Burger's Daughter - Knowledge (XXG)

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and not Rosa the individual. In fulfilling these expectations, she denies herself an identity of her own. JanMohamed says it is only when Conrad encourages her to look beyond her self-sacrifices that Rosa starts examining the conflicts in her life, namely her commitment to help others versus her desire for a private life. In an attempt to resolve these conflicts, Rosa contemplates turning to blacks, but she is wary of this because, according to the book's anonymous narrator, white South Africans tend to use blacks as a way "of perceiving sensual redemption, as romantics do, or of perceiving fears, as racialists do". JanMohamed notes that Rosa's father was a romantic who established genuine friendships with blacks to overcome his "sensual redemption", but she is unsure of where she stands. Visel says that Rosa's only way to free herself from these commitments to her family and the revolution is to "defect" and go to France. John Cooke, in his essay "Leaving the Mother's House", notes that "By putting her defection in such stark terms, Gordimer makes her strongest statement of the need, whatever the consequence, of a child to claim a life of her own".

470:. The state security specialist reported the book posed no threat to the security of South Africa, and the literary experts had accused the censorship board "of bias, prejudice, and literary incompetence", and that "t has not read accurately, it has severely distorted by quoting extensively out of context, it has not considered the work as a literary work deserves to be considered, and it has directly, and by implication, smeared the authoress ." Notwithstanding the unbanning, the chairman of the Appeal Board told a press reporter, "Don't buy —it is not worth buying. Very badly written ... This is also why we eventually passed it." The Appeal Board described the book as "one-sided" in its attack on whites and the South African Government, and concluded, "As a result ... the effect of the book will be counterproductive rather than subversive." 456: 1088:, or "intrapsychic witnessing", in which "a character witnesses to the self about the character's own experience". Kacandes points out that Rosa believes she would not be able to internalise anything if she knew someone was listening. In an apostrophe addressed to Conrad, Rosa remarks, "If you knew I was talking to you I wouldn't be able to talk". But because Rosa is not vocalising her monologues, no one can hear her, and she is able to proceed with her self-analysis unhindered. Kacandes says "Rosa imagines an interlocutor and then occupies that place herself." 502:. Gordimer objected to the unbanning of the book because she felt the government was trying placate her with "special treatment", and said that the same thing would not have happened had she been black. But she did describe the action as "something of a precedent for other writers" because in the book she had published a copy of an actual pamphlet written and distributed by students in the 1976 Soweto uprising, which the authorities had banned. She said that similar "transgressions" in the future would be difficult for the censors to clamp down on. 423:

clandestine books and documents given to her by confidants, and her own experiences of living in South Africa. Once she got going, she said, writing the book became an "organic process". The Soweto riots in 1976 happened while she was working on the book, and she changed the plot to incorporate the uprising. Gordimer explained that "Rosa would have come back to South Africa; that was inevitable", but "here would have been a different ending". During those four years she also wrote two non-fiction articles to take breaks from working on the novel.

368:. As a friend of many of the activist families, including Fischer's, Gordimer knew these families' children were "politically groomed" for the struggle, and were taught that "the struggle came first" and they came second. She modelled the Burger family in the novel loosely on Fischer's family, and Lionel Burger on Fischer himself. While Gordimer never said the book was about Fischer, she did describe it as "a coded homage" to him. Before submitting the manuscript to her publisher, Gordimer gave it to Fischer's daughter, Ilse Wilson ( 317:

and she attends several political events. At one such event, Rosa sees Baasie, but when she tries to talk to him, he starts criticising her for not knowing his real name (Zwelinzima Vulindlela). He says that there is nothing special about her father having died in prison as many black fathers have also died there, and adds that he does not need her help. Rosa is devastated by her childhood friend's hurtful remarks, and overcome with guilt, she abandons her plans of going into exile in France and returns to South Africa.

29: 521:, and later a message was sent out saying that he had "thought well of it". Gordimer said, "That means more to me than any other opinion it could have gained." Mandela also requested a meeting with her, and she applied several times to visit him on the Island, but was declined each time. She was, however, at the prison gates waiting for him when he was released in 1990, and she was amongst the first he wanted to talk to. In 2007 Gordimer sent Mandela an inscribed copy of 1268:

Rosa repudiates her father's struggle and leaves the country. Marsh-Lockett says that part of Rosa's struggle is forging her own identity, and this decision to rebel against her dead father is a bold step, although she does return later to South Africa to become a committed activist and ultimately a political prisoner. But, according to Coetzee, what Rosa achieves is what her father never could: to have a life of her own while still remaining politically committed.

1355:, Sheila Roberts said that Gordimer's mixture of first- and third-person narrative is "an interesting device" which is "superbly handled" by the author. She commented that it allows the reader to get inside Rosa, and then step back and observe her from a distance. Roberts described Gordimer's handling of Rosa's predicament, continuing the role her father had given her versus abandoning the struggle and finding herself, as "extremely moving and memorable". In 379: 1471: 431:

white". Just as Rosa struggles to find her place as a white in the anti-apartheid liberation movement, so did Gordimer. In an interview in 1980, she said that "when we have got beyond the apartheid situation—there's a tremendous problem for whites, unless whites are allowed in by blacks, and unless we can make out a case for our being accepted and we can forge a common culture together, whites are going to be marginal".

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the death of Rosa's mother, the statement "Already she had taken on her mother's role in the household, giving loving support to her father" illustrates "the continuing hegemony of bourgeois-patriarchal ideology" in the novel. Yelin suggests that this inconsistency is responsible for Rosa's struggle, the "contradiction between feminism (Rosa's liberation as a woman) and the struggle for justice in South Africa".

1166:, M. Keith Booker and Dubravka Juraga call Gordimer's work one of the "representative examples of African historical novels", saying that it is an "intense engagement with the history of apartheid in South Africa". Academic Robert Boyers calls it "one of the best political novels of our period", and an historical novel because of its "retrospective homage to generations past". Gordimer herself described 506: 2228: 570:, and respond to the Publications Control Board's reasons for banning the book. Dugard's essay examines censorship in South Africa within the country's legal framework. Also included in the book is the Director of Publications's communiqué stating its reasons for banning the book, and the reasons for lifting the ban three months later by the Publications Appeal Board. 416:

14-year-old Rosa Burger waiting outside a prison to visit her detained mother. Gordimer said that children like these, whose activist parents were frequently arrested and detained, periodically had to manage entire households on their own, and it must have changed their lives completely. She stated that it was these children who encouraged her to write the book.

1069:, Rosa's voice, is intense and personal. Rosa's monologues are directed towards Conrad, her lover, in the first part of the story, her father's former wife, Katya, while Rosa is in France, and her father after she returns to South Africa. Because her imagined audience is always sympathetic and never questions her, Rosa's confessions are honest and open. 1061:, calls this change of perspective a "stylistic bifurcation", which allows the reader to see Rosa from different points of view, rendering her a complex character who is full of contradictions. The two narratives, the subjective and the objective viewpoints, complement each other. JanMohamed explains that while the objective, 1240:, many young blacks tend to view white liberals as irrelevant in their struggle for liberation. Rosa witnesses this first hand listening to the black university student in Soweto (Duma Dhladhla) and, later, in London, her childhood friend "Baasie" (Zwelinzima Vulindlela), who both dismiss her father as unimportant. 308:, and it is there that she hears a black university student dismissing all whites' help as irrelevant, saying that whites cannot know what blacks want, and that blacks will liberate themselves. Despite being labelled a Communist and under surveillance by the authorities, Rosa manages to get a passport, and flies to 1243:

Author and academic Louise Yelin says that Gordimer's novels often feature white South Africans opposed to apartheid and racism who try to find their place in a multiracial society. Gordimer suggested options for whites in a 1959 essay "Where Do Whites Fit In?", but the rise of Black Consciousness in

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Gordimer says Rosa's role in society is imprinted on her from a young age by her activist parents, and she grows up in the shadow of her father's political legacy. Scholar Carol P. Marsh-Lockett writes that everyone sees Rosa as Lionel Burger's daughter with duties and responsibilities to her father,

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came when Gordimer was waiting to visit a political detainee in prison, and amongst the other visitors she saw a school girl, the daughter of an activist she knew. She wondered what this child was thinking and what family obligations were making her stand there. The novel opens with the same scene: a

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Fischer) to read, saying that, because of connections people might make to her family, she wanted her to see it first. When Wilson returned the manuscript to Gordimer, she told the writer, "You have captured the life that was ours." After Gordimer's death in July 2014, Wilson wrote that Gordimer "had

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that it is a novel that "gives scarcely any pleasure in the reading but which one is pleased to have read nonetheless". Epstein complained about it being "a mighty slow read" with "off the mark" descriptions and "stylistic infelicities". He felt that big subjects sometimes "relieve a novelist of the

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publishing house established in the late-1970s to print anti-apartheid literature and other material South African publishers would avoid for fear of censorship. Its publications were generally distributed privately or sent to bookshops to be given to customers free to avoid attracting the attention

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is about "commitment" and what she as a writer does to "make sense of life". After Mandela and Fischer were sentenced in the mid-1960s, Gordimer considered going into exile, but she changed her mind and later recalled "I wouldn't be accepted as I was here, even in the worst times and even though I'm

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Before joining Bernard in Paris, Rosa stays in a flat in London for several weeks. Now that she has no intention of honouring the agreement of her passport, which was to return to South Africa within a year, she openly introduces herself as Burger's daughter. This attracts the attention of the media

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is not a feminist novel, Gardner suggests that the book has "a discernible woman-concerned subtext", making it "impossible for feminists to dismiss or ignore". She says it has "a potential feminist awareness" that is "obscured by more conventional patriarchal writing codes". Yelin writes that after

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banned from import and sale in South Africa. The reasons given by the Publications Control Board included "propagating Communist opinions", "creating a psychosis of revolution and rebellion", and "making several unbridled attacks against the authority entrusted with the maintenance of law and order

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that this is Gordimer's "most political and most moving novel". He said that its "political authenticity" set in the "historical background of real people" makes it "harshly realistic", and added that the blending of people, landscapes and politics remind one of the great Russian pre-revolutionary

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My version and theirs. And if this were being written down, both would seem equally concocted when read over. And if I were really telling, instead of talking to you in my mind the way I find I do... One is never talking to oneself, always one is addressed to someone. Suddenly, without knowing the

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Gordimer's homage to Fischer extends to using excerpts from his writings and public statements in the book. Lionel Burger's treason trial speech from the dock is taken from the speech Fischer gave at his own trial in 1966. Fischer was the leader of the banned SACP who was given a life sentence for

332:, resulting in hundreds of deaths. In October 1977, many organisations and people critical of the white government are banned, and in November 1977 Rosa is detained. Her lawyer, who also represented her father, expects charges to be brought against her of furthering the aims of the banned SACP and 193:. The book was expected to be banned in South Africa, and a month after publication in London the import and sale of the book in South Africa was prohibited by the Publications Control Board. Three months later, the Publications Appeal Board overturned the banning and the restrictions were lifted. 1267:

According to Packer, another common theme in Gordimer's novels is the choices ordinary people who live in oppressive regimes are forced to make. Literary critics Turgeon and Carli Coetzee explain that when she realises that whites are not always welcome in the anti-apartheid liberation movements,

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Gordimer herself became involved in South African struggle politics after the arrest of a friend, Bettie du Toit, in 1960 for trade unionist activities and being a member of the SACP. Just as Rosa Burger in the novel visits family in prison, so Gordimer visited her friend. Later in 1986, Gordimer

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According to academic Robin Ellen Visel, Rosa is a complicated person, with roles thrust on her by her parents, which suppresses her own goals and desires. Gordimer explained how she constructed the book's narrative structure to convey this struggle and explain Rosa: "he idea came to me of Rosa

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activist, has died in prison after serving three years of a life sentence for treason. When she was 14, her mother, Cathy Burger, also died in prison. Rosa had grown up in a family that actively supported the overthrow of the apartheid government, and the house they lived in opened its doors to

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Gordimer's response to the novel's unbanning was, "I was indifferent to the opinions of the original censorship committee who neither read nor understood the book properly in the first place, and to those of the committee of literary experts who made this discovery, since both are part of the

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burdens of nicety of style". Epstein said that reading the book is like "looking at a mosaic very close up, tile by tile", and that the big picture only emerges near the end. But he complimented Gordimer on the way in which she unravels Rosa's fate, saying that it is "a tribute to her art".

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took Gordimer four years to write, starting from a handful of what she called "very scrappy notes", "half sentences" and "little snatches of dialogue". Collecting information for the novel was difficult because at the time little was known about South African communists. Gordimer relied on

1332:, attention to detail, and ability to blend "the personal and the political". Lemmon noted that the book's "subtle, lyrical writing" brings the reader into the characters' minds, which "is an enlivening but uncomfortable place to be". In a review of Gordimer's 1980 story collection, 1073:

questioning herself as others see her and whether what they see is what she really is. And that developed into another stylistic question—if you're going to tell the book in the first person, to whom are you talking?" This led to Gordimer creating Conrad and Katya for Rosa to use as

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that "The theme of my novel is human conflict between the desire to live a personal, private life, and the rival claim of social responsibility to one's fellow men". Dominic Head says that Gordimer's novels often experiment with the relation of "public and private realms", and that

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With the Burger's house now empty, Rosa sells it and moves in with Conrad, a student who had befriended her during her father's trial. Conrad questions her about her role in the Burger family and asks why she always did what she was told. Later Rosa leaves Conrad and moves into a

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is of racially divided societies in which well-meaning whites unexpectedly encounter a side of black life they did not know about. Literary critic Carolyn Turgeon says that while Lionel was able to work with black activists in the ANC, Rosa discovers that with the rise of the

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anyone supporting the struggle, regardless of colour. Living with them was "Baasie" (little boss), a black boy Rosa's age the Burgers had "adopted" when his father had died in prison. Baasie and Rosa grew up as brother and sister. Rosa's parents were members of the outlawed

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Visel says that the use of dashes for dialogue "conveys the sense of conversation set within the flow of memory" and "is congruent with the sense of Rosa speaking essentially to herself, speakers and listeners in her conversations being dead or unreachable."

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as "elegant" and "fastidious" and belonging to a "cultivated upper class". He said this style is not at odds with the subject matter of the story because Rosa Burger, daughter of a revolutionary, believes herself to be an "aristocrat of the revolution".

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activists in South Africa seeking to overthrow the South African government. It is set in the mid-1970s, and follows the life of Rosa Burger, the title character, as she comes to terms with her father Lionel Burger's legacy as an activist in the

1103:. She told an interviewer in 1980 that readers have complained that this sometimes makes it difficult to identify the speaker, but she added "I don't care. I simply cannot stand he-said/she-said anymore. And if I can't make readers 407:

in support of 22 ANC members accused of treason. She was a member of the ANC while it was still an illegal organization in South Africa, and hid several ANC leaders in her own home to help them evade arrest by the security forces.

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censorship system." She attributed the unbanning to her international stature and the "serious attention" the book had received abroad. A number of prominent authors and literary organisations had protested the banning, including

4141: 3670: 543: 536: 212:(often directed towards her father or her lover Conrad), and the omniscient narrator. The novel is rooted in the history of the anti-apartheid struggle and references to actual events and people from that period, including 1365:

is a "large, richly complex, densely textured novel". He said that it "fill with unresolvable ironies and complications" as Gordimer explores the dilemmas faced by her characters in the South African political landscape.

1627: 1264:"represents one of the peaks in this experimentation". Boyers notes that the theme of "public and private", and the relation between them, is balanced in the book "so as to privilege neither one not the other". 1052:

and the anonymous narrator, whom Gordimer calls "Rosa's conscious analysis, her reasoning approach to her life and to this country, and ... my exploration as a writer of what she doesn't know even when she

1210:, although not the traditional ones which, according to Susan Gardner in her essay "Still Waiting for the Great Feminist Novel", are dominated by male protagonists. While Gordimer was not a feminist author and 312:

in France to spend several months with Katya, her father's first wife. There she meets Bernard Chabalier, a visiting academic from Paris. They become lovers and he persuades her to return with him to Paris.

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as "an historical critique", and a political novel, which she defines as a work that "explicates the effects of politics on human lives and, unlike a political tract, does not propagate an ideology".

1893: 292:(SACP), and had been arrested several times when she was a child. When Rosa was nine, she was sent to stay with her father's family; Baasie was sent elsewhere, and she lost contact with him. 391:

furthering the aims of communism and conspiracy to overthrow the government. Quoting people like Fischer was not permitted in South Africa. All Gordimer's quotes from banned sources in

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In a 1980 interview, Gordimer stated that she was fascinated by the role of "white hard-core Leftists" in South Africa, and that she had long envisaged the idea for

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In October 1979 the Publications Appeal Board, on the recommendation of a panel of literary experts and a state security specialist, overruled the banning of

399:, a member of the SACP and the outlawed ANC, and a pamphlet written and distributed by the Soweto Students Representative Council during the Soweto uprising. 1400:

for her works of "intense immediacy" and "extremely complicated personal and social relationships in her environment". During the award ceremony speech by

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White Eve in the "petrified Garden": The Colonial African Heroine in the Writing of Olive Schreiner, Isak Dinesen, Doris Lessing and Nadine Gordimer

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Lasker, Carrol (1981). "What Happened to Burger's Daughter, or How South African Censorship Works by Nadine Gordimer; John Dugard; Richard Smith".

2445: 1177:(Lionel and Cathy's marriage), to 1977 and the clampdown on dissidents (Rosa's detention). Other notable events include the coming to power of the 1903: 260:

had mixed feelings about the book, saying that it "gives scarcely any pleasure in the reading but which one is pleased to have read nonetheless".

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is Gordimer's response to the Black Consciousness Movement and an investigation into a "role for whites in the context of Soweto and after".

146: 3373: 1346:, she remained "subdued" and "sober", and even though she "scarcely raise her voice", it still "reverberate over a full range of emotion". 1092: 2175: 4221: 4211: 1489: 4216: 1393: 525:

to "replace the 'imprisoned' copy", and in it she thanked him for his opinion of the book, and for "untiringly leading the struggle".

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Visel calls the novel "fictionalised history" that shadows the history of anti-apartheid activism in South Africa, from 1946 and the

4122: 2528: 3462: 1342:, American novelist and critic A. G. Mojtabai stated that despite the troubled times Gordimer lived through at the time she wrote 593:. A unabridged 12-hour-51-minute audio cassette edition, narrated by Nadia May, was released in the United States in July 1993 by 284: 227:, Mandela's treason trial defence lawyer. She modelled the Burger family in the novel loosely on Fischer's family, and described 200: 2415: 2107: 1932: 1898: 559: 1666: 3334: 3197: 2326: 2031: 1338: 231:

as "a coded homage" to Fischer. While banned in South Africa, a copy of the book was smuggled into Mandela's prison cell on

3429: 3047: 352:, she published an essay about him in 1961 entitled "Why Did Bram Fischer Choose to Go to Jail?" Fischer was the Afrikaner 4106: 3951: 2272: 1593: 1285: 1178: 1085: 289: 205: 4231: 1967: 1714: 1484: 1298: 1237: 250: 2357:

Roberts, Sheila (1982). "What Happened to Burger's Daughter or How South African Censorship Works by Nadine Gordimer".

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Many of Gordimer's works have explored the impact of apartheid on individuals in South Africa. Journalist and novelist

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the extraordinary ability to describe a situation and capture the lives of people she was not necessarily a part of."

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described the style of writing as "elegant", "fastidious" and belonging to a "cultivated upper class". A critic in

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World Literature and Its Times: Profiles of Notable Literary Works and the Historical Events That Influenced Them

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Gordimer herself was involved in South African struggle politics, and she knew many of the activists, including

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in 1960, and the Soweto uprising in 1976 (Rosa's return to South Africa). Dominic Head writes in his book

1066: 1062: 547:, a book of essays written by her and others. It was published in Johannesburg in 1980 by Taurus, a small 3690: 3501: 2936: 1244:

the 1970s questioned whites' involvement in the liberation struggle. Stephen Clingman has suggested in

328:. They go on a rampage, which includes killing white welfare workers. The police brutally put down the 4186: 4063: 3991: 3172: 1709: 1320: 1182: 404: 383: 321: 4023: 3999: 1207: 3363: 4079: 3602: 3506: 3274: 3265: 3242: 2633: 2501: 2393: 2366: 2277: 1769: 1671: 1357: 1291: 1159: 1126:

She did not turn to him that profile of privacy with which he was used to meeting. —Suppose not.—

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she's finding out". Abdul R. JanMohamed, professor of English and African American Literature at

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reason, at different stages in one's life, one is addressing this person or that all the time...

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has been translated into several other languages since its first publication in English in 1979:

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Green, Robert (1988). "From "The Lying Days to July's People": The Novels of Nadine Gordimer".

1193:"the life of ... Rosa ... runs in parallel with the history of modern South Africa". 4055: 4047: 3922: 3901: 3889: 3874: 3853: 3845: 3841: 3826: 3805: 3784: 3756: 3752: 3746: 3731: 3708: 3694: 3676: 3655: 3629: 3621: 3606: 3586: 3571: 3548: 3525: 3069: 2534: 2524: 1834: 1752: 1529:

is referred to by many as the "Father of the Nation", and is often called "Madiba", after his

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Gordimer, Nadine (1980). "What the Book is About". In Gordimer, Nadine; et al. (eds.).

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in 1948 (Rosa's year of birth), the Treason Trial of Nelson Mandela and others in 1956, the

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was still banned in South Africa, a copy was smuggled into Nelson Mandela's prison cell on

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Soweto school children start protesting about their inferior education and being taught in

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Gordimer remarked that, more than just a story about white communists in South Africa,

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To voice her disapproval of the banning and unbanning of the book, Gordimer published

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who’s speaking from the tone of voice, the turns of phrase, well, then I've failed."

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Title page inscription by Nadine Gordimer to Nelson Mandela (Madiba) in a copy of

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in June 1979, copies were dispatched to South Africa, and on 5 July 1979 the book

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was cited as one of Gordimer's novels in which "artistry and morality fuse".

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From the Margins of Empire: Christina Stead, Doris Lessing, Nadine Gordimer

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Turgeon, Carolyn (1 June 2001). "Burger's Daughter". In Moss, Joyce (ed.).

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would be banned in South Africa. After the book was published in London by

3587:"A Story for This Place and Time: An Interview with Nadine Gordimer about 1114:—Song?— Squatting on the floor cleaning up crumbs of bark and broken leaf. 1080:

Irene Kacandes, professor of German Studies and Comparative Literature at

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King, Bruce (1981). "Keneally, Stow, Gordimer, and the New Literatures".

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Sometimes he was not asleep when he appeared to be. —What was your song?—

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was first published in the United Kingdom, in hardcover, in June 1979 by

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What Happened to Burger's Daughter or How South African Censorship Works

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What Happened to Burger's Daughter or How South African Censorship Works

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What Happened to Burger's Daughter or How South African Censorship Works

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What Happened to Burger's Daughter or How South African Censorship Works

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Postcolonial African Writers: A Bio-bibliographical Critical Sourcebook

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Back home she resumes her job as a physiotherapist in Soweto. Then in

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is Gordimer's "most political and most moving novel", and a review in

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in his 2015 "top 10 books about revolutionaries", also published in

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Manichean Aesthetics: The Politics of Literature in Colonial Africa

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Boyers, Robert (1984). "Public and Private: On Burger's Daughter".

3430:"Nadine Gordimer: 5 Essential Reads from the Award-Winning Author" 1415:

In 2001 the novel was named one of South Africa's top 10 books in

504: 454: 377: 1130:—Conversation between Rosa and Conrad after her father had died, 566:. Gordimer's essays document the publication history and fate of 238:

The novel was generally well-received by critics. A reviewer for

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She looked to see if he were making fun of her. —I didn't know.—

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Socialist Cultures East and West: A Post-Cold War Reassessment

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Socialist Cultures East and West: A Post-Cold War Reassessment

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The novel begins in Johannesburg, South Africa in 1974 during

154: 3697:. In Bazin, Nancy Topping; Seymour, Marilyn Dallman (eds.). 3593:. In Bazin, Nancy Topping; Seymour, Marilyn Dallman (eds.). 1447:

in their list of the top five Gordimer books. Indian writer

280:. Rosa Burger is 26, and her father, Lionel Burger, a white 3566:

The Muzzled Muse: Literature and Censorship in South Africa

3335:"The Nobel Prize in Literature 1991: Award Ceremony Speech" 2793: 2791: 2301: 2299: 2297: 2295: 2861: 2859: 2857: 2550: 2548: 2060: 2058: 2056: 2054: 2032:"At home with Nadine Gordimer, a very private individual" 1859: 1857: 3900:. State University of New York Press. pp. 219–238. 3195:

Mojtabai, A. G. (24 August 1980). "Her Region is Ours".

1795:(7). Instytut Slawistyki Polskiej Akademii Nauk: 40–41. 1508:

Rosa's full name is Rosa Marie Burger, which comes from

1306:

compared Gordimer's writing to that of Russian novelist

336:(ANC), and of aiding and abetting the students' revolt. 189:, first published in the United Kingdom in June 1979 by 2900: 2898: 2581:"New English department hires expand, enrich offerings" 2010: 2008: 2006: 3521:

The Novels of Nadine Gordimer: History from the Inside

2319:"Nelson Mandela discharged from South Africa hospital" 2239: 2237: 1246:

The Novels of Nadine Gordimer: History from the Inside

3463:"Neel Mukherjee's top 10 books about revolutionaries" 2808: 2806: 1525:

In South Africa, as a sign of respect and affection,

1425:, daughter of South African anti-apartheid activists 1231:

writes that, as in several of her novels, a theme in

1124:—But you never doubted it for a moment. Your family.— 3896:. In Bauer, Dale M.; Mckinstry, Susan Jaret (eds.). 3873:. University of British Columbia. pp. 179–202. 1328:"arguably best novel", and complimented her on her 1289:, a magazine in Johannesburg in the 1950s, wrote in 1283:, a British writer, journalist and former editor of 4133: 4098: 3975: 3852:. Abingdon-on-Thames: Routledge. pp. 187–200. 3305:"The Nobel Prize in Literature 1991: Press Release" 2169: 2167: 2165: 2163: 2161: 2159: 2157: 2102: 2100: 1927: 1925: 1923: 1921: 152: 140: 130: 122: 114: 106: 94: 78: 64: 56: 48: 38: 3825:. New York City: Infobase Publishing. p. 72. 3723: 3594: 3563: 3131: 2935: 1594:"Nadine Gordimer and the South African Experience" 1552: 1550: 2943:The Cambridge Guide to Women's Writing in English 3258: 3256: 3210: 3208: 955: 235:, and he reported that he "thought well of it". 3801:Talk Fiction: Literature and the Talk Explosion 3626:Nadine Gordimer's Burger's Daughter: A Casebook 3545:Nadine Gordimer's Burger's Daughter: A Casebook 2352: 2350: 2348: 2346: 2344: 1373:had mixed feelings about the book. He wrote in 1023: 726: 395:are unattributed, and also include writings of 33:First edition dust jacket (Jonathan Cape, 1979) 3751:. University of Massachusetts Press. pp. 1742: 1740: 1738: 1736: 1734: 1732: 978: 304:. In 1975 Rosa attends a party of a friend in 208:(SACP). The perspective shifts between Rosa's 3952: 3890:"Problems of Gordimer's Poetics: Dialogue in 3628:. Oxford University Press. pp. 167–220. 3291: 2836: 1899:University of the Witwatersrand School of Law 1880: 1700: 1698: 1696: 1618: 1616: 1614: 910: 887: 864: 772: 749: 703: 8: 3703:. University Press of Mississippi. pp. 3622:"Still Waiting for the Great Feminist Novel" 3601:. University Press of Mississippi. pp. 3364:"Gillian Slovo's top 10 South African books" 2746: 2176:"Nadine Gordimer, The Art of Fiction No. 77" 1001: 933: 849:A Dēmētriadēs; B Trapalēs; Soula Papaïōannou 818: 681: 656: 633: 21: 3777:Juraga, Dubravka; Booker, M. Keith (2002). 3547:. Oxford University Press. pp. 81–98. 841: 795: 3959: 3945: 3937: 3822:Literature Suppressed on Political Grounds 3138:Chambers Dictionary of Literary Characters 2991: 2967: 2929: 2927: 2925: 2650: 2611: 1584: 1582: 1580: 1578: 20: 3161: 3159: 3038: 3036: 2305: 2025: 2023: 1962: 1960: 1958: 1822: 1820: 1818: 1816: 1814: 1812: 1800: 1657: 1655: 1653: 1302:, Irish politician, writer and historian 3570:. Amsterdam: John Benjamins Publishing. 3106: 3094: 3003: 2979: 2889: 2722: 2710: 2698: 2686: 2554: 2136: 2091: 2076: 2064: 1997: 1394:Central News Agency (CNA) Literary Award 1279:was generally well-received by critics. 760:Werner Söderström Osakeyhtiö (Helsinki) 605: 3397:"Nadine Gordimer: five must-read books" 2916: 2877: 2865: 2848: 2662: 2255: 2203:"She's a Thorn in Side of South Africa" 1863: 1546: 1516:, and Rosa's grandmother, Marie Burger. 1501: 1065:is factual and neutral, the subjective 3118: 2770: 2758: 1433:. Following Gordimer's death in 2014, 1388:Despite being banned in South Africa, 558:has two essays by Gordimer and one by 496:The Association of American Publishers 3524:. London: Bloomsbury Publishing Plc. 3082: 3027: 3015: 2904: 2824: 2797: 2782: 2734: 2674: 2579:Williams, Kimber (18 December 2012). 2148: 2014: 1750:(1980). "Too Much Even of Kreplach". 7: 3475:from the original on 29 January 2016 2812: 2566: 2469: 2243: 2108:"Nadine Gordimer Interview (page 5)" 1933:"Nadine Gordimer Interview (page 1)" 3898:Feminism, Bakhtin, and the Dialogic 3695:"An Interview with Nadine Gordimer" 3461:Mukherjee, Neel (14 January 2015). 3442:from the original on 15 August 2015 3409:from the original on 6 January 2016 3395:Armitstead, Claire (14 July 2014). 1490:List of books banned by governments 1084:, calls Rosa's internal monologues 1012:Wydawnictwo Sonia Draga (Katowice) 3722:Head, Dominic (10 November 1994). 3700:Conversations with Nadine Gordimer 3597:Conversations with Nadine Gordimer 3376:from the original on 12 March 2016 2593:from the original on 3 August 2015 2521:All editions for Burger's Daughter 2519:Gordimer, Nadine (15 March 2012). 2114:. 11 November 2009. Archived from 1939:. 11 November 2009. Archived from 1257:What Happened to Burger's Daughter 1150:Some commentators have classified 556:What Happened to Burger's Daughter 552:of the South African authorities. 530:What Happened to Burger's Daughter 360:'s defence lawyer during his 1956 266:Central News Agency Literary Award 135:Central News Agency Literary Award 14: 4192:20th-century South African novels 4123:Beethoven Was One-Sixteenth Black 2329:from the original on 9 April 2013 1077:to question and explain herself. 1048:alternates between Rosa Burger's 4163: 4162: 3840:Marsh-Lockett, Carol P. (2012). 3804:. University of Nebraska Press. 2446:"Inscription: Burger's Daughter" 2226: 1469: 1421:in the United Kingdom by author 27: 3848:; Parekh, Pushpa Naidu (eds.). 3819:Karolides, Nicholas J. (2006). 2359:Research in African Literatures 2211:. 28 September 2000. p. 35 560:University of the Witwatersrand 3730:. Cambridge University Press. 3428:Rothman, Lily (15 July 2014). 3198:The New York Times Book Review 3166:Lemmon, Tess (November 1989). 1339:The New York Times Book Review 1255:Gordimer wrote in an essay in 737:Gyldendal Norsk Forlag (Oslo) 669:S. Fischer Verlag (Frankfurt) 452:and the safety of the state". 1: 4107:The Soft Voice of the Serpent 3745:JanMohamed, Abdul R. (1983). 2030:Wilson, Ilse (18 July 2014). 1404:, Permanent Secretary of the 1095:to punctuate her dialogue in 1031:— Rosa's internal monologue, 290:South African Communist Party 206:South African Communist Party 16:1979 novel by Nadine Gordimer 3921:. Cornell University Press. 3541:"Leaving the Mother's House" 2626:Journal of Modern Literature 1715:The New York Review of Books 1485:Apartheid in popular culture 1299:The New York Review of Books 1238:Black Consciousness Movement 1196:Several critics have called 1175:African Mine Workers' Strike 251:The New York Review of Books 3867:Visel, Robin Ellen (1987). 3562:De Lange, Margreet (1997). 2416:"Nadine Gordimer Biography" 2389:"Letters From Johannesburg" 1349:In a review of the book in 1318:Tess Lemmon writing in the 852:Ekdoseis Odysseas (Athens) 757:Seppo Loponen; Juha Vakkuri 4255: 4222:Censorship in South Africa 4212:Novels set in Johannesburg 3624:. In Newman, Judie (ed.). 3543:. In Newman, Judie (ed.). 3518:Clingman, Stephen (1993). 2937:"Burger's Daughter (1979)" 1894:"Background: Bram Fischer" 966:Edições ASA (Porto Codex) 943:Dār al-Hilāl (al-Qāhirah) 921:Založba Orzorja (Maribor) 806:Arbeiderspers (Amsterdam) 534: 348:. Inspired by the work of 300:on her own and works as a 4217:Novels by Nadine Gordimer 4160: 3842:"Nadine Gordimer (1923–)" 3215:Roberts, Sheila (1982). " 2174:Hurwitt, Jannika (1983). 1667:"Heroism in South Africa" 1398:Nobel Prize in Literature 334:African National Congress 199:details a group of white 183:Nobel Prize in Literature 26: 4088:No Time Like the Present 4008:The Late Bourgeois World 3798:Kacandes, Irene (2001). 3675:. Johannesburg: Taurus. 2747:Juraga & Booker 2002 1787:Niedzialek, Ewe (2018). 1710:"Waiting for Revolution" 1120:—For the joy of living.— 875:Edicions 62 (Barcelona) 528: 3620:Gardner, Susan (2003). 3585:Gardner, Susan (1990). 2934:Coetzee, Carli (1999). 2450:Nelson Mandela Archives 1514:revolutionary socialist 1099:instead of traditional 644:Gyldendal (Copenhagen) 435:Publication and banning 382:Nadine Gordimer at the 4115:Loot and Other Stories 3915:Yelin, Louise (1998). 3888:Yelin, Louise (1991). 3226:World Literature Today 2485:World Literature Today 2420:Academy of Achievement 2112:Academy of Achievement 1937:Academy of Achievement 1361:Bruce King wrote that 1352:World Literature Today 1139: 1067:first-person narrative 1063:third-person narrative 1028: 1002: 979: 956: 934: 911: 888: 865: 842: 819: 796: 773: 750: 727: 704: 682: 657: 634: 510: 509:Nelson Mandela in 1993 463: 387: 356:and Communist who was 118:Print, ebook and audio 3223:by Nadine Gordimer". 1793:Colloquia Humanistica 1706:O'Brien, Conor Cruise 1687:registration required 1109: 963:J Teixeira de Aguilar 898:Tusquets (Barcelona) 829:Albin Michel (Paris) 609:Year first published 508: 458: 403:gave evidence at the 381: 181:by the South African 4064:None to Accompany Me 3992:A World of Strangers 3539:Cooke, John (2003). 3219:by Nadine Gordimer; 3173:New Internationalist 3046:(17 December 1990). 1802:10.11649/ch.2018.003 1321:New Internationalist 1304:Conor Cruise O'Brien 1183:Sharpeville massacre 989:Misuzushobō (Tokyo) 843:Hē korē tou Mpertzer 783:Bonnier (Stockholm) 411:The inspiration for 405:Delmas Treason Trial 4232:Jonathan Cape books 4024:The Conservationist 4000:Occasion for Loving 3362:(12 January 2012). 3221:A Soldier's Embrace 3168:"Burger's Daughter" 2970:, pp. 126–127. 2800:, pp. 200–201. 2785:, pp. 126–127. 2737:, pp. 180–181. 2665:, pp. 170–171. 2653:, pp. 127–128. 2426:on 13 November 2016 2094:, pp. 346–347. 2037:Mail & Guardian 1970:(27 October 2001). 1708:(25 October 1979). 1558:"Burger's Daughter" 1334:A Soldier's Embrace 1208:coming-of-age story 1116:—You were singing.— 1050:internal monologues 872:Mercè López Arnabat 705:La figlia di Burger 691:Am Oved (Tel-Aviv) 574:Publication history 439:Gordimer knew that 23: 4237:Viking Press books 3846:Jagne, Siga Fatima 3292:Marsh-Lockett 2012 3266:The Sewanee Review 3097:, pp. 7, 170. 2837:Marsh-Lockett 2012 2394:The New York Times 2278:The New York Times 2271:(19 August 1979). 2118:on 13 October 2016 1943:on 9 November 2016 1881:Marsh-Lockett 2012 1672:The New York Times 1665:(19 August 1979). 1384:Honours and awards 1358:The Sewanee Review 1292:The New York Times 866:La filla de Burger 820:La fille de Burger 714:Mondadori (Milan) 641:Finn Holten Hansen 511: 464: 388: 384:Göteborg Book Fair 241:The New York Times 210:internal monologue 22:Burger's Daughter 4202:Historical novels 4174: 4173: 4048:A Sport of Nature 4032:Burger's Daughter 4016:A Guest of Honour 3928:978-0-8014-8505-3 3907:978-0-7914-9599-5 3892:Burger's Daughter 3880:978-0-315-44684-7 3859:978-1-136-59397-0 3832:978-0-8160-7151-7 3811:978-0-8032-2738-5 3790:978-0-275-97490-9 3762:978-0-87023-395-1 3737:978-0-521-47549-5 3714:978-0-87805-444-2 3682:978-0-620-04482-0 3661:978-0-224-01690-2 3648:Burger's Daughter 3635:978-0-19-514717-9 3612:978-0-87805-444-2 3589:Burger's Daughter 3577:978-90-272-2220-6 3554:978-0-19-514717-9 3531:978-0-7475-1390-2 3217:Burger's Daughter 3201:. pp. 7, 18. 2079:, pp. 24–27. 1840:978-0-7876-3729-3 1753:The Hudson Review 1592:(26 April 2001). 1477:Literature portal 1453:Burger's Daughter 1445:Burger's Daughter 1410:Burger's Daughter 1390:Burger's Daughter 1376:The Hudson Review 1363:Burger's Daughter 1344:Burger's Daughter 1326:Burger's Daughter 1312:Burger's Daughter 1277:Burger's Daughter 1262:Burger's Daughter 1250:Burger's Daughter 1233:Burger's Daughter 1212:Burger's Daughter 1198:Burger's Daughter 1191:Burger's Daughter 1168:Burger's Daughter 1152:Burger's Daughter 1135: 1132:Burger's Daughter 1097:Burger's Daughter 1082:Dartmouth College 1046:Burger's Daughter 1033:Burger's Daughter 1016: 1015: 957:A filha de Burger 889:La hija de Burger 734:Ingebjørg Nesheim 601:Burger's Daughter 579:Burger's Daughter 568:Burger's Daughter 523:Burger's Daughter 515:Burger's Daughter 500:International PEN 468:Burger's Daughter 461:Burger's Daughter 441:Burger's Daughter 428:Burger's Daughter 420:Burger's Daughter 413:Burger's Daughter 393:Burger's Daughter 346:Burger's Daughter 262:Burger's Daughter 257:The Hudson Review 246:Burger's Daughter 229:Burger's Daughter 197:Burger's Daughter 170:Burger's Daughter 166: 165: 147:978-0-224-01690-2 107:Publication place 102:October 1979 (US) 49:Cover artist 4244: 4207:Political novels 4197:Apartheid novels 4166: 4165: 3961: 3954: 3947: 3938: 3932: 3911: 3884: 3863: 3836: 3815: 3794: 3773: 3771: 3769: 3741: 3729: 3718: 3686: 3665: 3644:Gordimer, Nadine 3639: 3616: 3600: 3581: 3569: 3558: 3535: 3514: 3485: 3484: 3482: 3480: 3458: 3452: 3451: 3449: 3447: 3425: 3419: 3418: 3416: 3414: 3392: 3386: 3385: 3383: 3381: 3356: 3350: 3349: 3347: 3345: 3327: 3321: 3320: 3318: 3316: 3311:. 3 October 1991 3301: 3295: 3289: 3283: 3282: 3260: 3251: 3250: 3239:10.2307/40137154 3212: 3203: 3202: 3192: 3186: 3185: 3183: 3181: 3163: 3154: 3153: 3147: 3145: 3135: 3128: 3122: 3116: 3110: 3104: 3098: 3092: 3086: 3080: 3074: 3073: 3067: 3065: 3060:on 22 April 2017 3056:. 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2748: 2743: 2740: 2736: 2731: 2728: 2725:, p. 41. 2724: 2723:Gordimer 1979 2719: 2716: 2712: 2711:Kacandes 2001 2707: 2704: 2701:, p. 97. 2700: 2699:Kacandes 2001 2695: 2692: 2688: 2687:Kacandes 2001 2683: 2680: 2676: 2671: 2668: 2664: 2659: 2656: 2652: 2647: 2644: 2639: 2635: 2631: 2627: 2620: 2617: 2613: 2608: 2605: 2592: 2588: 2587: 2582: 2575: 2572: 2568: 2563: 2560: 2557:, p. 16. 2556: 2555:Gordimer 1979 2551: 2549: 2545: 2540: 2536: 2532: 2530:9781408832943 2526: 2522: 2515: 2512: 2507: 2503: 2499: 2495: 2491: 2487: 2486: 2478: 2475: 2471: 2466: 2463: 2451: 2447: 2441: 2438: 2425: 2421: 2417: 2411: 2408: 2396: 2395: 2390: 2386: 2380: 2377: 2372: 2368: 2364: 2360: 2353: 2351: 2349: 2347: 2345: 2341: 2328: 2324: 2320: 2314: 2311: 2308:, p. 72. 2307: 2302: 2300: 2298: 2296: 2292: 2280: 2279: 2274: 2270: 2264: 2261: 2257: 2252: 2249: 2245: 2240: 2238: 2234: 2229: 2222: 2210: 2209: 2204: 2198: 2195: 2183: 2182: 2177: 2170: 2168: 2166: 2164: 2162: 2160: 2158: 2154: 2151:, p. 84. 2150: 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