Suchergebnisse

"Why does Namibia's economy look the way it does today? Was the reliance on raw materials for exports and on the service sector for employment an inevitability? And for what reasons has the manufacturing sector - the vehicle for economic development for many now-high income countries throughout the 19th and 20th centuries - seen its growth held back? With these questions in mind, this book offers an extensive analysis of industrial development and economic change in Namibia since 1900, exploring their causes, trajectory, vicissitudes, context, and politics. Its focus is particularly on the motivations behind the economic decisions of the state, arguing that power relations - both internationally and domestically - have held firm a status quo that has resisted efforts towards profound economic change. This work is the first in-depth economic study covering both the colonial and independence eras of Namibia's history and provides the first history of the country's manufacturing sector."--

'It is as if I am watching a noose tightening around a condemned man's neck and the victim surprises all observers by continuing to talk quite lucidly for several moments longer than anyone would have thought possible.'

Censorship of the press before and after the election of May 6, 1987.

The Publications Appeal Board: Digest of Decisions (vol. 2, 1981) collects systematically the decisions of the South African Publications Appeal Board. Collected by Louise Silver, it is published by the Centre for Applied Legal Studies, University of Witwatersrand, 1 Jan Smuts Avènue, Johannesburg 2001. The Centre was established to promote research into areas of the law affecting the black community and civil rights.

Memoirs by Pablo Neruda, translated by Hardie St Martin Souvenir Press 370pp £6.50 (£3.95 paperback)

Intro -- Title Page -- Dedication -- Epigraph -- CONTENTS -- ACKNOWLEDGEMENTS -- INTRODUCTION -- 1: CHILD SUPPORT AGENCY -- 2: PASSPORT AGENCY -- 3: TAX CREDITS -- 4: INDIVIDUAL LEARNING ACCOUNTS -- 5: CRIMINAL RECORDS BUREAU -- 6: RURAL PAYMENTS AGENCY -- 7: FOREIGN NATIONAL PRISONERS -- 8: STUDENT LOANS COMPANY -- 9: FE COLLEGES BUILDING PROGRAMME -- 10: RECRUITMENT OF JUNIOR DOCTORS -- 11: NATIONAL PROGRAMME FOR I.T. IN THE NHS -- 12: INTERCITY WEST COAST RAIL FRANCHISE -- 13: THE PUBLIC SECTOR AND I.T. - A PERMANENT DISASTER? -- 14: WOULD THESE POLICIES WORK BETTER IF KEPT AWAY FROM POLITICIANS? -- 15: ARE CIVIL SERVANTS UP TO THE JOB? -- 16: THE QUEST FOR GOOD GOVERNMENT -- 17: WHY DO PEOPLE DO WHAT THEY DO? -- SELECT BIBLIOGRAPHY -- INDEX -- A, B, C -- D, E, F -- G, H, I -- J, K, L -- M, N, O -- P, Q, R -- S, T, U -- V, W, X -- Y, Z -- Copyright

In Africa Even the Flies Are Happy by Breyten Breytenbach, translated by Denis Hirson John Calder 148pp £4.95 and death white as words by Breyten Breytenbach, edited by A. J. Coetzee Rex Collings 180pp £5

Sydney Sipho Sepamla was born in 1932 and has lived most of his life in Soweto, the giant township southwest of Johannesburg, so recently notorious. Soweto, with an unofficial population perhaps upward of a million (so much in Soweto has been unofficial always, even the people are thought of as temporary sojourners) living in a vast dormitory of jerry-built houses stretching for astonishing miles over the flat, bleak veld, existing in the minds of the planners and ideologues as merely a place to sleep the thousands who service the white city next door by day. Sepamla must be ranked along with Oswald Mtshali and Wally Mongane Serote among what I might call the poets of the new cities. I am referring not to Johannesburg, Cape Town and Durban, but to their black satellites, Soweto, Langa and Kwa Mashu, cities of night attending the cities of the sun. Such mirror images and inverted relationships are characteristic in South Africa. In his anthology of Black South African verse, the first and best introduction to the new city poets, which takes its title from Sepamla's fine satirical poem 'To Whom It May Concern', Robert Royston remarked that the new poetry was 'a form of self-preservation'. However angry and expressive it might be, it presented less of a target to censors, priests and police who had sunk, literally without trace, an entire raft of black prose writers in the fifties and sixties. Understandably, some of the new city verse is assertive, angry and confused - but in South African poetry there has been nothing so invigorating for years. What sets Sepamla apart from the others, I think, has been a certain wariness of political rhetoric, a most un-South African subtlety. There is nothing unusual about using the big stick in South Africa; everybody has one. But in a country of brutal distinctions what is truly rare is the ability to distinguish. Sepamla's is a nervy, urban sensibility, perfectly suited to finding the chinks in the regime's fibrous armour and thrusting in his spear. He is at his steely best in 'the deadpan, factual, throwaway line' which Douglas Livingstone has pointed to, splendidly instanced in this poem, 'The Will': The burglar-proofing and the gate will go to my elder son so will the bicycle and a pair of bracelets His strength is double-edged; not only does he recount the pains of the blacks under apartheid, but articulates, too, the white nightmare of dispossession, often imagined, always expected, forever abjured. Sepamla's books include Hurry Up To It! ( 1975) and The Blues Is You In Me ( 1976), both published in Johannesburg. With the publication of The Soweto I Love his work is for the first time available abroad. He edits the review New Classic ( named for the dry-cleaning business in the room above which the magazine was founded), now in its latest metamorphosis and always amongst the most worthwhile South African little magazines open to the work of black writers. He edits, too, the drama magazine, Sketsh!