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Although elements of queer experience exist in Afrikaans poetry since 2002, for example in the work of Hennie Aucamp andMarius Crous, a clear shift from gay to queer experience took place with the publication of Staan in die algemeen nader aan vensters ( “In general, stand close to the windows”, 2008) by Loftus Marais. With specific reference to his poetry, the article demonstrates how the eccentric, marginal and oppositional position of various queer subjects, for instance the female impersonator/drag queen, relates to the destabilization of specific dimensions of normativity: heteronormativity, Cape Town as urban space, gay masculinity, the soul//body binary, Christian faith, the gay sadomasochist and the representation of gay male sex in the poetry of Johann de Lange. These aspects are discussed within a queer theoretical framework with a specific focus on the views of queer theorist David Halperin.

Ulrich Wicks in his Picaresque Narrative, Picaresque Fictions: A Theory and Research Guide (1989) provides the most recent perspective on the total picaresque fictional situation or fiction P. The article will examine the validity of picaresque themes and evaluate these against Andre P. Brink's Inteendeel (1993). The themes examined are disillusionment, freedom, hunger, loneliness and gullibility. Possible weaknesses in Wicks's theoretical overview will be identified, especially when tested against an individual text.

In this article the functioning of parody and pastiche as postmodern strategies in Swart koring [Black Wheat] by Joan Hambidge are investigated. Firstly, the concepts of parody and pastiche within traditional and postmodern theoretical frameworks are discussed to clarify the distinction between these two closely related concepts. Secondly, the ways in which popular culture is undermined through the functioning of parody and pastiche and how this process operates within two specific post-modern manifestations will be explored. These manifestations include the disappearance of boundaries between high and popular literature and the manifestation of mass culture.

The young Afrikaans poet, Ruan Fourie, published his debut volume of poetry, 'n ope brief aan Dorian Gray, in 2017. Fourie's debut received predominantly negative reviews from Afrikaans critics. A review by Afrikaans critic, Tom Gouws, was particularly destructive and transgressed acceptable professional standards. This example of destructive criticism is scrutinized in relation to similar transgressions in Afrikaans book reviews. In addition, a comparable Irish case study and theoretical viewpoints by Van Rees and Janssen are considered to provide a nuanced perspective on current practices in Afrikaans literary criticism. The article also focuses on the responses of Odendaal and Spies to Fourie's poetry to provide a critical and independent opinion on aspects such as publishing decisions, mentorship, manuscript development and editorial mentorship. The last part of the article consists of a substantiated evaluation of 'n ope brief aan Dorian Gray. It is concluded that despite evidence of creative talent, there are too many shortcomings due to questionable editorial mentorship and impetuous publishing decisions.

Koos Prinsloo (1957–1994) was weens verskeie redes ’n omstrede figuur wat ’n aantal literêre grense verskuif het. Hy was ’n Afrikaanse kortverhaalskrywer van eerstes – die eerste om die skeidslyn tussen feit en fiksie radikaal te ondermyn, die eerste om etiese kodes rakende privaatheid, vriendskap en kollegialiteit in sy werk te verontagsaam, die eerste om die donker en brutale kant van homoseksuele identiteit oop te vlek, die eerste om in al sy vorme te wys “… hoe hard die liefde tussen mans moet wees”, die eerste om raak verbande tussen patriargale mag, politieke geweld en seksualiteit te lê en die eerste om vigs as tema in sy werk te ontgin. Oor hierdie en ander vernuwende aspekte in sy werk is reeds in enkele navorsingstudies berig waarvan die belangrikste seker Riana Scheepers se Koos Prinsloo: Die skrywer en sy geskryfdes (1998) is.