Shane Moran - Alternation Journal
Shane Moran - Alternation Journal
Shane Moran - Alternation Journal
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
The realism of thc bourgeois's 'prodigal sons' was a critical realism. But<br />
whilc exposing the cankers of' society ... critical realisrn could not show<br />
people the way out of this thraldom. It was easy to critisise everything. but<br />
there was nothing to assert except the obvious senselcssness ofsucll social<br />
existence and 'lifc in general' (Gorky 1988:303):'.<br />
litel-ary men to^; Gorky, is known to be a leading exponent.<br />
My argument is that if there is any convergence between La Guma's aestheti<br />
realism and that of Lukacs this has a lot to do wit11 La Gurna's absorption of Gor<br />
historia11 and an ideologue, produced La Gulna's realist aesthetics.<br />
At one level, then, La Guma's aesthetics draws extensively on what Robi<br />
conlent over foml'.<br />
ns, Cecil 1985..41t.xlcr G~~rna. Boston: Twayne.<br />
Department of English<br />
University of Durban-Westville<br />
ams' [Alex la Guma] 1971. Why I Joined the Commuiiist Party. Africolz Cor~~mzr~zisl<br />
eve 1979. I Write IVhati Like. London: Heinemann.<br />
George 1978. Marslst Models of Literor)) Realisriz. New Yosk: Columbia University<br />
rnst, G Lukkcs et alL977. Aesthetics and Politics. Idondon: Verso.<br />
n 1975. Moses Kotane: Soztth African Revoltttionary. London: Inkoluleko<br />
986. Tribute. Rixaka3: 16-1 8.<br />
an. Balasubrama~lyam 1992. A Stzrdy in Trans-Etlznicity in ibfocie~n So~ith .A~%cu:<br />
165