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Additional info for Alan Paton's Cry, the Beloved Country; New Edition (Bloom's Modern Critical Interpretations)
Indeed, he cannot; his ideology prevents him from doing so. Through his liberalism and Christianity which demand that people be judged as ends in themselves and not as means, and according to their moral worth and integrity rather than their practical usefulness, he can conveniently dispose of this antagonism. Thus John Kumalo’s moral corruption is emphasized to the extent that his actual political worth, the substantial accuracy of his many brief analyses, are ultimately ignored and glossed over: “—Perhaps we should thank God he is corrupt, said Msimangu solemnly.
Twice during the war the workers of Alexandra had defeated the attempts of a bus company to raise fares by walking the twenty miles to and from work each day . . ’, E. A. , 1957), 756–7. 9. Alan Paton, Apartheid and the Archbishop: The Life and Times of Geoffrey Clayton, Archbishop of Cape Town (Cape Town, Philip, 1973), 143. 10. Cry the Beloved Country, Bk I, ch. viii, 39–40. 11. I suspect that the reason Paton says ‘twenty or twenty-two’ in the first and not simply ‘twenty-two’ as he does in the novel is that he used Walker’s History when he came to write the later account; Walker appears frequently in the bibliography to Apartheid and the Archbishop.
Roux, Time Longer than Rope, 319. 14. Ibid. 15. Other ‘choric’ examples occur in Bk I, ch. ii, xii; and Bk II, ch. v, vi and ix. 16. , Bk I, ch. ix, 48. 17. , 52. 18. , 52–3. 19. Roux, Time Longer than Rope, 322–3. 20. , 323. 21. It is worth noting that, in the novel, Dubula organizes both the Bus Boycott and the building of Shanty Town. In fact, they were two different men; Gaur Radebe and Sofazonke Mpanza respectively. Another example of artistic distortion. 22. Cry, the Beloved Country, Bk I, ch.
Alan Paton's Cry, the Beloved Country; New Edition (Bloom's Modern Critical Interpretations) by Harold Bloom (ed)