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- Breyten Breytenbach
One is polishing the paper to make a mirror of it and then it is not much thicker than a skin. It would be a mirror in which he would see himself, as depicted by himself, for the etching is a self-portrait. But the reader is faced with a dizzying series of mise en abyme instead of an image. As we have seen, there is something deliberate and almost perverse in the manner in which the text constantly frustrates the reader.
The ideal reader, or the Breytenbach-scholar, will find access to the extra-textual work of art: the etching entitled S. The narrator does take care to provide the reader with the title and medium of the elusive work of art. Angel is an existing etching and was indeed made in South Africa in The image that the text refuses to describe is neither a drawing, nor a painting, but an etching, that is to say the result of a technique that employs an etching needle, used to scratch off the waxy ground from a metal plate in the places where the artist wants a line to appear, before the metal plate is washed with acid, inked, and introduced, together with a sheet of paper, into a printing press.
Several hundred copies can be printed and the etching can exist in more than one state if the process is repeated. The analogies between etching, writing and the publication of the written work are striking: the etching needle is used as one would hold a pen or pencil and not a paintbrush , the printing process can be repeated to produce the work in a second state as a book is published in a second or third edition. Thus S. Paintings and other Pornographics. Angel , hand-coloured etching, 84,5 x 61,5 cm. Courtesy of Breyten Breytenbach.
This unusual angel wears a red military jacket and an elaborate hat and his wings seem to be strapped to his body. He sits back against a circular wall, which is topped with barbed wire.
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In front of the angel, between his legs, on the reddened sex, is an open book. Not only is the text on its pages readable, but the book is also turned away from the angel, to face the spectator. Instigated by President Nelson Mandela and provided with a substantial budget, the TRC obliged South Africa to face its past through a series of more than fifty public hearings that lasted from to It was mandated to deal with gross human rights violations committed since March 1, , the day of the Sharpeville massacre when police opened fire on unarmed demonstrators.
Disillusion with the Rainbow Nation myth is spelt out clearly. The high wall and the barbed wire may reflect the enclosure and divisions of apartheid, the heads on stakes its brutal violence. However, the arena-like space depicted here also evokes the public arena of the TRC hearings, which were widely broadcast on television.
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Spectators would see the commissioners behind their table, often in a semi-circle, the perpetrators identified, the Truth of their crimes held up to the light. For, in order to apply for amnesty, perpetrators of violence had to give full disclosure. Thus, when Jeffrey Benzien was asked by his former victim, Tony Yengeni, to demonstrate the so-called wet bag method of torture, he got up and did it — providing one of the iconic images of the TRC.
Another unforgettable, and much publicised, image is that of archbishop Desmond Tutu, head in his hands, at the one occasion when he cried. In spite of the pain and horror portrayed by the etching, one is also aware of a sense of spectacle, or theatre. Previous heroes, or warriors of the apartheid cause, like Jeffrey Benzien, were shown to be villains, monsters even, and a struggle hero like Tony Yengeni lost his hero status when he was found guilty of fraud in It is also interesting that the self should be portrayed in A Veil of Footsteps as a marginal character who is always on the move and carries his manuscripts around with him in shopping bags, thus in fact resembling the lady tramp whose conversation he tries to avoid.
The reader has the impression that the over-representation of the self — through the different names or masks, the presence of a self-portrait, the choice of I-narration — complicates, rather than clarifies, the identity of the I at the centre of the text.
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In the case of Breyten Wordfool who takes an etching to be framed, we first of all notice a mise en abyme. Moreover, the creator the artist who made the etching , the recipient the I-narrator who sees the etching , the object the work of art made by him , the referent Wordfool again, as it is a self-portrait coincide, and by coinciding thus, the four poles annul one another.
It is by moving out of the text, by turning to the extra-textual S. But the book at the centre of the etching is open. They explore complex, enduring, personal trauma — something that the public hearings of the TRC did not alleviate.
For the main characters of these novels, truth does not automatically lead to reconciliation, and as for Breyten Wordfool, the chapter of apartheid is not that easily closed, nor is it that easy to contemplate. Angel does not simplify the reading of the text, but does afford us a glimpse into the mirror that Breyten Wordfool so meticulously avoids, and does give us some understanding of the strange behaviour of this wounded, disillusioned I-narrator and his fear of looking into the mirror of his own creation.
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A Veil of Footsteps. Memoir of a Nomadic Fictional Character,. Breyten Breytenbach. What do Pictures Want? Remembering the Nation, Dismembering Women? All references in the article are to this edition which will be abbreviated as AVF. I am grateful to her for, yet again, helping me take my thinking one step further. She teaches South African Literature and Culture studies.
Sillages critiques. Contents - Next document. Sandra Saayman. Keywords: South Africa , blind spot , Breyten Breytenbach , ekphrasis , etching , Paris , pictorial text.
Breyten Breytenbach
Outline Lying To The Framer. Full text PDF Send by e-mail. Angel , hand-coloured etching, 84,5 x 61,5 cm Zoom Original jpeg, k. I am gr Raakruimtes, Hengelo: Akkuh, KROG, Antjie. Country of my Skull: Johannesburg: Random House, Top of page. It was found that the birthday poems cohere as a subgenre within the oeuvre. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems.
Full Text:. Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism.
This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges.