1 00:00:00,660 --> 00:00:06,810 And she'll be talking about the first red suitcase in and out of the strong memory. 2 00:00:06,810 --> 00:00:13,440 And this is a chapter of Carly's new book, which is called Written Under The Skin, Blood and Intergenerational Memories of Africa. 3 00:00:13,440 --> 00:00:20,400 And I think Carly has a few copies for sale after the summer that if anyone's interested. 4 00:00:20,400 --> 00:00:27,870 So we'll have our usual timing where we'll we'll have to talk with you about 15 minutes an hour and then we'll have 30 minutes for questions. 5 00:00:27,870 --> 00:00:31,470 And then we have some drinks and coffee and wine facts. 6 00:00:31,470 --> 00:00:35,700 We keep talking informally for you. 7 00:00:35,700 --> 00:00:41,910 Thank you very much. I didn't want to be the first one to say, Yeah, that's how it turned off. 8 00:00:41,910 --> 00:00:47,100 My books come along to accompany me. I don't have to say so. 9 00:00:47,100 --> 00:00:54,300 I want to thank you very much for asking me. Even though you believe me to be the first, I'm really happy to be here. 10 00:00:54,300 --> 00:00:59,160 I want to start with this very well known photograph of South African activist group. 11 00:00:59,160 --> 00:01:09,030 But during her period of imprisonment, which she recorded in perhaps the most famous prison ethnography from South Africa 117 days. 12 00:01:09,030 --> 00:01:17,520 I was born in 1925, married in 1982. She was a South African born activist and revolutionary, a journalist and academic, 13 00:01:17,520 --> 00:01:24,810 but she was also a gifted and influential editor and worked for some time as a university librarian. 14 00:01:24,810 --> 00:01:30,540 Her pursuit of meaningful labour and the difficult choices she had to make to earn a living, 15 00:01:30,540 --> 00:01:40,140 as well as do meaningful work and activist labour resonates powerfully for those of us who face similar challenges in this first seminar of the year. 16 00:01:40,140 --> 00:01:46,020 It seems worth reflecting on the relationship between our lives, our activism and poverty work, 17 00:01:46,020 --> 00:01:53,760 and how our desks and our computer terminals are connected to worlds beyond the key and beautiful seven hours. 18 00:01:53,760 --> 00:02:01,440 I want to pay attention in this little talk like a cataloguing the contents of Wi-Fi speed, suitcases, 19 00:02:01,440 --> 00:02:08,610 what is contained as she entered prison, and what it contained as she exited 117 days later. 20 00:02:08,610 --> 00:02:13,920 I became very interested in the suitcase and what its contents can reveal about how we read, 21 00:02:13,920 --> 00:02:25,770 how we catalogue and how we conceptualise what is an archive, but also how our private lives and the contents of our bags and suitcases into cages. 22 00:02:25,770 --> 00:02:32,910 For those of you less familiar with, we thought she died a violent and bloody death at the hands of the South African security 23 00:02:32,910 --> 00:02:39,570 police in her university office by opening a little bomb addressed to her at her office. 24 00:02:39,570 --> 00:02:45,570 It wasn't once on a university in Mozambique. Her murderous identity, the common knowledge. 25 00:02:45,570 --> 00:02:52,850 They are budgetary reasons. You could see it played when you. 26 00:02:52,850 --> 00:03:00,940 After Craig Williamson made a full confession when he presented a full confession of the truth and reconciliation 27 00:03:00,940 --> 00:03:08,350 grants amnesty for this and many other crimes he committed and to which he admitted he remain a free man. 28 00:03:08,350 --> 00:03:17,590 The murder weapon was a letter bomb wired to explode into the fortifications of such blood and body fragments were dispatched to the office, 29 00:03:17,590 --> 00:03:21,850 she shared at the university. I didn't bring that from. 30 00:03:21,850 --> 00:03:30,850 Descriptions of the murder scene linger on the details of the dismembered body in the space, which she used to work and read. 31 00:03:30,850 --> 00:03:38,200 This presentation files the DNC letter addressed to us alongside the other hostile acts 32 00:03:38,200 --> 00:03:43,930 that the apartheid state collected and archived about her and her colleagues co-workers. 33 00:03:43,930 --> 00:03:49,810 My argument for this entering the hostile archive from which the letter bomb was that a mistake, 34 00:03:49,810 --> 00:03:57,130 perhaps is a re-entry into what we first called the strongroom of some memory in 117 days, she writes. 35 00:03:57,130 --> 00:04:03,670 I was packing my mind into a strongly this strong room is in this space, 36 00:04:03,670 --> 00:04:11,530 the prison cell in which I was detained and which she read in various form and through different media. 37 00:04:11,530 --> 00:04:21,120 In the second place, the strong room is also the threshold that I wanted repeatedly to prove to himself that she had not crossed. 38 00:04:21,120 --> 00:04:28,860 Through her creation of a strong room with memory, she wanted to sue and seal off any crossing into the hostile archive from where 39 00:04:28,860 --> 00:04:35,940 her death sentence issued in an attempt at creating such a sealed counter archive. 40 00:04:35,940 --> 00:04:41,460 That's her account of the incarceration by the apartheid government in 1964. 41 00:04:41,460 --> 00:04:46,690 It was published in 1965 as 117 days. 42 00:04:46,690 --> 00:04:53,030 It's a Texas fence as a centrepiece of the histories of the activists connected to. 43 00:04:53,030 --> 00:05:04,910 Living in work, living and working in careful evasion of the official state paper trail, the written evidence first private life is a tiny archive. 44 00:05:04,910 --> 00:05:13,380 Although many entries of catalogues under her name in library catalogue, the scholarly and journalistic work she produced and edited. 45 00:05:13,380 --> 00:05:24,540 117 days is extremely widely written and has been adapted and recreated numerous times on screen and in novels, and is cited in all these areas. 46 00:05:24,540 --> 00:05:36,430 The text constitutes a particular kind of authority to use force only a strongly self-consciously field against the surveillance archive. 47 00:05:36,430 --> 00:05:45,340 But contrary to the way that is typically bad at the prison itself, I suggest this is not a documentary account. 48 00:05:45,340 --> 00:05:52,180 It is a text that does much more and also much less than to document its obfuscate and 49 00:05:52,180 --> 00:05:59,380 impose creating a screen and is from an impermeable to the gatekeeper interrogation. 50 00:05:59,380 --> 00:06:07,750 Alongside this reading of the text of one hundred and days, I suggest that we first read suitcase as seen this file. 51 00:06:07,750 --> 00:06:13,870 The collection go in the suitcase in particular, has been misfiled as part of bourgeois beauty regime, 52 00:06:13,870 --> 00:06:21,200 but instead it offers a revealing clue to the complicated, bloody encryption 417 days. 53 00:06:21,200 --> 00:06:28,880 You may be surprised to know that this photograph was taken. 54 00:06:28,880 --> 00:06:36,490 In that sense, the spacecraft, it's a kind of deep faith, but it's also true fake. 55 00:06:36,490 --> 00:06:40,540 Prisons like writings has attracted a great deal of scholarly attention, 56 00:06:40,540 --> 00:06:44,950 in particular in South African contact with the prisoners who graced the accounts 57 00:06:44,950 --> 00:06:49,220 of their prison time tended to be associated with oppositional political move. 58 00:06:49,220 --> 00:06:53,590 Daniel stepped based on his own. 59 00:06:53,590 --> 00:07:00,220 Typically, these prison diaries have been read as mood of resistance to the documentary status blues. 60 00:07:00,220 --> 00:07:11,400 Five Hundred and Seventy Days was confirmed by a 1965 BBC film based on the account, and this is still from the film. 61 00:07:11,400 --> 00:07:19,980 In which Fox acted herself and which provided for a UK audience a key to understanding the events, the fate of the spacecraft. 62 00:07:19,980 --> 00:07:28,710 As I said from the BBC documentary, which was filmed last week in the account published at 170 days, 63 00:07:28,710 --> 00:07:35,580 we read of the many other hostile documents, including some prison space most critical. 64 00:07:35,580 --> 00:07:41,430 The statement, which read makes it to the police but never signed. 65 00:07:41,430 --> 00:07:46,180 That's not attaching her signature to it to authenticate. 66 00:07:46,180 --> 00:07:54,520 Even without the incriminating signature, which would have proven and mocked her cooperation in the making of the statement, 67 00:07:54,520 --> 00:08:01,000 first we come face for the dangers posed by this document and by how it might affect you. 68 00:08:01,000 --> 00:08:08,650 She writes about her anxiety, about the document being cycling filed in many dossiers. 69 00:08:08,650 --> 00:08:16,960 We're not allowed to use this technology, but it's a manual of reproduction. 70 00:08:16,960 --> 00:08:23,680 A journalist interested in the reproduction of text through mechanical copying mean she imagines a nice, 71 00:08:23,680 --> 00:08:31,410 very Mary's version of the safe as multiplying and circulating widely in case she cannot control. 72 00:08:31,410 --> 00:08:39,240 Another dangerous document in need of containment is a suicide note, she writes, when she realises that the ways in which her statement, 73 00:08:39,240 --> 00:08:45,480 which is a fake, it's not a statement can be used against her, has possibly compromised her. 74 00:08:45,480 --> 00:08:52,350 This suicide note is a great to her husband and children husband. 75 00:08:52,350 --> 00:08:58,350 She writes it on the inside cover of a crossword puzzle. 76 00:08:58,350 --> 00:09:06,190 I mean, you could see how how cinematic this is the notion of encryption and. 77 00:09:06,190 --> 00:09:14,170 She claims to tear the page out in her document, she claims that she told the page page up and flushed down the toilet. 78 00:09:14,170 --> 00:09:23,650 But I'll talk later about how the suicide since is again a third time document it her official release from prison. 79 00:09:23,650 --> 00:09:26,020 How did you find it duplicated? 80 00:09:26,020 --> 00:09:34,990 You can see the notion of something being handed to her in a duplicated form indicates that there are other duplicates in office over. 81 00:09:34,990 --> 00:09:45,400 This release confirmed that they were many other versions of her arrest and imprisonment files in ledgers and folded held by her interrogated. 82 00:09:45,400 --> 00:09:51,190 When Test was released from prison, she left behind the unsigned statement, 83 00:09:51,190 --> 00:10:00,220 but she was unable to retract or reject the statement, which already filed in the case, file a release. 84 00:10:00,220 --> 00:10:05,620 With all kinds of compromise and compromising document, this is the 19 days detention. 85 00:10:05,620 --> 00:10:10,690 I just expressed aim the extraction of information from a house under it. 86 00:10:10,690 --> 00:10:17,210 In other words, to be released was to raise suspicion that someone had cooperated. 87 00:10:17,210 --> 00:10:24,140 So she would have preferred to state in prison. Because that would prove that she hadn't spoken. 88 00:10:24,140 --> 00:10:33,430 If you see the complications that I'm pointing to that. Winston, after her release from prison, 89 00:10:33,430 --> 00:10:40,870 applied for a passport to allow her and her daughters to travel to the UK for a time free, intending to go back. 90 00:10:40,870 --> 00:10:47,960 She was denied official permission and was issued with one document and exit permit. 91 00:10:47,960 --> 00:10:57,320 Her departure from Alaska in March 1964 was to prove her final exit from the country to which she never returned. 92 00:10:57,320 --> 00:11:05,360 Documents related to Rufous prison stay alongside the counterpoints for the exit permit that was handed to her instead 93 00:11:05,360 --> 00:11:13,440 of a passport that would allow her to re-enter South Africa must exist still in a number of states to prosecute. 94 00:11:13,440 --> 00:11:22,740 In the Prison Service archives, their letters and folders with her name on it and into which her name and prison movement are documents. 95 00:11:22,740 --> 00:11:29,810 On her insistence, her complaints about her treatment were also reported in the. 96 00:11:29,810 --> 00:11:41,060 As I said before recess and has avoided paper trail and notes and records of meetings and agendas were kept to an absolute minimum 97 00:11:41,060 --> 00:11:52,130 to protect their identities and their time in a life lived in a void of the official all kind of safe recesses behind very little. 98 00:11:52,130 --> 00:11:56,990 That is not part of the hostile archives. 99 00:11:56,990 --> 00:12:05,510 When she left prison and later exited South Africa, she was aware of leaving behind this tainted Panopto archive. 100 00:12:05,510 --> 00:12:14,300 In his testimony to the PRC, her murderer Craig Williamson, who cannot get shamed weekly, repeated that what he did was legal, 101 00:12:14,300 --> 00:12:21,710 officially sanctioned by the archives, a document of the government secret not disclosed. 102 00:12:21,710 --> 00:12:28,640 We started writing one hundred and seventy days while she was living in the UK, 103 00:12:28,640 --> 00:12:35,810 the Great Autumn and winter of 1964 was a time of challenging transition. 104 00:12:35,810 --> 00:12:41,510 A spring from the sea, we read an account of her early days in London persuaded her to write this 105 00:12:41,510 --> 00:12:46,990 narrative of some prison time as an exposé of prison conditions in South Africa. 106 00:12:46,990 --> 00:12:51,460 In that tradition of prison ethnography that I about earlier, 107 00:12:51,460 --> 00:13:02,770 the book is also an account of and testimony to her own role as what she describes as the master of the ambiguous and evasive reply. 108 00:13:02,770 --> 00:13:11,560 And she prided himself on her ability to speak ambiguity and evasive in the remembered. 109 00:13:11,560 --> 00:13:22,780 We see Rufus checking and rechecking, but she left nothing behind that could be used as part of the archive and in order to do this, she returns. 110 00:13:22,780 --> 00:13:27,900 I would say obsessively to so in her memory and writing, scrutinising it. 111 00:13:27,900 --> 00:13:33,690 It came to fame. It could leave on her Typekit. 112 00:13:33,690 --> 00:13:36,870 Tony, just in the title of the book The Memory, 113 00:13:36,870 --> 00:13:46,380 Shanae describes the method he developed for organising his memories after he was affected by disabling disease, which graphically led to his death. 114 00:13:46,380 --> 00:13:55,260 Using his ability to move meant a lot of what he calls the yellow pad and the pencil. 115 00:13:55,260 --> 00:13:58,560 I think many of you still take notes and then past, 116 00:13:58,560 --> 00:14:09,990 but I think increasingly people taking you not tell a story first and then you just add in the pencil are crucial to. 117 00:14:09,990 --> 00:14:19,750 Tony Judt writes. About it returns in memory to a chalet he used to visit frequently as a child. 118 00:14:19,750 --> 00:14:24,100 And he writes each night, days, weeks, months. 119 00:14:24,100 --> 00:14:27,670 And now when every year I return to that chalet, 120 00:14:27,670 --> 00:14:38,890 I have to his short corridors that they won't fit and settled into one of two or perhaps three armchair conveniently and occupied by others. 121 00:14:38,890 --> 00:14:46,330 I have one memory tend to be and then I've come to the sorted out and ordered a story or an 122 00:14:46,330 --> 00:14:52,210 argument that I plan to use is something I should write the following day trapped in his body. 123 00:14:52,210 --> 00:14:59,080 He attaches memories to objects in the room and goes round and round the room, attaching ideas, 124 00:14:59,080 --> 00:15:04,960 hoping that the next day he can somehow convey the right into any Judd's memory chalet. 125 00:15:04,960 --> 00:15:11,200 The atmosphere is one of a crazy return to a beloved chat as one setting as a child. 126 00:15:11,200 --> 00:15:17,220 This is starkly opposite to the way first we visited the prisons in Hermann. 127 00:15:17,220 --> 00:15:24,210 But in other ways, this architectural metaphor is suggestive of a space that is revisited repeatedly. 128 00:15:24,210 --> 00:15:33,860 As a way of organising memory editing and reduction costs and fiercely imagining what went overlooked will not prevent. 129 00:15:33,860 --> 00:15:38,030 Obfuscation and subterfuge are dominant themes in the literature on the group, 130 00:15:38,030 --> 00:15:47,330 which we respect and with members in the 1960s and countless references and incidents in the biographies of the great document, 131 00:15:47,330 --> 00:15:56,030 their daily lives were characterised by deliberate secrecy and constructed to evade the inevitable surveillance are to minimise risk of exposure. 132 00:15:56,030 --> 00:15:58,820 Such a group will not leave a written archive, 133 00:15:58,820 --> 00:16:08,300 a typical of the reference section in the biography and on this all sorts of interviews conducted with those to remember and zip through the event. 134 00:16:08,300 --> 00:16:12,830 And Julia will be teaching you who doing the sequel is about fatality and about these techniques. 135 00:16:12,830 --> 00:16:19,640 Next Monday, in her family autobiography, Every Secret Thing Resets Daughter Gideon. 136 00:16:19,640 --> 00:16:27,560 So this comment explicitly on the paucity of a written about her parents like explaining why she had to rely on interviews, 137 00:16:27,560 --> 00:16:40,620 which in turn reunite and continually reconstitute the group of people about whom we read dying that have died. 138 00:16:40,620 --> 00:16:44,060 Researched biographies do not enter the Apostle Paul, 139 00:16:44,060 --> 00:16:52,730 relying instead on the oral and written produced by uncirculated in the movement and one hundred and seventy days from the key text. 140 00:16:52,730 --> 00:16:59,510 As I say in this archive, it's often read a separate primary document the source of information. 141 00:16:59,510 --> 00:17:07,400 In piecing together and editing these parts, I often think of the so-called effort to recreate and sometimes invent in. 142 00:17:07,400 --> 00:17:14,750 The threshold to be documented fact and remembered invention runs at a the 270 days, 143 00:17:14,750 --> 00:17:24,350 which is an extended reflection on the nature of remembering without, you know, revealing description of the best looking method as a journalist. 144 00:17:24,350 --> 00:17:33,260 She the three sentences together with so I think, building up a text through splicing of other text, 145 00:17:33,260 --> 00:17:44,000 using the domestic machinery of sewing and mending first and energy and skill as an editor is often remarked upon as her industry. 146 00:17:44,000 --> 00:17:46,220 We know that she is a noisy worker. 147 00:17:46,220 --> 00:17:54,980 Her writing, accompanied by the seemingly ceaseless clutter of the typewriter that now is in headquarters in her account of her time in prison, 148 00:17:54,980 --> 00:17:57,260 the night at his typewriter. 149 00:17:57,260 --> 00:18:06,920 But even a pencil first makes a very surprising observation, especially for someone whose personal archive has turned out to be not in oral. 150 00:18:06,920 --> 00:18:14,600 She writes, My memory is very cool. I always need a pencil and smooth stuff to my writing. 151 00:18:14,600 --> 00:18:24,470 This is a challenging comment to integrate in one's reading of the text, which we know reconstructed from memory without a pencil. 152 00:18:24,470 --> 00:18:30,080 If the author acknowledges her memory, what we are holding in our hands cannot be based on a complicated, 153 00:18:30,080 --> 00:18:35,480 uncomplicated history and the documents we read. 154 00:18:35,480 --> 00:18:43,950 First work as a journalist and editor who's a mainstay of accounts of the meeting is highly more opaque about political work at the time, 155 00:18:43,950 --> 00:18:48,150 she's been training to be and working as a librarian at the time. 156 00:18:48,150 --> 00:18:50,810 Probably that's just prevented by banning all different. 157 00:18:50,810 --> 00:18:58,240 Working as a general for some political work consisted of writing and trying to read documents why the bank would fix it. 158 00:18:58,240 --> 00:19:03,620 It's that irony in training the librarian in the account of her arrest. 159 00:19:03,620 --> 00:19:08,930 We read the first report after making a list of what was needed in the library. 160 00:19:08,930 --> 00:19:17,540 Barbara Hollis slotted the scene in Harris County, interpreting the choosing of assisted revolutionary preparation. 161 00:19:17,540 --> 00:19:24,380 Once Harlow raises the possibility of the librarian, someone smuggles knowledge out of the official archives. 162 00:19:24,380 --> 00:19:30,020 The potentially explosive meanings of this activity proliferate the revolutionary who is pretending 163 00:19:30,020 --> 00:19:36,320 to be a librarian and indeed working as a librarian that's with the official archives contain. 164 00:19:36,320 --> 00:19:38,790 It would have been to evade. 165 00:19:38,790 --> 00:19:51,870 This approach is echoed infests repeated insistence that in prison she would watch to see what they knew before she found how to evade the question. 166 00:19:51,870 --> 00:20:08,910 Got the device that you must have. One of the most frequently repeated anecdotes around the arrest and imprisonment is the parking opposite. 167 00:20:08,910 --> 00:20:20,700 Under the gaze meets the red suitcase has a live picture attached to it, with many interpreters pointing up the gendered class and racialised content. 168 00:20:20,700 --> 00:20:24,270 In the introduction to 117 days written by his, 169 00:20:24,270 --> 00:20:31,020 we find references to a beloved and remembered mother's elegant itemised to her perfume and her underwear. 170 00:20:31,020 --> 00:20:38,360 The contents of the suitcase catalogue and read text again memory in 117 days. 171 00:20:38,360 --> 00:20:41,890 It contains the comforts one might need in prison. 172 00:20:41,890 --> 00:20:48,430 But it also is to be understood as an instance of a genre of knowledge shared by people who thought that 173 00:20:48,430 --> 00:20:55,780 they were going to be arrested and had two suitcases made in the documentary film version made for the BBC, 174 00:20:55,780 --> 00:21:04,960 which is in black and white. The suitcase remains great, but I'm seen suitcase that's sitting itself in a world of possibilities. 175 00:21:04,960 --> 00:21:14,080 Find Barbara Hardy, Barbara Hershey with his Who, a thinly disguised brief test with a of suitcase instead of a red one, 176 00:21:14,080 --> 00:21:18,230 and his suitcase has become cryptic in disguise. 177 00:21:18,230 --> 00:21:26,350 It's one item in particular in the suitcase that no one has commented on in the sense of writing a large amount of cotton wool. 178 00:21:26,350 --> 00:21:35,020 David Skull in a censorious discussion of what he describes as bush white gloves as the suitcase as containing, 179 00:21:35,020 --> 00:21:41,170 I'm going to keep its tax receipts to receive items such as underwear, makeup, eyebrows and a mirror. 180 00:21:41,170 --> 00:21:49,360 He judges first hot, comparing her relative comfort to the condition posed by other women's prisoners not protected by the middle. 181 00:21:49,360 --> 00:21:59,380 I did, but I want you just off the cuff, and I do this to mark how crucial it is where the Cosmopolis archives and how it is classified. 182 00:21:59,380 --> 00:22:06,750 Well, mostly this happens always because the catalogue and the makeup and cosmetics and simply ignored. 183 00:22:06,750 --> 00:22:12,420 But I'm going to have a darker interpretation of the casting process described in 117 days 184 00:22:12,420 --> 00:22:18,030 how the police think this gorgeous will be pounced on and sprawled it on the counter next 185 00:22:18,030 --> 00:22:23,430 innards of an hygienic textbook the account of the invasive and hostile unpacking of the 186 00:22:23,430 --> 00:22:28,590 intimate contents is followed immediately in the text by a series of paranoid questions. 187 00:22:28,590 --> 00:22:37,080 What did they know? That someone talked with their questions? Give me a scoop the appointing of the coffin as if it were a light creature being cut. 188 00:22:37,080 --> 00:22:44,070 It seems to conjure up fear of a secret being opened up in a later scene in the narrative. 189 00:22:44,070 --> 00:22:47,850 A fellow inmate who is there for one night only. 190 00:22:47,850 --> 00:22:55,350 And who turns out to be Anne-Marie Wolpe, who describes this moment in her biography Long Way Home. 191 00:22:55,350 --> 00:23:02,360 She remembers asking if anyone has possible because she knew she was going to have some period that night. 192 00:23:02,360 --> 00:23:10,820 For the reader who knows how to read and administration, this is the function of the hygienic people. 193 00:23:10,820 --> 00:23:12,740 During a prison stay of 90 days, 194 00:23:12,740 --> 00:23:22,020 a woman of age would expect Main Street three times apart from the references to someone else being unprepared and needing to have some coffee. 195 00:23:22,020 --> 00:23:26,720 So it's never mentioned the court again, nor the you know, 196 00:23:26,720 --> 00:23:37,790 that makes mention of the use of absolute means that if the language of barriers and prevention, leaks and secrets saturate the text. 197 00:23:37,790 --> 00:23:44,090 First insistence on his dignity and her personal cash is a central part of the narrative and needs to be understood 198 00:23:44,090 --> 00:23:50,450 as she intended it to be as a form of resistance to the dehumanisation Typekit of solitary confinement. 199 00:23:50,450 --> 00:23:56,060 To write about menstruation is not part of a project or programme. 200 00:23:56,060 --> 00:24:03,140 In the 1970s, attempting to repress menstrual activists would encourage women to speak out about the 201 00:24:03,140 --> 00:24:08,660 secret world of menstruation and the dignity offered by women to Typekit sanitary products. 202 00:24:08,660 --> 00:24:13,550 While menstruating in prison has recently become rather prominent, 203 00:24:13,550 --> 00:24:22,270 one might also wish to contrast the hygienic caterpillar to the harrowing descriptions of torture found. 204 00:24:22,270 --> 00:24:27,220 In Winnie Madikizela-Mandela 491 days with No. 205 00:24:27,220 --> 00:24:36,300 One three two three six nine when she describes her own excessive menstrual bleeding in prison. 206 00:24:36,300 --> 00:24:41,910 They many references to menstruation in the TLC record and the history of menstruation and 207 00:24:41,910 --> 00:24:46,710 its racialised archives in South Africa would be a really useful and important project. 208 00:24:46,710 --> 00:24:57,310 But I did hear. This question has a particular peculiar place in our society. 209 00:24:57,310 --> 00:25:01,120 The most obvious connexion is the well documented history of menstruation, 210 00:25:01,120 --> 00:25:09,360 as it's so in history that menstruation in literature and Frank's name that appears on every day. 211 00:25:09,360 --> 00:25:10,770 Living in a hideout. 212 00:25:10,770 --> 00:25:20,760 I'm Frank Daybook mentions with racist excitement, the anticipation of processing while the changes in her body seem to Anne Frank, 213 00:25:20,760 --> 00:25:24,540 a reminder and a promise of a life outside as an adult, 214 00:25:24,540 --> 00:25:30,300 thanks to the reader as they must have been to the adult women sharing behind the reality of conceiving any 215 00:25:30,300 --> 00:25:38,400 material to do with menstruation while living in secret and confined spaces in scholarly work on Frank's diary. 216 00:25:38,400 --> 00:25:45,330 Discussions typically revolve around her father's desire, intimacy and sexuality when he edited the diary, 217 00:25:45,330 --> 00:25:55,470 hence the theme of embodied secrecy brought to the level of domestic and familial rather than in relation to the largest secret in subterfuge, 218 00:25:55,470 --> 00:25:59,010 a related incidence of menstrual flow and secrecy. 219 00:25:59,010 --> 00:26:10,740 Also from risk resistance, literary tradition comes from Frances is a novel in which Mario know a young Italian woman at gunpoint, 220 00:26:10,740 --> 00:26:19,650 while enemy soldiers demand to know the whereabouts of her lover and his comrades feels the first signs of the onset of menstruation. 221 00:26:19,650 --> 00:26:29,190 And while she feels but I still love going down her leg, she finds herself telling them everything so very often in the future. 222 00:26:29,190 --> 00:26:35,850 When has this moment of I'm sick of menstruation? But mating refers is interviewed by a jaded. 223 00:26:35,850 --> 00:26:46,360 She prides himself on her ability to lock this following, and one of the ways in which her interrogations break down the song really surprise her. 224 00:26:46,360 --> 00:26:53,640 The suitcase as a touching first home contains at least one novel, a pencil. 225 00:26:53,640 --> 00:27:03,940 Everything read that it contains writing paper. It almost certainly did, given her working methods have a memory, a work of investigative journalism, 226 00:27:03,940 --> 00:27:10,750 a use of interviews as the basis of such an editorial work in which she responded to and shaped the work of others. 227 00:27:10,750 --> 00:27:17,480 It's not clear what she would have written in a prison cell other than letters and a kind of prison ethnography. 228 00:27:17,480 --> 00:27:23,510 The restriction of access to writing and reading materials is a mainstay of that period in solitary confinement. 229 00:27:23,510 --> 00:27:27,800 It's repeatedly justified by the police as part of the programme to make prisoners 230 00:27:27,800 --> 00:27:34,270 uncomfortable and to get to give them time to think about the interrogations question. 231 00:27:34,270 --> 00:27:39,820 It specifies and remembers many instances of reading material in his belt, 232 00:27:39,820 --> 00:27:48,790 as well as in the two different prisons that are her home for the duration of 517 days to readers of a literary bent one hundred and seventeen days. 233 00:27:48,790 --> 00:27:53,220 Much to offer. The text contains references to other literary works. 234 00:27:53,220 --> 00:28:03,970 Check the Chophouse Thomas. The narrative breaks up to include in italics, the narratives of others creating a collective voice. 235 00:28:03,970 --> 00:28:12,670 She catalogues and inventories any references she points to writing on input on the tiniest things like writing on the side of a pencil, 236 00:28:12,670 --> 00:28:21,250 as well as what she glimpsed through a window, sometimes in all kinds of the resistance movement also in the present. 237 00:28:21,250 --> 00:28:28,680 The documents, the names of the other jail inhabitants. And she likens the family reunion. 238 00:28:28,680 --> 00:28:35,850 The text includes the book into which her complaints about her treatment and the official visit to all of these incidents, 239 00:28:35,850 --> 00:28:39,830 even trails that can potentially be used against us. 240 00:28:39,830 --> 00:28:45,980 Maybe readers have commented on the scraps of paper and newsprint, and she finds pain through the window, 241 00:28:45,980 --> 00:28:53,890 and every single account mentions the chewing gum rapids that has also escaped over and over. 242 00:28:53,890 --> 00:29:02,410 Undiscussed in any of the countries, it's written archive of applicants name tags that you find something people to guy and comes across. 243 00:29:02,410 --> 00:29:06,550 Don't be. I'm going to washing line from across the jack. 244 00:29:06,550 --> 00:29:11,170 Each item was marked with a number and enough name to write. 245 00:29:11,170 --> 00:29:20,290 I wondered between the way the mouth and short being funded, most of it can you know something or you can come through, 246 00:29:20,290 --> 00:29:25,930 so I could see it depressing the all kinds of white underpants. 247 00:29:25,930 --> 00:29:31,390 And she is described in a hauntingly evocative passage. It is absolutely fantastic. 248 00:29:31,390 --> 00:29:40,600 This reading of the names of the washing line is blocked by not only to name a tipping point and the kind of all contents behind these name tags, 249 00:29:40,600 --> 00:29:45,490 but she developed from a short historical analysis that's been done in the prison. 250 00:29:45,490 --> 00:29:53,810 She just she just runs with this small archive of underwear that she finds and. 251 00:29:53,810 --> 00:30:04,940 Journalistic piece that first writes in the most famous line from 120 days in prison, you only see the moves of the enemy. 252 00:30:04,940 --> 00:30:11,480 This can be reinterpreted through the lens of the archives of the arrived earlier, which first makes a statement. 253 00:30:11,480 --> 00:30:18,050 She sees her words lose the meaning she intended them to have and become part of the archive. 254 00:30:18,050 --> 00:30:26,730 She. After making the statement, which she first thinks of, like self-congratulatory with a non statement, 255 00:30:26,730 --> 00:30:33,540 she's off to return the next thing to sign and say, it's this evidence, the signature on the tape, 256 00:30:33,540 --> 00:30:38,130 which will not prove her agency and control, 257 00:30:38,130 --> 00:30:48,450 but will instead be evidence of the fact it would have been entered in the official that this witness signature is what led to the crisis, 258 00:30:48,450 --> 00:30:53,830 a crisis which is not entirely legible. It's quite difficult to look at what's going on in the text. 259 00:30:53,830 --> 00:31:04,680 Gillian Slovo in her book Every Sequencing of her family history right of reading sentences in 117 days over and over trying to make sense. 260 00:31:04,680 --> 00:31:09,810 And they were right. She told her friends would judge her and say something. 261 00:31:09,810 --> 00:31:14,850 If Ruth have not written a book, that one would have known that she'd say anything, however trivial. 262 00:31:14,850 --> 00:31:21,330 Yet once the book was published, instead of applauding her courage, some of her closest comrades judge people read. 263 00:31:21,330 --> 00:31:26,130 She must have known before the book came out that this was bound to happen and she left it right. 264 00:31:26,130 --> 00:31:31,890 She was a brave woman, my mother. She began imagining the movement that must be sensitive. 265 00:31:31,890 --> 00:31:41,730 This passage makes it hard to see a bridge between bravery and cowardice bravery brings, in fact, as the ability to withstand accusations of weakness. 266 00:31:41,730 --> 00:31:51,890 In this version, then the suicide to come made an attempt at resisting an act of perceived cowardice to overwriting it with the brave. 267 00:31:51,890 --> 00:32:00,170 In fact, own accounts remember this in an attempt to reseal some of the meaning of a suicide attempt. 268 00:32:00,170 --> 00:32:04,820 It's rather more opaque, deciding to commit suicide, she writes. 269 00:32:04,820 --> 00:32:14,510 There was only one way out, but the logic of that statement remains unclear that she means there was only one way out of signing the form, 270 00:32:14,510 --> 00:32:24,370 or that the only way to exit the prison exit as a success would prove that she hadn't compromised a concrete. 271 00:32:24,370 --> 00:32:32,170 First meeting, two things assigned to the outside world and the sign she uses encrypted message suicide, 272 00:32:32,170 --> 00:32:43,080 but the planned suicide, which is a way of authenticating the document of drawing attention to the absence of her signature. 273 00:32:43,080 --> 00:32:52,560 Sales in Alice Bay now in custody in another way by writing the suicide to address in the form of an apology, 274 00:32:52,560 --> 00:33:00,150 using to write an indelible pencil over the words property of the South African Administration on it. 275 00:33:00,150 --> 00:33:03,450 And she writes a with the tools used to write the note, 276 00:33:03,450 --> 00:33:08,940 admitting that her words of constraints I had dated but also received encrypted the message and message. 277 00:33:08,940 --> 00:33:14,520 That is not what it seems. The suicide note is intended as a confirmation statement. 278 00:33:14,520 --> 00:33:19,380 If the sleeping tablets that she asks, the doctor will turn out to be fake, 279 00:33:19,380 --> 00:33:26,940 and so her attempted suicide doesn't succeed because even the public in first 280 00:33:26,940 --> 00:33:31,440 impression she wrote the suicide note in the book and flushes it down the toilet. 281 00:33:31,440 --> 00:33:38,680 The note seems now to become evidence of cowardice rather than bravery, because she not succeeded. 282 00:33:38,680 --> 00:33:45,890 Here again, the meanings that hold back on themselves, the point to which the cow is precious itself is not clear. 283 00:33:45,890 --> 00:33:57,930 You've told us nothing. The interrogator in the documentary film version shot, you know, in a very bad context. 284 00:33:57,930 --> 00:34:06,920 In fact, this prison, she doesn't bring the suicide note, which she destroys as another piece of potentially incriminating evidence against her. 285 00:34:06,920 --> 00:34:12,170 Nor does he bring the text of what will become of her 170 days in her seat. 286 00:34:12,170 --> 00:34:18,800 She walks out with one document only the carbon copy of her release form the original 287 00:34:18,800 --> 00:34:25,290 having a carbon copy of the original and what some of the original in the file. 288 00:34:25,290 --> 00:34:31,340 Here it will join the incomplete unauthenticated a darkly dangerous statement. 289 00:34:31,340 --> 00:34:34,580 The carbon copy is not a copy of the statement that first took place. 290 00:34:34,580 --> 00:34:43,090 Having me never see the game is often imagined, but it's a reminder of the incriminating, unsigned documents. 291 00:34:43,090 --> 00:34:47,530 When, in fact, that's where she spent some time recovering at her home in Johannesburg. 292 00:34:47,530 --> 00:34:55,050 And during this time applied for the passport I mentioned before. The South African authorities did not grant the passport, 293 00:34:55,050 --> 00:35:01,980 but insisted the exit papers only closing hiding at the exit from prison and the exit 294 00:35:01,980 --> 00:35:07,230 from South Africa are still inside the very motivation for the 90 days detention, 295 00:35:07,230 --> 00:35:10,880 with the express information to have left prison. 296 00:35:10,880 --> 00:35:19,140 But it means that in the gossip and rumours circulating, the implication would be that she had lied and. 297 00:35:19,140 --> 00:35:27,900 She writes in her account that she would much prefer to remain in prison, as this would have proven her non collaboration. 298 00:35:27,900 --> 00:35:34,770 The memory strongroom has this layers in the fantasy of return, wishing to be back in the prison cell, 299 00:35:34,770 --> 00:35:39,800 rather to be there, and things simple to be free of the couple. 300 00:35:39,800 --> 00:35:47,710 The text contains a number of passages to preclude the desire to double back and to reject redacted document. 301 00:35:47,710 --> 00:35:54,820 They references to clubs and the secret, but multiply your income, remember the the the interrogation session, she notes, 302 00:35:54,820 --> 00:36:02,170 with some price sheets full of evasive answers she provides some testing on so she did during the course of the season, 303 00:36:02,170 --> 00:36:09,100 however, the ground shifts assessed who'd been told that they already had been asleep from elsewhere. 304 00:36:09,100 --> 00:36:17,280 The existent leak exposes her, and it makes it unclear whether she had at least something by the state. 305 00:36:17,280 --> 00:36:20,400 Leaving South Africa with her two young daughters. 306 00:36:20,400 --> 00:36:26,760 The eldest was travelling by boat with friends, first arrived in London, unsure how she was to make a living. 307 00:36:26,760 --> 00:36:34,470 What kind of meaningful work she would find. It's in the grey of a London autumn that she begins to write. 308 00:36:34,470 --> 00:36:39,540 It's best read then as an attempt to override the state and to counter the suspicions 309 00:36:39,540 --> 00:36:44,610 attached to the paranoid language about the need for tidiness and careful vigilance. 310 00:36:44,610 --> 00:36:50,580 It's striking if if self supervision is not an act, it takes place at the time of imprisonment. 311 00:36:50,580 --> 00:37:00,390 It's written from London in order to document in her own version to put her signature to what she hopes will become the definitive statement, 312 00:37:00,390 --> 00:37:04,360 which will seal the struggle within once again. 313 00:37:04,360 --> 00:37:11,230 Soon after completing the writing of 150 days, but was invited by the BBC to collaborate on the documentary, 314 00:37:11,230 --> 00:37:16,300 which she wrote the script as well as making a radio programme and a radio play. 315 00:37:16,300 --> 00:37:26,980 I managed to see this rare 90 days in the BBC archive, and it was made by the recently deceased with collaboration. 316 00:37:26,980 --> 00:37:34,870 It's an extraordinary parallel text which must recreate and recreate and re-enact her own imprisonment. 317 00:37:34,870 --> 00:37:42,730 The documentary films authenticating the list of Grace speaks also evocative of the isolation and new life. 318 00:37:42,730 --> 00:37:49,300 There's not much written on the making of the film, but from the few energy sources and the accounting for granted. 319 00:37:49,300 --> 00:37:57,490 It's evidence the films made my scene, and some of the film did something badly and unconvincing to disguise as South Africa. 320 00:37:57,490 --> 00:38:08,110 The film is presented as a documentary, but it's viewed as one in a series of revisiting and reenactments of the events narrated in 117 days. 321 00:38:08,110 --> 00:38:15,190 The film experiments in form, I'm sitting in a stylishly stilted acting in the film version. 322 00:38:15,190 --> 00:38:23,380 The title is changed in 90 days for the viewers, for whom the phrase would be more easily understood as scientists of African descent. 323 00:38:23,380 --> 00:38:32,860 If the change of name is written for the text, which theme Typekit known the girl and the subterfuge involved is a fake. 324 00:38:32,860 --> 00:38:35,920 Even the name is a sort of disguise of the original. 325 00:38:35,920 --> 00:38:47,200 The final scene of the documentary documentary shows Rufus walking out of prison a suitcase, quite possibly as it finds itself in her hands. 326 00:38:47,200 --> 00:38:51,760 I hope footsteps echo down the prison passage. 327 00:38:51,760 --> 00:38:57,250 We hear the voice of the BBC, the BBC voice of the male narrator closing the scene. 328 00:38:57,250 --> 00:39:06,040 She left prison and South Africa in the conflation of the two scenes of exit as if she's walking out of South Africa. 329 00:39:06,040 --> 00:39:11,220 The viewers need to understand that we first left South Africa because there was no other option. 330 00:39:11,220 --> 00:39:18,400 The films, the recent events end with a walking out of prison. If this is also where the written narrative begin, 331 00:39:18,400 --> 00:39:24,550 as the author of the document starts right to the accounts after leaving prison and after leaving South Africa, 332 00:39:24,550 --> 00:39:32,310 the red suitcase is the suitcase it contains of what it represents remembers it in. 333 00:39:32,310 --> 00:39:36,930 The version we see, like the suitcase itself, is and is not accurate. 334 00:39:36,930 --> 00:39:45,730 The red colour is reached out on the black and white screen as his own memories of itself being deleted while she's trying to. 335 00:39:45,730 --> 00:39:52,870 The film goes over the same events as re-enactments, and there's a fascinating because on historical reenactments on film, 336 00:39:52,870 --> 00:40:01,810 and if you insist I can give you the practical reasons for the deviation from exit visa meant she couldn't return to South Africa. 337 00:40:01,810 --> 00:40:04,180 The film was based on a very small budget. 338 00:40:04,180 --> 00:40:12,190 It was made in the genre of the didactic news documentary film executed the kind of BBC documentary paid at the time, 339 00:40:12,190 --> 00:40:15,730 and first Prokofiev wanted to protect her children's privacy. 340 00:40:15,730 --> 00:40:20,440 But the reenactments differences from the text on which are based on more than practical. 341 00:40:20,440 --> 00:40:26,860 They, in fact, reveal the urge to re-enactment as reception really present in the original text. 342 00:40:26,860 --> 00:40:28,840 In the act of writing the text first, 343 00:40:28,840 --> 00:40:39,650 read the scene of the scene in which she was held saving the strongman and attempting not to reveal any information. 344 00:40:39,650 --> 00:40:48,260 It was the moment when suspicions settled on her and in her book and in the film, TV inhabits the prison to go over again at repeating nothing, 345 00:40:48,260 --> 00:40:55,460 playing out and re-enacting that she had told nothing overlaid with the leaving of the prison and the country. 346 00:40:55,460 --> 00:41:03,230 Its effect. The film is May and the book published from London, removed from the engaged activist work in South Africa. 347 00:41:03,230 --> 00:41:10,520 Revisiting the memory prison is painful and traumatic, but is that comforting? 348 00:41:10,520 --> 00:41:16,460 And the community of fellow comrades to which he was connected by the shed is not communal in prison, 349 00:41:16,460 --> 00:41:24,470 remembering the prison cell and reconstituting it as if she can have a separate member state in 90 days. 350 00:41:24,470 --> 00:41:29,690 So the re-enactment is a fake, but I think it's self-consciously so. 351 00:41:29,690 --> 00:41:35,180 The film depicts the effects of solitary confinement in a cool cinematic style 352 00:41:35,180 --> 00:41:40,070 reminiscent of the European avant garde cinema that both knew well and love. 353 00:41:40,070 --> 00:41:44,030 I don't mean to suggest that the film is artful and therefore not truthful. 354 00:41:44,030 --> 00:41:51,730 Instead, what I mean is that the fake counterpart in South Africa is precisely to be understood as in a state prison. 355 00:41:51,730 --> 00:42:01,760 You know, the real truth is visited by fake children receiving revealing to us the estrangement brought not only by solitary confinement, 356 00:42:01,760 --> 00:42:06,980 but my life in exile. It's worth going over the ways in which those extraordinary films can be viewed 357 00:42:06,980 --> 00:42:14,120 as a document of fortune and an account of safety and the children who act. 358 00:42:14,120 --> 00:42:23,670 Both children are members of a counterfeit and unprotected family, and the house in which the red great suitcase is clearly a little in love. 359 00:42:23,670 --> 00:42:31,700 And you can see the fact that it's so clearly English how English terror in the language available to cinema. 360 00:42:31,700 --> 00:42:36,380 The documentary film picks up and reinterpreted the book Paranoia. 361 00:42:36,380 --> 00:42:45,080 The book brings to the surface scenes of surveillance and self through narration, and it's the film justice in extremely visual language. 362 00:42:45,080 --> 00:42:53,750 We hear first voice make the scene explicit. I try to make time pass with the activities of authors, but the figures I see be on set. 363 00:42:53,750 --> 00:42:59,600 Usually they are not my world. That's not in line from the book. 364 00:42:59,600 --> 00:43:05,690 So the black and white documentary that black and white documentary images from the 365 00:43:05,690 --> 00:43:12,470 South African Resistance Archive replaced the italicised twinning narrative date, 366 00:43:12,470 --> 00:43:14,810 creating great proximity and distance. 367 00:43:14,810 --> 00:43:22,190 But who is re-enacting how imprisonment far away in London in a further complication of the re-infected archive? 368 00:43:22,190 --> 00:43:31,160 It's worth noting that these images circulated outside South Africa in ways very different from the censored news environment inside the country. 369 00:43:31,160 --> 00:43:38,540 The accented speech in the film is striking, providing us with yet another instance of distancing and imposing and how in 370 00:43:38,540 --> 00:43:44,560 authenticity and forgery are used to make a truthful and accurate testimony. 371 00:43:44,560 --> 00:43:52,180 The film opens with respect in a library in London as Camden Library uses a counterfeit 372 00:43:52,180 --> 00:43:59,170 kind of libraries that she says she spent in front of a shelf of books on prohibition. 373 00:43:59,170 --> 00:44:10,420 And she's shown dressed in the kind of clothing that we that iconic style of Danish jewellery they might see. 374 00:44:10,420 --> 00:44:14,920 She's holding in front of her black folder into which she seems to be entering darkness. 375 00:44:14,920 --> 00:44:21,880 I think the accuracy of the film is proven by the her careful note taking from documentary sources in the camera 376 00:44:21,880 --> 00:44:28,990 follows her as she descends the stairs in the mid-century modern building of the kind we know first in mind. 377 00:44:28,990 --> 00:44:33,880 She doesn't make eye contact with the view of the film. I think we are spying on her. 378 00:44:33,880 --> 00:44:39,250 I think we are watching her, who knows we find with her. When you pretend not to notice. 379 00:44:39,250 --> 00:44:45,310 Then she's made by two men speaking in what is meant to be of the accented English. 380 00:44:45,310 --> 00:44:46,580 Support acting, 381 00:44:46,580 --> 00:44:55,010 an unconvincing axing of all of us interrogators must be understood in this edition of the South African Institute in cinema tradition, 382 00:44:55,010 --> 00:45:01,580 a perennial favourite to get these counterfeit xingu of significance in another way and can be understood in 383 00:45:01,580 --> 00:45:08,000 relation to the stylised and wooden acting by white people against the suspect pockets of resistance movement. 384 00:45:08,000 --> 00:45:12,050 Do active characters with whom they didn't share a vision of the world? 385 00:45:12,050 --> 00:45:18,590 An excellent example for those of you who've seen come back Africa is Myrtle Thurman, 386 00:45:18,590 --> 00:45:27,270 who was in fact a friend of unspeakable magic in line flying over to come back Africa. 387 00:45:27,270 --> 00:45:35,540 I was honest enough to confess in scenes that are hard to decode without the knowledge that all actors taking part in such a project, 388 00:45:35,540 --> 00:45:38,930 which by definition would be sympathetic to the aims of the film. 389 00:45:38,930 --> 00:45:46,700 One sees the protagonist, Sakariya, in conversation with a great tingly, racist white mother and her passive husband. 390 00:45:46,700 --> 00:45:51,530 The woundedness of local governments acting is an encrypted the same. 391 00:45:51,530 --> 00:45:59,660 Since the poor acting is more than an act, it's a counterfeit and it's meant to be understood only progressive white South Africans. 392 00:45:59,660 --> 00:46:04,400 We trusted to take part in a project that was to become Comeback Africa. 393 00:46:04,400 --> 00:46:11,240 Robeson writes in a section called Casting White in his wonderful book on the film. 394 00:46:11,240 --> 00:46:19,520 As these same constraints that we see in Ferguson, documentary projects, I think, are also evident in 90 days. 395 00:46:19,520 --> 00:46:26,750 The acceptance speech of the interrogated them. The God is meant to invoke and record the particulars of African realities. 396 00:46:26,750 --> 00:46:31,880 And this is the world with being exposed by the writing of the book and the making of the film. 397 00:46:31,880 --> 00:46:36,500 Yet at the same time, the counterfeit African accents remind the viewer, 398 00:46:36,500 --> 00:46:43,850 at least the viewer able to categorise the accents accuracy that this account is being compiled from the other side. 399 00:46:43,850 --> 00:46:52,770 They are not African, they're not least they are progressive collaborators of both and of respect. 400 00:46:52,770 --> 00:46:55,190 But it's free and out of prison. 401 00:46:55,190 --> 00:47:02,690 In London, we have, I think it's acceptable to have only two black and white newsprint and the reenactments of counterfeit South Africa. 402 00:47:02,690 --> 00:47:09,740 This same outside face paint me with her exit from South Africa and the loss and isolation that brought. 403 00:47:09,740 --> 00:47:13,680 The counterfeit of the colonies re-enact the scene of her interrogation. 404 00:47:13,680 --> 00:47:21,340 They also hit over Holly in Yvonne that nothing is off her release from the women's health in March. 405 00:47:21,340 --> 00:47:28,340 I skipped the actress. I need the security. Have I made the. 406 00:47:28,340 --> 00:47:34,880 But also from the outside, the excuse me, the security branch policeman. Nor are they representative safe from that. 407 00:47:34,880 --> 00:47:41,180 We first is shown being arrested and driven away from case. I've tried so hard to see what street that is. 408 00:47:41,180 --> 00:47:47,760 I think it's long because it is a wall that you see a very young South Africans instead of the car 409 00:47:47,760 --> 00:47:54,640 driving to Johannesburg to see in the streets and then come through the window of moving cars. 410 00:47:54,640 --> 00:47:59,350 Gillian Sperber writes in the acknowledgements At the end of every secret thing, 411 00:47:59,350 --> 00:48:05,110 although my parents' history was in fact not written down and the raw material if they 412 00:48:05,110 --> 00:48:10,750 destroyed the truth of what happened was lodged in the memories of their friends and comrades, 413 00:48:10,750 --> 00:48:16,030 and some in equities brought the reader's attention. It's an unusual world. 414 00:48:16,030 --> 00:48:19,630 They were making a point about the absence of a written record, 415 00:48:19,630 --> 00:48:30,280 which we also see the extra meaning of a nice is against a to Asian, a life that had an all time to be visible as a vehicle. 416 00:48:30,280 --> 00:48:32,760 Counterfeits of itself. 417 00:48:32,760 --> 00:48:42,390 They exist two sets of images of the moment we first left South Africa and arrived in London to be united again with her husband, David. 418 00:48:42,390 --> 00:48:46,620 Looking at these images so often invoked in accounts of her departure, 419 00:48:46,620 --> 00:48:53,760 when I become unusually attuned to what might be an act and what the photograph has been edited to feel, 420 00:48:53,760 --> 00:49:00,990 the child Gideon, her adult self, is holding a pencil as she claims that you can see, yes, the picture. 421 00:49:00,990 --> 00:49:13,830 She's not holding it. The chance, Jillian, I don't sell records shown carrying attention because she finds the stairs into the same. 422 00:49:13,830 --> 00:49:21,980 On the photograph, the book is not physical. It's clearly seen, however, on a picture taken after arriving. 423 00:49:21,980 --> 00:49:26,450 Here we see her clutching head, Simpson, Simpson and the prisoners of the Sun. 424 00:49:26,450 --> 00:49:33,710 The book is held upside down as its owner looks up into her mother's face, so lets herself does not return the gate. 425 00:49:33,710 --> 00:49:34,220 And in fact, 426 00:49:34,220 --> 00:49:43,910 what is most striking in the family is the fact that this just over until you are looking at food is almost protectively around her youngest daughter. 427 00:49:43,910 --> 00:49:49,970 The icicles on the parents positions of the Jillian's unfolding upside down while her 428 00:49:49,970 --> 00:49:55,940 mother unfolds her sister and the meanings of the family under siege proliferate. 429 00:49:55,940 --> 00:50:04,010 I mean, I didn't even talk about the fact freedom with the prisoners of the Sun above their heads. 430 00:50:04,010 --> 00:50:15,990 We read the sign no entry. The photograph may well have been taken in the BBC studio, but I haven't been able to verify that on the cover of my book. 431 00:50:15,990 --> 00:50:23,670 Of 117 days in the photograph with a very awkward image that shows her face held on to between 432 00:50:23,670 --> 00:50:30,900 two hands that look because of the angle of the camera far too large to be passengers. 433 00:50:30,900 --> 00:50:37,290 The thing is they do not look like her own. They all have faces tilted slightly downward. 434 00:50:37,290 --> 00:50:41,730 Her lips are tight line and her hands print her face on both sides. 435 00:50:41,730 --> 00:50:50,550 I think what is inside the head needs to be constrained. The last word in 117 days refers to the fact that her release from prison felt like it 436 00:50:50,550 --> 00:50:56,280 was not the end and that they were not done with her over Hollywood rights involved. 437 00:50:56,280 --> 00:51:04,120 But 19 years after her release from the women's cells in March, where the Victorian government sentiment said today. 438 00:51:04,120 --> 00:51:13,060 Intelligence service, every secret thing includes a description of a letter and true as some imagined conversations between her parents 439 00:51:13,060 --> 00:51:20,680 when she spoke to say on the phone by saying she must have told you something of the way she felt she must, 440 00:51:20,680 --> 00:51:28,180 as she wrote, eventually from England to a nameless friend inside the country, secrets from her mother's letter to a friend. 441 00:51:28,180 --> 00:51:39,170 I found myself very nervous when I came out about intruders and hearing my spell in jail, wrote all kinds of things coated in skin and some town. 442 00:51:39,170 --> 00:51:44,630 This sentence evokes the bodily metaphor of blood and the threshold of skin this contains 443 00:51:44,630 --> 00:51:50,690 and also reinforces the dangers inherent in the moments of skin rupture and means. 444 00:51:50,690 --> 00:51:55,460 It's a passage from the mother's correspondence written from outside the country. 445 00:51:55,460 --> 00:52:04,310 I had typewriter the copy left behind in her own folded, but unclear as to who it. 446 00:52:04,310 --> 00:52:15,900 The address of the electrical. I'm feel the words in the letter provide the daughter with an imagined script for a conversation between her past. 447 00:52:15,900 --> 00:52:23,480 This body is described as having lost the ability to read with any substance itself as well as its environment. 448 00:52:23,480 --> 00:52:27,820 Over here you have somebody put it into the home. I don't have this. 449 00:52:27,820 --> 00:52:34,810 Disorientation is described as something that has come close to the skin lurking just under the skin and raised. 450 00:52:34,810 --> 00:52:44,860 To pursue this exclusive explosive metaphor in terms of testing is too risky, although they would come close to it when she runs the risk. 451 00:52:44,860 --> 00:52:53,770 My parents took, I meant that we were always on the lookout for that terrible event, which would break through the front door of everyday life. 452 00:52:53,770 --> 00:53:02,740 Instead, one can read that metaphor as one that describes the ethical reading, editing, mentoring and archiving practises and protocols, 453 00:53:02,740 --> 00:53:13,150 including over going over the lines and retesting and editing the events and the documents that we think we already have like. 454 00:53:13,150 --> 00:53:18,700 This picture was taken in prison. I think everyone. 455 00:53:18,700 --> 00:53:34,012 Thank you. Good question.