This thesis includes seven short stories and a critical afterword. The afterword places the stories in their literary historical context in regards to creative nonfiction. It goes on to discuss the craft of fictionalizing autobiographical stories. Each of the stories should stand alone, though they follow the narrator's life for a number of years. Harlin Anderson is the narrator of all the stories.

These poems seek to explore the trauma of breaking up, the falling in and out of complicated relationships, and the toll that takes on the body, physically and in terms of identity or self-understanding. The sentiment isn’t meant to be stated explicitly or outright, but instead insists itself via images, language, and the surreal. Dreams play a big part in this series, as do death and love (and the conflation of the two). By moving in and out of dream-like poems, in addition to playing with language and syntax in others, these poems seek to muddy the real and the not-real in order to represent the muddying of emotions experienced when grappling with relational trauma. These poems aren’t so much concerned with a consistent or clear narrative as they are with revealing their own hunger– and, of course, seeking to alleviate that hunger.

Submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Master of Arts in the Department of African Languages at the University of Zululand, 1998. / In this research work an attempt is made to clear certain misconceptions and generalizations which prevail amongst certain literary critics, viz that characterization in the Zulu novel is static and should be modelled on the Eurocentric canon. Investigation into this problem shows the opposite. Particular attention is devoted to demonstrating that characterization in the Zulu novel is evolutionary. And it is indeed so. Characterization in the Zulu novel has changed over the changing times under changing circumstances. The study shows that factors such as folktale residual material, traditional beliefs, christianization, urbanization, industrialization, etc. all have in one way or another impacted on the art of characterization in the Zulu novel. For this purpose we have divided the Zulu novel into three different developmental periods. These literary periods are: the period of Zulu narrative which is mostly dominated by folktale material and traditional beliefs. The second period is characterized by traditional beliefs and historical material. This manifests itself mostly in the historical novel. The third period is dominated by the social or psychological novel. Characterization during this period is characterized by such factors as christianisation, acculturation, urbanization, apartheid laws, industrialization which forced people to move to big cities like Johannesburg. During this period social adjustment problems manifest themselves in antisocial, criminal behaviour and maladjustment on the part of the characters who find themselves in this strange environment. It is, however, important to note that these periods are not watertight entities. But research has shown that a progression - retrogression tendency is found amongst the Zulu novel writers. A case in point is the impact of ancentral beliefs which transcends the three periods of the novel investigated. This means one cannot divorce entirely a literature from its past, which is why we accept lyesere's theory that the modern writer is to his indigenous oral tradition trapped as a snail is to its shell. Even in foreign habitat, a snail never leaves its shell behind, (The Journal of Modern African Studies 1975: 107-119). The study shows that characterization in the Zulu novel follows a definite pattern of development. Therefore the Zulu novel is a literature in its own right. The research shows that the present Eurocentric tools of criticism have grown alongside western literacy tradition, but definitely outside the African milieu. It is noted that characterization in the Zulu novel has been, to a very large extent, influenced by the cultural and traditional background of the Zulu people. The study shows that while using general laws of literary criticism scholars must be mindful of the fact that the Zulu novel is a novel in its own right and has peculiar characteristics of its own.

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Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link and fill out the appropriate web form. / Though some of these five short stories seem related in theme, they were not written with any connection in mind. They were, instead, an exploration of different settings, different lives, either beginning or ending, but always aiming at a rebirth, forced or hoped for. The difference between these two movements—arrivals and departures—is often minute and almost impossible to discern. The fourth story, “Sandhill Cranes,” was broadcasted in podcast form by PenDust Radio in September 2020, and published in Carve Magazine the following month. It won the Editor’s Choice Award in the 2020 Raymond Carver Short Story Contest. “Sandhill Cranes” represents a turning point in my writing, and a moment in time just before I redefined myself as a writer, and allowed myself to be a writer, at last—it also represents the beginning of a new phase in my craft, and showed me the way to portraying immigration, the defining principle of my life, in my fiction; the other four stories in this collection were written after “Sandhill Cranes,” that is, after November 2019. / 2999-01-01T00:00:00Z

This research was conducted to see why some scholars have decided that Elizabethan prose fiction is no longer of value to a modern audience; this essay will apply narratological analyses and theory to examine Elizabethan prose fiction, noting where and how these works build their stories to involve their readers: differently than we would nowadays. The main subjects within narratology used for the analyses are the narrator, the narratee, focalisation, point of view and perspective. The main result found is that the overt intradiegetic narrator and narratee are the leading players when it comes to involving the reader in Elizabethan prose fiction.

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"a testament to sacrilege" is an autofiction that handles queer identity, monstrosity, religious trauma, and mental illness. Refusing to bend into traditional narrative structure, the work instead fluctuates between the known and the not-known; a work that acts as wet cloth in either a balm or a drowning. What makes a monster? What does it mean to be good? Weaving narrative prose, essay writing, and memoir, “a testament to sacrilege” follows three phases in the life of the narrator and Mouse - a dissociative state the narrator is able to access only through trauma. Focused on the power of feminine relationships in the face of violence, the 40,000-word collage uses erasure text to simulate the experience of OCD as it is felt by the author. While the work is necessarily delicate, it is also hopeful - Mouse and the narrator learn to work through recovery. While the narrator is inevitably able to overcome her past, “a testament to sacrilege” is not interested in the specifics of suffering: instead, it is interested in what it takes to survive that suffering. The initial opening to “a testament of sacrilege” was the recipient of the 2021 Harvey Swados Fiction award.