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The Individual, Auto/biography and History in South Africa

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out of the stra<strong>in</strong>s <strong>and</strong> pressures of the last six months”. “Oh, the joy of read<strong>in</strong>g it to him!<br />

And his joy <strong>in</strong> the work!” 36<br />

And <strong>in</strong> the 1950s, Taylor cont<strong>in</strong>ued to write ‘for B’ alongside the varied forms of support<br />

she gave him with his political work <strong>and</strong> political writ<strong>in</strong>g. And <strong>in</strong> return for these<br />

services, Tabata cont<strong>in</strong>ued to encourage Taylor’s authorship, <strong>and</strong> to champion the cause<br />

of its dissem<strong>in</strong>ation <strong>and</strong> publication. In 1957, while he was banned, Tabata wrote to <strong>The</strong><br />

London Magaz<strong>in</strong>e with a short story, ‘Tread Softly’, written by Taylor, which he asked to<br />

be considered for publication. In <strong>in</strong>terced<strong>in</strong>g for Taylor, Tabata <strong>in</strong>troduced himself as<br />

“an <strong>Africa</strong>n … deeply <strong>in</strong>volved <strong>in</strong> the activities of my people <strong>in</strong> their struggle for<br />

liberation”, <strong>and</strong> as an author, who had “written a history of the movement” <strong>in</strong> <strong>South</strong><br />

<strong>Africa</strong>. This position, he implied, qualified him to expla<strong>in</strong> the significance of Taylor’s<br />

text. 37<br />

Up to the first half of the twentieth century, he suggested, <strong>South</strong> <strong>Africa</strong>n writers had<br />

been “ma<strong>in</strong>ly Europeans”, who wrote “from a particular distorted angle <strong>and</strong> presented<br />

us as less than human – objects of pity or laughter – or as the noble savage”. While some<br />

white writers s<strong>in</strong>ce 1950 had written with “a certa<strong>in</strong> amount of sympathy for the<br />

<strong>Africa</strong>n”, they wrote as “onlookers see<strong>in</strong>g us as from a distance”. Dora Taylor, on the<br />

other h<strong>and</strong>, had transcended this distance, <strong>and</strong> accord<strong>in</strong>g to Tabata, the story written by<br />

her <strong>in</strong> her own name <strong>in</strong>dicated that she “writes for us”, not “about us”. 38 Through this<br />

authorial location, Tabata contended that Taylor gave “artistic expression to our feel<strong>in</strong>gs<br />

as human be<strong>in</strong>gs plunged <strong>in</strong> the various situations of the complex racial system of <strong>South</strong><br />

<strong>Africa</strong>.” Taylor wrote “simply”, he argued, “without the <strong>in</strong>trusion of any extraneous<br />

attitudes”. Those outside may not underst<strong>and</strong> how difficult this was because of “the<br />

constant pressures imposed by the racial situation <strong>in</strong> this country”. 39<br />

36 Dora Taylor, Extended Diary, entry for 5 October 1953, Dora Taylor Papers.<br />

37 I.B. Tabata to Mr Lehmann (<strong>The</strong> London Magaz<strong>in</strong>e), 29 June 1957, I.B. Tabata Collection, BC 925.<br />

38 I.B. Tabata to Mr Lehmann (<strong>The</strong> London Magaz<strong>in</strong>e), 29 June 1957, I.B. Tabata Collection, BC 925.<br />

39 I.B. Tabata to Mr Lehmann (<strong>The</strong> London Magaz<strong>in</strong>e), 29 June 1957, I.B. Tabata Collection, BC 925.<br />

409

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