No abstract

This essay examines how the disappointment of ex-resistance fighters can illuminate the grey zone of founding—the ambiguity of beginning anew against the background of systemic violence that eludes the predominant linear visions of transition. For a theoretical framework, I draw on Hannah Arendt’s insights into the ambiguity of beginning anew as a practice of attunement that takes oppressive practices as points of departure for democratizing political action. I explore how the ex-resisters’ stories of disappointment can invigorate this practice, focusing on their ability to reorient political action towards reframing unjust relationships in a way that guards against systematic exclusions in the future. This essay demonstrates the political relevance of disappointment on the example of a South African ex-resister’s memoir, Pregs Govender’s Love and Courage. Govender’s narrative discloses how experiences of disappointment can orient the ex-resisters’ efforts to confront the complexities of founding obscured from the official story.

The article examines the political challenge and significance of forgiveness as an indispensable response to the inherently imperfect and tragic nature of political life through the lens of the existential, narrative-inspired judging sensibility. While the political significance of forgiveness has been broadly recognized in transitional justice and reconciliation contexts, the question of its importance and appropriateness in the wake of grave injustice and suffering has commonly been approached through constructing a self-centred, rule-based framework, defining forgiveness in terms of a moral duty or virtue. Reliant on a set of prefabricated moral standards, however, this approach risks abstracting from the historical, situated condition of human political existence and thus arguably stands at a remove from the very quandaries and imperfections of the political world, which it purports to address. Against this background, this article draws on Albert Camus’s and Hannah Arendt’s aesthetic, worldly judging sensibility and its ability to kindle the process of coming to terms with the absurd, and perhaps unforgivable character of reality after evil. As an aptitude to engage the world in its particularity, plurality and contingency rather than seeking to subdue and tame it under prefabricated standards of thought, namely, worldly judgement is able to reveal how past tragedies have arisen from the ambiguity of human engagement in the world and thereby also elicit the distinctly human capacities of beginning anew and resisting such actions in the future. As such, I suggest, it is well-suited to bring into clearer focus and confront the main political challenge and significance of forgiveness: how to acknowledge the seriousness of the wrongs committed, yet also enable the possibility of a new beginning and restore among former enemies the sense of responsibility for the shared world.

The article contributes to current theoretical debates about the political significance of narrative imagination by drawing on Albert Camus's and Hannah Arendt's existentially-grounded aesthetic judging sensibility. It seeks to displace the prevalent tendency to probe literature for its moral-philosophical insights, and instead delves into the experiential reality of our engagement with literary works. It starts from Martha Nussbaum's recognition of the literary ability to account for the fragility of human affairs, yet finds her reduction of narrative imagination to the role of furthering moral lessons wanting politically. Against this background, the article reclaims Camus's and Arendt's dialogical-representative judging orientation and its insight into the narrative ability to respond to the intersubjective character of political action. As such, their aesthetic sensibility reveals the potential political significance of literary imagination in its capacity to open a public space where the contradictions of our situated existence can be confronted through politics between plural equals.

The article engages the grey zone of violent resistance-the morally ambiguous situations facing liberation activists that have generally fallen outside the grasp of transitional justice scholarship. For this purpose, it draws on Albert Camus's artistic sensibility, reconstructing how his artistic appeal to the limits of rebellion can tackle the difficulty of judging violent resistance. The article demonstrates the relevance of Camus's artistic sensibility on the case of the armed anti-apartheid struggle. It analyses two South African novels, Afrika's The Innocents and Wicomb's David's Story, in an attempt to show how their literary insights can enrich the official vision of reconciliation as propounded by the Truth and Reconciliation Commission.