By Kerry Bystrom

Targeting aesthetic figuration varied domestic areas, modes of household lifestyles, and kinfolk histories, this ebook argues that depicting democracy because it unfolds actually at domestic provides a compelling portrait of the intimate and daily points of swap that may be neglected by means of a spotlight on structural issues in South Africa.

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Additional resources for Democracy at Home in South Africa: Family Fictions and Transitional Culture

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The author takes pains to show that “the story of the De Klerks was the story of the Afrikaner nation,” an argument he bolsters with the fact that “Hendrik Bibault, the half-brother of one of our ancestors, Susanna, was the first to call himself an Afrikaner—or an African” (De Klerk 3). ” De Klerk, however, takes this claim in what may be a surprising direction, given the infamous Afrikaner obsession with racial purity. Susana, he proceeds to reveal, was the daughter of a Dutch settler named Detlef Bibault and an enslaved woman named Diana of Bengal.

In which each event and gesture, each coming and going from the official world could be echoed and mimed” (7–8). 11 Given its incorporation of multiple and conf licting aspects of the history of South Africa up through the apartheid era, it is not surprising that the house appears to Kristien as “the wreck of a great ghost ship perched on a submerged rock or sandbank in a sea of petrified, undulating plains” (9). Yet, the question of who will become heir to this wreck is a major concern of the novel.

Further, what are the implications of the family romance for coloured South Africans, who in this schema become the bearers of democratization and future prosperity? To take up these questions, I turn now from Brink’s novel to de Villiers’ Original Skin. A “ N E W ” S O U T H A F R I C A N FA M I LY RO M A N C E 35 This play, written over a decade after Imaginings of Sand, recuperates the fantasy figure at the heart of the Freudian family romance—the adopted child needing to reconstruct his or her ancestry—to ref lect on the “new” South African version.

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