This article aims to examine the portrayal of African migrants and South Africa’s
relationship to the African continent in post-apartheid crime fiction. Exotic settings and the
figure of the stranger have featured in the crime genre since its emergence in the 19th
century. Reading Mike Nicol’s The Ibis Tapestry (1998), his trilogy Payback (2008), Killer
Country (2010) and Black Heart (2011), and H.J. Golakai’s novel The Lazarus Effect
(2011), this article suggests that the themes of migration and ‘xenophobia’ have become
central to reconfigured socio-political commitment in contemporary South African crime
fiction. The article argues that the re-writing of generic formulae and boundaries in The
Ibis Tapestry and The Lazarus Effect becomes a powerful vehicle for an enquiry into
constructions of ‘foreignness’ and a means to allot a space to African migrants in the
‘new’ South African imaginary. The simultaneous unmaking and remaking of ‘African
foreignness’ that characterizes the Revenge trilogy draws attention to the paradoxical
temporality of transitional literatures and cultural formations, in which former discourses of
‘the foreign’ remain imprinted.
De Souza Drummond, Elizabeth Lucy(University of Pretoria, 2013-08-06)
South Africa has expressed its desire to be the gateway for investment into Africa. With its residence-based tax system which taxes the worldwide income of its tax residents, South African companies will be open to double ...
Makgalancheche, Wilson Mokete(University of Pretoria, 2007-04-04)
The research investigate the African Peer Review Mechanism (APRM) from a leadership and governance perspective in the African public services. The research was initiated with a historiography to map out efforts that were ...
This paper identifies four perspectives on the idea of ecodomy as ancestry in contemporary studies on
indigenous African religions. Building on the notion of ecodomy defined by Geiko Müller-Fahrenholz as