The idea that (semi-)peripheral societies might follow developmental pathways distinct from those prescribed by globalization has been explored at length in the last twenty years by scholars such as G. G. Alcock, Rem Koolhaus, Jane Guyer, AbdouMaliq Simone, Achille Mbembe, and Sarah Nuttall. For scholars who have celebrated these kinds of sociality, the informal economy—as Keith Hart has called it—represents Gordimer’s “space that lies between camps”: an alternative social velocity to both the corrupt or “can’t do” state and global capitalist modernization. But more and more South African writers are using their work to interrogate the idea that living in the interstices of institutions such as the state, traditional community, and capital is in fact liberatory or counter-hegemonic. In this article I argue that Masande Ntshanga’s 2014 novel The Reactive is the paradigm of the “disaffection” of present fiction—as Ivan Vladislavić describes it—with contemporary South Africa.

In the 2016 Abiola Lecture, Mbembe argued that “the plasticity of digital forms speaks powerfully to the plasticity of African precolonial cultures and to ancient ways of working with representation and mediation, of folding reality.” In her commentary, Pype tries to understand what “speaking powerfully to” can mean. She first situates the Abiola Lecture within a wide range of exciting and ongoing scholarship that attempts to understand social transformations on the continent since the ubiquitous uptake of the mobile phone, and its most recent incarnation, the smartphone. She then analyzes the aesthetics of artistic projects by Alexandre Kyungu, Yves Sambu, and Hilaire Kuyangiko Balu, where wooden doors, tattoos, beads, saliva, and nails correlate with the Internet, pixels, and keys of keyboards and remote controls. Finally, Pype asks to whom the congruence between the aesthetics of a “precolonial” Congo and the digital speaks. In a society where “the past” is quickly demonized, though expats and the commercial and political elite pay thousands of dollars for the discussed art works, Pype argues that this congruence might be one more manifestation of capitalism’s cannibalization of a stereotypical image of “Africa.”

What does it mean to decolonize the literature classroom? This short paper is intended as a personal reflection on teaching as an engagement with the social forces that bring neocolonial relations into the classroom, drawing on my experience teaching literature and literary theory in South Africa and Canada. I explore the idea of decolonizing the classroom as the production of an “outside” that provides meaning for the classroom’s “inside.”

The writings of Johann Gottfried Herder are not only striking in their vehement opposition to European imperialism. They arguably present the first attempt to ground anti-imperialism not just morally but epistemologically. Herder does this through his encounter with Kant’s precritical theory, augmented by a novel philosophy of language. Herder believed philosophy needs to reformulate its aims in terms of anthropology, history, and aesthetics. In the process, he found himself facing what I am calling the antinomy of universal reason. Reason is a universal characteristic of humanity. In its expressions, however, reason is plural and diverse. This antinomy has carried through into postcolonial theory, where it presents some serious epistemological and methodological challenges. Using the examples of Dipesh Chakrabarty, Achille Mbembe, and Gayatri Spivak, I show what these challenges look like. In conclusion, I inquire into Herder’s attempts to find a methodology that allows a critique of imperialism while recognizing the antinomous workings of universal reason.