Contents: The imperative to imagine the unimaginable: J.M. Coetzee's Doubling the Point - «Nothing less than the writing of our own texts»: Njabulo Ndebele's Rediscovery of the Ordinary - Challenging the metropolis as the marketplace for Third World literature - The voice of the poet: «The blues is you in me». The class and culture specificity of emotion - «Where we stride above the fading, insistent mutter of the dead»: Kelwyn Sole's Projections in the Past Tense - «That invention of the working class»: Sandile Dikeni's Guava Juice - «Standing armed on our own ground»: Barry Feinberg's Gardens of Struggle - Vincent Swart or the malaise of South African poetry - Poetry to sing at Rosies and All that Jazz: Heather Robertson, Under the Sun - The poet has nothing but his voice: On the poetry of Tatamkhulu Afrika - The spaces between : Tatamkhulu Afrika, Maqabane (Mayibuye 1994) - At a certain distance from hell: Patrick Cullinan, Selected Poems 1961-1994 - «The purple pink salt of songs without heads»: Seitlhamo Motsapi's earthstepper/the ocean is very shallow - Dostoevsky in Cape Town: J.M. Coetzee's The Master of Petersburg - I am dead: you cannot read. André Brink's On the Contrary - The difficulties of memory: Christopher Hope's Serenity House - The mysterious patterns of everyday life in a colony: Christopher Hope's The Love Songs of Nathan J. Swirsky - A house/a story hanging by a thread: Ivan Vladislavic's The Folly - The genealogy of shame: Etienne van Heerden's Ancestral Voices - The myth of the wave: Mike Nicol's This Day and Age - Trying to make sense of the past: W.

P.B. Botha's The Reluctant Playwright .