Hyper-compressions: The rise of flash fiction in “post-transitional” South Africa

Blair, P. (2020). Hyper-compressions: The rise of flash fiction in “post-transitional” South Africa', The Journal of Commonwealth Literature, 55(1), 38-60. Copyright © 2018. Reprinted by permission of SAGE Publications.This article begins with a survey of flash fiction in “post-transitional” South Africa, which it relates to the nation’s post-apartheid canon of short stories and short-short stories, to the international rise of flash fiction and “sudden fiction”, and to the historical particularities of South Africa’s “post-transition”. It then undertakes close readings of three flash fictions republished in the article, each less than 450 words: Tony Eprile’s “The interpreter for the tribunal” (2007), which evokes the psychological and ethical complexities, and long-term ramifications, of the Truth and Reconciliation Commission; Michael Cawood Green’s “Music for a new society” (2008), a carjacking story that invokes discourses about violent crime and the “‘new’ South Africa”; and Stacy Hardy’s “Kisula” (2015), which maps the psychogeography of cross-racial sex and transnational identity-formation in an evolving urban environment. The article argues that these exemplary flashes are “hyper-compressions”, in that they compress and develop complex themes with a long literary history and a wide contemporary currency. It therefore contends that flash fiction of South Africa’s post-transition should be recognized as having literary-historical significance, not just as an inherently metonymic form that reflects, and alludes to, a broader literary culture, but as a genre in its own right

Sheep, beasts, and knights: fugitive alterity in Edmund Spenser's The Faerie Queene book VI, and The Shepheardes Calender

This chapter reads “The Legend of Courtesie”, Book VI of Spenser’s unfinished romance alongside his anonymously published debut, The Shepheardes Calender (1579), a set of twelve pastoral eclogues. Book VI seemingly rests on a series of polarisations: human/animal; culture/nature; civilisation/savagery; and, less obviously, romance/pastoral. These dualisms lend themselves to the interests of animal studies but critics have not yet brought this framework to the Book. The first task of this chapter is to draw critical attention to the significance of Book VI’s animals, particularly its pastoral flocks of sheep and the terrifying monster that is the Blatant Beast. I initially argue that the animals support the Book’s conceptual and generic polarisations; in this respect, they perform a function that is continuous with the allegorical mode of the poem as a whole. However, Spenser does not rest on such easy distinctions. This becomes evident when we turn to Book VI’s destabilisation of its own categories via its other important animals: a bear and a tiger. Spenser insinuates into his representations an alterity and hybridity which resist taming and trapping. The significance of this resistance is that it is offered not only by the other animals, but by the humans too, occurring when they occupy momentary imaginative spaces, perform temporal moves, or swerves in signification. With these deft gestures, the poem reaches for a fugitive alterity