Focusing on the author’s first encounters with Finnegans Wake, this chapter reexamines the distinction between what is supposedly “intrinsic” and what is “extrinsic” to the experience of reading. The context in this case was not simply apartheid South Africa in the mid-1980s. More directly relevant, at least for one initiate into the mysteries and global effects of the Wake, was the looming presence of the 1820s Settler Monument in Grahamstown, now Makhanda, a center for the arts inaugurated in 1974 and designed to commemorate British settler traditions and celebrate the English language. Joyce’s last and most eccentric foray into literary writing, it turns out, constitutes a powerful refutation of the monument’s founding assumptions and of the act of monumentalization itself.

The National Arts Festival (NAF) in Grahamstown – now Makhanda – is South Africa’s largest, longest-lasting, and most prestigious festival. Although other post-apartheid festivals have launched new work, only NAF hosts African, European, and American work alongside local fare mostly in English and in national languages such as Xhosa, Zulu, or Afrikaans. It has also developed training and employment to offset inequality in the Eastern Cape. While these endeavours to enrich artistic practice, please audiences, and ensure the well-being of ordinary citizens are praiseworthy, NAF sponsors do not fully acknowledge the history of this inequity, which dates from Grahamstown’s founding in 1812 and extends through Anglophile pageants challenging Afrikaner cultural dominance but not the political economy of apartheid in the mid-twentieth century to initially cautious genteel efforts to diversify the festival in the 1980s, which provoked anti-apartheid boycotts. Despite advances since the 1990s, systematic representation of South Africa’s many cultural forms – from African variety through testimonial theatre and township musicals to performance art – was achieved only in the twenty-first century.