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Crocodile Burning, by Michael Williams
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Seraki Mandindi, young man from Soweto, South Africa, learns a life lesson and finds direction when he travels to Broadway with the cast of iSezela.
- Sales Rank: #7345699 in Books
- Published on: 1992-08-06
- Released on: 1992-08-06
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 5.75" w x .75" l,
- Binding: Hardcover
- 208 pages
From Publishers Weekly
Williams intertwines two stories of exploitation in this timely novel set in South Africa and New York City. Throughout his life, Seraki, a South African teenager, has witnessed destruction caused by hatred and violence. By joining the cast of a locally produced musical that exposes the plight of black South Africans, he finds a means to express his fear and pent-up outrage. The play travels to Broadway and Seraki discovers that even in America, the land of opportunity, he cannot escape corruption. While his people continue their fight for independence in their homeland, Seraki and the other actors attempt to free themselves from the control of a manipulative director. This tale, culminating in two separate celebrations of triumph, reveals the effects of oppression on both a psychological and a sociological level. Though Williams's knowledge of dramatics and adolescent perspectives adds authenticity, his occasionally contrived plot comes off as Cinderella-ish, with the protagonist going from rags to riches. Ultimately, this book will have the greatest impact on mature readers who are able to draw parallels between apartheid and the injustices that can prevail in a "free society." Ages 12-up.
Copyright 1992 Reed Business Information, Inc.
From School Library Journal
Grade 7 Up-- Seraki Mandindi lives in Soweto, South Africa. The realities of life for him are stark--his family is poor, his brother Phakane is in police detention, and his relationship with his father is angry. But things change dramatically when he joins the cast of a musical about township life, and the actors go to New York City to play on Broadway. After the independent-minded Seraki gets on the wrong side of a dictatorial producer, he learns that the players have been swindled out of most of their earnings, and he and another cast member provoke a confrontation that results in victory for them all. When Seraki arrives home at the satisfying but perhaps too tidy conclusion, Phakane is there to meet him. The motif of the crocodile is skillfully woven into the plot. The feeling of optimism in South Africa in the heady days of 1990 is reflected in Seraki's sense that anything is possible. The township and its people are powerfully portrayed; by contrast, many of the actors remain unknown to readers. The plot is convincing, with the exception of Seraki's refusal to tell his mother that his imprisoned brother is alive. Good pacing and the first-person, present-tense narrative give the events immediacy. As a novel about the black experience in South Africa, the unpleasant realities of the theatrical world, or a young man learning to look after his own interests in a difficult and demanding world, this is a worthwhile and compelling read. --Susan Giffard, Englewood Public Library, NJ
Copyright 1992 Reed Business Information, Inc.
From Kirkus Reviews
Seraki's Soweto life takes a new direction when, almost by accident, he lands a part in a musical drama. The angry play is called iSezela, after a powerful, menacing crocodile in African myth, symbol of many kinds of oppression. The crocodile haunts Seraki: His brother Phakane is a political prisoner; the Naughty Boys, a gang of urban terrorists, is extorting money from his family; and the play, initially a liberating experience, becomes a nightmarish trap after its wild success in South Africa leads to a Broadway run and the director, Mosake, changes from inspirational leader to violent, exploitative tyrant. The author's theatrical experience stands him in good stead; readers will get a good sense of the work involved in a stage production and the heady feeling when it all comes together. While his lurid, harshly ironic portrait of N.Y.C. is unconvincing, Williams's insider's view of South Africa will open some eyes. The book ends on several hopeful notes: Seraki and the rest of the cast confront Masake, negotiate fairer contracts, and celebrate Nelson Mandela's release and also Phakane's--the crocodile's grip is slipping. ``So many things are happening in this country, Seraki, so many good things!'' (Fiction. 12-15) -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.
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