KwaZulu-Natal artworks are finally getting deserved recognition and are being likened to British modernism, while writers and poets are also getting accolades in A Literary Guide to KwaZulu-Natal. This is an authoritative literary tourism guide that helps readers trace the steps of famous authors and poets from the province. While this can be considered a niche audience, the literary history in the book forms an important part of the South African identity, which makes the guide a must-have.
A Literary Guide to KwaZulu-Natal by Niall McNulty, Lindy Stiebel
ISBN: 978 1 86914 357 2
For several years I was involved in a research project at the University of KwaZulu-Natal, researching authors, their books and places connected to them. We produced a number of author profiles and literary trails over the years (in collaboration with a number of co-researchers), which we published online. Working with UKZN Press, we have taken that research and compiled a literary guide, which was recently published.
KwaZulu-Natal is culturally rich, offering a wide range of writers – writing mainly in English and Zulu – who are linked through their lives and their writing to this province of South Africa. The writers include, to name just a few, Alan Paton, Roy Campbell, Lewis Nkosi, Ronnie Govender, Wilbur Smith, Daphne Rooke, Credo Mutwa and Gcina Mhlophe. And how better to understand a writer than to know about the places they are linked to? For example, who, after reading the lyrical opening sentences of Paton’s famous book Cry, the Beloved Country (1948) has not wanted to see this scene in reality?
There is a lovely road that runs from Ixopo into the hills. These hills are grass-covered and rolling, and they are lovely beyond any singing of it.
A Literary Guide to KwaZulu-Natal introduces you to the regions and writers through word and image, leading you imaginatively through this beautiful province.
If you’re an educator, the need to create educational content can sometimes take away time from other educational and organisational roles. Curating content, rather than creating it, has become a viable way to produce engaging, stimulating educational materials that present learners with clear information pathways. What exactly do we mean, however, when we talk about ‘curating’ educational content?
Curating is selecting and arranging to add value
In Michael Bhaskar’s Curation: The Book, the author talks about ‘the power of selection in a world of excess.’ In a world where there is so much high-value content freely available online (content that is available for re-licensing), creating new material isn’t always necessary. Digital technology has resulted in information overload, too. There is so much content available that it is harder than ever to digest all the information available for a given topic.
By way of some background, I am currently the digital publishing manager at the African branch of Cambridge University Press (CUP), the publishing business of the University of Cambridge. Prior to joining CUP, I worked as a consultant conceptualising and implementing innovative digital solutions for academic and local government initiatives in South Africa. During this period I launched The Ulwazi Programme with colleagues from the eThekwini Municipality. This collaborative digital library project collated user-generated, local-language, indigenous knowledge content and published it openly under a Creative Commons license. Based on this experience, as well as my desire to explore how a traditional publishing business could engage with with the open movement and the plethora of freely-available content online, I applied to attend the Institute of Open Leadership (IOL) workshops. The week-long sessions were intense; a bootcamp in open licensing and open education. More importantly, the workshop brought together some of the top minds currently working on open ideas. In formal and informal discussions, these mentors shared their thinking with me on open business models, providing examples of successful and sustainable open initiatives.