Robert mugabe

Today

Andrew Kenny

The dark heart of South Africa’s Expropriation Act

Cape Town How damaging will South Africa’s Expropriation Act be? The legislation, which allows the state to seize private property without compensation, was signed late last month by President Cyril Ramaphosa. The act is consistent with the Marxist ideology of the South African Communist party, an ally of the ruling African National Congress (ANC). It’s claimed it will ‘redress the results of past racial discrimination’ and ‘undo the legacy of apartheid’ (among other platitudes). The reality, however, is that this legislation will likely do nothing to help the country’s majority black population who live in grinding poverty. There is nothing in the act to stop it instead being used by

Tuesday

Graham Boynton

And still the colonial memoirs keep coming…

Since the 1990s there has been a spate of post-colonial memoirs written by white Africans. The best was Rian Malan’s My Traitor’s Heart, a poetic, guilt-stricken Afrikaner confessional published on the eve of Nelson Mandela’s release from prison. Two others of note were by Rhodesian/Zimbabwean writers: Douglas Rogers’s The Last Resort and Alexandra Fuller’s Don’t Let’s Go to the Dogs Tonight. Both were beautifully written, funny and full of original insights. Peter Godwin, another Rhodesian/Zimbabwean, is the most prolific of all, and Exit Wounds is now his third memoir. These writers, all beneficiaries of an excellent British-supervised education system, can really tell a tale. Godwin has a significant hinterland as

Thursday

Leyla Sanai

Zimbabwe’s politics satirised: Glory, by NoViolet Bulawayo, reviewed

NoViolet Bulawayo’s first novel We Need New Names, shortlisted for the Booker in 2013, was a charming, tender gem, suffused with the guileless hilarity of children and the shock of tragedy in Zimbabwe, the author’s birthplace. Her follow-up, Glory, features animals as characters. I was initially mystified. Who would try to match Orwell’s allegorical masterpiece Animal Farm? Art Spiegelman succeeded in Maus, his graphic novel about the Holocaust, but each species represented one race, so the symbolism packed a punch – German cats hunting Jewish mice. Here the species are often random, apart from the savage dog police. But the use of animals at least lends humour to a heavy