SA writing took centre stage at the 2024 Franschhoek Literary Festival, held from May 17 to 19, drawing attention to the richness of local fiction.
Many of our most popular authors are unapologetically exploring post-apartheid identity, culture and social issues in ways that may be more vibrant and provocative than a decade ago. And by pushing the boundaries of genre and form, their work is resonating with local and global readers.
No-one could accuse the festival of shying away from the epidemic of violence against women. The panel discussion “She and Eye”, with Angela Makholwa, Fiona Snyckers and Busisekile Khumalo, explored how they portray women’s experiences and voices to provide a richer understanding of women's lives.
Crime writer Makholwa’s focus on the pervasive violence against the female body in SA comes from the reluctance of our society to confront such visceral issues. “I’m interested in looking at the psychology behind this violence and encouraging conversations that may lead to understanding and solutions. Her novels, such as The Reed Dance Stalker, aim to create a space where readers can engage with these difficult truths and explore the underlying causes of violent behaviour.
On the challenge of navigating the fine line between objectifying women and portraying them with dignity, particularly in culturally charged settings, Makholwa said that writing about cultural celebrations like Eswatini’s annual reed dance has to respect the beliefs of the young women taking part while addressing broader societal issues.
Khumalo got the audience going, proclaiming that she loves sex. “But African women are not supposed to like sex,” she said. In her writing, including her latest novel, Sunshine and Shadows, strong female protagonists challenge traditional notions that African women should not enjoy or openly discuss sex. Reflecting on the question of writing about her cultural background, Khumalo stressed the importance of addressing taboo topics and engaging with cultural complexities like the bruised and polarised relationship between the Shona and Ndebele, and the issues faced by women within that context.
“My characters are desirable, sensual beings who view sex as a source of pleasure and empowerment, rather than a duty or transactional act. I’m writing against the limited and often stereotypical portrayal of African women in literature. Reclaiming female sexuality and presenting it positively lets me encourage my readers to see themselves as active participants in their sexual lives, instead of marginalised beings.”
In her crime novels like The Hidden, Snyckers has each chapter recounted from a different character’s perspective. “Multiple points of view allow for greater empathy and non-judgment. People and situations are complex. Simplistic notions of good and evil are unhelpful.”
Pointing out that most fiction readers are women, Snyckers took issue with men being historically most published, that fiction has mostly been reviewed by men and that female-focused fiction is still viewed as trivial. “This discrepancy has meant that women’s stories are filtered through a male perspective. By writing from our own experiences, we are reclaiming narrative power and providing readers with authentic voices.”
Weapon against violence
Discussing her memoir, Love and Fury, with feminist writer and researcher Joy Watson, crime writer Margie Orford spoke candidly about her struggles with sexual assault, divorce, depression and personal loss. “I wanted to write about the long-lasting and often debilitating effects of trauma on women’s lives, but also about the potential for healing through love, creativity, and self-reflection,” she said.
Orford addressed the pervasive issue of gender-based violence. By sharing her experiences, she said, she wanted to break the silence that often surrounds abuse and trauma. “Storytelling can be a means of reclaiming power and agency. It allows survivors to voice their truth and challenge the structures that perpetuate violence.”
Reflecting on the therapeutic nature of writing, she said Love and Fury was her journey of healing and empowerment. Recalling how often she had been asked if she was “an angry woman”, because she was always calling for justice, she reminded her enthusiastic audience about the unyielding power of “love and fury”.
Taking a different turn, writer and editor CA Davids traded insights on the imaginary reader with Karen Jennings (Crooked Seeds), Ivan Vladislavic (The Near North) and Craig Higginson (The Ghost of Sam Webster). She noted that while she writes primarily for herself, there is always an awareness of the potential reader’s presence.
Jennings discussed the balance between meeting reader expectations and maintaining authorial freedom. “There’s a tension between wanting to satisfy readers with compelling stories and the need to challenge them with complex uncomfortable themes, but ultimately I wrote for myself.”
Vladislavic argued that once a book was published, it no longer belonged solely to the author; the reader became a co-creator in the narrative process. “Readers bring their own experiences, biases and interpretations to a book, which can lead to myriad readings and understandings. There have been instances where readers’ feedback on my work has revealed perspectives I had not even considered during the writing process. Every reading experience is as unique as the individual reader.”
Higginson, meanwhile, reflected on the evolving relationship between author and reader. “For me, writing is often a dialogue between the two, where I’m anticipating and responding to potential reactions. I often imagine conversations with my readers, which helps me refine my narrative choices and think about possible questions or concerns they might have.”
Would you like to comment on this article?
Sign up (it's quick and free) or sign in now.
Please read our Comment Policy before commenting.