Not My Review: The Last Magician, by Lisa Maxwell


Not My Review: Wayward Children (Book 2) – Down Among the Sticks and Bones, by Seanan McGuire

Down Among the Sticks and Bones (Wayward Children #2)
by Seanan McGuire

‘Dancing the Death Drill’: historical fiction that tells us about today

File 20170728 1117 152dd5p
The Mendi shown here in pre-war days in use as a mail ship.
Courtesy of the John Gribble Collection

Manosa Nthunya, University of the Witwatersrand

In his keynote speech at the recent South African Sunday Times Literary Awards the novelist, Zakes Mda, said that “we write historical fiction to take history to the level of what was it like to be in what happened”. Mda said that as a historical novelist, he writes,

historical fiction to grapple with the present. Great historical fiction is more about the present than it is about the past.

This is a truism that has always informed, I suspect, most practitioners of historical fiction. It is one not different for Fred Khumalo in his latest novel, “Dancing the Death Drill”. Although Khumalo says that he wrote the novel in order to remember black South African soldiers who played a role in World War 1, and those who perished in the SS Mendi ship, this is equally a novel about the present, and the ills that continue to bedevil the country.

While doing his early education, Khumalo’s protagonist tells his teacher, Madame Christine, that,

I want to be a voyager, I want to travel on ships, I want to discover new places, engage in long conversations with strangers, play with ideas, experiment with things.

This is obviously a mind of a precocious teenager; curious about the world and intent in finding out more about it. But this precocity is, inevitably, also naïve. The young Roelof de la Rey, who subsequently changes his name to Pitso Motaung (after he is deserted by his white Afrikaner father), is unfortunately still somewhat unaware that his desire to travel, and meet new people, can never be easily realised due to the sociopolitical landscape that he finds himself in in the early twentieth century.

As Pitso becomes an adult, he begins to realise that there are a lot of things that he has to deal with and that have to do with his identity and how people react to him because of it. He finds himself constantly having to confront the fact that contrary to his desires of only wanting to belong to the Sesotho-speaking tribe, that he is instead seen as a coloured person and consequently treated in this manner in colonial South Africa.

He in fact says to someone, as he does several times in the novel, that,

if you ever call me a coloured person or a mixed-race person, I shall make you swallow your faith, I am Pitso, the son of Motaung. The roaring cub of the Bataung people.

Dominant discourses of the day

It however becomes increasingly clear to Pitso that to be in the world is to be marked and that people’s perceptions of you are dependent on the dominant discourses of the day. Thus against his will, and his constant desire to be regarded in his singularity, or as belonging to a group of his choice, he is forced to learn to accept the impossibility of this desire.

If Pitso’s ambitions, as stated earlier, are to travel and see the world, this does in fact happen. But as with most things in life, this happens by chance. Pitso and other young men hear from the South African government that they need to go and defend the British against Germany. They’re promised that if they do this, they will be well paid and that when they return to their country, the government will offer black people more freedoms than they currently enjoy.

It’s on this journey to France, in the SS Mendi troop ship, that Pitso and his countrymen encounter a crisis; the sinking of the ship, that was carrying 802 men of the South African Native Labour Corps, and the unimaginable suffering this brings. This was after colliding with a British merchant ship on 21 February 1917 – a total of 618 men drowned in the icy Atlantic.

It’s one of the tragic histories that is rarely spoken about in South Africa and the act of writing this novel, then, should be seen as an important archival project since it brings a repressed and difficult history into the spotlight.

A time rife with complexity

One of the strengths of Khumalo’s novel is that it shows the early twentieth century, similar to other times, as a time that was rife with complexity. This means that while a reader might expect the black soldiers in the novel to be portrayed as mere victims – without any agency – this is in fact not the case.

It is clear enough in the novel that Khumalo is deeply aware of time, and of the ways in which it shapes identity and one’s experience of the world. This does not however mean that those who were dispossessed did not also work to manipulate time in order to lessen their suffering. In the novel this is most clear when the ship starts sinking.

Reverend Isaac Wauchope Dyobha starts preaching to his fellow soldiers that:

I, a Xhosa, say you are my brothers. Swazis, Pondos, Basutos, we die like brothers. We are the sons of Africa. Raise your war cries, brothers, for though they made us leave our assegais in the kraal, our voices are left with our bodies.

It’s from this that they start dancing the death drill,

Not crying, not panicking, not screaming at the approach of death. In Africa, even in the times of death, people celebrate. Death becomes a spectacular, moment of defiance, the defiance of death itself.

It’s with such understanding that the soldiers approach their unexpected catastrophe with grace. It’s reported that more than 600 black soldiers lost their lives when the ship sank. Pitso survives this tragedy and it’s his narrative that drives much of the plot after this event.

One of the obvious challenges of the times that we live in is that we are coming to the realisation that Hegel long taught us, which is that “we learn from history that we do not learn from history”.

What then, with this in mind, might be the purpose of historical fiction? Perhaps it’s not so much that there’s something to “learn” from it. Perhaps the goal is a much more humble and subtle one which is to recognise and pay tribute to lives that came before us.

The ConversationIn doing so to connect the past with the present and to allow readers to recognise how much of their lives have changed and unavoidably, to pay attention to the many things, and ills, that remain the same. “Dancing the Death Drill” is a fine glimpse into this turbulent historical period in South Africa’s calendar and what is done with this narrative, as the cliché goes, is entirely up to the living.

Manosa Nthunya, PhD Candidate, University of the Witwatersrand

This article was originally published on The Conversation. Read the original article.

Not My Review: Conversion & Discipleship – You Can’t Have One Without the Other, by Bill Hull

The link below is to a book review of ‘Conversion & Discipleship – You Can’t Have One Without the Other,’ by Bill Hull.

For more visit:

Not My Review: The Federalist Papers, by ‘Publius’ (1788)

The link below is to a book review of ‘The Federalist Papers,’ by ‘Publius.’

For more visit:

Finished Reading: Frankenstein, by Mary Wollstonecraft Shelley

FrankensteinFrankenstein by Mary Wollstonecraft Shelley
My rating: 1 of 5 stars

I simply say that I found this a most boring read.

View all my reviews

Not My Review: Marriage, Divorce, and Remarriage – Critical Questions and Answers, by Jim Newheiser

The link below is to a book review of ‘Marriage, Divorce, and Remarriage – Critical Questions and Answers,’ by Jim Newheiser.

For more visit:

The withdrawal of the Mandela book was nothing short of censorship

File 20170814 28430 yo087l
Posters of various newspapers paying tribute after the death of former South African President Nelson in 2013.
Siphiwe Sibeko/Reuters

Beth le Roux, University of Pretoria

“Mandela’s Last Years”, written by retired military doctor Vejay Ramlakan, has become a sought after commodity since the publisher, Penguin SA, withdrew it from the shelves in July. Ramlakan was the head of the medical team that looked after Nelson Mandela until his death in 2013.

The withdrawing and pulping of a book represents a huge expense for a publisher, as well as a source of some embarrassment. So why did the publisher do it?

Soon after the book was published, members of the Mandela family, led by his widow Graça Machel, threatened legal action. It must be admitted that the basis for any legal action wasn’t clear, although it was probably linked to defamation. The book, Machel argued, constituted “an assault on the trust and dignity” of her late husband.

Soon afterwards, the author’s employer, the South African National Defence Force, distanced itself from the book, suggesting that it may have contravened doctor-patient confidentiality.

The publisher bowed to this pressure and withdrew the book, stating that no further copies would be issued out of respect for the family. This is almost unprecedented, anywhere, and needs to be teased out more fully. After reading the book, I’ve considered how and why the publisher may have come to this decision.

Reasons for pulping a book

The decision making process for a publisher in a case like the Mandela book revolves around balancing the potential costs against reputational damage. The costs can be extensive – in publishing, all costs relating to editing, design, production, printing and distribution are made up front. It is relatively easy to make a decision to withdraw a book after publication when it may have contravened the law, mostly due to defamation of character.

Books may also be withdrawn after allegations of plagiarism, or because the accuracy of the content has been called into question. Publishers sometimes cancel contracts with their authors based on the standard waivers dealing with defamation and inaccuracies.

Publishers try to avoid these kinds of situations by performing due diligence to see if manuscripts contain anything defamatory or that breaches privacy. They employ fact checkers to avoid inaccuracy. And they require authors to warrant that their work is original and accurate.

This doesn’t mean that errors don’t sometimes slip through. But it is very unusual for a book to be withdrawn simply because it’s controversial. In fact, publishers usually support controversial titles because they create publicity, and publicity generally leads to sales.

So what happened in this particular case?

The first set of questions would relate to the credibility of the author, and the publisher’s relationship with him. Ramlakan was the head of Mandela’s medical team and had unique access to the former president over a long period of time. This means that he certainly had the access and authority to write the book, and as far as I know nobody is questioning its accuracy.

The cover of ‘Mandela’s Last Years’, which has been withdrawn.

This is important, because truthfulness is one of the main defences against defamation, as is the issue of public benefit or interest. It seems highly unlikely that a publisher would allow a nonfiction title to include material that is patently untrue or that would harm the reputation of a man like Mandela. Is there really still a need to protect the reputation of a man of such global stature?

Family permission

Linked to the question of authority is whether the work was authorised. The author has repeatedly claimed he wrote the memoir at the request of family members, and with their permission. In such a large family, it would be difficult to obtain permission from every family member, and it is quite common for family members to protest their treatment in a biography of a famous public figure.

Family members often argue that there has been a breach of privacy or that embarrassing private details have been made public. But the truth is that their authorisation is not actually necessary. Many authors write unauthorised biographies or memoirs, and while they may prove controversial, they certainly do not contravene the law. The broad variety of books already available on Mandela shows that there is ongoing public interest. It seems unlikely that each one of them was authorised by the family.

What complicates this scenario is that, as a medical doctor, Ramlakan is also expected to uphold ethical standards that an ordinary writer wouldn’t be subject to. I am not an expert in medical ethics, but there are very few medical details in the book that are not already in the public domain.

In fact, one of the purposes of the book was to counter the rumours and speculation around Mandela’s medical condition in the last years and months of his life. It does this by quietly countering inaccurate statements and setting out the bare facts. It appears that the author made a deliberate effort to avoid breaching confidentiality, and ended up writing a very respectful book.

Some have suggested that the publisher and author were simply attempting to cash in on the Mandela legacy. Whatever their motives, they shouldn’t be the basis for withdrawing a book from public circulation. Taste and motivation are not legal issues.


Given that there is no apparent material basis for a legal attack on the book, its withdrawal reveals self-censorship on the part of the publisher. South Africa no longer has censorship laws in place, but an influential family can bring pressure to bear that amounts to the same thing. But also given that the book was already on the market, it should be asked what the effect of the withdrawal will be.

The ConversationWhile fewer copies will be sold in bookshops, and fewer people will have access to it, it’s not possible to entirely withdraw a book from the online market. The book reviews already mention all of the most controversial parts of the book, and the action of withdrawal only serves to highlight them. The best course of action would be to allow the book to circulate freely and to stand – or fall – on its own merits. Anything else is censorship.

Beth le Roux, Associate Professor, Publishing, University of Pretoria

This article was originally published on The Conversation. Read the original article.

Not My Review: The Infernal Devices (Book 3) – Clockwork Princess, by Cassandra Clare