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ROGER FIELD Perhaps it is more difï¬cult than most imagine for a historian to speak of memory, for one who practices this profession â and for what deep-seated reasons? â whose essence is the act of juxtaposing debris with explosions of often barely recognisable remembrances, which are then clad by the imagination in order to conjoin them, to reconstruct an image, according to schema that arise willy nilly, from oneself; to compose a ï¬gure that often stems less from the past than from the historianâs dream.1 This article explores two relatively unknown areas of Alex La Gumaâs work â his comics and painting. While there is plenty of the former, information on the latter has come from his family and contemporaries. It is based on their memories and impressions of paintings that have not survived or have been lost. La Guma gave them away or left them with friends to look after when he and his family moved from Cape Town to London, and then from London to Havana.2 Necessarily, this article falls into two parts distinguishable by their respective emphases. While the ï¬rst part relies on documentation, the second is more speculative and draws on the work
Critical Survey – Berghahn Books
Published: Jun 1, 1999
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