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Hauptfleisch,T.1997. Theatre and society in South Africa: reflections<br />

in a fractured mirror.Pretoria:VanSchaik.<br />

H<strong>of</strong>meyr, I.1993. ``We spend our lives as a tale that is told'':<br />

oral historical narrative in a South African chiefdom. Johannesburg:<br />

Witwatersrand <strong>University</strong> Press.<br />

Kavanagh, R. 1986. Theatre and cultural struggle in South<br />

Africa. London: Zed Books.<br />

*Kavanagh, R.1997. Making people's theatre. Johannesburg:<br />

Witwatersrand <strong>University</strong> Press.<br />

Kerr, D.1995. African popular theatre.London: James Currey.<br />

Kruger, L.1999. The drama <strong>of</strong> South Africa: plays, pageants<br />

and publics since 1910. London: Routledge.<br />

Kruger, L. and P. Watson Shariff. 2001. Shoo ^ this book<br />

makes me to think!: education, entertainment, and ``lifeskills<br />

comics'' in South Africa. PoeticsToday 22:2.<br />

Maingard, J. 1997. Imag(in)ing the South African nation: representations<br />

<strong>of</strong> identity in the rugby World Cup, 1995.<br />

Theatre journal (special issue on South African theatre)<br />

49:15^28.<br />

Mda, Z.1993.When people play people: development communication<br />

through theatre. Johannesburg: Witwatersrand<br />

<strong>University</strong> Press.<br />

Mhlophe, G.1999. Have you seen Zandile? In: K Perkins (ed).<br />

Black South African women: an anthology <strong>of</strong> plays.<br />

CapeTown: <strong>University</strong> <strong>of</strong> CapeTown Press.<br />

Naidoo, M. 1999. Flight from the Mahabharath. In: K Perkins<br />

(ed). Black South African women: an anthology <strong>of</strong> plays.<br />

CapeTown: <strong>University</strong> <strong>of</strong> CapeTown Press.<br />

Orkin, M. 1991. Drama and the South African state. Johannesburg:<br />

Witwatersrand <strong>University</strong> Press.<br />

Pavis, P. (ed).1996. The intercultural performance reader.<br />

London: Routledge.<br />

Peterson, B.1999. Monarchs, missionaries and African intellectuals:<br />

African theatre and the unmaking <strong>of</strong> colonial<br />

marginality. Johannesburg: Witwatersrand <strong>University</strong><br />

Press.<br />

*Steadman, I.1999.``When you see an African'': race, nationalism<br />

and theatre reconsidered. In: South African theatre<br />

as/and intervention (keynote address):25^37.<br />

That is heaven's part, our part<br />

To murmur name upon name,<br />

As a mother names her child<br />

When sleep at last has come<br />

On limbs that had run wild.<br />

(WB Yeats, ``Easter 1916'')<br />

The events that inform Bloodlines ± the Boer War and<br />

the early 1990s <strong>of</strong> a transforming South Africa ± stand<br />

(rather asymmetrically, it is true) on either side <strong>of</strong> the<br />

famous Easter uprising in Ireland <strong>of</strong> 1916. But both<br />

Yeats's poem and the history <strong>of</strong> the Irish struggles are<br />

central to this remarkable novel about the emotional<br />

economies upon which the desire for reconciliation is<br />

built.<br />

The novel's plot is complex, and almost impossible<br />

to render adequately in a review. It pivots around four<br />

women for whom sacrifice threatens to ``make a stone<br />

<strong>of</strong> the heart''. Firstly, there is Anthea, neophyte<br />

jounalist for the Natal Times whose fiance is killed in<br />

a bomb blast in South Clacton, Natal; and Dora,<br />

mother <strong>of</strong> Joseph Makken, the man who planted the<br />

bomb. Anthea, in an attempt to make sense <strong>of</strong> the<br />

senselessness <strong>of</strong> her fiance 's death, rather blunderingly<br />

seeks to establish connections with Dora, who is<br />

herself emotionally felled by her son's actions and<br />

subsequent imprisonment. Hesistantly, the two women<br />

become engaged in an increasingly mutual and<br />

difficult journey into Dora's past, in which they<br />

discover and rewrite the history <strong>of</strong> the ``bloodlines''<br />

that connect them and, in so doing, make equally<br />

hesitant and flawed, but nonetheless meaningful<br />

progress towards reconciliation. This process, in turn,<br />

both introduces and is shaped by the story <strong>of</strong> Dollie, a<br />

Boer war meid, and Kathleen, the Irish nurse who<br />

introduces her story.<br />

Elleke Boehmer. 2000. Bloodlines. Cape Town:<br />

David Philip.<br />

KAREN SCHERZINGER<br />

Too long a sacrifice<br />

Can make a stone <strong>of</strong> the heart.<br />

O when may it suffice?<br />

Boehmer draws Irish history into her novel, both as<br />

a direct influence on the lives <strong>of</strong> the protagonists and,<br />

perhaps more intriguingly, as a counterpoint for the<br />

acts <strong>of</strong> rage and their consequences which South<br />

Africa's past has elicited. The connection between<br />

South Africa and Ireland ranges from the particular<br />

to the general. The bomb blast that sparks <strong>of</strong>f the<br />

events <strong>of</strong> the novel is intended to take place at a time<br />

(Easter) and a place (the post <strong>of</strong>fice) strongly<br />

reminiscent <strong>of</strong> Dublin's Easter uprising. The support<br />

<strong>of</strong> the Irish Republic for the Boers is central, as is the<br />

role <strong>of</strong> the Irish Brigaders during the Boer War itself.<br />

~76 .... REVIEWS

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