Propaganda by Monuments and Other Stories - Ivan Vladislavic

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Name of previous owner in ink, on Title page.

Inventive, quirky short stories from one of South Africa's most interesting young writers. Stories collected in this volume include The Tuba, Autopsy, Whites Only Bench, The Omniscope (pat. pending), The Book Lover, Alphabets for Surplus People, Courage, Isle of Capri, Kidnapped and the Firedogs. Richly inventive stories by the author of The folly, winner of the 1994 CNA Prize. Andre Brink: ;One of the most imaginative minds at work in South Africa today.

Noma Award 1997 Special Mention

• A smart entrepreneur thinks a huge bust of Lenin, now redundant in Moscow, will be just the thing in his new bar in Attridgeville, the V I Lenin Bar and Grill. • A racist tuba player is swept off by a black Salvation Army band. • Coretta King poses on a copy of a Whites Only bench in the Apartheid Museum. • An old reprobate poses as a hero of the struggle beside a statue of Courage.

Mail & Guardian Review of Books, October 1996, Shaun de Waal:

…his new collection of short fiction … display[s] an almost serene consistency, a complete confidence in the power of the imagination. Here … are meta–narratives that glory in their own fictionality, delighting in play with plot or language, but which also cast an oblique gaze on our polity. With delicate wit and mordant irony, Vladislavic shows a society still coming to terms with its own sea change.

Sunday Life:

The book is like a box of soft–centre chocolates to lovers of good prose – every story … is to be lingered over to allow the reader to savour the full flavours of Vladislavic’s unique style … Apart from being comical and provocative, his characters are disturbingly familiar.

Sunday Independent, 22 September 1996, Tony Morphet:

… "As they settle in the mind after a second reading, they unfold out of their apparently simple, separate forms into a single, long, rich and exceptional test – not a conventional novel but much more than an ordinary short story collection. In a way, they stand alongside each other like chapters in a novel that the reader writes.

"The stories have all the familiar hallmarks of Vladislavic’s work. They read in the manner of folk tales and, while their sharp–edged images catch the eye, they always carry a feeling that there is a great deal more happening beneath the surface than is immediately apparent …

"Vladislavic’s art, with all its generosity, grace and wit, springs from an intense interest in and concern about the fragile, shifting, evanescent community of understanding that generates and recognises itself in our South African onmiscope.

"He is hard at work finding the odd angles through which all of us who have been roughly jostled together in this particular space and time, see and know – or don’t see and don’t know – each other. His art is about loosening the terrible grip of a world of dead images and opening the flow of new perception and fresh understanding."

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