Post-World War II
Although World War II had ended several years prior, its impact still lingered in the minds of people worldwide by 1948. Nations directly affected by the war were still in the process of economic recovery. To aid in the reconstruction of Europe, the United States Congress approved the 1947 Marshall Plan. Concurrently, tensions between the Soviet Union and the United States were escalating into what Bernard Baruch, an advisor to President Truman, termed the "Cold War." This conflict's initial act occurred where World War II had concluded, with Soviet forces initiating a blockade of Berlin on June 24, 1948. In response, the United States and Britain launched a massive airlift, delivering 4,500 tons of food and supplies daily until the Soviets lifted the blockade on September 30, 1949. Domestically, the "Cold War" spurred political paranoia, leading to the establishment of the "Un-American Activities Committee." This committee was tasked with investigating individuals suspected of Communist ties. The most notable case in 1948 involved Alger Hiss, a case that remains contentious despite Hiss's death and Moscow's assertion that he was never a spy.

As the two superpowers embarked on an arms race, many British colonies began to fight for their independence. India achieved independence with the guidance of Mahatma Gandhi, who had once lived and been imprisoned in South Africa. In 1948, Gandhi was assassinated by individuals opposed to his acceptance of the partition with Pakistan. Other nations that gained independence during this period included Burma and Israel.

Apartheid in South Africa
South Africa was established in 1910 when the former British colonies of Natal and Cape merged with the republics of Transvaal and the Orange Free State. Around this time, the descendants of early Dutch-speaking settlers began identifying as Afrikaners, referring to their language as Afrikaans, and aligning with the Afrikaner Nationalist Party. Another significant demographic in 1910 was the African population, which outnumbered the white settlers. This group was predominantly tribal in their political organization and lived in rural areas. However, a demographic shift was underway, reflecting global trends of migration from rural communities to urban centers. In South Africa, this shift was largely driven by the rapid expansion of mining and industry, particularly towards Johannesburg, a burgeoning city built upon gold fields discovered in 1886.

The Afrikaner Nationalists governed South Africa from 1924 until 1939. In that year, the liberal policies advocated by figures like Jan H. Hofmeyr gained prominence, instilling hope that South Africa might become a more fair and just society. When World War II broke out, South Africa allied with the Allies against Germany. Post-war, there was a significant migration of Africans into urban areas, particularly Johannesburg. Alan Paton's novel Cry, the Beloved Country is set during this post-World War II period. The novel highlights the dual realities of South Africa in 1945. On one side, Africans were striving to survive in shantytowns or in rural areas with depleted soil. Meanwhile, white individuals like Arthur Jarvis were beginning to recognize the issues caused by inequality and were joining forces with other whites to improve conditions for the native population. On the other side, the influx of people and rising crime rates in the cities led to a sense of paranoia among the enfranchised citizens. Consequently, in the 1948 election, following Hofmeyr's death, the Afrikaner Nationalists regained power with promises to restore order.

In 1948, the Afrikaner Nationalists established a government system known as apartheid. This system was akin to Jim Crow laws in the United States, which discriminated against African Americans. However, a critical difference was that apartheid was a national policy that legally enforced racial discrimination. Under this regime, native Africans were confined to designated areas and required to carry "passes" and identity documents at all times. Failure to produce these documents to an official could result in imprisonment or fines. These passes dictated where individuals could travel. The overarching goal of apartheid was to maintain a controlled workforce of nonwhite people under South African rule. Consequently, they suppressed any form of dissent or organization into labor unions or political parties, imprisoning leaders like Nelson Mandela and Steven Biko for state crimes. Recently, Nelson Mandela was released from prison, resumed his role as the head of the African National Congress, and was elected President of South Africa. In 1996, he signed a new constitution for the Republic of South Africa.

Point of View
Paton narrates his story as if it were a dream. The opening phrase, "There is," suggests the events are unfolding in the present, although they are not. Using the present tense gives the story a sense of remoteness while making it feel possible. The narrative is in the third person, but the narrator is not omniscient—providing only the necessary information or what would realistically be known in the context. Consequently, readers never gain deep insights into the characters, only observing their actions within the storyline. The language used is reminiscent of Biblical text, with simple prose interspersed with religious undertones and references. This stylistic choice is influenced by the main characters being Anglican clergymen and because South Africa, as a Christian nation, might best understand itself through a parable-like narrative. This perspective adds significance to Arthur Jarvis's comments and contributes to the novel's complex self-reflection. The novel is conscious of its nature as a story told from afar about African affairs. This physical and narrative distance is crucial to the point of view; while it is a third-person narrative, it is written from a location far removed from the events described. Cry, the Beloved Country gained popularity internationally before it became well-known in its home country.

Dialect
The novel's diction is influenced by the Zulu and Xhosa languages, unsurprising given its setting among peoples colonized by English speakers. Unique phrases from these languages are translated into English, creating a beautiful yet archaic sound. For instance, mature women are addressed as "mother," and farewells include phrases like "go well, stay well," or simply "stay well." Today, this prose style may seem outdated. Critics in the 1940s also found Paton's style somewhat old-fashioned and sentimental. Another example of native-influenced syntax is the repetition of simple words: "This thing, he said. This thing. Here in my heart there is nothing but fear. Fear, fear, fear." This use of local dialect reflects the author's effort to capture emotion. Effectively conveying emotion in words requires simplicity, repetition, and concise dialogue between characters. Thus, rather than appearing patronizing, Paton achieves emotional depth by maintaining simplicity and incorporating local expressions.

Apostrophe, Aphorism, and Parallelism
Paton's writing bears a strong resemblance to the style often found in Hebrew poetry. Because of this, Cry, the Beloved Country is frequently described as quasi-Biblical. Three rhetorical devices shared by both the Bible and Paton's novel are apostrophe, aphorism, and parallelism. An example of apostrophe can be found in the title, which is derived from a passage within the text. This technique involves directly addressing an inanimate object for sympathy or assistance. The passage begins, "Cry, the Beloved Country for the unborn child," suggesting that the country is being implored to show mercy toward the future.

The second device is aphorism, which involves the use of a concise, wise saying. This technique is often utilized in the speech of Msimangu. For instance, "It suited the white man to break the tribe ... but it has not suited him to build something in the place of what is broken." Another example is, "It is fear that rules this land." Through these statements, Msimangu shares wisdom he has gained from careful reflection.

The third technique is parallelism, which appears when Msimangu delivers a sermon in chapter thirteen and the narrator attempts to describe his extraordinary voice. The narrator conveys this through parallelism, relating Msimangu's voice to various objects instead of defining it directly: "For the voice was of gold, and the voice had love for the words it was reading. The voice shook and beat and trembled, not as the voice of an old man shakes and beats and trembles, but as a deep hollow bell when struck...." Parallelism connects descriptive phrases in a series to enhance and amplify the impression of the object being described. Through these serial phrases, the narrator enriches the power of the voice by suggesting what else the voice does or resembles. The voice is compared to valuable things like "gold" and "love," leading the reader to independently appreciate the voice's magnificence, in parallel with Kumalo.

Dramatic Irony
Dramatic irony is a moment of heightened drama that occurs when at least one character lacks information that the reader possesses. Paton skillfully employs this technique in chapter twenty-five when Kumalo and Jarvis meet by chance. Jarvis is unaware of the black clergyman's identity. The two fathers encounter each other at Barbara Smith's on a day when the court is not in session. Kumalo is searching for Sibeko's daughter, who was rumored to have worked there. During this errand, Stephen encounters the father of his son's victim. However, Jarvis sees only a poor, old, black clergyman. This encounter is highly charged for the reader and Stephen precisely because one participant is unaware of the other's identity.

Cry, the Beloved Country unfolds in two main settings: the rural village of Ndotsheni and the bustling city of Johannesburg. The dichotomy between these locales highlights the stark contrasts between traditional rural life and the complexities of urban existence. Set in the mid-twentieth century, the narrative captures a pivotal era in South African history, just before apartheid became entrenched as official policy.

Ndotsheni: A Portrait of Rural Life

Ndotsheni, the home of protagonist Stephen Kumalo, is emblematic of the serene yet struggling rural communities of South Africa during this period. Life here is simple and deeply rooted in tradition, offering a sense of unity and continuity among its residents. However, the village faces numerous hardships, such as drought and poverty, which threaten its very survival and drive many young people to seek opportunities elsewhere.

Despite these challenges, Ndotsheni is portrayed as a place of spiritual strength and cultural heritage. It embodies the warmth of familial ties and the richness of community life, sustaining its people through adversity. Kumalo's journey from this village to Johannesburg and back underscores the powerful pull of home and the enduring importance of one's roots.

Johannesburg: The Urban Experience

In stark contrast to Ndotsheni, Johannesburg is depicted as a sprawling metropolis rife with both opportunities and perils. It represents the modern world with its vibrant hustle and bustle, but also its moral and social decay. The city is a magnet for those seeking employment and a better life, yet it is also where many find themselves lost amidst its chaos.

Stephen Kumalo's experience in Johannesburg serves as a narrative vehicle to explore the alienation and fragmentation that can accompany urban life. Here, family bonds are tested, and individuals are often engulfed by the city's overwhelming scale and impersonal nature. The city serves as a microcosm of the broader societal changes occurring in South Africa, a place where traditional values are frequently at odds with the demands of modern urban living.

The Socio-Political Backdrop

The time period in which the novel is set is crucial to understanding its themes and characters. Written between 1945 and 1948, Cry, the Beloved Country captures South Africa on the cusp of institutionalized apartheid. The novel's settings reflect the simmering tensions and disparities that apartheid would later crystallize into law.

During this era, racial segregation was already deeply embedded in South African society, though not yet formalized as apartheid. The novel poignantly illustrates how these divisions impact both rural and urban contexts, revealing the pervasive inequalities and injustices faced by black South Africans. By contrasting the idyllic yet precarious life in Ndotsheni with the harsh realities of Johannesburg, the author offers a powerful commentary on the socio-political landscape that would soon define the nation.

Interconnection of Settings

The interplay between Ndotsheni and Johannesburg is central to the novel's narrative arc. Kumalo's journey from his village to the city mirrors the migration of countless South Africans during this period, driven by necessity rather than choice. This movement underscores the tension between maintaining one's cultural identity and adapting to new environments.

Through this duality of settings, the novel explores themes of displacement, resilience, and hope. It invites readers to consider the impact of setting on individual destinies and to reflect on the broader societal currents that shape our lives. The contrasting worlds of Ndotsheni and Johannesburg serve not only as backdrops but as dynamic characters in their own right, each influencing the story's progression in meaningful ways.

The style of "Cry, the Beloved Country" is both distinctive and unique. Its diction, symbolism, and imagery seamlessly blend with the Biblical language in which the novel is crafted. The language is straightforward, featuring uncomplicated sentences, and is heavily influenced by Biblical themes, reflecting the protagonist, Stephen Kumalo, a humble village parson. Kumalo, who is not a deeply philosophical character, received his education at a missionary school where the focus was on the Bible and the basics of reading, writing, and arithmetic. Paton also incorporates Zulu and Afrikaans words to emphasize the South African setting. The author thoughtfully includes a glossary for the non-English terms used in the novel. The dialogue in "Cry, the Beloved Country" is highly realistic, typographically distinct, and captures the linguistic and social nuances of the various ethnic groups within the story. Whenever characters, particularly Kumalo, grapple with profound questions or issues requiring divine intervention, the author frequently employs rhetorical questions.

The symbolic elements in the novel are immensely important. The titihoya bird symbolizes the rigid, artificial political divisions in the country. It sings in High Place, the estate of James Jarvis where the land is prosperous, and resources are plentiful. Conversely, the bird is silent in the valley of Ndotsheni, where the black population is deprived of even their basic dignity. Critics have noted that the titihoya cannot sing in this area plagued by exploitation, decay, indifference, ignorance, fear, hatred, and brutality, where agricultural practices are outdated.

The drought at the novel's conclusion, along with the desperate need for rain and water, echoes T. S. Eliot's "The Wasteland" (1922), where water and rain symbolize birth, purification, and love. Here, the absence of rain is both a physical and spiritual death sentence for the valley's inhabitants. The use of Biblical names such as Absalom, Stephen, Peter, and John further enhances the novel's symbolic depth. The name Absalom evokes the disobedience of King David's son, who met a tragic end for betraying his father. Similarly, Absalom causes immense suffering and heartbreak for his elderly father, Stephen Kumalo, mirroring the anguish experienced by St. Stephen, the first Christian martyr.

Absalom Kumalo wishes to name his son Peter, in honor of St. Peter, the rock and founder of the Christian Church. Thus, Peter Kumalo symbolizes the foundation of a new lineage, representing redemption, hope, and restoration. John Kumalo, akin to John the Baptist, seeks a new order of economic justice for the black community. In this regard, he parallels John the Baptist, who heralded the coming of Jesus Christ.

The novel's structure, divided into three parts—Book 1: The Search, Book 2: Trial and Reconciliation, and Book 3: Restoration—mirrors the social divisions and barriers in South Africa.

Paton employs a series of coincidences as a narrative technique, although these sometimes feel forced or artificial. For instance, Arthur Jarvis's son attends a Johannesburg school called St. Marks, the same name as Kumalo's parish. Stephen Kumalo and James Jarvis coincidentally meet in Springs, an East Rand town, at Barbara Smith's house while Kumalo is searching for Sibeko's missing daughter. In Book Three, just as the Bishop considers transferring Stephen Kumalo to Pietermaritzburg to work with Father Ntombela (due to the scandal caused by Absalom and the proximity of the Jarvis family), Jarvis's letter of reconciliation and support arrives. Additionally, James Jarvis pledges to construct a new church in the valley. The Bishop then changes his mind, telling Stephen Kumalo, "I see it is not God's will that you should leave Ndotsheni." Irony and sarcasm are prevalent throughout the novel, particularly in chapter 23. A notable example is Stephen Kumalo's son killing Arthur Jarvis, a champion of native causes, thereby making Arthur a victim of the very issues he fought for.

Arthur Trevelyan Jarvis is never physically present in the novel. His life philosophy, contributions to native causes, and practical efforts to aid the underprivileged are revealed through his manuscripts, letters, artifacts, and library. The inclusion of diaries and manuscripts as part of the narrative is characteristic of Alan Paton's style and is notably used again in Too Late the Phalarope (1952).

The point of view in Cry, the Beloved Country warrants further examination to fully grasp the author's themes. The omniscient narrator reveals the thoughts and actions of the protagonist, as well as those of other characters. However, a parallel narrative emerges through the manuscripts and letters of the late Arthur Jarvis, brought to life by his father's reading. Interior monologues, especially during Stephen Kumalo's prayers, appear frequently. An intriguing aspect of this technique is "authorial intrusion," where the author inserts his own thoughts or opinions into the text. The most prominent example in Cry, the Beloved Country occurs during the prison scene, where Stephen Kumalo questions Absalom about his relationship with Johannes Pafuri and Matthew Kumalo. A voice suddenly interrupts, advising Stephen Kumalo, "Old man, leave him alone. You lead him and then we spring upon him. He looks at you sullenly, soon he will not answer at all."

Cry, the Beloved Country's unique style features diction and symbolism that enhance the religious simplicity of the protagonist, Stephen Kumalo. Kumalo, a humble village parson, is not a deeply philosophical character. His education at a missionary school focused almost exclusively on the Bible.

There is a beautiful road that stretches from Ixopo into the hills. These hills are covered in grass and roll gently, beyond any description.
The text includes a sprinkling of Zulu and Afrikaans words that highlight the South African setting, and Paton provides a glossary for non-English terms. The realistic dialogue captures the speech patterns of the various ethnic groups depicted in the novel.

The novel's symbolic elements illuminate its themes and characters. The behavior of the titihoya bird symbolizes the rigid, artificial political divisions in the country. The titihoya sings in High Place, James Jarvis's homestead where the land is fertile and resources are plentiful. In stark contrast, the bird cannot sing in the valley of Ndotsheni, where the black population lives in dire poverty and faces exploitation and brutality.

The use of biblical names such as Absalom, Stephen, and Peter also carries symbolic weight. The name Absalom evokes the disobedience of the biblical Absalom, who meets a tragic end for rebelling against his father. Stephen Kumalo's name recalls St. Stephen, the first Christian martyr. Absalom Kumalo wishes to name his son Peter, in the tradition of St. Peter, the rock and founder of the Christian church. This suggests that Peter Kumalo is to be seen as the foundation of a new dynasty, with the potential for redemption and renewal.

Paton uses irony and sarcasm throughout the novel to highlight the evils and hypocrisies of a society tainted by apartheid. For example, the Bishop decides to transfer Stephen Kumalo from Ndotsheni because of his son's crime; only a letter from the influential white man, Mr. Jarvis, prevents this injustice. When the Bishop quickly changes his mind, stating "I see it is not God's will that you should leave Ndotsheni," Paton ironically demonstrates that in South Africa, God's will and the white man's will are often indistinguishable. Another instance of irony is that Arthur Jarvis, a champion of native causes, becomes a victim of the very people he advocates for.

Apartheid, the system of racial segregation in South Africa, is a central social issue in this novel. This segregation impacts every aspect of South African life, including its people, economy, geography, history, social conditions, and educational opportunities. It is the fundamental element that supports the themes and concerns of Cry, the Beloved Country. Paton's nuanced approach to this issue has left a lasting mark on South African literature, influencing writers like J. M. Coetzee, Nadine Gordimer, and Peter Abrahams. The protest against such injustice has given modern South African literature its distinct character today.

Another significant social concern in the novel is juvenile delinquency, murder, and crime. The related social problems of urban migration, such as prostitution, immorality, bribery, and corruption, are also highlighted. The novel examines urban decay and the rise of squatter shanties.

Education is portrayed as a remedy for crime and its associated social evils. The narrative also addresses important issues like strikes and their economic impact, soil erosion, bilingualism, immigration challenges, and trade unionism.

Additional Commentary

Apartheid is the novel's primary social issue. Paton's subtle and empathetic treatment of this topic established a tradition in South African literature that is reflected in the works of J. M. Coetzee and Nadine Gordimer. Absalom Kumalo's murder of Arthur Jarvis does not diminish readers' sympathy for those oppressed by apartheid; instead, it highlights the complex evils generated by such oppression. Readers will likely compare the social climate in South Africa as described by Paton with the ongoing struggle for equality faced by South African blacks.

Given that the main character is an Anglican priest, the novel naturally addresses religion. The narrative underscores the irony that the only education available to Stephen Kumalo was extensive Bible study from Anglican missionaries—whites who introduced to South African blacks the religion of their oppressors, and whose apartheid system contradicts Christian principles. Rather than advocating a specific dogma, Paton promotes religious ideals of love and forgiveness as essential components for resolving South Africa's racial divisions.

1948: After winning the national election, the National Party implements apartheid, formally segregating the black majority from the white minority.

Today: After spending twenty-seven years in prison, Nelson Mandela is inaugurated as the President of South Africa in 1994. In 1996, he signs the new Constitution, which ensures equal legal treatment for all citizens, regardless of race.

1948: Opponents of Apartheid policies find hope for a better future by singing Nkosi Sikelel' iAfrika.

Today: The song of hope, Nkosi Sikelel' iAfrika, is now the national anthem of South Africa.

1948: The British Empire is disintegrating as former colonies gain independence.

Today: The Soviet Union has dissolved, and its republics have proclaimed independence.

As a protest novel, Cry, the Beloved Country was heavily influenced by John Steinbeck's The Grapes of Wrath (1939), and the two novels share several similarities. The genre of the protest novel dates back to the eighteenth century when Samuel Richardson wrote Pamela (1740), using the novel to critique many societal issues of his time. Other potential influences include Richard Henry Dana's Two Years Before the Mast (1869), Upton Sinclair's The Jungle (1906), and even Charles Dickens, who was Paton's favorite author during his teenage years.

In the South African context, Cry, the Beloved Country established a tradition as a protest novel. While William Plomer's Turbott Wolfe, published in 1925 by Hogarth Press, is also a protest novel, it does not quite fit into the category of modern South African literature. Paton's work paved the way for a significant body of South African protest literature written by authors of all races, focusing on apartheid as a political system. The novel's influence has left a lasting legacy in South Africa, inspiring writers to use fiction, drama, poetry, and the novel to challenge the political system. In this regard, Paton can be seen as the father of the modern South African protest novel. Writers such as Nadine Gordimer, Athol Fugard, Peter Abrahams, Alex La Guma, J. M. Coetzee, Andre Brink, Dennis Brutus, and Adam Small have all followed in Paton's footsteps.

Paton's novels primarily address the issues in South Africa, particularly the injustices of apartheid. He highlights the social and economic wrongs of the system and advocates for its abolition. Cry, the Beloved Country focuses specifically on the struggles of black South Africans, while Too Late the Phalarope explores the lives of Afrikaners, who are descendants of the original Dutch settlers. His collection of short stories, Tales from a Troubled Land, delves into the experiences of South Africa's "colored" (mixed race) population, with notable stories like "Life for Life" and "Debbie Go Home."

Cry, the Beloved Country was adapted into a stage musical titled Lost in the Stars. With lyrics by Maxwell Anderson and music by Kurt Weill, the musical premiered on Broadway on October 30, 1949, and enjoyed a long, successful run. An opera adaptation was performed by the New York City Opera Company in the spring of 1950. The American Film Theatre later produced a film version of the musical in 1974, directed by Daniel Mann. The movie is particularly notable for Brock Peters's compelling portrayal of Stephen Kumalo.

The novel Cry, the Beloved Country was also turned into a critically acclaimed British film, partially shot on location in South Africa, and released in 1951. Paton contributed as a consultant and writer. Directed by Zoltan Korda, with cinematography by Robert Krasker, the film starred Canada Lee as Stephen Kumalo and Sidney Poitier as Msimangu. Charles Carson played James Jarvis. Another adaptation, Felicia Komai's Cry, the Beloved Country: A Verse Drama, premiered at the Church of St. Martin-in-the-Fields in London in February 1954.

Paton, together with Robert Yale Libatt, adapted Too Late the Phalarope into a drama that was staged in New York in 1956. Additionally, in 1965, Paton's short story "Sponono" was adapted for the New York stage with the assistance of Krishna Shah.

In 1951, Alan Paton and Zoltan Korda collaborated with London Films to produce a movie adaptation of Cry, the Beloved Country. Featuring Sidney Poitier, this film was recently made available on video by Monterey Home Video.

In 1994, Blackstone Audio Books released an audiobook version of Cry, the Beloved Country on cassette.

In 1995, Miramax created a new film adaptation of Cry, the Beloved Country, starring James Earl Jones and Richard Harris. This version was directed by Darrell James Roodt and produced by Anant Singh.

Biko, Steve. Black Consciousness in South Africa. Edited by Millard Arnold. New York: Random House, 1979. This book explores the racial dynamics in South Africa, written by a black South African leader of the anti-apartheid movement who ultimately died while in police custody.

Callan, Edward. Alan Paton. New York: Twayne, 1982. A fundamental biographical and critical analysis.

La Guma, Alex, ed. Apartheid: A Collection of Writings on South African Racism. New York: Lippincott, 1965. An accessible and concise compilation of essays by authors, primarily South Africans, who have directly experienced apartheid. This collection includes Brian Bunting's article "The Origins of Apartheid."

Sources
Sheridan Baker, "Paton's Beloved Country and the Morality of Geography," in College English, Vol. 19, November 1957, pp. 56-61.

Edwin Bruell, "Keen Scalpel on Racial Ills," in English Journal, Vol. 53, December 1964, pp. 658-61.

Edward Callan, Cry, the Beloved Country: A Novel of South Africa, Twayne, 1991.

Edmund Fuller, Man in Modern Fiction: Some Minority Opinions on Contemporary American Writing, Random House, 1958, p. 40.

Harry A. Gailey, "Sheridan Baker's 'Paton's Beloved Country,'" in College English, Vol. 20, December 1958, pp. 143-44.

Harold C. Gardiner, In All Conscience: Reflections on Books and Culture, Hanover House, 1959, pp. 108-12.

Myron Matlaw, review of Cry, the Beloved Country in Arcadia, Vol. 10, No. 3, 1975.

Martin Tucker, Africa in Modern Literature: A Survey of Contemporary Writing in English, Ungar, 1967.

For Further Study
Graham Hough, "Doomed," in London Review of Books, December 3-16, 1981, pp. 16-17.
Instead of commending the novel for its political significance, this critic reaffirms the reason why it is considered a classic. It tells the tale of an individual struggling to comprehend the complexities of life in a blatantly unjust, racist society.

Tom McGurk, "Paton's Nightmare Came True," in New Statesman, Vol. 115, No. 2977, April 15, 1988, pp. 7-8.
Written at a time when conditions in South Africa were dire, McGurk believes that Paton's novel predicted the intensifying racial oppression under Apartheid. He also discusses the novel's inclusion in school curricula, though he does not regard this as the hopeful sign it would later become.

William Minter, "Moderate to a Fault?" in New York Times Book Review, November 20, 1988, p. 36.
In this piece, Minter explores the theme of justice in Paton's novels and his personal life.

Herbert Mitgang, "Alan Paton, Author and Apartheid Foe, Dies of Cancer at 85," in New York Times, April 12, 1988, pp. A1, D35.
This obituary by Mitgang details the milestones of Paton's life as an author, educator, and political activist.