TEN YEARS - DISA

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StaKftfrOtiw W®aa 1 KJ(D- % ®m& 4 at)©© D sions, were recapitulating exactly what he had said before. The difference was that now it was all making sense. You could say that he had me under his spell. Many South Africans with a story to tell also have a notion in their heads about how it should be told. Can it be that the importance of this fact for our literature in prose is so obvious that we refuse to theorise it? At any rate, it strikes me as strange that, at a time when such an emphasis is being placed on the collection of oral testimony, we have not made any attempt to locate and record people with some fame as storytellers. It is this inexplicable omission that Stqffrider may be in a unique position to rectify. Much of what I have written here seems to have suggested that Stqffrider's early attempt to be a mouthpiece through which whole communities could speak to each other has been outflanked by more specific and deeply rooted cultural developments which the magazine should now seek to reflect and support, from the particular standpoint of the writer qua writer. Storytelling may serve as one example of the way in which the broader cultural agenda can be focused within the practice of the writer. In recent years the magazine has drawn attention to the story (not, be it noted, the 'short story', a poor cousin of the novel) as a literary form of major and underestimated significance, particularly in non-Western societies (though even in the West the postmodernist avant garde is beginning to include storytelling among its key aesthetic categories). The opportunity of providing a setting in which the story teller and the story writer come face to face is one that should not be missed. Note Despite its anecdotal tendencies, this article was not written as an attempt, to set down the history of Stqffrider, or of my part in it. For the record it should be stated that, from its earliest days, a great many people have contributed generous amounts of time and energy to the magazine, and left their various marks (including those made, invisibly, with a blue pencil) on its pages. They know who they are. It should also be recorded that my own contribution was occasional and marginal after the first year or so. This was because of the pressure of other publishing duties, and not by any means a sign of waning interest. If this remembrance appeared under a pen-name, it would be 'Still Riding'.
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Page 1 and 2: TEN YEARS •:,§§I§f'-' 1978-198
Page 3 and 4: © The contributors as listed on th
Page 5 and 6: Contents Preface A.W. Oliphantllv'a
Page 7 and 8: Time Has Run Out Mongane Serote 223
Page 9 and 10: Preface Staffrider magazine, which
Page 11 and 12: part in the development of document
Page 13 and 14: etween these writers, their communi
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Jeeva Rajgopaul
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TEN YEARS - DISA

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