lives than perplexities and anger aboutwhat has befallen a once idealistic liberation culture, Steve – awhitemanmarried to anAfricanwoman, both being ex-struggle participants – grasps at sex in a one-night stand while at a conference in England, and discussion remains at the level of news-paper reportage on the end of political idealism. If spirituality is present, it is by an inversion of presencing: the time of the present in South Africa suggests a spiritual wasteland! But, then, the journeys in Gordimer’s fiction from the public to the private, or, indeed – as in The House Gun – to integrate sexuality with spirituality, have not been without their own struggles. The artist, Gordimer might say, does not avoid complexity. For Nadine Gordimer, as for all of us, to touch the spiritual amid themateriality of life is an ongoing and testing experience. Benjamin’s metaphor, after all, was that of a ragpicker! References

DOI link for lives than perplexities and anger aboutwhat has befallen a once idealistic liberation culture, Steve – awhitemanmarried to anAfricanwoman, both being ex-struggle participants – grasps at sex in a one-night stand while at a conference in England, and discussion remains at the level of news-paper reportage on the end of political idealism. If spirituality is present, it is by an inversion of presencing: the time of the present in South Africa suggests a spiritual wasteland! But, then, the journeys in Gordimer’s fiction from the public to the private, or, indeed – as in The House Gun – to integrate sexuality with spirituality, have not been without their own struggles. The artist, Gordimer might say, does not avoid complexity. For Nadine Gordimer, as for all of us, to touch the spiritual amid themateriality of life is an ongoing and testing experience. Benjamin’s metaphor, after all, was that of a ragpicker! References

lives than perplexities and anger aboutwhat has befallen a once idealistic liberation culture, Steve – awhitemanmarried to anAfricanwoman, both being ex-struggle participants – grasps at sex in a one-night stand while at a conference in England, and discussion remains at the level of news-paper reportage on the end of political idealism. If spirituality is present, it is by an inversion of presencing: the time of the present in South Africa suggests a spiritual wasteland! But, then, the journeys in Gordimer’s fiction from the public to the private, or, indeed – as in The House Gun – to integrate sexuality with spirituality, have not been without their own struggles. The artist, Gordimer might say, does not avoid complexity. For Nadine Gordimer, as for all of us, to touch the spiritual amid themateriality of life is an ongoing and testing experience. Benjamin’s metaphor, after all, was that of a ragpicker! References