In the following essay, Heyns analyzes how white authors writing in the post-apartheid state deal with issues of culpability and their own roles in South Africa's history of oppression.

In the following essay, Farred argues that Zakes Mda's Ways of Dying is “a flawed work” due to its focus on the transitory and loosely defined values of the post-apartheid era.

In the following essay, Gallagher offers a critical perspective on how several realist and historical South African novels written before the 1990s are being reinterpreted and recontextualized in the post-apartheid culture.

In the following essay, Mpe explores Sol Plaatje's Mhudi—the first novel written by a black South African to be published in English—in terms of the relationship between the African tradition of orality and the Western novel. Mpe notes the influence of Mhudi on both pre- and post-apartheid South African literature.

In the following essay, Lenta describes how the works of black women writers in post-apartheid South Africa have evolved from stories primarily told through an intermediary to stories told by the protagonists themselves.

In the following essay, based on a lecture originally delivered in July 1993, Brink comments on the role of writers and literature in opposition to political and social realities in South Africa, both during and after the era of apartheid.

In the following essay, Brink discusses how fiction plays a vital part in describing and interpreting the past in post-apartheid South Africa.

In the following essay, Morales evaluates the influence of politics on post-apartheid drama, noting that political issues afford both artistic opportunities and thematic limitations.

In the following essay, Sole presents an overview of South African poetry since the end of apartheid in 1990, noting how contemporary South African poets “attempt to embrace and represent a world in transition.”

In the following essay, Mda examines the characteristics of South Africa's “theater of reconciliation,” noting that to truly fulfill such a role, theater must neither ignore nor cling to the past.

In the following essay, Ruden explores some of the difficulties faced by black post-apartheid writers in their critical assessments by both Western scholars and past generations of South African authors.

In the following excerpt, Chapman traces the course of theater in South Africa from the 1960s through the 1990s, focusing on the works of Athol Fugard, Zakes Mda, and Mbongeni Ngema.