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Much of the South African poet Breyten Breytenbach's work has been concerned with borders. In this article I examine borders and creolization in three important poems from Nine landscapes of our time bequeathed to a beloved (Nege landskappe bemaak aan 'n beminde, 1993), Paper flower (Papierblom, 2002) and The wind-catcher (Die windvanger, 2007). The link between creolization and boundaries is the poet's conception of identity and freedom. As is often the case the boundaries of the self are questioned as the poet permutates the central concepts. Crossing boundaries entails entering into dialogue not only with the self but also with the mother tongue itself and with a variety of other artists and writers. In other words, in Breytenbach's work an abrogation and appropriation of the own tradition ("erfgoed") as well as of material from others, other places and other traditions occur. In these three case studies in particular it is clear how the poet stretches and deforms boundaries as part of his poetic project to concretize a dynamic freedom.

In a region that is traditionally considered to be transnational, Nordic cinema has often posed as the prime case for a transnational cinema. The paper contests this notion of Nordic transnationality by analysing two films that depict two Russian women travelling to Sweden. Interdevochka/Intergirl (Todorovski, 1989, USSR) and Lilya-4-ever (Moodysson, 2004, Sweden) challenge the inclusiveness of the region and make explicit the fact that Russian identities are not part of the homogenous mixture of the region. Instead, Russian identities of cross-border prostitution are cinematically subjected to rejection and victimisation. This paper examines how Lilya-4-ever adheres to a European anxiety narrative by performing a Russian return narrative and how Interdevochka/Intergirl portrays ‘the fallen soviet woman’ by travelling to Sweden. These cinematic representations of the female Russian identity travelling to Sweden differ from each national context, but by probing into a comparative analysis the paper will reveal that both films need the Other to narrate these stories of transnational labour migration.