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The Individual, Auto/biography and History in South Africa

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This undoubtedly resulted <strong>in</strong> knowledge be<strong>in</strong>g produced beh<strong>in</strong>d a veil of collectivity,<br />

while the <strong>in</strong>dividuated <strong>and</strong> collaborative processes of production went unacknowledged<br />

<strong>in</strong> the service of collective mobilisation <strong>and</strong> pr<strong>in</strong>cipled unity. In the process, it is<br />

possible that the potential <strong>in</strong>dividualis<strong>in</strong>g consequences of writ<strong>in</strong>g <strong>and</strong> authorship may<br />

have been temporarily offset.<br />

However, Tabata’s writ<strong>in</strong>g, whether or not under his own name, was not entirely<br />

<strong>in</strong>dividual. <strong>The</strong> Tabata Collection provides ample evidence that his writ<strong>in</strong>g emerged out<br />

of his relationship with fellow‐WPSA member Dora Taylor, one that was marked by<br />

<strong>in</strong>tense <strong>and</strong> on‐go<strong>in</strong>g political <strong>and</strong> personal <strong>in</strong>terchange. <strong>The</strong> home of academic<br />

psychologist J.G. Taylor <strong>and</strong> his wife Dora was a studious one, “two people <strong>in</strong> two<br />

different rooms work<strong>in</strong>g”. 75 Accord<strong>in</strong>g to Jane Gool, it was with Dora Taylor’s<br />

encouragement that Tabata started to write. Indeed, with Taylor <strong>and</strong> <strong>in</strong> the studious<br />

atmosphere of her Claremont home, Tabata became immersed <strong>in</strong> a programme of<br />

writ<strong>in</strong>g that was one of the core elements of his full‐time political work. In Gool’s words<br />

Taylor “became his secretary, took down the writ<strong>in</strong>g, <strong>and</strong> criticised <strong>and</strong> so on”. And the<br />

quality of this writ<strong>in</strong>g surprised Gool, who up till then thought that Tabata was more at<br />

home “on the platform”. 76<br />

Dora Taylor herself had been immersed <strong>in</strong> a programme of creative <strong>and</strong> political writ<strong>in</strong>g<br />

as well as literary criticism, hav<strong>in</strong>g herself been encouraged to “fulfil herself” <strong>and</strong> “do<br />

what she was qualified for” by Claire Goodlatte. 77 In the late 1930s, <strong>in</strong> the WPSA’s<br />

Spartacus Club, Taylor wrote plays which were performed by members. 78 And from<br />

1939, <strong>in</strong> Trek, she found an outlet for her political analyses, social commentary <strong>and</strong><br />

literary scholarship. 79 While she became known ma<strong>in</strong>ly as a literary scholar, it is<br />

75 I.B. Tabata, Oration at Dora Taylor’s Memorial Service, c.1976.<br />

76 Interview with Jane Gool, Harare, 25‐28 January 1991.<br />

77 I.B. Tabata, Oration at Dora Taylor’s Memorial Service, 1976.<br />

78 Dora Taylor to ‘Comrade Tabata’, nd, (1936/7), Tabata Collection, BC 925.<br />

79 Dora Taylor expressed her delight at the emergence of Trek <strong>in</strong> 1939 as a bil<strong>in</strong>gual, biweekly “family<br />

magaz<strong>in</strong>e for all <strong>South</strong> <strong>Africa</strong>ns” out of its predecessor, Independent. She had found the first issue<br />

“stimulat<strong>in</strong>g”, <strong>and</strong> found that there was “someth<strong>in</strong>g for everyone on every page” (Letter from Dora<br />

Taylor, Trek, 31 August 1939).<br />

358

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