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At Home With Ivan Vladislavić is the first comprehensive analysis of the works of Ivan Vladislavić. Bringing a flaneur’s "internal GPS" to postcolonial Johannesburg, Vladislavić established a critical sense of home via an intimate knowledge of geography and history. This sense of belonging can have positive ecological effects as we tend to protect what we know. The flaneur’s deep word hoard also helped him to develop a minimalist style, which was not only a means of living sustainably in the city, but in its humour and close attention to detail a way to make greening the city more of a joy than a duty. In this way, Vladislavić created a culture of sustainability. Introduction and Chapter 6 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
This dazzling portrait of Johannesburg is "one of the best things ever written about a great, if schizophrenic, city, and an utterly true picture of the new South Africa" (Christopher Hope).
Two sought-after collections of short stories by Ivan Vladislavi? are brought together and made available again in this new volume. Vladislavi?’s abilities as a master of understatement and brevity are brilliantly demonstrated in these stories from Missing Persons (1989), for which he received the Olive Schreiner Prize, and Propaganda by Monuments and Other Stories (1996), featuring the two stories that won him the Thomas Pringle Award.
The Exploded View, from the masterful South African novelist Ivan Vladislavić, tells the story of four lives intertwined through the sprawling infrastructure on the margins of Johhanesburg: a stastician taking the national census, an engineer out on the town with city officials, an artist interested in genocide, and a contractor who puts up billboards on construction sites. Arcing across distance and time, Vladislavić deftly explodes our comfortable views and brings us behind the curtains of the city while subtly expanding our notions of what is possible in the novel form.
A vacant patch of South African veld next to the comfortable, complacent Malgas household has been taken over by a mysterious, eccentric figure with "a plan." Fashioning his tools out of recycled garbage, the stranger enlists Malgas's help in clearing the land and planning his mansion. Slowly but inevitably, the stranger's charm and the novel's richly inventive language draws Malgas into "the plan" and he sees, feels and moves into the new building. Then, just as remorselessly, all that seemed solid begins to melt back into air.
A boxing bildungsroman - a collage of memories, love, resistance, and the spectacle of Muhammed Ali in Apartheid South Africa. In the spring of 1970, a Pretoria schoolboy, Joe, becomes obsessed with Muhammad Ali. He begins collecting daily newspaper clippings about him, a passion that grows into an archive of scrapbooks. Forty years later, when Joe has become a writer, these scrapbooks become the foundation for a memoir of his childhood. When he calls upon his brother, Branko, for help uncovering their shared past, meaning comes into view in the spaces between then and now, growing up and growing old, speaking out and keeping silent.
A senior photography introduces a young man to the intricacies of photography. ‘If,’ he says, ‘I try to imagine the lives going on in all these houses, the domestic dramas, the family sagas, it seems impossibly complicated. How could you ever do justice to something so rich in detail? You couldn’t do it in a novel, let alone a photograph.’ The novel follows the young man’s broken path, as he goes overseas, finds a career, and then comes back to a changed Johannesburg. In the process, the book develops an ever-widening perspective not only on change in the country, but also on questions to do with seeing and being seen. It brings into sharp focus South Africa’s recent history and the difficulty of depicting it. Double Negative was first published in November 2010 in TJ/Double Negative as the fictional companion to David Goldblatt’s book of Johannesburg photographs titled TJ
Race, politics, identity, photography: South African writer Ivan Vladislavic reminds us nothing is black and white.
"Presents a postmodern fable by one of South Africa's most imaginative writers. In this playful riddle, the reader is taken down to the perspective of an unidentified word in a dictionary. It is accompanied by nineteen spectacular color illustrations, that takes the reader where few have trod - inside the building blocks of fiction itself." --Publisher.
Home Lands - Land Marks is an exhibition of new and recent work from seven leading South African artists at Haunch of Venison, London, and the first in London to focus on contemporary South African art since 1995. The publication focuses on images and invocations of landscape which explore contemporary South Africa. Differing from the usual approach to post-apartheid South Africa, the exhibition addresses the complexity of the South African landscape, reflecting upon notions of memory, place and identity, referring to the political context and historical background of South Africa only through the imprint and trace of human experience on the physical landscape. Published on the occasion of the exhibition Home Lands - Land Marks: Contemporary Art from South Africa at Haunch of Venison, London, May - July 2008.