Maart 2013: jaargang 10, nommer 1 - LitNet

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LitNet Akademies Jaargang 10 (1), Maart 2013 there is a critical and ironic stance in historical fiction it is viewed as parodical (Van Coller 2011:682). Nostalgic writers are often considered reactionary and even xenophobic, and their works are considered sentimental, oversimplified and idealised versions of the past written in order to resist change. Nostalgia is, however, not necessarily reactionary or oppositional towards the present or future, but can be a productive way to confront loss and displacement (Dlamini 2009:17). Most contemporary authors of historical fiction will approach certain historical aspects in a nostalgic way and other elements of the same part of history in a critical, questioning and sceptical manner. When it comes to the presentation of the Anglo-Boer War in Afrikaans fiction in particular, there are two approaches: either it can be depicted as the most heroic time in the Afrikaners’ history in their struggle to regain lost (self-) respect and to show the injustice endured by the Afrikaner, or it can be deconstructed and demythologised as part of the admission of guilt (Van der Merwe 1998:2). During the revival of Afrikaner nationalism in the 1930s and 1940s a variety of propagandistic and heroic texts about the Anglo-Boer War were written and the suffering of women and children in concentration camps was used to unite a new nation. During the 1960s, however, the war history was demythologised and often satirised to provide commentary on political and social issues of the day. Niggie, Fees van die ongenooides and Sirkusboere compel the reader to reconsider the value of historical fiction. By writing about the Anglo-Boer War the authors of these books provide biting commentary on the past, present and future. Not only do they criticise and question the “spotless” image of the Boers and their “holy” war (used by the apartheid government to symbolise Afrikaner identity), but they also comment on the Afrikaners’ position, identity and language in the current system. These novels offer an alternative representation of the Anglo-Boer War, but even though many characters and events are fictitious and these writers undermine the historians by expressing doubt about whether history can provide the whole truth of the past, the cruelty, unfairness and disillusion created by this war has probably never been recreated as sincerely as in these very books. Niggie comments on Afrikaner identity and the future of Afrikaans as a language. Fees van die ongenooides is about the unfamiliar, unusual and even suppressed facets of the Anglo- Boer War. In Sirkusboere Sonja Loots writes from a different perspective about a part of history that has been surprisingly neglected: how the Boer general Piet Cronjé re-enacted his humiliating surrender to Lord Roberts in front of two million spectators during the so-called Boer War Circus in America in 1904. The analysis of these three novels showed that the historical novel is not a mere regurgitation of history to entertain or inform readers, but a medium through which a historical conscience 382
LitNet Akademies Jaargang 10 (1), Maart 2013 is created, identity is confirmed, distorted facts are rectified, atonement is made, therapy is received and languishing aspects are archived. The authors of literary work can facilitate a discovery of the truth about the past and in this way reconcile themselves with past events and the people responsible for these events – to forgive, but not forget. Keywords: historical presentation; value of historical fiction; historical novel; creative historiography; historical documentary; Anglo-Boer War; Afrikaner identity; historical consciousness; historical fiction as therapy; atonement; archiving; exposure of suppressed history 1. Inleiding Literatore tref ‘n onderskeid tussen dokumentêre geskiedskrywing of historiografie aan die een kant en historiese fiksie aan die ander kant. Die historiografie word gesien as ’n wetenskaplike teboekstelling van die geskiedenis en historiese fiksie as die kreatiewe verwerking van geskiedkundige materiaal. Soos later bewys sal word, hoef die historiese en literêre waarheid egter nie teenoor mekaar te staan nie, maar kan dit mekaar eerder aanvul. Definisies wat letterkundiges vir die begrip historiese roman verskaf, stem grootliks met mekaar ooreen. Cuddon (1998:383) beskryf ‘n historiese roman byvoorbeeld as “a form of fictional narrative which reconstructs history and recreates it imaginatively”. Hy is van mening dat beide fiktiewe en werklike geskiedkundige personasies in historiese fiksie kan verskyn en dat die skrywer van hierdie genre deeglike navorsing oor sy/haar onderwerp moet doen om die verhaalgebeure so na as moontlik aan die werklikheid te hou: “[T]he good historical novelist researches his or her chosen period thoroughly and strives for verisimilitude.” Volgens Abrams (2005:201) is ’n historiese roman “a novel that attempts to convey the spirit, manners, and social conditions of a past age with realistic detail and fidelity to historical fact.” Hierop brei hy soos volg uit: “The work may deal with actual historical personages, or it may contain a mixture of fictional and historical characters. It may focus on a single historical event [...] or portray a broader view of a past society in which great events are reflected by their impact on the private lives of individuals.” Insgelyks omskryf Van Gorp (1991:180) die historiese roman as ’n narratief wat “verhaalstof put uit historische gebeurtenissen en/of personages, meestal met de bedoeling (de sfeer van) een bepaalde periode uit het verleden voor de lezer op te roepen.” Gevolglik, voer hy aan, kan die romanskrywer met die geskiedskrywer vergelyk word, alhoewel die skrywer van historiese fiksie sy materiaal met “zijn verbeelding” bewerk en herorganiseer. Cloete se Literêre terme en teorieë (1992) gee betreklik min en vae inligting oor die historiese roman. Onder die opskrif “Roman” tref Scholtz (1992:442) onderskeid tussen die 383
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Maart 2013: jaargang 10, nommer 1 - LitNet

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