e p i l o g u e
Post-Apartheid Narratives: TheHouseGun and Fools
There is a sad sentence near the start of Graham Pechey’s im-
portant essay, ‘‘Post-Apartheid Narratives’’: ‘‘The stronger sense of ‘post-
colonial’ emerges when we consider this seeming paradox: that it takes
anticolonial struggles to produce neocolonial conditions’’ (153). I cited
this passage in the introduction because looking for something in such
struggles—some political and aesthetic logic—that opposes such an out-
come is what animates this book. I hope to have shown that a radical-
democratic logic of this sort can indeed be found. By way of epilogue, I
want to examine two recent postapartheid narratives from different loca-
tions in South African culture: a novel by Nadine Gordimer that, though
indefatigablylocallikeallherworkbecauseof itscommitmentagainstthe
normalizationofaneocolonialoutcome,fallsimmediatelyintothecircuit
of international high culture; and a film from a new company, Natives at
Large, which, though also moving immediately into the circuit of Euro-
pean and U.S. film festivals, derives from a local Black theatrical tradition
as well as from its director Ramadan Suleman’s experience in London and
Paris schools of filmmaking.These two texts are profoundlyat homewith
each other, I believe, in their common South Africanness, and equally in
theirbeingmadeforexportintheglobalculturaleconomy.Iwouldnotsay
Previous Page Next Page