The Biblio File hosted by Nigel Beale

Clarke’s Bookshop, the most famous in Cape Town, specializes in selling southern African books to universities and libraries that teach and have an interest in same. Established in 1956 by Anthony Clarke, the Long Street shop today remains much the same as it was 50 plus years ago:  filled with book-lined, wooden-floored rooms spread over two levels containing an eclectic mix of new and used, rare, out-of-print, academic and popular books sold to customers local and institutions foreign. Catalogues filled with books from, among other countries, Namibia, Mozambique, Swaziland, Lesotho, Botswana and South Africa itself, go out to the likes of Yale University, the Smithsonian Institute, and the African Studies Centre in Holland, twice a year. I spoke with owner Henrietta Dax who for more than thirty years has ventured forth annually to Mozambique,  the US, the UK, and other more exotic locales buying, selling, bartering and stockpiling  books she thinks will appeal to her customers. 

Crime novelist, film director, children’s author and award-winning journalist, Margie Orford was born in London and grew up in Namibia and South Africa. She has studied under J M. Coetzee, and worked in publishing with the African Publishers Network. In 1999 she was awarded a Fulbright Scholarship and while in New York she worked on a groundbreaking archival retrieval project, WOMEN WRITING AFRICA: The Southern Volume.  She lives in Cape Town, where we met to discuss another of her many projects: Fifteen Men, a collection of writing by South African prisoners, all of whom are serving very long sentences, with whom Margie spent a year leading a creative writing course. This book is the result. We talk about her experience.

In a conversation I had with him, Canadian critic, editor and short story writer John Metcalf hauls off on both the Giller Prize and two-time winner M.G. Vassanji;  the former for boosterism and an inability to distinguish between good and bad literature (for placing two-time winner Alice Munro in the same category as Vassanji), and the latter for being a person who, ‘there’s no question,’ can’t " handle the English language". I met with Vassanji in Montreal at the Blue Met Writers Festival ostensibly to talk about  his new Penguin biography of Mordecai Richler (please stay tuned for the audio); but before commencing, I asked him to respond to Metcalf’s attacks. Here’s what he had to say:

Open Letter is the University of Rochester’s literary publishing house. ‘ It is dedicated to connecting readers with great international authors and their works. Publishing twelve books a year and running an online literary website called Three Percent, Open Letter is one of only a handful of U.S. organizations with a commitment to cultivating an appreciation for international literature.’ ‘Chad W. Post is the director of Open Letter, a press dedicated to publishing literature in translation. He also runs Three Percent, an online blog and review site focused on international literature. Prior to starting Open Letter, he was the associate director at Dalkey Archive Press. In addition, he co-founded Reading the World, a unique collaboration between publishers and independent bookstores to promote world literature.’ We talk here among other things about the dominance of great non-English speaking novelists, Roberto Bolaño, Julio Cortazar (Hopscotch is one of Post’s favourite novels), Jose Saramago and the phenomenon of one-foreign-author-at-a-time, reasons for the success of 2666, why American authors have the inside track, how economics works against translation, and the opportunities that exist in publishing foreign authors.    

Damon Galgut is a writer based in Cape Town.  He wrote his first novel, A Sinless Season (1984), when he was seventeen. Small Circle of Beings (1988), a collection of short stories, was followed by The Beautiful Screaming of Pigs (1991), the story of a young white man on military service who suffers a nervous breakdown. The Quarry (1995), was made into a film by a Belgian production company. The Good Doctor (2003), is set in post-Apartheid South Africa, and explores the relationship between two different men working in a deserted, rural hospital. It won the 2003 Commonwealth Writers Prize (Africa Region) and was shortlisted for both the 2003 Man Booker Prize for Fiction and the 2005 International IMPAC Dublin Literary Award.  His latest novel is The Impostor (2008). We talk here about national and personal trauma, corruption and realpolitik, the shadow of J.M. Coetzee, South African literature as boundaried by massive inequalities, childhood cancer, ambiguity, the new class system, real world maturity and the need for compromise.  

This from contemporary writers: One of South Africa’s most distinguished writers, André Brink was born in 1935. Poet, novelist, essayist and teacher, he began work as a University lecturer in Afrikaans and Dutch Literature in the 1960s. He began writing in Afrikaans, but when censored by the South African government, began to also write in English and became published overseas. He remains a key figure in the modernisation of the Afrikaans language novel. His novel, A Dry White Season (1979), was made into a film starring Marlon Brando while An Instant in the Wind (1976), the story of a relationship between a white woman and a black man, and Rumours of Rain (1978) were both shortlisted for the Booker Prize for Fiction.  Devil’s Valley (1998) explores the life of a community locked away from the rest of the world, and The Other Side of Silence (2002), set in colonial Africa in the early twentieth century, won a Commonwealth Writers regional award for Best Book in 2003. He has also written a collection of essays on literature and politics, Reinventing a Continent (1996), prefaced by Nelson Mandela.  He is Emeritus Professor of English at the University of Cape Town. His latest novels are Praying Mantis (2005) and The Blue Door (2007). His memoir, A Fork in the Road was published in 2009 I met Andre Brink at his home in Cape Town. (His lovely young wife Karina greeted me at the door and led me into his book-lined study).  Once seated we talked mostly about his life, about his father, about love and duty, justice, Apartheid, inter-racial sex, J.M. Coetzee, Nadine Gordimer; his love affair with poet Ingrid Jonker, her suicide, her poem ‘Plant me a Tree,’ English as his second language, Picasso, recommended wines and staying in South Africa despite his nephew having been shot dead by intruders at his home just north of Johannesburg.

Stephen Johnson is Managing Director of the South African publishing firm Random House Struik. We talk here about the merger, the independence of SABC (the state owned South African Broadcasting Corporation), Cartoonist Jonathan Shapiro, Random House Struik’s political power, Apartheid’s banning of Anna Sewell’s Black Beauty, the current government’s under-funding of libraries, political corruption and the loss of early promise, Apartheid by other means, freedom, story-telling and other explanations for South Africa’s flourishing publishing sector, the Truth and Reconciliation Commission, Jacob Zuma’s shower-head, and plans Johnson has for the future of his company.  

I interviewed Canadian critic/editor/writer John Metcalf on his love of Books and Book Collecting. The same afternoon we also talked about the process of book reviewing, whether or not the use of insult and/or invective is ever justified and if so, when. John is known as a ‘blunt’ critic; one who tells his un-sugared truths directly, who is not reticent to attack ‘with savagery’ books he feels 'insult' him. The conversation refers, among other things, to the Salon des Refuses exercise undertaken by Canadian Notes and Queries and The New Quarterly magazines, personal slights, the problem of awarding the same prizes to authors of widely varying talents, and the importance to healthy literary culture of truth-telling critics. (Lengthy sentence alert): There are predictable attacks on M.G. Vassanji, Ann Marie MacDonald, and Robertson Davies here, and there is praise too for many young Canadian short story writers, but perhaps the most evident feature of this discussion is Metcalf’s anger, precipitated, I’d say, primarily by a combative dedication to serving a cause larger than himself – excellence in literature – aggravated in small part both by the perceived inability of Canadians to recognize literary greatness, and personal rejection at the hands of  this country’s ‘literary establishment’ – bolstered by a natural taste for confrontation and a glee in the fighting of a good fight.

JENNY HOBBS is a novelist and freelance journalist who lives in Franschhoek, South Africa. She is the author of four novels, Thoughts in a Makeshift Mortuary, The Sweet-Smelling Jasmine, The Telling of Angus Quain, and Video Dreams, four non-fiction books, and short stories published and broadcast locally and by the BBC. She reviewed books for many years and has written for and worked on TV book programmes, both as a presenter and interviewer. She’s also the Literary Director of the Franschhoek Literary Festival, now in its third year. The event has enjoyed success from its opening page. Last year the Commonweath Writer’s Prize chose Franschhoek as the place to announce its winner (Canadian Lawrence Hill). We talk here about how the Festival came about, and what it takes to make it happen.    

Dawn Arnold is Chair of the Frye Festival in Moncton, New Brunswick. Jane Urquhart, Wayne Johnston, Neil Smith, Alexandre Jardin and Miriam Toews are among the many authors who will participate in this year’s ten day event. Dawn and I talk here about the history of the Festival, Northrop Frye’s thoughts on imagination and new worlds, the benefits to children of learning more than one language, how writing affects understanding, Moncton strip clubs, Acadie, French language childrens’ authors, Richard Ford, classroom visits, and inspired students. For more information on this year’s Frye Festival please click here.