100 books like At Home with Apartheid

Kingston Heath’s captivating book Patina of Place investigates human relationships with working-class living spaces so powerfully. Sometimes I think parts of my book would have been better as a film for capturing what it feels like to move through a neighborhood and into a house. But Heath has managed to do it on static printed paper by combining historic photographs, first-hand accounts, childhood memories, and—most importantly, his gorgeous drawings!—to convey everyday experiences in New England’s three-decker housing units. What sets this book apart are Heath’s textured stories of women rearranging their furniture to make room for another family member; a child’s-eye view of his grandmother’s upholstered sofa; and one couple’s reflections on demographic change around their apartment of 50 years. 

Geographer Tim Cresswell’s work has helped me convince architectural historians that examining how we move through spaces is vital to understanding the full range of the built environment’s cultural meanings. He states the obvious: we all live in physical bodies. And yet historians emphasize the written word and architects emphasize visualization. What about the other senses? Cresswell argues that mobility is a socially-constructed movement much like place is a socially-constructed space. We can learn so much by paying attention to the ways society controls movement: Who is allowed to occupy which spaces? When? With whom? And how has that changed over time? Cresswell’s ideas helped me analyze the lived experiences of multiple people in the same domestic spaces, and ultimately connect the manipulation of architecture and landscape to modernity’s regulation of bodies and ideas. 

No one writes more compellingly about the multi-sensory experiences of living in America’s past environments than Dell Upton. His book Another City deals with the late eighteenth and early nineteenth-century city—a century before the time period in my book—but he weaves together narratives of urban experience from America’s first decades as a republic to offer surprisingly contemporary commentary on city politics today. His chapter called “Smell of Danger,” to offer just one example, demonstrates that America’s urban elite mobilized their belief that disease was caused by “miasmas” rising up from foul-smelling waste to justify segregation along with class and racial lines. In the era of yellow fever and cholera, Upton argues that “the physical geography of disease became a human geography of fear.” 

Jessica Sewell’s book Women and the Everyday City makes us feel like we’re walking the streets of turn-of-the-century San Francisco. She combines traditional architectural history sources like floor plans, maps, and historic photographs with diaries written by women from varied class and ethnic backgrounds to piece together their experiences of the city. My favorite section uses advertisements and published memoirs to demonstrate that women without the economic means and cultural capital to be welcomed in downtown department stores or even some of the local grocery stores had much more complicated choices to make as they navigated everyday needs like finding transportation, buying food, and creating community. She compares the urban public imagination with how the city was actually built and experienced—just like theorist Henri Lefebvre suggests!

I find the notion of the “unknown” writer quite problematic.

Most of the time, at least somebody has, in fact, heard of the writer. So by whom is this writer unknown, and for what reasons has their reputation been erased?

The South African writer Miriam Tlali – the first South African woman writer to publish a book in English - is a case in point.

Tlali’s novel Muriel at Metropolitan (about an office worker in apartheid Johannesburg) was banned when it was published in 1975 for its critical portrayal of white South Africans.

Tlali was subsequently ignored by her literary (almost entirely male) peers, dismissed as offering “reportage” rather than “art”. Yet since 2017, Tlali’s work has been celebrated.

The question of whether a writer is “known” or “unknown” is complex with many layers to consider, including the prejudices of racism and sexism. 

I studied this great work of literature in the 1960s in Secondary School in Mombasa and the injustice of humanity in this tragic story is still indelibly etched in my heart. The story is set in Ndotsheni, a poor, agricultural village in South Africa but with a strong sense of community and in the city of Johannesburg a corrupt, big city where it's every man for himself. It is about a Zulu pastor, Stephen Kumalo, who receives a letter that his sister in Johannesburg has fallen sick. Kumalo undertakes the difficult journey travelling from his village to the city in the hopes of aiding his sister and of finding his son, Absalom, who left to go to the city and never returned. What really moved me is the estranged relationship of two fathers and their sons that evoke anguish in the fathers. Upon reading this book the message that resonated… show more.

Marais does an excellent job of moving among these three point-of-view characters: a Black woman and two white sisters, all brought together by a child and the question of parentage. At the heart of the story is life in apartheid-era South Africa. A must-read for anyone who loves messy families and complex characters.

As an indie author myself, I am committed to supporting other independent authors and Mark Fine is one of the best. Fine has created an epic love story set against the backdrop of South Africa’s apartheid in the 1970s. When a beautiful white model falls in love with a black man, they become prey in a deadly manhunt that stretches from the golden city of Johannesburg to the dangerous wilds of the African bushveld. The author’s compelling characters and vivid descriptions shine a light on the effects of tribalism and social injustice during a dark period in this nation’s history. This story will keep you riveted until the last page is turned.

This book by South Africa’s most eminent historian, Charles van Onselen, tells the story of the night trains which brought poverty-stricken Mozambican men from Rossania Garcia on the Mozambique border to work as migrant labourers on the gold mines in Johannesburg between 1902 and 1955.

The men travelled in appalling conditions and were preyed on by petty criminals, con men, and corrupt officials. The night trains were a transport system run in partnership between the mining houses and the railways and designed to maximise profit at the expense of the health, well-being, and even the lives of the men it conveyed. 

At the end of their time in the mines, the trains sent the men back to Mozambique, often ill and broken and even insane after their experiences in the mines and in the trains. The story reflects South Africa’s evolving system of segregation and apartheid and the brutal logic… show more.

Phiona once told me that she grew up in Katwe believing that everyone in the world lived in the same desperate circumstances that she did and that if you’re born in Katwe, you are expected to die there. Mathabane was similarly anchored to his poverty-ravaged township of Alexandra outside of Johannesburg. “Kaffir” is an ugly ethnic slur common during Apartheid-era South Africa, a term that the author battled to overcome every day while surviving an environment plagued by gang violence. Mathabane’s salvation was his education (and, similar to Phiona, success in an unlikely sport), which eventually led him to attend college in the U.S., just like Beah, Kamkwamba, and Mutesi.