South African novelist and short-story writer, who received Nobel Prize for Literature in 1991. Most of Nadine Gordimer’s works deal with the moral and psychological tensions of her racially divided home country. She was a founding member of Congress of South African Writers, and even at the height of the apartheid regime, she never considered going into exile.’ A line in a statute book has more authority than the claims of one man’s love or another’s. All claims of natural feeling are over-ridden alike by a line in a statute book that takes no account of humanness, that recognizes neither love nor respect nor jealousy nor rivalry nor compassion nor hate – nor any human attitude where there are black and white together. What Boaz felt towards Ann; what Gideon felt towards Ann, what Ann felt about Boaz, what she felt for Gideon – all this that was real and rooted in life was void before the clumsy words that reduced the delicacy and towering complexity of living to a race theory… .’ (from Occasion for Loving, 1963) Nadine Gordimer was born into a well-off family in Springs, Transvaal, an East Rand mining town outside Johannesburg.
It was the setting for Gordimer’s first novel, THE LYING DAYS (1953).
Her father was a Jewish jeweler originally from Latvia and her mother of British descent. From her early childhood Gordimer witnessed how the white minority increasingly weakened the rights of the black majority. Gordimer was educated in a convent school.
There was a time when racial and ethical issues were far more detrimental to one’s life than they are today. In the short stories “The Welcome Table” by Alice Walker and “Country Lovers” by Nadine Gordimer they tell of life during that time. Both authors were women born during a time of terrible racial and gender inequality. These two short stories share the similarities of theme, plot, some form, ...
She spent a year at Witwatersrand University, Johannesburg without taking a degree. Often kept at home by a mother who imagined she had a weak heart, Gordimer began writing from the age of nine. Her first story, ‘Come Again Tomorrow’, appeared in the children’s section of the Johannesburg magazine Forum when she was only fourteen. By her twenties, Gordimer had had stories published in many of the local magazines. In 1951 the New Yorker accepted a story, publishing her ever since. From her first collection of short stories, FACE TO FACE (1949), which is not listed in some of her biographies, Gordimer has revealed the psychological consequences of a racially divided society.
The novel The Lying Days (1953) was based largely on the author’s own life and depicted a white girl, Helen, and her growing disaffection toward the narrow-mindlessness of a small-town life. Other works in the 1950 s and 1960 s include A WORLD OF STRANGERS (1958), OCCASION FOR LOVING (1963), and THE LATE BOURGEOIS WORLD (1966).
In these novels Gordimer studied the master-servant relations, spiritual and sexual paranoia’s of colonialism, and the shallow liberalism of her privileged white compatriots. Occasion for Loving was concerned with the ‘line in a statute book’ – South Africa’s cruel racial law. In the story an illicit love affair between a black man and a white woman ends bitterly. Ann Davis is married to a gentle Jew called Boaz Davis, a dedicated scholar who has travelled all over the country in search of African music.
Gideon Shiba lo, a talented painter, is black, he has a marriage and several affairs behind. The liberal Mrs Jessie Stilwell is a reluctant hostess to the law-breaking lovers. Boaz, the cuckold, is on the side of the struggling South African black majority, and Ann plays with two men’s emotions.’s he looks at them all and cannot believe what she knows: that they, suddenly here in her house, will carry the AK 47 s they only sing about, now, miming death as they sing. They will have a career of wiring explosives to the undersides of vehicles, they will go away and come back through the bush to dig holes not to plant trees to shade home, but to plat land mines. She can see they have been terribly harmed but cannot believe they could harm.
Analysis of Carson McCuller's Story, "A Tree, A Rock, A Cloud"“The man said slowly: ‘I love you.'… ‘I did not mean to tease you, Son,' he said. “Sit down and have a beer with me. There is something I have to explain'” (126). This is the way in which the old man introduces himself to a young paperboy in Carson McCuller's short story “A Tree, A Rock, A Cloud.” He later explains what he means by his ...
They are wiping their fruit-sticky hands furtively palm against palm.’ (from ‘Comrades’ in Jump, 1991) Gordimer won early international recognition for her short stories and novels. THE CONSERVATIONIST (1974) juxtaposed the world of a wealthy white industrialist with the rituals and mythology of Zulus. BURGER’S DAUGHTER (1979) was written during the aftermath of Soweto uprising. In the story a daughter analyzes her relationship to her father, a martyr of the antiapartheid movement. JULY’S PEOPLE (1981) was a futuristic novel about a white family feeling from war-torn Johannesburg into the country, where they seek refuge with their African servant in his village. Gordimer’s early short story collections include SIX FEET OF THE COUNTRY (1956), NOT FOR PUBLICATION (1965) and LIVINGSTONE’S COMPANIONS (1971).
The historical context of the racial divided society has also been the fundamental basis of her short stories. In ‘Oral History’ from A SOLDIER’S EMBRACE (1980) the village chief has chosen the side of the oppressors. After his village is destroyed he commits suicide. Gordimer examines coolly the actions of her protagonist, linking the tragic events in the long tradition of colonial policy. In the background of the story is the war of independence in Zimbabwe (1966-1980).
Gordimer uses the mo pane tree as a symbol of life and death – the chief hangs himself in the mo pane, the dead are buried in the mo pane, and finally the tree becomes a means of consolidation.’ The women are to be seen carrying tins and grain panniers of mud up from the river.
In talkative bands they squat and smear, raising huts again. They bring sheaves of reeds exceeding their own height, balanced like the cross-stroke of a majuscular T on their heads. The men’s voices sound through the mo pane as they choose and fell trees for the roof supports.’s ince 1948 Gordimer has lived in Johannesburg. She has also taught in the USA in several universities during the 1960 s and ’70 s. Gordimer has written books of non-fiction on South African subjects and made television documentaries, notably collaborating with her son Hugo Cassirer on the television film Choosing Justice: Allan Boe sak. In THE HOUSE GUN (1998) Gordimer explored the complexities of the violence ridden post-apartheid society through a murder trial.
“Country Lovers” by Nadine Gordimer (1975) is about forbidden inter-racial love between a rich white farm owner’s son (Paulus) and a poor, young black slave girl (Thebedi) who works on the farm. The story is set on a South African Farm and we follow these two children as they grow into a young man and young woman. The main theme of the story is the love that can never be accepted and the ...
Two white privileged liberals, Harald and Claudia Lingard, face the fact that their architect-son, Duncan, has killed his friend Carl Jes person.’ Her latest fiction shows a welcome readiness to pursue new avenues and a new sense of the world,’ wrote J. M. Coetzee on Gordimer in The New York Review of Books (October 23, 2003).
In THE PICKUP (2001) the basic setting reminds in some points the famous film Les Parapluies de Cherbourg (1962), starring Catherine De neuve and Nino Castel nuovo.
Julie is the daughter of a rich investment banker. Her car breaks down, and at a garage she meets Ibrahim, an illegal immigrant from an Arab country. The two young people from different cultures start a love affair. Although their background separates them, sex crosses all the cultural barriers, but does not stop Ibrahim striving for money and success, the good things of life that the West can offer.
‘It’s extremely hard to write beautifully about the power of sex,’ said Andrew Sullivan in The New York Times (December 16, 2001), ‘of its capacity to elevate humans out of worlds that would divide them, of its occasionally transcendent quality. But Gordimer writes about it so easily we barely notice the accomplishment.’ Another theme in the book is Julie’s maturation. When Ibrahim faces deportation from South Africa, she insists on leaving the country with him. Julie marries Ibrahim and settles in his home country. For further reading: The Novels of Nadine Gordimer by Stephen Cling man (1986); Critical Essays on Nadine Gordimer, ed. by Rowland Smith (1990); Betrays of the Body Politic by Andrew Vogel Ett in (1993); Nadine Gordimer by Dominic Head (1994); Rereading Nadine Gordimer by Kathrin Wagner (1994) – Sum.
: Gordimerilta on my ” os mm. Perjantain jalan j”alk i. – Note 1: Gordimer’s Burger’s Daughter (1979) was banned after the Soweto uprising, Andr’e Brink’s Looking on Darkness (1974) was banned by the authorities. Also J. M. Coetzee have explored in his works the effects of apartheid – all three are among the best-known white South African writers.
Course Journal for Creative Writing Since starting the Creative Writing Course on September 23 rd 2003, I feel my writing has improved in a number of ways. Within this course record are examples of how: 1. My imagination has improved. 2. My ability to scan, and seek out new material has improved. 3. My writing technique has improved. 4. My overall approach and direction to writing has improved. In ...
– Note 2: Nadine Gordimer rejected in 1998 the candidacy for Orange Award, because the award was restricted to woman writers. SELECTED BIBLIOGRAPHY: FACE TO FACE, 1949 THE SOFT VOICES OF THE SERPENT, 1952 THE LYING DAYS, 1953 SIX FEET OF THE COUNTRY, 1956 A WORLD OF STRANGERS, 1958 – Viera at FRIDAY’S FOOTPRINT AND OTHER STORIES, 1960 OCCASION FOR LOVING, 1963 – Rak kaus NOT FOR PUBLICATION, 1965 LATE BOURGEOIS WORLD, 1966 ed. : SOUTH AFRICAN WRITING TODAY, 1967 (with L. Abrahams) GUEST OF HONOUR, 1970 LIVINGSTONE’S COMPANIONS, 1971 THE BLACK INTERPRETERS, 1973 THE CONSERVATIONIST, 1974 SOME MONDAY FOR SURE, 1976 BURGER’S DAUGHTER, 1979 – Burger in ty t”ar NO PLACE LIKE, 1979 A SOLDIER’S EMBRACE, 1980 TOWN AND COUNTRY LOVERS, 1980 JULY’S PEOPLE, 1981 – Palvelija ja herr a SOMETHING OUT THERE, 1984 LIFETIMES: UNDER APARTHEID, 1986 A SPORT OF NATURE, 1987 – Luonnonoikku THE ESSENTIAL GESTURE, 1988 MY SON’S STORY, 1990 – Poikani tari na CRIMES OF CONSCIENCE, 1991 JUMP, AND OTHER STORIES, 1991 – Happy ja WHY HAVEN’T YOU WRITTEN? 1992 NONE TO ACCOMPANY ME, 1994 – Ei seurat WRITING AND BEING, 1995 THE HOUSE GUN, 1998 THE PICKUP, 2001 LOOT AND OTHER STORIES, 2003.