April 7, 2017
March 31, 2017
March 15, 2017
March 8, 2017
Aryan Kaganof, previously known as filmmaker Ian Kerkhof, offered his debut Hectic! to various established publishing houses – in vain. ‘We can’t publish this book, they said, because we’re not sophisticated enough to read it, because we’ll think you’re an AWB-writer. I couldn’t believe it’, says Kaganof. He then ended up publishing it himself, followed by a Dutch translation.
With Hectic! Kaganof further penetrated the literary space that Coetzee had opened up. He wrote an anti-moralistic novel that is set in Cape Town, and deals with the subculture of young people who hang out in pool halls. That’s where Kaganof found the essence of the white South African. ‘The whites in this country are all white trash. No European who was on any level a worthwhile human being came into this country. The shit, the detritus and the dirt came here and invented the Negro, the kaffer, because then they could feel better about themselves. So if you want to find those things out you have to go to the lower classes, because that’s the history of the country, all the rest is affectation. Culture is very skin-deep with the white South Africans, all ersatz culture. Real South African culture is fighting and drinking and sports.’
He wanted to get to the heart of a subculture he was part of. ‘There was no other mission. To show people as they really are, not these people talking political things of change and all this rubbish. And nothing about guilt from the past. Most of the people I know live their life and don’t give a fuck about anything. They’re pissed off with all that shit.’
Despite this unwelcoming literary climate, there has been a steady stream of young post-apartheid writers, even though it’s too early to talk of a movement. ‘I could come up with a beautiful, coherent story’, says author Etienne van Heerden, who teaches creative writing at the University of Cape Town. ‘But the truth of the matter is that everything is still in a ferment, everything is very complex, and everything has a counterargument. This is the first literary generation that doesn’t write in opposition, a generation that has to search for subject matter and that is very cynical about involvement. A generation that, contrary to us, the Tachtigers, isn’t issue driven.’
January 13, 2017
don’t confuse anarchy with chaos
what appears good for the herd is, mostly, not even good for the herd, and certainly, almost never, good for the truly individuated soul that does not identify with the herd
herd mentality is fear made manifest in regulatory systems that almost always oppress individual choice
anarchism is listening to the inner voice that is always true for the individual and, therefore, always true and best for other individuals because the inner voice is the real self-regulation of all beings that is thwarted by oppressively enforced systemic thinking and being (power).
13 january 2017
December 4, 2016
i was brought up with the understanding that inequality was the bedrock upon which we based out lives, our “good fortune”. and later in life, when i look back at my history of rebellion against this idea, it seems to me that the “rebellion” too is inextricably built into the privilege, is in fact, an extreme form of it. what to do? i don’t know. leave it to the kids i suppose. now that the sex drive has diminished and i am really just waiting for the box none of it seems that urgent any more, the urgency is relegated to them now…
oh god, as soon as one writes anything down one is trapped, isn’t it so? the thoughts of a moment get cemented and appear on paper as if one really believed this stuff, but a moment later, after a coffee and a wank, i might write something altogether different and feel the complete opposite of what i just felt…
another day in the life of a middle aged white man…
December 3, 2016
November 29, 2016
I have a somewhat rigid approach to writing about the work, whether it be critical of favourable or complimentary or scathing – I hold it all at a distance. I am not yet mature enough to not read it at all (I think that only comes with great maturity and self-confidence) but I am just old enough to know that it is vital not to get taken “off course” by other people’s opinions or takes on the works. By which I don’t mean to sound churlish, but to convey to you something of the distance at which I read about my work (although I do still want to read what is written). It is paradoxical and I have not solved this yet.
November 2, 2016
October 30, 2016
October 1, 2016
September 26, 2016
September 20, 2016
August 29, 2016
South Africa, 2005, 52min, DVcam
directed by Geoff Mphakati & Aryan Kaganof
produced by Ziyanda Ngcaba for african noise foundation
original music score by Johnny Dyani & Lefifi Tladi
director of photography – AK Thembeka
sound recordist – Basiami Bitsang Segolo
sound editor – The Dark Magus
final mix – JA Assagai
edited by doc zabalaza
GIANT STEPS is an Afrocentric approach to Blackness Now!
Dashiki poet Lefifi Tladi guides us on a journey of consciousness, analysing and interpreting the meaning of independence as opposed to freedom. He is accompanied on this radical exploration by the cream of South African poets, musicians, dancers and visual artists, including Zim Ngqawana, Don Laka, Kgafela oa Magogodi, Lesego Rampolokeng, Afurakan, Mac Manaka, Thabo Mashishi, Moshe Maboe, Moeketsi Koena and Motlhabane Mashiangwako. GIANT STEPS is a moving tribute to its co-director, Bra’ Geoff Mphakati, who passed away tragically during the filming of this, his first documentary.
August 26, 2016
August 24, 2016
August 22, 2016
firstly, apologies that it took me so long to read your story – been hectic lately
secondly – i enjoyed the way you wove Miles and Coltrane into the story – in fact I think you could do more weaving of the obvious love of jazz that you have – especially towards the end of the story it would be good for Miles to return.
as writing goes it definitely needs editing – needs to be pared down and sharpened, pruned. there is some over-writing, especially in the beginning where i think you should rather get the reader “in” and hooked quicker
having said that i really do like the feel of the story and i think it shows promise
i have no idea of how old you are or whether you study english writing and composition but if you don’t you should
i suggest you go over the story again yourself, cutting away every sentence that doesn’t burn with the inner necessity of a note by Miles, cutting away every phrase that is not as completely locked into perfection as a phrase of Coltrane’s
be ruthless with yourself
fall out of love with everything you have written in order to become a better editor of your own work – your readers will appreciate that
cut to the bone and only leave the meat on if it is perfectly cooked and ready to suck off and swallow
something else i need to ask
the ending feels like you haven’t quite resolved for yourself what the exact meaning of the question “to be” is
it is for me as a reader like you are wanting me to tell you
but i feel cheated as a reader because i want you to tell me
but that is a matter of taste, some writers prefer not to resolve the burning questions for their readers – if you are that kind of writer well and good – but be sure that thtat is indeed the feeling you want to leave me with, then it’s ok.