Acknowledgements
Immeasurable gratitude is due to Jeffrey, without whose love, untiring cheerleading, perfect empathy and uncanny ability to listen I would not be writing this. I look forward to unimagined new adventures together. My affection, respect and gratitude to Pippa Skotnes cannot be stated in words; I have been deeply moved by her examples in scholarship, artistic practice, supervision, collegiality and lionhearted humanity. I am profoundly indebted to Carolyn Hamilton for the impeccable insights and incisive commentary with which she shaped my thinking. I am so grateful for the innumerable conversations and opportunities to meander with Bridget Simons, and for her help with the editing of this document. Likewise, for her help with this text and the many, many other ways she supported me, I wish to thank Josephine Grindrod. For being there from the start, always fighting in my corner and being forever ready with advice and insights, I offer my heartfelt thanks to Terry Adams. My love to Max and Kafka. Although neither of you remain with me, you both have been my most constant and intimate companions over the time taken to write this text. Thank you to Myra Miller, who patiently listened to years’ worth of thought and prevarication and helped me forward every time. The Centre for Curating the Archive and its staff at UCT supported my work in myriad ways, and for this I am truly grateful. My ideas have been enriched in their development by the Archive and Public Culture initiative and its participants. Thank you to all my friends and colleagues at Michaelis, for their patience and flexibility, which afforded me the opportunity to pursue this work. A special word of thanks to Andrew Putter for permission to reproduce his work Secretly I Will Love You More, Hybré van Niekerk for her information on the source of the photograph that has been erroneously used as an image of Krotoa, and Dieuwke-Jean Linee for permission to print the portrait she made in its stead, titled Krotoa Reimagined. After the examination of my PhD thesis, on which this book is based, I was tremendously fortunate to join the Worlding Public Cultures project in the Netherlands to, in part, continue the work I had begun in my studies. To my WPC colleagues—who have become my friends—especially Nuraini Juliastuti, Chiara de Cesari and Wayne Modest, my deepest gratitude for helping me to find ways in which to walk the anarchive into the world. Additionally, due to Wayne’s generous invitation, I was offered the opportunity to join the Research Centre for Material Culture at the Wereldmuseum. I wish to thank my colleagues from the RCMC for their support and companionship during the revising of this text. Lastly, an enormous word of thanks to Christa-Maria Lerm-Hayes for affording me the opportunity of bringing my work to a wider (and a European) audience. Mia, your intellectual hospitality and generosity in times of great alienation and doubt will never be forgotten.
