Antjie Krog – författare

Afrikanska kärleksberättelser – finns de? Ama Ata Aidoo skriver i sitt förord om hur afrikanska författare förväntas skriva om militärregimer, förlegade traditioner, hungersnöd. Så har föreställningen vunnit mark att det inte skrivs om kärlek i Afrika, både i västvärlden och bland de egna intellektuella. Kärlek x 21 visar tydligt att den afrikanska kärleksnovellen lever i vår samtid. Här skriver flera av kontinentens främsta kvinnliga författare om allt mellan födslosmärtor och begravningar; tonårens våndor och ålderdomens krämpor; samkönade relationer och förhållanden som drabbas av rasfördomar. Inte minst slår samlingen hål på myten om den afrikanska kvinnan som ett fattigt offer. Genom hela antologin bultar det mänskliga hjärtat: belägrat och blödande, oförskräckt och ibland triumferande. Närma dig novellerna en i sänder, då kan du höra kvinnornas inre röster var och en för sig.

The first free elections in South Africa's history were held in 1994. Within a year legislation was drafted to create a Truth and Reconcilliation Commission to establish a picture of the gross human rights violations committed between 1960 and 1993. It was to seek the truth and make it known to the public and to prevent these brutal events ever happening again. From 1996 and over the following two years South Africans were exposed almost daily to revelations about their traumatic past. Antije Krog's full account of the Commission's work using the testimonies of the oppressed and oppressors alike is a harrowing and haunting book in which the voices of ordinary people shape the course of history.WINNER OF SOUTH AFRICA'S SUNDAY TIMES ALAN PATON AWARD

Dié jongste bundel van Antjie Krog verskyn agt jaar ná Mede-wete. Krog ontwikkel voormalige temas soos die landskap van die vrou, die huwelik, die aftakeling van die lyf, die vreugde van klein gesinsoomblikke, maar terselfdertyd vernuwe sy, opnuut. Daar is ’n onrusbarende kwesbaarheid, ’n brandende woede en ’n direktheid, en tegelyk ’n hartverskeurende deernis met die ouerwordende self. In die openingsgedig skryf sy: “Dit kom nie meer op my af nie / die geluid/ die geluid van ’n gedig kom nie meer op my af nie.” En dan, teenstrydig hiermee, sleur Krog die leser in die daaropvolgende verse mee in ’n jubelsang en ook ’n klaaglied van die land wat geplunder word, maar ook die self wat plunder. Krog probeer oplaas sin maak van die land, van die self, van die verlede. Soos Alfred Schaffer sê, daar is gewoonweg niemand in Afrikaans wat só skryf nie. Sy wys wat digkuns moet en kan wees. En hoe dit in Afrikaans kan klink en resoneer.

This new collection, Pillage, is published eight years since Synapse (Mede-wete), which received the Hertzog Prize for Poetry in 2017. In Pillage Krog develops her familiar themes of family, body and land but this time in the harsh light of pillaging, whether being done by nature, humans, or old age. The poems reveal a painful fragility, an exasperation and even at times a blissful celebration trying to determine different ways of dealing with erosions, here and now. Then there is finding comfort, being nourished by remarkable moments of beauty: the delight of an egret in a vlei, watching over a young child who is discovering the world around him, and remembering the raptures of love. Pillage is translated by award winning poet and translator, Karen Press.

Lady Anne: A Chronicle in Verse by Antjie Krog is the first English translation of an award winning book published in Afrikaans in 1989. It engages critically and creatively with a key moment of colonial history—the time Lady Anne Barnard spent at the Cape of Good Hope, from 1797 to 1802. Usually mentioned merely as a witty hostess of fabulous parties, Anne Lindsay Barnard, the daughter of a Scottish Earl and the wife of a colonial administrator, was an independent thinker and a painter and writer of genius. She left diaries, correspondence and watercolors documenting her experiences in this exotic land, the contact zone of colonizers and indigenous peoples. Antjie Krog acts as bard and chronicles an epic about this remarkable heroine’s life in South Africa, and intertwines it with life two hundred years later in the same country but now in the throes of anti-apartheid anger and vicious states of emergency. Krog’s powerful and eloquent bringing together of the past and the present, and the historical and the poetic embodies an experience that is as pertinent and compelling today in a democratic but still turbulent South Africa, as it is in the USA and other places where the intersections of race, identity, power, and language lie at the center of civic life.

Poet Antjie Krog returns to the landscape of her childhood. The Free State plains enchant her – it is her home, and the home of her mother, the writer Dot Serfontein. In her nineties, Dot is frail and needs full-time care, but her intellect and sense of humour are razor-sharp, and her writing is comparable to that of her daughter. In Blood’s Inner Rhyme, Antjie Krog breaks the boundaries between genres and writes about this relationship that continues to fascinate and torment her. Using letters, diary entries and care-home records, the book explores creative influence, ideological disagreements and the realities of ageing. Krog exposes the insurmountable differences between generations but also shows the love and mutual admiration between two highly skilled writers. Beautifully and poignantly written, Blood’s Inner Rhyme delves into cultural heritage, the country's Anglo-Boer War history, issues of land ownership and race, as well as romantic relationships across racial boundaries. The story of the relationship between mother and daughter, this is Krog’s most personal book, as well as the most universal.

On 23 April, 1996, Notrose Nobomvu Konile lifted her hand and swore to tell the truth to the South African Truth and Reconciliation Commission. She was the mother of Zabonke Konile, a young man killed in what has become known as the Gugulethu Seven incident. Antjie Krog, reporting as a journalist at the time, was struck by the seeming incoherence of the testimony and, in 2004, colleagues Nosisi Mpolweni and Kopano Ratele joined Krog in a closer investigation of Mrs Konile's words. The resulting three-year collaboration, drawing on different disciplinary and social backgrounds, has produced a fascinating account that leaves no detail of Mrs Konile's narrative unexplored and poses questions about the unacknowledged assumptions that underpin research in this country. In addition, the book sheds light on the larger and highly relevant issues of how black and white South Africans can build bridges towards understanding one another across the cultural, social and economic divides that threaten our democracy.