Deep South Publishing
@deepsouthsa.bsky.social
7/7
Our generation of writers has to contend with a less certain country and world, that is if you are thinking of the post-apartheid era, and that is part of the context that makes for searching for new ways to say things.
Our generation of writers has to contend with a less certain country and world, that is if you are thinking of the post-apartheid era, and that is part of the context that makes for searching for new ways to say things.
October 22, 2025 at 9:47 AM
7/7
Our generation of writers has to contend with a less certain country and world, that is if you are thinking of the post-apartheid era, and that is part of the context that makes for searching for new ways to say things.
Our generation of writers has to contend with a less certain country and world, that is if you are thinking of the post-apartheid era, and that is part of the context that makes for searching for new ways to say things.
6
It becomes interesting when you try to imagine a fluid barrier between the objective and the subjective, in that the stability of the “I” persona becomes affected, and voice takes on more interesting dimensions.
It becomes interesting when you try to imagine a fluid barrier between the objective and the subjective, in that the stability of the “I” persona becomes affected, and voice takes on more interesting dimensions.
October 22, 2025 at 9:47 AM
6
It becomes interesting when you try to imagine a fluid barrier between the objective and the subjective, in that the stability of the “I” persona becomes affected, and voice takes on more interesting dimensions.
It becomes interesting when you try to imagine a fluid barrier between the objective and the subjective, in that the stability of the “I” persona becomes affected, and voice takes on more interesting dimensions.
5
When I started to work in the long form, the writing achieved a conversational tone. In another phrase, the poetry loosened. Psycho-narration is about writing as if you are narrating your own psychology.
When I started to work in the long form, the writing achieved a conversational tone. In another phrase, the poetry loosened. Psycho-narration is about writing as if you are narrating your own psychology.
October 22, 2025 at 9:47 AM
5
When I started to work in the long form, the writing achieved a conversational tone. In another phrase, the poetry loosened. Psycho-narration is about writing as if you are narrating your own psychology.
When I started to work in the long form, the writing achieved a conversational tone. In another phrase, the poetry loosened. Psycho-narration is about writing as if you are narrating your own psychology.
4
Khulile Nxumalo: The poetry I was trying to write at high school reflected and imitated stuff like rhyming schemes of Petrarchan sonnets, and the tight barriers of language in the form.
Khulile Nxumalo: The poetry I was trying to write at high school reflected and imitated stuff like rhyming schemes of Petrarchan sonnets, and the tight barriers of language in the form.
October 22, 2025 at 9:47 AM
4
Khulile Nxumalo: The poetry I was trying to write at high school reflected and imitated stuff like rhyming schemes of Petrarchan sonnets, and the tight barriers of language in the form.
Khulile Nxumalo: The poetry I was trying to write at high school reflected and imitated stuff like rhyming schemes of Petrarchan sonnets, and the tight barriers of language in the form.
3
For me, the long psycho-narration poems have a montage effect and I am reminded of TS Eliot’s 'The Waste Land.' Can you tell us more about how you came to psycho narration?
For me, the long psycho-narration poems have a montage effect and I am reminded of TS Eliot’s 'The Waste Land.' Can you tell us more about how you came to psycho narration?
October 22, 2025 at 9:47 AM
3
For me, the long psycho-narration poems have a montage effect and I am reminded of TS Eliot’s 'The Waste Land.' Can you tell us more about how you came to psycho narration?
For me, the long psycho-narration poems have a montage effect and I am reminded of TS Eliot’s 'The Waste Land.' Can you tell us more about how you came to psycho narration?
2
This is a form I have grown to love more since I started preferring the long poem format that sits on a conversational tone. It’s a multi-vocal way of writing or telling stories in a less authoritative way, a kinda voice democracy in the poem.”
This is a form I have grown to love more since I started preferring the long poem format that sits on a conversational tone. It’s a multi-vocal way of writing or telling stories in a less authoritative way, a kinda voice democracy in the poem.”
October 22, 2025 at 9:47 AM
2
This is a form I have grown to love more since I started preferring the long poem format that sits on a conversational tone. It’s a multi-vocal way of writing or telling stories in a less authoritative way, a kinda voice democracy in the poem.”
This is a form I have grown to love more since I started preferring the long poem format that sits on a conversational tone. It’s a multi-vocal way of writing or telling stories in a less authoritative way, a kinda voice democracy in the poem.”
1
Gary Cummiskey: In the blurb to your first collection, 'ten flapping elbows, mama', you wrote: “I [write] what I call psycho-narration, I try to write beyond the understanding that ‘inside of one’s head’ and ‘the objective world’ are distinct worlds.
Gary Cummiskey: In the blurb to your first collection, 'ten flapping elbows, mama', you wrote: “I [write] what I call psycho-narration, I try to write beyond the understanding that ‘inside of one’s head’ and ‘the objective world’ are distinct worlds.
October 22, 2025 at 9:47 AM
1
Gary Cummiskey: In the blurb to your first collection, 'ten flapping elbows, mama', you wrote: “I [write] what I call psycho-narration, I try to write beyond the understanding that ‘inside of one’s head’ and ‘the objective world’ are distinct worlds.
Gary Cummiskey: In the blurb to your first collection, 'ten flapping elbows, mama', you wrote: “I [write] what I call psycho-narration, I try to write beyond the understanding that ‘inside of one’s head’ and ‘the objective world’ are distinct worlds.
5/5
The urgency of the 1999 event was still there, as vital as ever. Mxolisi Nyezwa wrote in his introduction to the book: “There’s little of the earlier hunger and urgency in our poetry now. Today’s poets are not angry enough. They are as disconnected as the rest of our pliable society.”
The urgency of the 1999 event was still there, as vital as ever. Mxolisi Nyezwa wrote in his introduction to the book: “There’s little of the earlier hunger and urgency in our poetry now. Today’s poets are not angry enough. They are as disconnected as the rest of our pliable society.”
October 17, 2025 at 8:27 AM
5/5
The urgency of the 1999 event was still there, as vital as ever. Mxolisi Nyezwa wrote in his introduction to the book: “There’s little of the earlier hunger and urgency in our poetry now. Today’s poets are not angry enough. They are as disconnected as the rest of our pliable society.”
The urgency of the 1999 event was still there, as vital as ever. Mxolisi Nyezwa wrote in his introduction to the book: “There’s little of the earlier hunger and urgency in our poetry now. Today’s poets are not angry enough. They are as disconnected as the rest of our pliable society.”
4
Lesego Rampolokeng ~ Dudu Saki ~ Kelwyn Sole ~ Anna Varney.
Financial constraints delayed the film editing, and the edited DVD and book was only issued 14 years later, in 2013.
Lesego Rampolokeng ~ Dudu Saki ~ Kelwyn Sole ~ Anna Varney.
Financial constraints delayed the film editing, and the edited DVD and book was only issued 14 years later, in 2013.
October 17, 2025 at 8:27 AM
4
Lesego Rampolokeng ~ Dudu Saki ~ Kelwyn Sole ~ Anna Varney.
Financial constraints delayed the film editing, and the edited DVD and book was only issued 14 years later, in 2013.
Lesego Rampolokeng ~ Dudu Saki ~ Kelwyn Sole ~ Anna Varney.
Financial constraints delayed the film editing, and the edited DVD and book was only issued 14 years later, in 2013.
3
Robert Berold ~ Vonani Bila ~ Ingrid De Kok ~ Alan Finlay ~ Richard Fox ~ Louise Green ~ Colleen Higgs ~ Allan Kolski Horwitz ~ Nosipho Kota ~ Jethro Louw ~ Joan Metelerkamp ~ Isabella Motadinyane ~ Ike Muila ~ Siphiwe ka Ngwenya ~ Mxolisi Nyezwa ~ Donald Parenzee ~
Robert Berold ~ Vonani Bila ~ Ingrid De Kok ~ Alan Finlay ~ Richard Fox ~ Louise Green ~ Colleen Higgs ~ Allan Kolski Horwitz ~ Nosipho Kota ~ Jethro Louw ~ Joan Metelerkamp ~ Isabella Motadinyane ~ Ike Muila ~ Siphiwe ka Ngwenya ~ Mxolisi Nyezwa ~ Donald Parenzee ~
October 17, 2025 at 8:27 AM
3
Robert Berold ~ Vonani Bila ~ Ingrid De Kok ~ Alan Finlay ~ Richard Fox ~ Louise Green ~ Colleen Higgs ~ Allan Kolski Horwitz ~ Nosipho Kota ~ Jethro Louw ~ Joan Metelerkamp ~ Isabella Motadinyane ~ Ike Muila ~ Siphiwe ka Ngwenya ~ Mxolisi Nyezwa ~ Donald Parenzee ~
Robert Berold ~ Vonani Bila ~ Ingrid De Kok ~ Alan Finlay ~ Richard Fox ~ Louise Green ~ Colleen Higgs ~ Allan Kolski Horwitz ~ Nosipho Kota ~ Jethro Louw ~ Joan Metelerkamp ~ Isabella Motadinyane ~ Ike Muila ~ Siphiwe ka Ngwenya ~ Mxolisi Nyezwa ~ Donald Parenzee ~
2
The 1998 performances were issued on VHS tape as "Jikaleza Train", with the text of the performances published in the New Coin June 1999 issue.
The 1999 performances were more professionally filmed. The twenty poets who participated were:
The 1998 performances were issued on VHS tape as "Jikaleza Train", with the text of the performances published in the New Coin June 1999 issue.
The 1999 performances were more professionally filmed. The twenty poets who participated were:
October 17, 2025 at 8:27 AM
2
The 1998 performances were issued on VHS tape as "Jikaleza Train", with the text of the performances published in the New Coin June 1999 issue.
The 1999 performances were more professionally filmed. The twenty poets who participated were:
The 1998 performances were issued on VHS tape as "Jikaleza Train", with the text of the performances published in the New Coin June 1999 issue.
The 1999 performances were more professionally filmed. The twenty poets who participated were:
1
In 1996, 1998 and 1999 Robert Berold, then editor of 'New Coin', organised readings and performance festivals at the National Arts Festival held in July. The 1996 readings were recorded and issued on cassette tape as "New Coin Live".
In 1996, 1998 and 1999 Robert Berold, then editor of 'New Coin', organised readings and performance festivals at the National Arts Festival held in July. The 1996 readings were recorded and issued on cassette tape as "New Coin Live".
October 17, 2025 at 8:27 AM
1
In 1996, 1998 and 1999 Robert Berold, then editor of 'New Coin', organised readings and performance festivals at the National Arts Festival held in July. The 1996 readings were recorded and issued on cassette tape as "New Coin Live".
In 1996, 1998 and 1999 Robert Berold, then editor of 'New Coin', organised readings and performance festivals at the National Arts Festival held in July. The 1996 readings were recorded and issued on cassette tape as "New Coin Live".
9/9
i never mock the drunken anger in my neighbourhood
it's the wine we drank on fridays that made us happy
the girls made us happy too
they also gave us children we never wanted or trusted
("violent seed")
i never mock the drunken anger in my neighbourhood
it's the wine we drank on fridays that made us happy
the girls made us happy too
they also gave us children we never wanted or trusted
("violent seed")
October 9, 2025 at 7:21 AM
9/9
i never mock the drunken anger in my neighbourhood
it's the wine we drank on fridays that made us happy
the girls made us happy too
they also gave us children we never wanted or trusted
("violent seed")
i never mock the drunken anger in my neighbourhood
it's the wine we drank on fridays that made us happy
the girls made us happy too
they also gave us children we never wanted or trusted
("violent seed")
8.
'skeptical erections' is not one for euphemisms, with a tone that is at times full of invective, attesting to Allen Ginsberg's motto: 'First thought best thought':
'skeptical erections' is not one for euphemisms, with a tone that is at times full of invective, attesting to Allen Ginsberg's motto: 'First thought best thought':
October 9, 2025 at 7:21 AM
8.
'skeptical erections' is not one for euphemisms, with a tone that is at times full of invective, attesting to Allen Ginsberg's motto: 'First thought best thought':
'skeptical erections' is not one for euphemisms, with a tone that is at times full of invective, attesting to Allen Ginsberg's motto: 'First thought best thought':
7.
banging at the rotten door with their heavy wet breasts
they would come out with a wig under one armpit
and looking for the other shoe
("the gate")
banging at the rotten door with their heavy wet breasts
they would come out with a wig under one armpit
and looking for the other shoe
("the gate")
October 9, 2025 at 7:21 AM
7.
banging at the rotten door with their heavy wet breasts
they would come out with a wig under one armpit
and looking for the other shoe
("the gate")
banging at the rotten door with their heavy wet breasts
they would come out with a wig under one armpit
and looking for the other shoe
("the gate")
6.
i wanted to run away wholeheartedly
but kept coming back to my falling gate
decorated with thorns and worms
as people watched wishing it could fall on my feet
i had to fix it with my twisted hands
for queens and whores kept it squealing and screeching
i wanted to run away wholeheartedly
but kept coming back to my falling gate
decorated with thorns and worms
as people watched wishing it could fall on my feet
i had to fix it with my twisted hands
for queens and whores kept it squealing and screeching
October 9, 2025 at 7:21 AM
6.
i wanted to run away wholeheartedly
but kept coming back to my falling gate
decorated with thorns and worms
as people watched wishing it could fall on my feet
i had to fix it with my twisted hands
for queens and whores kept it squealing and screeching
i wanted to run away wholeheartedly
but kept coming back to my falling gate
decorated with thorns and worms
as people watched wishing it could fall on my feet
i had to fix it with my twisted hands
for queens and whores kept it squealing and screeching
5.
The pleasures of life are expressed with disdain, as if joy is a shame, a betrayal to the misery they have gotten so used to. Sapeta writes in uninhibited Bukowski-like spontaneous prose:
The pleasures of life are expressed with disdain, as if joy is a shame, a betrayal to the misery they have gotten so used to. Sapeta writes in uninhibited Bukowski-like spontaneous prose:
October 9, 2025 at 7:21 AM
5.
The pleasures of life are expressed with disdain, as if joy is a shame, a betrayal to the misery they have gotten so used to. Sapeta writes in uninhibited Bukowski-like spontaneous prose:
The pleasures of life are expressed with disdain, as if joy is a shame, a betrayal to the misery they have gotten so used to. Sapeta writes in uninhibited Bukowski-like spontaneous prose:
4.
The poems are situated in the context of township life and its relentless hardships. The speaker(s) are devoid of stature, praise or prestige. The poems are un-capitalised, making the characters, the speaker(s), and all else, unimportant, with no apparent worth.
The poems are situated in the context of township life and its relentless hardships. The speaker(s) are devoid of stature, praise or prestige. The poems are un-capitalised, making the characters, the speaker(s), and all else, unimportant, with no apparent worth.
October 9, 2025 at 7:21 AM
4.
The poems are situated in the context of township life and its relentless hardships. The speaker(s) are devoid of stature, praise or prestige. The poems are un-capitalised, making the characters, the speaker(s), and all else, unimportant, with no apparent worth.
The poems are situated in the context of township life and its relentless hardships. The speaker(s) are devoid of stature, praise or prestige. The poems are un-capitalised, making the characters, the speaker(s), and all else, unimportant, with no apparent worth.
3.
Divided into two sections, the book covers themes of heavy drinking, casual sex, death, abuse, and a sense of doom, all written through the eyes of self-disparaging men who have uneasy relationships with women and their bodies.
Divided into two sections, the book covers themes of heavy drinking, casual sex, death, abuse, and a sense of doom, all written through the eyes of self-disparaging men who have uneasy relationships with women and their bodies.
October 9, 2025 at 7:21 AM
3.
Divided into two sections, the book covers themes of heavy drinking, casual sex, death, abuse, and a sense of doom, all written through the eyes of self-disparaging men who have uneasy relationships with women and their bodies.
Divided into two sections, the book covers themes of heavy drinking, casual sex, death, abuse, and a sense of doom, all written through the eyes of self-disparaging men who have uneasy relationships with women and their bodies.
2.
The unambiguous book title captures the essence of the poems, and sets the scene for what is to come.
The unambiguous book title captures the essence of the poems, and sets the scene for what is to come.
October 9, 2025 at 7:21 AM
2.
The unambiguous book title captures the essence of the poems, and sets the scene for what is to come.
The unambiguous book title captures the essence of the poems, and sets the scene for what is to come.
1.
Punchy, searing and fearless, 'skeptical erections' is laced with wry humour and wrath, often expressed as thought, or internal monologue, with a diction that is dense with emotion, yet nonchalant enough to be free of sentiment.
Punchy, searing and fearless, 'skeptical erections' is laced with wry humour and wrath, often expressed as thought, or internal monologue, with a diction that is dense with emotion, yet nonchalant enough to be free of sentiment.
October 9, 2025 at 7:21 AM
1.
Punchy, searing and fearless, 'skeptical erections' is laced with wry humour and wrath, often expressed as thought, or internal monologue, with a diction that is dense with emotion, yet nonchalant enough to be free of sentiment.
Punchy, searing and fearless, 'skeptical erections' is laced with wry humour and wrath, often expressed as thought, or internal monologue, with a diction that is dense with emotion, yet nonchalant enough to be free of sentiment.