In the title story Away From the Dead we meet Isaac Witbooi, a farm
worker, who has to come to grips with losing everything including
the graves of his entire deceased family. In After Spring a couple
takes a holiday but we're drawn into the issue of identity: Even if
they hadn't heard us speaking English earlier, they would have
known our foreignness simply by sight. It is visible to them in our
facial features, the way we wear our clothes, our hair. The fact
that we are third and fifth generation South Africans respectively
matters little to them. Making Challah is a touching picture of an
ageing woman, and it uses the baking of challah as a wonderful
metaphor of passing time. Ridwaan and Chadley are On the Train, a
seemingly routine journey but somehow a dog has been acquired and
it's been Chadley's first time to kill. Find out how it felt to be
Andries Tatane who, on 13 April 2012, died during a service
delivery protest in Ficksburg, South Africa. In the Narrative of
Emily Louw, a true story, a young woman regrets not having given
something to old Emily after listening to her sad story: At the
second, a policeman had looked at the blanketed child, her worn
face and bleeding feet and he had smirked, as though to indicate
that her husband had left by choice and couldn't be blamed for his
departure. Next is a thoughtful reflection on being called Muzungu
when a white South African woman visits Uganda. From Dark is a
rallying call to remember that illegal mining causes the deaths of
hundreds every year. Zama-zamas (Zulu for 'chancers') live
underground for months at a time, dying in police raids, fires,
cave-ins and poor conditions. A young couple's outing goes horribly
wrong in At the Seaside. Grandmother's great big wicker picnic
basket, which was supposed to be a treat, takes the blame. An
'informal settlement' of zinc shacks on the flatlands sets the
scene in Allotment. Warda Meintjes and her husband struggle to
survive. A great stadium for the World Cup is being built but
Warda's unborn child stops moving. The homeless were being rounded
up by police, placed in trucks, driven out into the countryside and
dumped. 'Thank God we're spared that,' one woman said. 'Don't fool
yourself,' another replied. 'That is us. It has already happened to
us.' In The Shark Mia's very sense of being gets overtaken by
events. A dark story leading on to Development, darker still, but
thought-provoking, and about what it is to be human. The Wall is
almost surreal and deals with growing old on the street. Alletjie
lives with her husband Jan Bakker and Solly, her disabled brother,
next to an old mine built by Cornish miners in the 1880s. Their
circumstances are a cut above those of Warda and her husband, yet,
'living on the old goats and chickens and a disability grant was
never enough', and Alletjie who 'does everything' thinks it isn't
fair, 'the mine owned her this future for herself'. Resurrecting
again exerts a certain surreal appeal. A father takes to his bed
because of a crushed pigeon or is it a metaphor for a crushed soul
in the office? His son is told to pray but is there going to be a
resurrection?
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