Bolt

Bolt was a periodical founded in 1970 and ran until 1975. It was an English language publication focused on South African literature, specifically a range of contemporary literary styles, including poetry, criticism, fiction, and creative non-fiction, and its book reviews section was widely regarded as comprehensive and insightful. Despite being published at the height of the Apartheid era, Bolt had a predominantly apolitical stance choosing to rather focus on literary excellence, featuring works by notable South African writers such as Peter Strauss, Lawrence Lerner, Douglas Livingstone, Oswald Mtshali, Christopher Mann, Ruth Keech, Alan Paton, Fiona Morphet, and George Brendon. In addition to creative works, Bolt also included book reviews by writers such as Wally Serote and James Fenton.

Bolt was a quarterly publication, and its editorial team was made up of a small group of dedicated writers and literary enthusiasts. In terms of its design and layout, Bolt was known for its understated aesthetic, which reflected its focus on literary excellence and its commitment to showcasing the best of South African writing. However, a point was made to have an illustrated cover for each issue, with many notable South African artists of the time contributing to the journal, including Patrick O’Connor, Cliff Bestall, Gavin Younge, and Andrew Verster to name a few.

Based in Durban, the journal was published by the Literary Society at the University of Natal (currently UKZN). Its geography and associated institution contributed to Bolt’s importance in the South African literary scene during the 1970s. Bolt provided a platform for writers to showcase their work and engage with contemporary literary trends and ideas during a period when South Africa was placed under strict sanctions by the international community. The journal’s apolitical stance allowed it to stay under the radar of the Apartheid authorities, and it was unique for the time, as many other publications in South Africa were highly political and often aligned with specific political ideologies, mostly related to the dominant minority white Afrikaner propaganda.

Despite its non-political stance, Bolt played a significant role in the development of South African literature and helped to establish the country’s literary identity at a time when everything was all but bleached out. The apolitical stance also allowed writers to express their views and ideas without fear of censorship or political retribution.

And so, Bolt was a silent agent of change during a time of political and social upheaval, with the apartheid regime tightening its grip on the country at every turn. Despite this, Bolt offered a space for writers to express themselves freely and showcase their work to a wider audience. Bolt’s emphasis on contemporary South African writing, provided a platform for writers to engage with each other and have conversations with the broader literary community. In addition to the writers previously mentioned, Bolt also published works by other notable black South African authors, which was uncommon during the Apartheid era, including Es’kia Mphahlele, Miriam Tlali, and Mongane Wally Serote. The success of Bolt, especially with its inclusion of non-white writers, paved the way for the launch of Staffrider, a literary journal that was published in the aftermath of Bolt’s demise. Staffrider continued the legacy of Bolt, offering a platform for South African writers to share their work and engage with the literary community, and would go on to reach legendary status.

Overall, Bolt was a unique and important publication in the history of South African literature, and its legacy continues to inspire and inform contemporary writers and literary enthusiasts. Despite its limited resources, Bolt had a significant impact on the South African literary scene, and its influence can still be felt today. A full set of Bolt has been included in the Colophon collection.

Words by Shane de Lange