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Peter Balakian is a renowned poet, scholar, and memoirist; but his work as an essayist often prefigures and illuminates all three. "I think of vise and shadow as two dimensions of the lyric (literary and visual) imagination," he writes in the preface to this collection, which brings together essayistic writings produced over the course of twenty-five years. Vise, "as in grabbing and holding with pressure," but also in the sense of the vise-grip of the imagination, which can yield both clarity and knowledge. Consider the vise-grip of some of the poems of our best lyric poets, how language might be put under pressure "as carbon might be put under pressure to create a diamond." And shadow, the second half of the title: both as noun, "the shaded or darker portion of the picture or view or perspective," "partial illumination and partial darkness"; and as verb, to shadow, "to trail secretly as an inseparable companion" or a "force that follows something with fidelity; to cast a dark light on something—a person, an event, an object, a form in nature."

Vise and Shadow draws into conversation such disparate figures as W. B. Yeats, Hart Crane, Joan Didion, Primo Levi, Robert Rauschenberg, Bob Dylan, Elia Kazan, and Arshile Gorky, revealing how the lyric imagination of these artists grips experience, "shadows history," and "casts its own type of illumination," creating one of the deepest kinds of human knowledge and sober truth. In these elegantly written essays, Balakian offers a fresh way to think about the power of poetry, art, and the lyrical imagination as well as history, trauma, and memory.

In 1978, amidst the aftermath of the Soweto Uprisings and after being held in detention without charge for over a year, a young black woman who had just turned eighteen stepped into the witness box at Kempton Park Circuit Court, northeast of Johannesburg. She was there to testify in the apartheid State’s case against eleven Soweto school student activists, on trial for sedition. She confirmed her name as Mary Masabata Loate. Loate would live with the consequences of this decision to talk for the rest of her short life.

Who spoke about the liberation struggle whilst it was ongoing? When did they speak and how? And what effects do the gendered history of speech and silence within anti-apartheid politics continue to have upon our knowledge of the past? Arguing that she is emblematic of the way gendered narratives of the struggle have been made, this book listens for the voice and silence of Masabata Loate and her contemporaries within political trials; newspapers; photography; human rights reportage; creative fiction, drama, poetry and song; autobiography and memoir; and oral histories. The result is an unconventional biography that sees this young woman as a shadow within the story of South Africa’s anti-apartheid liberation struggle.