{"id":881,"date":"2020-12-12T20:46:25","date_gmt":"2020-12-12T20:46:25","guid":{"rendered":"https:\/\/www.africa-press.com\/south-africa\/?p=881"},"modified":"2020-12-12T20:46:25","modified_gmt":"2020-12-12T20:46:25","slug":"black-and-present-a-review-of-barbara-boswells-and-wrote-my-story-anyway","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/south-africa\/all-news\/black-and-present-a-review-of-barbara-boswells-and-wrote-my-story-anyway","title":{"rendered":"Black and Present: A review of Barbara Boswell\u2019s And Wrote My Story Anyway"},"content":{"rendered":"

Africa-Press<\/a> – South-Africa<\/a>. <\/strong><\/span>Mandisa Haarhoff<\/p>\n

In her first academic book, And Wrote My Story Anyway, published 2020 by Wits Press, Barbara Boswell animates significant contributions to feminist thought made by Black South African women writers.<\/p>\n

These writers have often been undermined by critics such as Lewis Nkosi as mere stenographers concerned with motherhood, na\u00efve reportage on apartheid horrors, and autobiography. Boswell challenges this reduction of Black women\u2019s intellectual labour and articulates the literary topography their works make possible, the theoretical grammar of their narratives, and the aesthetic inventions of their imagined world.<\/p>\n

What is it to \u201cforcefully create\u201d oneself? To \u201cforesee the future through writing\u201d? To \u201ccreate new worlds out of nothing?\u201d What is it to be transgressive as a Black South African Woman?\u201d To \u201cwrite your story anyway?\u201d How do Black women write against and within the restrictions of being Black and women in an antiblack and heteropatriarchal world devised to deny their capacious creativity?<\/p>\n

To foreground this unruly insistence, Boswell retells Gcina Mhlophe\u2019s short story, \u2018The Toilet\u2019 (1987), from which the title And Wrote My Story Anyway, is taken. In this story, Mhlophe writes of a young woman who pursues her desire for writing poetry while facing the dehumanizing conditions of living under apartheid. The character discovers a toilet in a park reserved for whites only and transforms it into a safe haven where she can write her poetry. This safety and privacy are short lived however, when she arrives a few days later to find the toilet locked, in keeping with the inhospitable environment of the entire country at the time. The character defiantly walks over to a bench and writes her story anyway.<\/p>\n

Throughout the book, Boswell offers acute readings of how these writers assert their creative voice and navigate the tightrope of writing with no certainty that their work will be published, distributed and reviewed in their own terms. Black writers were barely, if even, taught in schools and were hardly accessible in the public terrain due to extreme censorship during apartheid.<\/p>\n

The South African literary landscape, like the toilet, has been primarily reserved for whites only and academic spaces centre white writers. Yet still, black writers, especially black women writers have built an archive spread throughout the continent and across the diaspora.<\/p>\n

Miriam Tlali\u2019s Muriel in Metropolitan and Lauretta Ngcobo\u2019s Cross of Gold were banned by the South African government and published outside of the country after repeated rejections by publishers.<\/p>\n

This should remind one of Thando Mgqolozana\u2019s comments at the Franschhoek Festival in 2015 where he outrightly named that South Africa suffers from a \u201ccolonial literary system\u201d. In the aftermath of the Rhodes Must Fall movement where university students throughout the country called for the transformation of the curriculum to include black thought, And Wrote My Story Anyway not only makes visible the long history of black women\u2019s literary productions but also their vital intervention in feminist thought, racial geographies, and queer theory.<\/p>\n

And Wrote My Story Anyway is a timely offering that discursively engages with the anti-apartheid activism and reimagining of Miriam Tlali, Lauretta Ngcobo; the dissenting voices of Farida Karodia and Agnes Sam; the pursuit of truth in Zo\u00eb Wicomb and Sindiwe Magona\u2019s work; the forceful creativity of Bessie Head and Gcina Mhlophe, the revealing slave narratives Yvette Christians\u00eb and Rayda Jacobs; and the expansion of gender and sexuality by Kagiso Lesego Molope and Zukiswa Wanner.<\/p>\n

Through this book, she carves a genealogy of black women\u2019s writing, specifically in the form of the novel, and the aesthetic and theoretical grounds for feminist thinking that these texts provide.<\/p>\n

Boswell leads by asking \u201cwhat we can learn from the literary output of those most negatively impacted by colonialism and apartheid – black women – if we consider their writing as a set of theories that produce a praxis towards a more just social order.\u201d Through this lens, Boswell invites rigorous consideration of how these writers write themselves into a literary and public landscape that is structured to erase them and offer language for a politics of resistance and worlding otherwise.<\/p>\n

She details in the span of six body chapters the multiple ways in which black women writers, like Bessie Head, forcefully created themselves under extreme conditions of being black and woman in South Africa. This creating takes the vast, intimate, often incommunicable experience of being a black woman and turns it into theoretical grammar. Drawing on Carole Boyce Davies\u2019 notion of \u2018migratory subjectivity,\u2019 for Boswell, \u201cblack women\u2019s writing signals personal agency, since the act of writing, for a black woman, consists of a series of boundary-crossings requiring an active agent to do such crossing\u201d. In this book, Boswell maps these boundary-crossings, engaging the ways in which black women\u2019s writing invites us to rethink the geographical, national, racial, patriarchal, and even aesthetic strictures.<\/p>\n

The book challenges the relation between women and\/as nation, building on feminist discourses that point to the danger of conflating women with nation. Particularly considering Zo\u00eb Wicomb and Sindiwe Magona\u2019s work, Boswell discusses how the post-apartheid nation, so also the colonial-apartheid state, is built not only on the deferment of women\u2019s rights, but the very illegibility of black women, their lives and experience, within the national terrain.<\/p>\n

Boswell analytically discusses how Black women writers under apartheid and currently tend toward blackness as generative grounds for imagining, revealing queer feminist possibilities in South Africa.<\/p>\n

To tend to blackness in these texts, and through the theorizing analysis Boswell offers, is to consider the critical and feminist possibilities of subversion, borderlessness, incoherence, of spectacle, of being elusive, fractured, abstracted, ambiguous, slipping through the bounds of reasonableness and respectability, without category, writing into the fissures, forced silences, and devised gaps, insisting on much more than mere survival in the nationalist, racist, and androcentric world which can only marginally include women.<\/p>\n

To determine their narrative in the literary landscape and women\u2019s lives in literary imagining these writers forcefully engage their identities as marked, threatening, and incommensurable. They escape the critical markers of aesthetic acceptance by both Black male and white critics precisely for the reasons that defines their black womanhood. Their writing settles into otherness – privileged by neither race nor gender– as queer feminist praxis, fractured existence as repudiation of racist and patriarchal hierarchical taxonomy. They do not offer their characters attainable escape from the strictures which contextualize their lives and rather offer the world of these characters as grammar for worlding outside of nationalist, white and male centred human rights, and formulaic aesthetic codes. They offer no neat conclusions, progressivist pursuits, or even transcendence.<\/p>\n

To \u201cwrite my story anyway\u201d is to expose the racist, heteropatriarchal, nationalist, and androcentric ways of reading as pathogen, to bring the ghostly fleshiness of female bodies into sharp, unapologetic, and unreconstructed view.<\/p>\n

Barbara Boswell \u2018lays bare\u2019 or \u2018makes visible\u2019 the works of black women whose literary production has been ignored by androcentric and racist critical traditions in South African literature.\u201d Boswell is not concerned with considering black women\u2019s writing within the scope of black male and white writing that is centered as South African literature, and rather traces the terrain of black women\u2019s writing in their own aesthetic and theoretical interventions.<\/p>\n

To read black women\u2019s writing, Boswell insists, is to move with the disruptions, consider the chaotic, lean toward the alternate, listen for the questions, be with the shadows, the wayward, attend to rupture, theorise both out of time and out of place. Boswell writes, \u201cA black South African feminist literary theory, then, accounts for the ways in which not only colonization, but also the singularly destructive inhumanity of apartheid inflected and structured people\u2019s lives and continues to shape collective and individual futures.\u201d<\/p>\n

Keeping in spirit with the writers in her book, And Wrote My Story Anyway is an act of transgression. By recording, academically upholding, and publicly reckoning with the work of Black women writers, Boswell stands in resistance of the structures of exclusion and erasure by which Black women\u2019s intellectual outputs continue to be marginalized. This is why And Wrote My Story Anyway is necessary in all institutions of learning, archival records, and a great read for any person interested in co-imagining a black, queer, feminist and accessible world.<\/p>\n

* Buy Barbara Boswell\u2019s And Wrote My Story Anyway at Loot.co.za.<\/p>\n","protected":false},"excerpt":{"rendered":"

Africa-Press – South-Africa. Mandisa Haarhoff In her first academic book, And Wrote My Story Anyway, published 2020 by Wits Press, Barbara Boswell animates significant contributions to feminist thought made by Black South African women writers. These writers have often been undermined by critics such as Lewis Nkosi as mere stenographers concerned with motherhood, na\u00efve reportage […]<\/p>\n","protected":false},"author":84,"featured_media":880,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,8],"tags":[274,275],"class_list":["post-881","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-news","category-culture-and-art","category-homepage-english","tag-africa-press","tag-south-africa-2"],"yoast_head":"\nBlack and Present: A review of Barbara Boswell\u2019s And Wrote My Story Anyway - South Africa<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.africa-press.net\/south-africa\/all-news\/black-and-present-a-review-of-barbara-boswells-and-wrote-my-story-anyway\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Black and Present: A review of Barbara Boswell\u2019s And Wrote My Story Anyway\" \/>\n<meta property=\"og:description\" content=\"Africa-Press – South-Africa. 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