# Ingrid Andersen

Ingrid Andersen (born 1965) is a South African poet. She is also the editor of Incwadi, a South African online journal of poetry and photography.

## Quotes

* We’re living in a time where changing technology challenges us to stay relevant almost on a daily basis.
** Andersen on importance of technology.
* Without a doubt the power the internet gives to the average individual is challenging all sorts of gatekeepers for better or worse. People can now contribute to reporting by means of cellphone photographs/video and the secrets of politicians are now open for all to see through WikiLeaks; but at the same time, one can also read nauseating hate speak, prejudice and uninformed opinion on online fora and news page comment facilities. And, frankly, that open access is a double-edged sword.
** Ingrid on effect of accesss to Internet.
* I was a solitary child who lived in a world of words and music, of imagination and the arts and I felt keenly the vast divide between myself and the children about me. It felt very much as if I’d been absent on the day they gave out the handbook on how to relate to other children and how to be a part of the group. It was only as an adult that I found other people who saw and experienced the world as I do.
** About her childhood.
* The first poem in my childhood notebook was written when I was eleven. It was a poem about the conflict I felt when my cat had slaughtered a bird. I don’t remember much about my writing before then, just that I always escaped into words.
** On what drew her to writing at the age of eleven.
* I remember being read to as a child. I read to my own son every night until he was able to read books for himself. I confess that I enjoyed it as much as he did. I did all the voices.
** On poetry read to her as a child.
* My mother started her Eng Lit studies when I was nine, which continued until she got her doctorate when I was in high school, so our house was filled with literature. Literally. Piles of books and the sound of method actors intoning on vinyl. I grew up saturated in words – I remember everything from Shakespeare, Hopkins and Chaucer to Bosman, Conrad and Plath. Unisa was very tolerant. I’d sit quietly at the back of lectures and seminars and drink it all in. It was a rich childhood.
** Reflecting on her rich childhood.
* The eighties were exciting and challenging times to work in the theatre, particularly at the Market. I worked under Mannie Manim, with John Kani and with Alan Joseph, who is greatly missed. We were pushing the envelope all the time, challenging the government. I worked with Athol Fugard on two productions. He was a very private person with a delicious laugh. I’ll never forget Janet Suzman’s Othello with John Kani and Joanna Weinberg in the lead roles—Across the colour bar, In bed together, Kaal, Sowaar! Imagine! The Market staff could swear that throughout the run, security police got to see a lot of Shakespeare. Which was a good thing.
* Festival time in Grahamstown is always reunion time—I see many of the actors I used to work with. I saw Janet Suzman this year, and I see Mannie Manim from time to time. Every year I see Mandie van der Spuy, who headed Drama at PACT when I was there and now manages Standard Bank’s jazz sponsorship. And of course, I see Lynnie Marais very often in Grahamstown—she moved from PACT to the Monument to head up the festival many years ago.
** Revisiting her memorable experience in theatre publicity and community connections.
* What I really appreciate about working with homeless people is that when you get to that basic level of survival, all the human pretence is stripped away. There is no bullshit. You are who you are.
One would think that all a person needs is food and a dry, warm place to sleep. And that’s true. But most of all, what people need is love and affirmation. Homeless people are invisible – Johannesburg people in their cars ignore the beggars and the people selling Homeless Talk and plastic gadgets at the robots. They say that we are all only four paycheques away from living on the street. It could be any of us.
** Recalling her involvement with homeless people.
* The most important part of my ministry to homeless people was knowing their names and their stories and loving them just as they were. Counselling the homeless couple whose baby died before his first birthday. Listening to yet another long, wheedling scam story from a guy asking for money for a train trip to a new job. Laughing with him that he thought the story would actually work on me. And then helping him in ways that were better than giving him money to buy skokiaan at the shebeen on the streets amongst the corporate headquarters in Rosebank.
Of course, in addition to that could come advocacy, job creation initiatives and skills training projects, soup kitchens, and food collection. I was very active in advocacy for the rights of homeless people displaced during the World Summit for Sustainable Development when they “sanitised” Rosebank.
** Key takeaways from her work with homeless people.
* Love God with everything you have and everything you are, and love those around you as you love yourself. The rest is just detail.
** Defining herself spiritually.
* Development Theology explores how God sees the poor, what the Bible has to say on the subject, and how we, as a people of God, respond to the development needs around us as an expression of the love of God for his people. I believe that the church has a vital and practical role to play in binding up the broken hearts of the poor and in rebuilding the nation. I am so passionate about this that I set my life aside for this work as an Anglican priest.
** Her understanding of development theology.
* I love Grahamstown. I wanted to move here years ago when I was a theatre publicist, but the time wasn’t right. When my son was awarded scholarships to St Andrews College three years ago I jumped at the chance to move down. My friends thought I would struggle to settle down in a small town, but I’m a very gregarious person. I love having four people hoot “Hello” as I walk down High Street. I am guaranteed to meet at least five friends or colleagues when I go to Pick ‘n Pay, which is our village marketplace.
* Some people find the goldfish bowl difficult to live in – I thrive in it. There is no peak hour traffic. The cathedral bells ring on Sunday and Thursday evenings in the mist. The sunsets are spectacular. You can find a donkey cart (with a set of donkeys) parked neatly in a bay between a BMW and a Golf, and there are often cattle in my street. Cattle have right of way.
** About her life in Grahamstown.
* Someone has to do something about the pain and the poverty, and I’ve been given a good set of resources to do it. So I get stuck in and I get very motivated by watching the change take place in people’s lives.
** On her commitment and passion for work.
* I married very young – to a brilliant and immensely destructive man whom I met at university. Twelve years of that marriage nearly destroyed me. I chose to end the marriage and to survive.
** Recalling how her voice was silenced.
* As I grew in my spiritual journey and I came to know what true and unconditional love was, I came to see that what I had was not what marriage should be. I chose life. I staggered/crawled away from the devastation and it took years for me slowly to become the person I was meant to be. And life has been deeply rich and rewarding in every possible way since then.
** Recalling the moment she suddenly realised she wanted to change the direction her life was taking.
* God is a great recycler – he took a broken, shattered woman and slowly breathed life into her again. I began to trust people enough to make some wonderful friends. I began to believe in myself again.
** How she recovered her voice and creative power.
* The most important thing I’ve learned from motherhood is to love your family and your friends as much as you can and let them know as often as you can. Parenting keeps you humble and grounded.
** On motherhood and parenting.
* As a poet, I am as I am in every other sphere of life. I’m real and flesh and blood. I don’t write to impress people or use clever allusions or references. I did all that when I was still at university, and it was rubbish poetry. Now I write only because the poem needs to be written. And it has its own life and its own personality—with its whimsical little in-jokes and its musicality. And if someone else likes the poem, then it’s probably because, at the bottom of it all, we have a shared human experience.
** Defining herself as a poet.
* When I was a child I used to say, “I am going to write a poem”, and my mother would ask me what it would be about, and I wouldn’t know until it was done. I’d just have a welling-up pregnant feeling inside me. That still happens.
** Explaining her writing process.
* It is a first collection, and there are no South African publishing houses that can afford to take risks on poetry collections anymore, let alone new poets. I believed in the work and wanted to put it out there.
** Her decision to take the self-publishing route with Excision.
* There were times during my marriage that I wanted it all to end. I wrote a poem in one of my most tortured moments about the peace I would find if I walked into the sea and breathed. It was years later that I realised how close my life story was to Ingrid Jonker’s. I had been born just after she died. Somehow, I survived, against all odds. I felt connected with her, and wrote about it. I like to think that she knows that I wrote about it.
** Explaining why she wrote a poem titled “For Ingrid Jonker” in Excision.
* I feel injustice deeply. I thought I would get over that as I grew up. I never have. That’s how “Nam” was written. Both of those incidents happened to me just as they are written, and I was unable to forget them. And when I saw the facile comments on the travel show, I had to put my anger down on paper. It just never ends. We don’t learn. As a mother I am now even more outraged by senseless slaughter ordered by men who are never themselves in danger. And whose motives are based on greed and power-seeking.
** Explaining the inspiration behind the writing of the poem 'Nam'.
* People have responded that the collection chronicles a journey through suffering into new life, and that it was thought-provoking. And that is what I wanted to express. That there is hope for new growth, for freedom, for change. For so many people who have suffered. And especially for our country. I really believe that.
** Feelings she would like people to take away after reading Excision.
* What excites me? Now that I am beloved, I am a joyful and irrepressible woman, I do not laugh quietly and I’m always the last person on the dance floor at one in the morning at university functions. And I am not waiting to be old to wear purple. What inspires me? Humble people who just get on with helping to make a difference in this world. And who do it out of love, not self. So often people help others for reasons that have everything to do with themselves and nothing to do with those they are helping.
** On what excites and inspires her.
* To go back to Venice. My son Michael and I backpacked for three weeks across Italy four years ago, staying in youth hostels. Italy was rewarding beyond description, but Venice was a moving and intense experience. It was fading and old and beautiful and I loved it. I would go back there given half a chance.
** About her dreams.
* Two years ago, I began to speak to friends who were editors of poetry journals, to get an idea of what was involved. I made the financial decision to go online with a simple, quality website. I do the html coding myself, so it costs me two weekends a year, with no overheads other than the cost of bandwidth. The benefit of online is that I can use images as well, and allow them to interact with the poetry – which has fascinating results.
** Her motivation for starting the online poetry journal, Incwadi.

## External links

* Authority control: VIAF: 4793148997688959870009 | WorldCat search