligentsia into racialism.

K-1

High Upper-Intermediate