Virtual Library

Scholars have documented the emergence of apparently race-neutral discourses that serve to entrench racial stratification following the elimination of de jure segregation. These discourses deny the existence of both present-day racism and the contemporary effects of histories of racial oppression. Researchers posit that individuals are socialized into these views, but little empirical attention has been paid to the processes through which such socialization occurs. Focusing on the South African case study, I draw on five months of daily observations in seventeen 9th-grade history classrooms, content analysis of notes distributed in class, and 170 in-depth interviews with teachers and students to document how and why students are taught not to attend to the effects of apartheid on their society. To mitigate race-based conflict in their local school context, teachers told “both sides of the story,” highlighting that not all whites were perpetrators and not all blacks were victims. By decoupling the racialized coding of victims and perpetrators, and sidelining discussions of beneficiaries, teachers hindered students’ abilities to make connections to the present. In outlining how and why individuals are taught about the irrelevance of the past, this study contributes to literatures on race, education, collective memory, and transition to democracy.

Country of My Skull captures the complexity of the Truth Commission’s work. In this book, Antjie Krog, a South African journalist and poet who has covered the work of the commission, recounts the drama, the horrors, the wrenching personal stories of the victims and their families. Through the testimonies of victims of abuse and violence, from the appearance of Winnie Mandela to former South African president P. W. Botha’s extraordinary courthouse press conference, this award-winning poet leads us on an amazing journey. Krog’s powerful prose lures the reader actively and inventively through a mosaic of insights, impressions, and secret themes. This compelling tale is Antjie Krog’s profound literary account of the mending of a country that was in colossal need of change.

At fifty-two, Professor David Lurie is divorced, filled with desire, but lacking in passion. When an affair with a student leaves him jobless, shunned by friends, and ridiculed by his ex-wife, he retreats to his daughter Lucy's smallholding. David's visit becomes an extended stay as he attempts to find meaning in his one remaining relationship. Instead, an incident of unimaginable terror and violence forces father and daughter to confront their strained relationship and the equallity complicated racial complexities of the new South Africa. 

For years, it had been what is called a "deteriorating situation." Now all over South Africa the cities are battlegrounds. The members of the Smales family--liberal whites--are rescued from the terror by their servant, July, who leads them to refuge in his village. What happens to the Smaleses and to July--the shifts in character and relationships--gives us an unforgettable look into the terrifying, tacit understandings and misunderstandings between blacks and whites. 

Taking a critical view of a venerated international principle, Randall Williams shows how the concept of human rights—often taken for granted as a force for good in the world—corresponds directly with U.S. imperialist aims. Citing internationalists from W. E. B. Du Bois and Frantz Fanon to, more recently, M. Jacqui Alexander and China Miéville, Williams insists on a reckoning of human rights with the violence of colonial modernity.

Despite the emphasis on international human rights since World War II, Williams notes that the discourse of human rights has consistently reinforced the concerns of the ascendant global power of the United States. He demonstrates how the alignment of human rights with the interests of U.S. expansion is not a matter of direct control or conspiratorial plot but the result of a developing human rights consensus that has been shaped by postwar international institutions and debates, from the United Nations to international law. Williams probes high-profile cases involving Amnesty International, Nelson Mandela, the International Lesbian and Gay Human Rights Commission, Abu Ghraib, and Guantánamo, as well as offering readings of works such as Hotel Rwanda, Caché, and Death and the Maiden that have put forth radical critiques of political violence.

The most forceful contradictions of international human rights discourse, he argues, come into relief within anticolonial critiques of racial violence. To this end, The Divided World examines how a human rights–based international policy is ultimately mobilized to manage violence—by limiting the access of its victims to justice.

From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination.

All of the albums were ordered destroyed when apartheid’s violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid’s guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic.

With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today’s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa’s newest export: “security consultants” serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid’s tragic caprice, ultimate failure, and grim legacy.