Shakespeare Is The Man For All Seasons With Women Breaking The Acting Mould

DIANE DE BEER

“My words fly up, my thoughts remain below: Words without thoughts never to heaven go” William Shakespeare, Hamlet

Shake Chilling with the Bard Poster Image_ (002)

Stories are never on pause, explains Artistic Director of the Market Theatre, James Ngcobo, as he reveals their latest theatrical celebration which starts during this Women’s Month: Chilling with the Bard, a Shakespeare Season.

And for those of us trying to keep track of the creative juices of Ngcobo, it’s been a sweet ride as he tries to navigate the Covid 19 curve ball which has almost brought the world to a standstill.

I knew the creatives would find different ways to market and move their stories even when their winning ticket – live theatre – was cancelled and closed from the start and will probably be prohibited for the rest of the year.

Yet from the start of the first lockdown, Ngcobo knew he had to find ways to keep theatre going, to embrace rather than defy lockdown. “I commissioned 10 new works all of which are available on our social media platforms and some of which will be reworked next year to stage live,” he says.

Then he turned to a handful of especially young actors to do monologues reflecting on their world and the life we are inhabiting now. “Theatre will rise again,” he says but in the meantime it has given him the opportunity to showcase some performers who are Market regulars but also others he has always hoped to put on stage.
“Covid hasn’t stifled our passion, just moved it into another space.”

He also connected with dancers like Vincent Mantsoe in Paris, writers like Napo Masheane were given a scenario and asked to write something and others to tell their own stories while an international jazz hook-up was also made. He had to find ways to woo audiences to watch and is thrilled by the response – with numbers watching rising constantly as all the work can be easily accessed for free.

Many of these plays will also be staged at the Market once live performances are given the go-ahead. “I envision two weekends of short plays for example where audiences move around from one 20 minute play to another,” he says. For him it is important to stage new work and not just look at what they had available.

This latest season is based on speeches from some of Shakespeare’s iconic plays, mostly written for male characters. They have been carefully picked and partnered with the perfect actress, according to Ngcobo.

These past few months and those ahead have been all about finding ways to work not only for audiences but also for actors. Reversing the roles in this Shakespeare season, Ngcobo hoped to excite both parties with roles that where written more than 400 years ago but are still relevant today.

shake maya and oprahIn an Oprah Masterclass podcast with Maya Angelou, relevance is underlined with the following Angelou musings:

“I read Shakespeare,” she says speaking of herself at a very young age, approximately 12. “I memorised 50 sonnets or something. But I read one sonnet that made me think, Shakespeare must be a black girl from the South who may have been molested. How could he know?”

And then she recites…

In disgrace with  fortune and men’s eyes,

 I all alone beweep my outcast state,

And trouble deaf heaven with my bootless cries,

And look upon myself and curse my fate.

“Shakespeare knew what it was to be raped and scorned, so of course, (and she laughs) I thought he was a black girl, barefoot in the South. It spoke to me.” And who can argue that!

Ngcobo expounds: “I think it’s important that we’re not locked in by the myopia of gender and race,” he says, something that world theatre has embraced as audiences become more adventurous in their viewing choices.

“It is really a marvel that almost 400 years after he wrote this great literature, we are still intrigued and engulfed in this magnificent work of brilliance. Shakespeare poured his heart and imagination into these wonderous stories that have been acclaimed, enjoyed, and staged over the years.” said Ngcobo.

Running through his options he talks about his choices for the season:

 

Eleven of Mzansi finest female actresses take on performing one hander plays on the John Kani stage, showcasing their diverse talent with extraordinary acting. “I’m hoping that this amazing combination of talent will breathe new life to these ancient yet living texts,” says Ngcobo.

 

Shake Arsema Thomas
Arsema Thomas

Arsema Thomas is an American actress currently working in South Africa. She has African parents and wanted to work on the continent. Encouraged by Moonyeenn Lee, Ngcobo auditioned her and was delighted she could participate. The first part is a speech by Rosland in As You Like It (Act 3 scene 5) and then as Lady Percy from Henry 4 Part II (Act 2 scene 3)

Shake Awethu Hleli
Awethu Hleli

Awethu Hleli first caught Ngcobo’s attention working for Cape Town’s Magnet Theatre. She’s multi-talented, a UCT graduate and moves easily from theatre to the screen. Her monologue is as Malvolio from Twelfth Night, Act 5 scene 1.

Shake Bianca Amato
Bianca Amato

Bianca Amato will be remembered by Isidingo fans before she left for the US where she has been amassing a stream of awards. But she’s back home and her contribution is Brutus’s speech from Julius Caesar Act 3, scene 2.

Shake Camilla Waldman
Camilla Waldman

Camilla Waldman has perhaps been seen more often on TV screens than on stage lately, but anything she touches turns to gold as one can witness in the monologue from The Tragedy of King Richard the Third –  Act 1, scene 1 as Richard, Duke of Gloucester, afterwards King Richard III.

Shake Charmaine Weir-Smith
Charmaine Weir-Smith

Charmaine Weir-Smith, a director, writer, actor was last seen in a stunning performance in Paul Slabolepszy’s Suddenly The Storm and also directing Dawid Minnaar and John Kani with a full heart in Fugard’s The Train Driver. She will be doing one of two sonnets, Sonnet 29 “When in disgrace with Fortune and men’s eyes …”

Shake Kate Liquorish
Kate Liquorish

Kate Liquorish was most recently seen in M-Net’s Still Breathing and on Netflix’s Queen Sono (with Ngcobo) and on stage in a dramatic turn in Sam Shepard’s Fool for Love. She will be playing King Richard II, Act 3 Scene 2 in King Richard II.

Shake Leila Henriques
Leila Henriques

Leila Henriques  starred luminously in the Greg Homann-directed Florence and  with great insight directed the award-winning Hani: The Legacy with  the Market Lab students. She will be playing Viola in Twelfth Night.

Shake Renate Stuurman
Renate Stuurman

Renate Stuurman, also part of Suddenly the Storm cast and very familiar to television audiences will be doing the second sonnet – Sonnet 13 – My mistress’ eyes are nothing like the sun.

Shake Rorisang Motuba
Rorisang Motuba

Rorisang Motuba jumps in at the deep end with Shylock from Merchant of Venice’s To  Bait Fish Withal. She’s a storyteller who approaches her craft from many exciting and different angles.

Shake Tinarie van Wyk Loots
Tinarie van Wyk Loots

Tinarie van Wyk Loots performed at the Market in a Zakes Mda play directed by John Kani, but she is better known for her Afrikaans stage work, which is seen most often at festivals. Versatile and with the bravado of someone who dares to try anything and fly, she opts for Hamlet in no less than the title role – and pulls it off magnificently.

Shake Sara Richard
Sarah Richard

Sarah Richard comes from local theatre royalty (daughter of Michael Richard and Louise Saint Claire) and Ncgobo, who loves giving young actors their chance on stage, leapt at the opportunity for her to play Launce from Two Gentlemen of Verona.

Shake Vanessa Cooke
Vanessa Cooke

Vanessa Cooke is synonymous with the Market Theatre and the Lab and as such becomes what Ngcobo refers to as the ringmaster for this Shakespeare celebration. She plays Jaques in As You Like it with The Ages of Man speech, Act 2 Scene 7.

Shake Zethu Dlomo Mphahlele
Zethu Dlomo Mphahlele

 Zethu Dlomo Mphahlele is a dynamic force on stage and screen with a big international presence. A WITS graduate, she doesn’t flinch while playing Macbeth, Act 3 scene 1.

The Market will start releasing the different performances from this Thursday  with an explosive Camilla Waldman opening the season and following with a new monologue each week on Thursdays at 12. Check their website http://www.markettheatre.co.za and their facebook page for details.

Precious Lives Interrupted Yet Never Silenced in Stories Sensitively Shared

DIANE DE BEER

These three books all deal with children who have lost their mothers and how that influenced their lives:

BK girl

 

 

 

The Girl with the Louding Voice

  by Abi Daré (Sceptre):

“I tell you true, the day I stop school and the day my mama was dead is the worst day of my life.”

And that sentence explains  what is to follow in the 14-year-old Adunni’s life. Her mother is the one who paid both to keep her at school and the exorbitant rent for their house.

But since her death, Adunni has become a valuable commodity. In fact, her life amounts to four goats, two bags of rice, some chicken and a new TV, as she is sold as the third wife to an old man. With a dedication to the author’s mother (the first female professor of taxation in Nigeria) and someone who promoted the importance of education and sacrificed so much that her daughter could get the best of it; and a prologue that points to Nigeria as the 6th largest crude oil exporter in the world (and with a GDP of $568.5 billion, the richest country in Africa, yet with 100 million people who live in poverty surviving on less that a $1 a day) that’s who this story deals with, one of the many young girls who become the sole provider for their family, not by choice but because they don’t have any.

Whatever your level of interaction with the rest of Africa, we have all heard of the plight of the Boko Haram girls who were abducted. Some will never be returned to their families, while those who do are often rejected, with the children forced upon them by their vicious captors.

Think about those 16 year-old girls kidnapped by the marauding monsters only to be blamed on their return at a time when being a teenager should be your only worry. It’s the kind of book that hopefully opens new worlds and reminds you how lucky we are to have the luxury of only discovering this kind of terror in a book.

I loved the story and the writing. It’s a unique voice, as so many from Africa are.

 

bk crawdads

 

Where the Crawdads Sing

by Delia Owens (Corsair)

Kya was only six when her mother walked out on the family. In the following few weeks, an older brother and two sisters also drifted off and Kaya was left with her favourite brother Jodie and her drinking dad.

Jodie didn’t last that long and neither did her father, only a few more years. By the time she approached her teens, without any schooling, neither writing nor reading, she was on her own living in their shack in the marsh on the edge of Barkley Cove.

Not only had this young girl been deserted by her entire family, the town also rejected her and she had no one to turn to. Dumped on by everyone who saw her as the Marsh Girl, she was laughed out of school, her only resource the marsh and its embracing flora and fauna that taught her about life.

It reads like a modern-day folktale, almost too far-fetched to hold on to and yet, we all know the Kyas of the world, those living on the edge, some who manage to get ahead in spite of the struggle and the way the world has turned its back on them.

The author Delia Owens has three internationally best-selling non-fiction books about her life as a wildlife scientist in Africa including Cry of the Kalahari, and this is her debut novel, which is probably why it has such an almost naive yet wondrously unique voice.

It’s beautifully written and takes you to another world as Kya tries to face a world that keeps turning its back on her.

bk dutch

 

 

The Dutch House

by Ann Patchett (Bloomsbury)

From the time that Danny and Maeve’s mother leaves home – and this time doesn’t come back – their lives are about longing, which is very closely linked to the Dutch House.

“Like swallows, like salmon, we were helpless captives of our migratory patterns. We pretended that what we had lost was the house, not our mother, not our father.”

And thereby hangs the tale in a fascinating story that is viewed from many different perspectives, all of this packaged with a delicious caricature of the evil stepmother at the centre. But this isn’t her story.

Patchett is a familiar name but this is the first of her novels I have read and from the first page just loved the writing. It’s clean yet charming, shows an insight that is uncanny and hitches your heart to the characters whose lives have been thrown into a storm that is beyond their means and abilities to deal with – yet they do.

Because the brother and his older sister are dealing with the same trauma, it’s also intriguing to see how they deal with their loss, abandonment and sheer misery of what they have to come to terms  with in their upended circumstances.

It has to do with age and gender, how a mother’s absence plays into their lives and how they deal with these emotions – whether it is anger or longing that lingers most strongly. The older daughter might find it difficult to resist clinging to old feelings because there are clear memories to return to time and again, while the younger brother might be more broody and resentful about a mother leaving her children still so young.

Yet it is these close family ties that are tied up and thrown about in different scenarios to see how they play out.

And in the end, although all three the books hold a certain longing from those who have lost what is one of their most impactful relationships, it is also the different voices, the way the authors tell their stories and their writing, that is finally quite extraordinary in all three.

I will certainly want to read more by Patchett who has quite a resumé, but am also hopeful that the other two writers will keep writing following these brilliant debut attempts.

The First Klein Karoo National Arts Festival Virtual Gallery Is Visual Feast

DIANE DE BEER

KKNKBarbara Wildenboer in die 3D Virtuele Galery 2
Festival Artist Barbara Wildenboer in the 3D Virtual Gallery 2

The arts have been reeling from Covid19 from the word go especially as it all began locally right at the start of the festival season when many artists earn the bulk of their bread and butter money.

It’s been a frantic scramble for artists to find a way to function in this new world and as many of us realise, this (which we don’t yet understand in its fullest) is the new normal. Awful phrase, but we might as well get used to it because it is what it is and even though Donald Trump is trying his best to ignore the many dying from the virus, the whole world has had to reinvent and find a way to start functioning again.

In the arts, it has been fascinating to watch because this is what artists do – they reinvent themselves – but for some like visual artists, it is perhaps an easier process. They’re not quite as dependent on live audiences in close proximity as actors and musicians for example.

With this in mind, the Klein Karoo National Arts Festival (KKNK) was quick to react.

Their festival, which would have been held at the end of March, like all those following, had to be cancelled and they are still scratching their heads about how to proceed in the future.

KKNK Barbara Wildenboer in die 3D Virtuele Galery
Barbara Wildenboer in the 3D Virtual Gallery

But what became pretty obvious fairly soon was that they could create a virtual art gallery of the 11 exhibitions which were on their way to Oudtshoorn just as the festival was closed down.

“We are extremely excited to launch the first Klein Karoo National Arts Festival (KKNK) Virtual Gallery, where art enthusiasts from all over the world will now have the opportunity to engage with the festival’s visual arts exhibitions,” explained Hugo Theart, Artistic Director of the KKNK.

Theart says the festival has built a reputation for its extraordinary visual arts exhibitions over two decades and this year has encouraged them to take the virtual leap. “Although the cancelation of the 2020 festival due to the current Covid-19 pandemic remains a great disappointment, we are excited about this new digital experience”, he says.

And that’s exactly the thing. In this new world artists have to get creative and find new ways to do their work.

KKNK Usha Seejarim Nesting installation SMAC Gallery Photo Credit Zivani Matangi (002)
Usha Seejarim Nesting installation SMAC Gallery. Photo: Zivani Matangi.

As chance and luck should have it, their brand-new visual arts curator, Dineke van der Walt, is young and probably grew up in a digital world. She was excited about the possibilities of this virtual gallery and says that in the future it can only get better. What it does is allow an international as well as local audience to visit this year’s art contribution with the theme Down to Earth.

KKNK Maryna Cotton and Sarel van Staden, MeerKat, Exhibition Karoo Stories
Maryna Cotton and Sarel van Staden, MeerKat, Exhibition: Karoo Stories

According to Van der Walt, art can be viewed and bought directly in the Virtual Gallery. “Festivalgoers, art enthusiasts and collectors now have the opportunity to roam the digital halls of our visual arts programme, viewing the splendour of 11 exhibitions without the crowds. The offering includes works from 45 artists and more than 200 artworks”, she explains.

And she’s not exaggerating. Even though the exhibitions weren’t created with the digital space in mind, the curator and artists have been extremely creative, finding a unique way to show the work in a way that works specifically with each individual exhibition.

KKNK Sbongiseni Khulu The Creation of Famine Exhibition Another Kind of Blue Curator Amé Bell David Krut Projects (002)
Sbongiseni Khulu: The Creation of Famine Exhibition: Another Kind of Blue; Curator Amé Bell, David Krut Projects

Running through the different exhibitions, Van der Walt points to a few talented young curators, including Amé Bell, Tammy Langtry, Tlotlo Lobelo and Suen Muller. “Artists include Usha Seejarim, Lisl Barry, Manyaku Mashilo, Strijdom van der Merwe, Heidi Fourie, Linda Ballen, Zhi Zulu, Olivia Botha, Ronél de Jager, JP Hanekom, Keneilwe Mokoena, Maryna Cotton, Sarel van Staden, Owen Claassen, Vincent Osemwegie and Nanette Ranger – as well as a collaborative exhibition between Jenna Burchell, Jaco van Schalkwyk and Wayne Matthews”, she says.

She notes that artworks by three young artists from Oudtshoorn are also presented by the Absa Gallery. Colin Meyer, Zietske Saaiman and Earlyn Cloud.

KKNK Barbara Wildenboer, Festival Artist Portrait with Pareidolia series
Barbara Wildenboer, Festival Artist Portrait with Pareidolia series

“A highlight of this project is a remarkable retrospective of this year’s festival artist, Barbara Wildenboer,” Van der Walt explains.

“Translating exhibitions which were planned for very specific brick and mortar spaces to the digital sphere proved to be specifically challenging,” she notes. A particular struggle was to find the best way to showcase installations as well as an interactive “sound painting”. “Due to the immersive and interactive qualities of these works, they are designed to be experienced by bodies in spaces,” she says.

“I also wanted to make sure the virtual rooms didn’t feel too empty and therefore thought it best to make as much information as possible available around the artworks and the exhibitions. The inclusion of the audio walkabouts also really helped to add voices to the spaces and give visitors accessible information delivered by the respective curator or artist. I enjoyed adding these different voices talking about their exhibitions in their own words – it helps add personality to each exhibition.

“I’m very interested in utilising curatorial strategies to effectively engage audiences and throughout the process tried to keep in mind how visitors might move in the space, and what could be included to facilitate a pleasant experience in the virtual gallery. I realised that different visitors might prefer different modes of viewing work online, and subsequently tried to include more than one way to access the work.”

And this is what I find particularly fascinating. Often at festivals, we don’t have an abundance of time to go through the different galleries and I find myself limited in the viewing experience because I haven’t done enough of homework.

KKNK Jenna Burchell, Sound portrait - Wayne Matthews in F Minor, Exhibition - A Land I Name Yesterday, Barnard Gallery
Jenna Burchell, Sound portrait – Wayne Matthews in F Minor, Exhibition – A Land I Name Yesterday, Barnard Gallery

Van der Walt has gone out of her way to make sure the exhibitions become alive with a fount of information to dip into.

She has also included a visitor’s book in an attempt to help put faces (“or rather names”) to the visitors, as a way to allow exhibitors and artists a form of interaction with their viewing audience.

“I enjoyed confronting my preconceived ideas of what curatorial strategies should and could be and considering what form presenting exhibitions might take when it solely exists digitally.

“It’s been a wonderful learning curve for me, especially working on creative ways to attract visitors and create a new exhibition experience. Because I don’t believe virtual exhibitions should merely try to imitate brick and mortar exhibitions, it can be a unique curatorial method.”

KKNK Ronél de Jager In a quiet corner of the room Exhibition Vanishing Act Curator Suen Muller (002)
Ronél de Jager: In a quiet corner of the room; Exhibition: Vanishing Act; Curator Suen Muller

This is hugely exciting. The live experience can never be replaced by the digital world. It is important to play with the different strengths – not try to imitate, which is exactly what Van der Walt did.

She also pointed out that this had to happen after the fact. With this experience and (perhaps) in future doing both, the digital is simply going to go from strength to strength and enlarge rather than diminish future audiences.

“This initiative creates an important platform to visual artists to sell their work and generate an income from works that were created for the KKNK this year,” Theart says.

He adds that this will be the first of many exhibitions. “We believe this will become another KKNK institution which will add more value to our supporters and add more opportunities for visual artists in future.”

The first ever full scale KKNK Virtual Gallery is open at www.kknk.co.za  and can be viewed until 22 July 2020.

It’s truly a spectacular experience.

Anglo-Nigerian Author Bernardine Evaristo Soars With Girl, Woman,Other and Lands the 2019 Booker Prize

When reading and writing this review, the current #BlackLivesMatter had not yet started. But this time hopefully it will mean real change for people excluded from living real lives in their countries. Authors like Bernardine Evaristo will be celebrated for her writing alone and not for becoming the first black woman to win the celebrated Booker Prize. DIANE DE BEER tells more:

Book Girl, Woman, Other

 

When you find yourself in a world where much of what you write is seen as the general experience of a whole group that people feel you represent, telling stories could become difficult.

When you discover that while sharing the 2019 Booker Prize with Margaret Atwood, author Bernardine Evaristo with Girl, Woman, Other (Hamish Hamilton, an imprint of Penguin) her eighth novel is also the first black woman to win this prestigious prize, the burden of finding an audience in a world that still operates according to labels becomes clear – especially in a world where books and reading are not everyone’s priority.

It’s a shame and hopefully in this time of lockdown across the world, many will discover how important and, more than anything, exciting it is to escape into a world that someone else has created for you. And while exhaling, also find that our similarities are as many as our differences and that’s what makes the world such a fascinating place.

As an introduction, her book sleeve states that the author is an Anglo-Nigerian writer of seven other books of fiction and verse fiction that explore aspects of the African diaspora: past, present, real, imagined. Her writing, it further embroiders, also spans short fiction, reviews, essays, drama and writing for BBC Radio. She is furthermore a professor of creative writing at Brunel University, London and vice chair of the Royal Society of Literature. She was made an MBE in 2009.

But probably in the world we live in, not winning the Booker Prize per se, but sharing it with Margaret Atwood has put her on the radar of many in the reading world. And reading this book as well as running through her credentials, it’s about time.

Small wonder she is also  listed as a literary activist for inclusion, has founded several successful initiatives, including Spread the Word, a writer development agency; The Complete Works, a mentoring scheme for poets of colour (between 2007 and 2017); and the Brunel International African Poetry Prize. What is it that they say about women having to work so much harder? And then add to that women of colour…

That’s an exhausting CV, just reading it. But back to the winning novel. It’s densely populated with 12 different women of colour. This time they take central stage – and they are as varied as there are people. Young, old, cheeky, subservient (but not for too long), upstanding, rocking-the-equilibrium even further, wealthy, but most struggling as we would in real life, they fall in and out of love, some with the right folk, others not so much but all of them have dreams and are trying to reach them any way they can.

It all begins at the opening of a theatre production at London’s National Theatre (something Evaristo dabbled in) and their touch point is that in some way all of the featured characters have a link with this particular night.

Their stories are introduced in different chapters and some have crossovers while others not, yet the storytelling rambles on in a way that living a life or many different lives is wont to do. The interest is, of course, in the writing as much as the different tales that unfold, even though these are intriguing and engrossing.

As her CV suggests, Evaristo is no ordinary writer.  She uses no full stops and there’s a poetic flow to the writing and the way it has been printed which all make a strong statement in this exhilarating rich story.

More than anything it has to do with the stories being told. Again it is the cover sleeve that suggests that she is presenting a “gloriously new kind of history, for this old country: ever-dynamic, ever-expanding and utterly irresistible.” No wonder some boisterous characters powerful only in the world of politics are running scared and looking as hard as they can for laws that will prevent all this diversity.

Instead of embracing the energy and exuberance of multi-cultural worlds, they want to put a stop to it by shutting it down. How utterly sad.

Either way, for those of us – and in this country with all its richness in diversity, you can hardly ignore it – who embrace it, the colourful world that emerges and dominates is wonderfully challenging, constantly changing and usually a hub of creativity as different cultures cross-pollinate and stretch one another.

To give you a sense of what you may be stepping into:

At some point it’s Newcastle in 1905. A 10-year-old in an orphanage is dreaming of an African father she will never meet.

Cornwall 1953 and a young bride recently from Barbados realises that the man she is about to marry might not be the one.

In London 1980, Amma reigns supreme in her squat while setting out to demolish patriarchy with a new kind of feminist theatre.

Oxford 2008 finds Carole rejecting her background (Nigeria originally) to fit in at her new university.

Morgan who used to be Megan is visiting the 90-year-old Hattie in Northumberland in 2017. She is still fighting to retain her independence and missing her man every day.

And so the story goes. But it is about much more than just the lives of these women, even though their stories are what has to tell the story the author is intent on getting out there.

With writers like these being given prominence in whatever way, at some point we will stop paying attention to who is writing what and simply fall in love with the writing, the telling of stories and the easiest way to enrich and broaden what might otherwise be a very small world.

 

 

Author Jonny Steinberg writes Brilliantly about People that Matter in the Award-Winning One Day In Bethlehem

This is another of those books that could be titled #blacklivesmatter and it makes perfect sense that it was awarded the 2020 Recht Malan Prize for non-fiction. As is his nature, Jonny Steinberg perfectly captures this moment in time with his latest illuminating investigative writing. DIANE DE BEER reviews:

 

bk one dayOne Day In Bethlehem by Jonny Steinberg  (Jonathan Ball Publishers)

From the Harold Pinter inscription (A thing is not necessarily true or false; it can be both true and false) to the first sentence which states that the author, Jonny Steinberg, could have sworn that he had read the newspaper report that triggered this book in his office, he is at pains to make a point about memory and how people remember things.

Apart from the horrific life circumstances of most of the men featured in this book (they’re all black and tragically, that is the only explanation we still need in 2020), especially Fusi Mofokeng, who is the one focussed on in most detail and depth, he also searches for the truth and how this can be distorted through constant lifelong trauma.

For Fusi, a resident of Bethlehem, life has been tough. And even though he had a rough childhood, nothing could prepare him for what was going to happen to him on the eve of our new democracy – what should have been a time of freedom became a loss of life as he understood it.

The summary on the back page of the book captures it thus: A bakkie full of men armed with AK47s is stopped by two policemen on the outskirts of Bethlehem in the Free State. The men open fire on the policemen and, from that moment their lives are irrevocably changed. So too for Fusi Mofokeng, a resident of Bethlehem, who was not in the bakkie but happened to be the brother-in-law of one of the perpetrators. He and his drinking buddy, Tshokolo Mokoena, are accused of being accomplices and are tried, sentenced and jailed.

Jonny Steinberg_One Day In BethlehemAnd then begins Steinberg’s story in his exact, detailed style as he unravels the lives of those involved to get to the nub of the story but also to put you in the shoes of the people whose story is being told.

For most of the white privileged world, this is important because you still today have people saying in total ignorance that the playing field is level, for example. When you follow these lives, you quickly understand that for many people, in fact the majority in the world, this is simply not true and can never be.

When starting to interview especially the two men wrongfully accused and imprisoned for life (they served 19 years), Steinberg found that he struggled to connect with Tshokolo during the first evening and the notes he made were filled almost entirely with Fusi’s words. This is where he focused and why he persisted.

“During his years in prison, the world outside, he said,  slowly emptied of the people he loved.” Already you have a lump in your throat, and this is page 8. It is not an easy read yet as all Steinberg’s work, it is compelling. No one was more reluctant to read The Number, one of his earlier books dealing with prison gangs. It completely overwhelmed me and I have been a Steinberg disciple ever since.

And he does it again. He takes you into the lives of others and teaches you about a world, perhaps unknown and unfamiliar, and brings understanding and much more empathy than you might have had before for your fellow (sometimes world) citizens.

The detail he exacts from his subjects makes sense at the end as he gives you a particular life with specific circumstances, whether it is someone who is reluctant to be treated for Aids, dealing with the harshness of prison life or trying to come to terms with life imprisonment for a crime he didn’t commit. That must be one of life’s most difficult battles and in a world where black men are viewed through the harshest of prisms, Steinberg is at pains to show how Fusi met some Samaritans along the way which gave him courage and confidence to fight for freedom at any cost.

One of those was a social worker in Kroonstad who spotted Fusi’s anger and helped him to understand that eventually it would kill him.

“It’s amazing to me that you are not angrier,” writes Steinberg about an early conversation with Fusi.

“’I was very angry,’ he replied. ‘I realised if I didn’t stop being angry, I was going to die…’

‘I was shown the connection by a warder, a very good man, a white man. His name was Steyn.’”

He took Steyn’s advice to heart and realised it was his only way out.

He wrote to everyone he could think of; officials in government, the ANC, the TRC (which rejected him for amnesty because he didn’t commit the crime) and the list went on. Finally he made contact with Jacques Pauw (or so he thought) and this hard-hitting journalist who uncovered so much of what has gone wrong in this country, decided to check the story of the two innocent life-long prisoners. At the time he headed the Wits Justice Project.

On his way to interview Jacques, Jonny reminisces: “Fusi’s is a tale one resists. One listens intently and thinks one has taken in the depth of it, but it is not so. For one does not want to walk in his shoes.”

And again he encapsulates in that one sentence the thing that gnaws at you throughout reading the book. How and why does this happen to people? And so often the very people who don’t have the means (and here I don’t even mean money) to do anything about their momentous dilemma.

As the book winds down, the author allows himself to speculate, to capture some emotional moments in prose that’s breath-taking. But he also wonders and philosophises about especially Fusi’s life and what would have become of him if this bakkie full of freedom fighters hadn’t stopped over for that dreadful day in Bethlehem.

 

It’s a fascinating and rewarding read. He has always had the power to tell stories – especially those set locally – that fling the doors wide open and allow us into a problem(s) while bringing understanding and depth to a news headline. Locally but also worldwide, we so easily accuse without empathy or understanding. This is a time to stand still and take stock and Steinberg’s insightful book is a powerful way to do that.

And it seems the time is right. Finally everyone seems to listen and hear that black lives matter.

Author Jeanne Goosen – a Woman of Wise and Wonderful Words – a Force of Nature

DIANE DE BEER

When author/poet/playwright Jeanne Goosen died at the beginning of June, a unique voice was silenced.

But fortunately with writers, they do leave their voices behind and while Jeanne’s mother tongue was Afrikaans, one of her most acclaimed works, Ons Is Nie Almal So Nie, was translated into English by André P Brink who, in a twist of irony, had a few decades  before slated her first poetry book. This, in turn, had paused the publishing of any new anthologies for quite some time according to her biography.

So crushed was the young poet that, while still writing, she didn’t want the humiliating results on any further public display of her poetry.

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Author Jeanne Goosen

That’s who Jeanne Goosen was. She was one of the journalists at the interestingly staffed Oggendblad in Pretoria where I started my journalistic career in the ’70s and I was hooked. She was a storyteller and someone about whom stories were told – and still are.

Coincidentally, at the time of her death I had just started the Petrovna Metelerkamp biography Jeanne Goosen; ‘n Lewe Vol Sinne (Hemel en See Boeke) which I found absolutely fascinating. I knew enough about her to find an easy way in, but even though this book has been described as “skoongeskrop”, for those of us who didn’t  know Jeanne that well, there’s enough to form a very vivid picture of someone who lived her truth – even though most of her friends would agree that the going was tough.

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Having read a few of her works recently while also listening to a tribute production on RSG of Elders aan Diens with Luna Paige, Nicole Holm and a name I only recently encountered, Frieda van den Heever (who directed the most fantastic production at the recent Woordfees, Die Poet, Wie’s Hy?), it’s evident, while very funny and no holds barred, there’s always a tragic underpinning.

This is emphasised in an in memoriam former publisher Hettie Scholtz wrote for litnet of the gloriously wild and wonderful Jeanne (and with her kind permission I repeat):

In response to one of Jeanne’s short stories Hulle noem my Jean, she asked the author where she found the courage and she surprises her with the following lengthy quotation from Ania Brookner’s Look at me;

“When I feel swamped by my solitude and hidden by it, physically obscured by it, rendered invisible, in fact, writing is a way of piping up. Of reminding people I am here. And when I have ordered my characters, plundered my store of images, removed from them all the sadness that I might see in myself, then I can switch on the current that allows me to write so easily once I get started, and to make people laugh. That, it seems, is what they like to do. And if I manage this well enough and beguile all the dons and the critics, they will fail to register my real message, which is a simple one.

“If my looks and my manners were of greater assistance to me I could deliver this message in person. Look at me, I would say. Look at me. But since I am alone in this matter, I must use subterfuge and guile, and with a little bit of luck and good management this particular message will never be deciphered, and my reasons for delivering it in this manner will remain obscure.”

And now you begin understanding the melancholy, the willfulness and the discomfort in her own skin – always the outsider. But when you start reading Jeanne (in Afrikaans), it’s her understanding of the life she views from the sidelines, her determined and not unexpected iconoclastic view of the world in general, the frustration of even close friends because of an unpredictability that all come rushing through.

Hers was not an easy life to view but more than anything, a tough one to live when you read the biography.

And then she dies, a voice suddenly gone and the words are all around and they are magnificent. They always were, we just forget.

Apart from the biography which is a portrait of a true artist, an illuminating recent anthology Het Jy Geweet Ek Kan Toor (Hemel en See Boeke) as well as a book of stray sayings which the biographer couldn’t resist compiling titled Los Gedagtes (Hemel en See Boeke), a true gem and just for those non-Afrikaans speaking readers, I loosely translate a few that capture some of her truths. Metelerkamp notes that these were random phrases written down, the grammar unfixed, not filed according to topic, that highlight the amazing thought processes of a thinking artist:

Who wants a constructive relationship?

Stubborn women rule.

A postcard is an orgy in sepia.

All suffering is man-made.

Posthumously rehabilitated.

One eye is always completely open. It considers, watches, and sees the silliness of everything.

Food spiced with the blood of killers.

The cold and poverty of this winter was gruelling and humiliating.

To write is like dreaming while being awake. It’s like being a magician.

Writing is like having a love affair with death.

Life is energy and a head filled with facts.

Materialism is a kind of psychological ideology and a lifestyle.

Dead: If you are dead, you are dead and that is that. If you are alive, you are dead most of the time anyway.

Don’t overestimate people’s intelligence.

Death is life’s healing drug.

Perhaps I was Tchaikovsky in a previous life. But what did I do wrong that fate dumped me in Parow amongst these people who don’t understand anything?

Total independence. Total freedom.

I will eventually reach the truth if I keep on making notes.

His beard starts in his nose.

I fail in the human world. I should have become a nature conservationist.

And she goes on…gloriously so, sometimes so sad and sometimes hysterically funny.

As a young journalist, to watch her in action was spectacular. She was larger than life and even years later when I had to review Trudie Taljaard in Kombuis-blues, I could still hear Jeanne’s unique gravelly voice in my head. If she happened to cross your path, you remembered her.

Similarly with her writing and there’s so much more. If at all possible, try to read as much of her published works as well as the biography. Who she is and what she wrote is extraordinary.

And there’s so much more than can be captured here…. her passionate love for dogs and other animals; her love of music,  and ability to play piano and perform … and on and on.

If I could wish upon her star, cherish her words and honour the author. She deserved so much more.

Deborah Steinmair Finds The Interior Nightmares in As Jy Van Moord Droom

Coming home seemed to have started the healing process. No longer vivid and garish, the memories seemed to be covered in gossamer, fading behind a curtain of time and forgiveness.
― Karen Fowler, Memories For Sale

 

DIANE DE BEER

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As Jy Van Moord Droom by Deborah Steinmair (Lapa Publishers):

 

 

 

 

 

I only review Afrikaans books in very specific circumstances, either because of the writer or perhaps the story that captures my imagination.

Deborah Steinmair is one of my favourite writers and if Afrikaans is one of your languages, check her weekly Vrye Weekblad columns online. I can read them for the vocab, the turn of phrase and the way she plays with the language in very unique fashion.

And then there’s the topic. It might be deadly serious but she will have you screaming with laughter – and also because this contemporary Afrikaans newspaper, being online and of its time, is much more relaxed with the language.

This novel is Steinmair’s first venture into what is dubbed domestic noir and being the contemporary woman she is, she goes to the heart of things – a daughter who has been kidnapped as a sex slave returns after 20 years, a stranger.

But there are forces out there who do not want this story unravelled, while mother and daughter have to find their truth.

We are familiar with these stories, daughters changed at birth or families being tortured by a demonic father. What happens in the aftermath? What happens in a mother’s head when a young daughter only 6 years old disappears? Some might wish them when not found, to be dead rather than living an unimaginable torture.

And then Maryna is suddenly on her doorstep – 26 years old.  She arrives on a stormy night, huge, shielded in size and uncommunicative, which makes the coming back together that much tougher.

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The rest of the tale is both an adrenalin-rushing story and a mother trying to reach into her daughter’s hidden soul. She knows that this is really going to be the toughest task of them all. But after 20 years of living without, she is determined – like most mother would be – to fight for the full return of the person she lost.

In the process you also get to know about the marriage that disintegrated, which is so often the case when couples go through traumatic events – some come together, but often it rips them apart. It’s often about the cracks that existed before the trauma as well as the different ways people deal with crises or in this instance, loss, that make staying together problematic.

But because Erin needs someone to talk to, she has imaginary conversations with former husband Bert, who in the meantime has immigrated to the US and started a new family. But these conversations are what keeps her sane and probably more real than the ones they would have had if staying together.

Erin is all about her lost daughter. For her it is tough to move on without closure as she tries to make sense of her world until the day her daughter arrives on her doorstep.

It’s not a tough ask to look for familiar bogeymen in the South African context, but typical is not  Steinmair’s way. She never opts for the obvious. Her mind and manner is much too maverick to go there. And that is what makes this such a gripping read.

Has she stumbled into a genre, which for many years has been the best escape? Of course, but what makes this one stand out is her breakaway storytelling. There’s no formula here and instead of looking for the action on the outside, the author has turned inward as she explores the mind of a woman who has to navigate some of the toughest emotional terrain on her own.

Couched in the thrilling context of the return of a lost daughter – for more than 20 years – she has found a way of exploring all kinds of issues in today’s world. And that’s the kind of thriller I want to read. It gives all the spills and thrills but there’s some realism there that gets me thinking.

It’s a double whammy.

Visit https://lapa.co.za/e-books for good prices.

Undercover with Mandela’s Spies Captures the Devastation but tells of Reclaiming a Life, Making a Difference

With the current tensions and peaceful resistance in the US (and now worldwide) following yet another police killing of an innocent black man, the insensitivity amidst all of this for example of a white sportsman trying to tell his black teammate why he should not dishonour the flag or his country by taking the knee, Bradley Steyn’s own battle with his privileged whiteness could not be more relevant

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Bradley Steyn was still a teenager when he crossed Strijdom Square (at the time) to visit his mom at the State Theatre. His life exploded into the sharpest of tiny shards as he found himself centre of the horrific Barend Strydom massacre (with 8 black victims murdered and 16 injured) yet wasn’t targeted because of the colour of his skin. He tells DIANE DE BEER about the decades of trying to recover his splintered life:

Two journalists capture much of why Bradley Steyn’s book Undercover With Mandela Spies – The Story of the Boy Who Crossed The Square (Jacana) is such a mesmerising read if like me, you aren’t immediately drawn to yet another story about our past as told by a white man.

The first is Daily Maverick’s Marianne Thamm who writes about Bradley Steyn and his book: “Bradley Steyn’s book is not just a rollicking read full of testosterone-driven skop, skiet and donner, treachery and treason, it is also about a young white man’s gradual attainment of wisdom, of understanding how psychologically, emotionally and spiritually corrosive the idea of unreconstructed whiteness is.” (And I implore you to find this article at Daily Maverick and read it, as further proof that this is an illuminating read, as she does a wonderful piece, putting it all into its political context of the time – 1988).

And this concluding paragraph in journalist Ranjeni Munusamy’s column in a past Sunday Times:

“Ours is an impossible story: It began 25 years ago with the triumph over a system that forced us to hate ourselves and each other.We are and will always be a deeply damaged people. On our journey we lost our humanity and our values were eroded. We lost our national pride.Now begins a new era. Broken or conquered, we must find our way.”

These, in different ways, encapsulate Bradley Steyn’s story Undercover with Mandela’s Spies: The Story of the Boy who crossed the Square and the title is perhaps so much more vivid if you live in Pretoria where it all began.

And then, to further intrigue, there’s yet another catch phrase on the cover: Four sworn enemies. The MK ANC Spy team that infiltrated the heart of the apartheid regime.

And the preface begins with: “It’s been 30 years. It’s time I got over it.”

He is, of course, talking about that horrific day that impacted the rest of his life. “There was a court case,” he writes. “A killer got the gallows and was sent to Death Row. I saw what he did, saw him murder those people, but I survived. I got a job. I married. I had a child.” Survivor’s guilt is often what really survives – in these kinds of situations.

Bradley Steyn, who was only 17 years old at the time, was no different. In fact, nothing in his personal circumstances helped either – not because people are bad, but because they don’t know how to react, how best to help. That includes everyone from parents, to teachers, to friends.

He explains his own circumstances best: “But then like a cassette tape unraveling, everything suddenly snarled into a noise I didn’t recognise, and that life I had before just screeched to a halt. “The story of his world following the shooting on the square is how his life took on a life of its own.

“I had escaped physically unscathed, but the real damage lay within. I have never recovered emotionally.” He acknowledges that the post-trauma he suffered was hard on his parents, as his stress disorder intensified in the weeks that followed the slaughter.

“The desolation of not having the school principal or my teachers or the other children – except a couple of close friends – even acknowledge what had happened has remained with me to this day.” It’s a chilling sentence which captures the terror this young boy must have felt following the killing spree he was witness to – allowed to escape simply because of the whiteness of his skin.

That has been his battle and what propelled him into a life dictated mostly by the use of force as he found his life spinning into a routine of violence, seemingly the only thing he understood at the time.

“A child today would be given a time to heal, to be filled with fury, and then to dip and rise – whatever was needed,” he notes.

But there was nothing like that, not for any of the victims. His mind was left to rage with bedtime becoming hellish. It’s so typical of how white people in this country reacted to horror at the time, they turned away, brushed it aside and those directly affected, just had to cope. No one did.

And as he explains, the devastating after-shocks didn’t stop there. That was just the beginning. In desperation, his parents decided that the military might help to bring order to his chaotic life and it did, on the surface – but also honed all his skills for a way of life that led to him announcing the following resumé: Thug for hire. Highly qualified.

As he passed from being a bouncer at nightclubs to a life much darker and dangerous, he writes: “I was just a humble thug, a 19-year-old taken in by the lure of an undercover life where I could blow off the terrors inside my head without having to answer to anyone…the people I came across were often brutish, unafraid of blood and even death. That was the criminal underworld, and I guess I had been shifting more and more into that zone of absolute indifference because it fulfilled a need in me to shut off all emotion.”

From there he followed a short route into doing dirty work for the apartheid regime and at some point, was flipped to the other side, eventually fronting as a far-right fanatic to infiltrate an even scarier world which eventually led to him fleeing the country for his life.

 And finally my first reservations when handed the book, and I will again explain this courtesy of Marianne Thamm and journalist/author Janet Smith who was instrumental in the writing of this book:

Smith wrote about her first impressions: “If I was wary of supremacists – who didn’t hesitate to DM me with threats of slitting me open from top to bottom and rejoicing if I was gang-raped – I was cautious of Bradley at the get-go. I was affected by his experience as the boy who crossed the square, but I was immediately suspicious of everything else, especially the depth of his relationship with the ANC.”

She explained that while she was “moved by his having witnessed Strydom’s massacre, I felt he had to be that white male stereotype of a special kind that my generation of South Africans knows only too well. He would want to be ‘protected’ and treated as special in some way because he had always been told he was.”

Thamm in turn writes: “Smith’s sentiments echoed my own when I first picked up this remarkable book. Do we really need another damaged white person who finds redemption through black suffering and pain?”

And when reading the book, these are issues the author battles with himself and which makes this such an intriguing read. He had to come to terms with his demons. And the serious position he takes is underlined by the space of time elapsed since his life was turned on its head.

I love the way Steyn ended the book by giving the details of all the victims of that horrific Strydom Square nightmare, fortunately now with a powerful new name and that of a woman, Lilian Ngoyi; but also the details of the people who played a large part in his life.

It is a book that captures the devastation on so many levels of people living in this country during apartheid, but it also tells a story of reclaiming a life and making a difference, something which this country is also renowned for.

 

Pretoria Boys High’s Education Warrior Bill Schroder Tells A Headmaster’s Story

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It’s a time to dip into books that you might not always get time for as one of the few good things of lockdown has been the gift of time. DIANE DE BEER reviews one such example:

 

 

 

 

 

As I don’t have children, schools have never loomed large in my adult life and, having had my own dose of prestigious same-sex schools in my youth, the traditions etc. don’t factor into my thinking.

But (full disclosure), as Bill Schroder is a family friend and I had listened to him speaking in general and more specifically about schools – also being a Pretoria inhabitant for the past 40 plus years – I was tempted to see what he had to say following his retirement (not that he has ever given up fundraising for his final alma mater).

And thus when starting with A Headmaster’s Story: My Life in Education by Bill Schroder (Jonathan Ball Publishers), it took a few chapters for me to fully engage. But once he grabbed hold of me, it was a fascinating read.

With the current pandemic, most people will have realised how vital frontline or essential workers are to all of our lives. These are the people who are taken for granted, held in little regard and paid extremely badly. With money being power in the world we live in, no wonder the teaching profession is not taken seriously.

And yet all of us go to school and we all know the impact those special teachers in our lives have on our future. They are the people who speak truth to power, who are intent on showing their pupils the things that count and who often steer us in a direction that we never thought was possible.

What we should never forget with these essential workers (and this is exactly what teachers and educators are) is that they are often driven by an overwhelming desire to do the best they can. It is a calling rather than a career and that’s why the good ones always rise to the top.

Once the young Schroder realises that what he wants to do is be a headmaster, to lead, and to do it his way, there’s no stopping him. He paid his dues and proved his mettle at schools that were write-offs in the community but he also learnt valuable lessons right through his teaching career from the day he started.

He is someone who knows and acknowledges when he could possibly have done better (a rare trait) in the competitive world of top schools where it is dog eats dog (as in any of these mini societies that are understood only by those who are part of them). To survive all the in-fighting and the struggle of getting it right is a feat in itself, especially if you are an outsider,  which in many instances is what he was.

But this is not where this headmaster lingers. He is much more intent on dealing with the way he did things and why he believes they work.

For the reader, it is clear that he had some blessings – his wife Cherry the most important one. Both of them are their own people but Schroder is very clear on why he could deliver his ideals – his wife supported him in everything he did as a headmaster. When they had to move even in the worst of circumstances, she simply got packing. And often his teaching duties included that of serving as house master at one of the boarding homes, which included the co-operation of the whole family. Irt was never an issue And allows you to focus where it’s necessary.

There are many stories and lessons he imparts but often it is best just to hear what he has to say.

As the book progresses, in his own words, he offers the perfect example of his leadership with this example:

“…I feel strongly that when a principal is involved in major (and not so major) disciplinary and behavioural issues, he or she can frequently defuse them and prevent long, drawn-out disciplinary issues that then end up in the hands of people who are not necessarily skilled or experienced enough to deal with the problem. It is vital their parents to know that the head finds these issues important enough to get involved.

“I know there are procedures that are prescribed for dealing with various disciplinary issues, but in my opinion, these should be a last resort. I am sure that when serious disciplinary issues arise in schools, there has not been visible leadership, getting to the source of the problem immediately and decisively.

“…this underlines the need to surround yourself with good and trustworthy people, and to let them pick up the issues at which you as leader might not be competent, and in so doing also to acknowledge your weaknesses.

“No matter how small or inconsequential a problem that a pupil brings to you may seem, if it is important to him or her, then as a leader you need to respect that importance. Theories of leadership and leadership styles abound; arguments about whether leaders are born or can be made have gone on for centuries; and of course your leadership style is a reflection of many things, and in particular your personality….

The next priority for me was support for my staff. …”

It is this kind of insight that makes this such a fascinating read. For those of us living in Pretoria, many stories swirl around about loved headmasters. There’s a reason for that; they make a difference to lives – more importantly young lives.

And Schroder didn’t only make a difference to the lives directly under his care. As the former headmaster of one of the country’s top schools, a few years after retirement he was approached to consider mentoring a secondary school in Soshanguwe.

He was persuaded by a former member of the governing body of Boys High to assist them. His brief was specifically to mentor the principal and his staff at this particular school. He describes it as a “most interesting, challenging and at times a depressing relationship,” but more importantly he goes on to say, “from which I have learned as much, if not more, than they have.”

Like much of his advice throughout the book, it is often relevant to ordinary lives. He was blessed with a great partner who stood by his side throughout his career and brought her own special magic as the headmaster’s wife. That allowed him to walk and talk his own truth which he imparts in this smart book.

And even for those who don’t have kids at school, it’s good to know that we still have these educators who are in it for all the right reasons. It has always been one of the noblest and most precious professions, but it gets tougher and tougher to make it a choice.

It’s time that we honour these noble warriors who still stand up to be counted. It’s a calling and they can’t help themselves.

We need to salute them.

A Good Neighbourhood Is Seriously Flawed But It Is A Damn Good Story

bk neighbourhoodDIANE DE BEER

A Good Neighbourhood by Therese Anne Fowler (Headline Review):

A perfect on-the-surface family moves into a new neighbourhood – a good American neighbourhood. The family next door is represented by an African-American mother with her mixed-race son.

The mother, whose fields are forestry and ecology, regards those who destroy trees as “raping the landscape”.

But not only had Brad Whitman cut down ALL the trees in the garden to build his brand new house next door, he had also circumvented all the rules with the help of officials charmed by his celebrity status. Because of unethical drilling practices in the back garden to build a patio and pool, it  has damaged an ancient oak tree in Valerie Alston-Holt’s garden – the reason she has never left this home even though it held dark memories because of her husband’s death.

The scene is set for some explosive business with race, underhand dealings and an unwavering moral compass, all coming into play.

Adding to the already combustible mix are two young adults – the mixed-race Xavier Alston Holt (who in this time on face value is regarded as a young black male) and the lily-white Juniper Whitman – who fall in love even though the young man has been told by his mother that “those kinds of people are all about keeping their girls and their bloodlines ‘pure’. Forty, fifty years ago his kind would lynch you just for looking at her. Maybe they’re not stringing up boys anymore, but the attitudes haven’t changed.”

And watching what Americans get up to during lockdown – and before – this is not hard to imagine.

Juniper, on the other hand, took a purity vow at the age of 14 on the insistence of her stepfather Brad and her mom, Julia, who wants to protect her daughter from facing the same kind of dilemma she was faced with when pregnant and still just a teen. Brad often refers to her as a rescue bride because that’s what he did when marrying her with a young daughter, he believes. Scratch a little under the surface of any of these smiling families and the skeletons come tumbling out, is what the author implies.

But she’s set up the perfect scenario with which to tackle many different issues and she has also chosen a specific style in which to tell this story, with someone from the good neighbourhood as the narrator. Yet, while she/he/they address the reader directly, we don’t know who she/he/they are.

And it is especially with the narrator that  I had problems. It’s a cunningly clever story as it brings together so many different strands and issues that criss–cross one another, in a very contemporary and accessible kind of way.

Take, for example, the Brad character. He is a self-made man but as soon as he starts making REAL money, a certain entitlement starts emerging as he cuts corners with anything he wants changed in his life. He feels that he has earned that and that he doesn’t have to consider anyone else in these dealings. It’s simply to satisfy his own needs.

As for his needs that emerge more clearly about his budding and beautiful stepdaughter, Juniper, he justifies those because he has assured himself that this inexperienced, naive young girl returns his feelings. He should be the first to show her the way.

It’s heady stuff as we dive into so many different dilemmas which families have to deal with in a world that is becoming more and more complicated to navigate. And because as a society we seem to hop, skip and jump from one story to the next due to a short attention span, one that seems to diminish daily, some people do terrible things with the knowledge that the information will only be out there for a blink of an eye. And they’re right. With scandals coming at you from across the world via a myriad of social media, how can you keep count? Some stick, others seemingly disappear without much attention, either good or bad.

So all these things play into a fascinating story of a good neighbourhood (and we know those, there’s a wonderful Afrikaans saying, Stil waters, diepe grond, onder draai die duiwels rond loosely translated as still waters run deep and that’s where the devil roams).

I could hardly put the book down because the story is so compelling, but throughout I was thinking of particularly two friends, both writers, who would kill this one. What was a thrilling story and one very relevant to our times, could also be a brilliant novel with some smarter writing and editing.

Take this following rumination:

“Two people are in each other’s company and feel the pull of attraction: We call that pull chemistry, but what is the actual substance? (Really?)

And it goes on…: What’s the biology of sexual attraction, and is that biology the same as romantic love, and did this pair of teenagers have it, whatever it is?

This rambling goes on for one and a half pages and the two teens who are sketched with much wisdom, would be far more interesting on this topic than the narrator(s).

So while this is a gripping novel to read and hugely enjoyable, it seems once you are a New York Times Bestselling Author, you can get away with almost anything.

There’s a reason good editors get such high praise. They are often the ones who keep authors honest, who can see when there’s something special but also when something needs some smart cleaning up.

It’s not the device that is the problem here, it’s the way it is applied that doesn’t quite work and as the story and the characters’ goings on get momentum, the irritation levels also rise…

But check it out for yourself. It is a damn good story.