Author: Mark Fine
Genre: Romance / Suspense / Historical Drama
Books: The Zebra Affaire: An Apartheid Love Story from The Sub-Saharan Saga
Mark Fine was born in Johannesburg, South Africa. He has made the United States his home since 1979, living in New York, Minneapolis, and Los Angeles.
For four decades he has worked alongside world famous recording artists. He eventually launched his own award-winning record label, Hammer & Lace, with a mandate to produce benefit albums in support of such causes as breast cancer awareness, at-risk children, and wildlife conservation.
For these philanthropic initiatives Mark was voted by Variety magazine as the “Music Executive with 20/20 Vision.” He has also contributed articles to entertainment industry publications, and conducted public speaking engagements at multimedia events.
Now he resides in the South Bay, where he lives with his two sons, his “significant other” and Charlie, a neighborhood dog that drops in from time to time. There he wrote the historic romance novel, The Zebra Affaire. Set in apartheid South Africa, Mark brings an insider’s perspective to the gripping account of a bi-racial couple’s forbidden love.
Finalist. BGS Best Book 2015 Award, Dublin, Ireland
Apartheid, South Africa
In the spring of 1976 matters of the heart are strictly controlled by racist doctrines. In that toxic mix of segregation and tribal mistrust, an unlikely union between a black man from Malawi and a white woman—an Afrikaner—shocks the nation unaccustomed to such a public affair. All sides across the color divide are represented in the interracial couple’s painful journey in an unaccepting world.The lovers find themselves in the crosshairs of the racist regime’s cold-blooded enforcer, Mal Zander, who will stop at nothing to crush their union and future hopes for a colorblind nation.
The intimate and emotional love story of Elsa and Stanwell is exposed for all to see under the harsh glare of television, newly introduced. In a narrative that’s intense—vividly authentic, and thought provoking—the reader will witness Elsa and Stanwell’s desperate fight to remain together—as the apartheid nation waged a deadly struggle for liberation…and eventual redemption in the guise of prisoner #46664, Nelson Mandela.
It is not often a book as intensely dazzling as “The Zebra Affaire” by Mark Fine comes along. A forbidden love story takes place against the dramatic background of 1970’s South Africa and apartheid. Fine draws you into the story cautiously, laying the groundwork for the eventual affair between Elsa and Stanwell. By gently educating the reader with the background of the conflicts in South Africa, awareness of the difficulties faced by the star crossed lovers is enhanced. This is more than a racial segregation issue; there is a deeper issue brewing in South Africa. Tribal conflicts cause significant damage to a country beset by violence and political unrest.
As the love of Elsa and Stanwell grows deeper and more intense they are assisted by some to strengthen their bond. While segregation forbids open encouragement of their union, friends support them quietly. But the strict Afrikaner regime stands against them if not publicly at least in a behind closed doors attack on their union. While they flaunt their affair the government seems to stand in stunned silence as the world looks on. But the fanatics behind the scenes are both appalled and disgusted by their obvious sexual relationship and strive to expose and punish them for breaking hundreds years old laws.
With vibrant descriptions of both the beauty and ugliness of South Africa the story weaves its way to an intense climax. Waiting for the resolution of the love affair the reader will also wait for the resolution of apartheid. Knowing the eventual outcome of South African politics and the rise of Nelson Mandela it is easy to anticipate the same result for Stanwell and Elsa.
I highly recommend this lush and beautifully written story. Fine’s use of words is akin to an artist’s use of the palette; this is not a black and white story, this is a rainbow story with the rich colors of lives in turmoil. In a word, it is brilliant. If I could rate it higher I would do so.
Read an Excerpt
He needed to make it right. Elsa had misunderstood him. She believed he’d rejected their child and made a mockery of their love. It upset Stanwell that she wouldn’t accept his explanation that he was preoccupied by a cruel government stalking them. And that his immediate concern was for her safety, leaving him little room to truly grasp her good tidings.
So he returned to the way of his people, and prepared for Elsa a love letter—made from primitive colored beads.
Stanwell carefully harvested the beads from a family heirloom, a ceremonial loincloth of his mother’s that she in turn had inherited from her mayi. His mother had thrust the rolled leather apron into his grasp as he set to leave Malawi for the City of Gold, and, with tears in her eyes, had wished him the blessings of his ancestors.
His message to Elsa would not be in words, but in colors. Stanwell patiently threaded tiny antique beads into a delicate necklace of such intricate design it belied his rugged, workman-like hands.
The beaded chain was predominantly yellow—the color of corn touched by the sun—and signified fertility and wealth. Hanging from the center was the rectangular “love letter”—a chevron of black and white beads trimmed with red and pink. The charcoal-black beads pledged marriage, the ivory white beads promised spiritual love, and the red beads—juicy-red like pomegranate seeds—vowed strong, physical love. But the single tier of pink beads, the color of Elsa’s lips, was the most significant; these shiny little beads declared Stanwell’s commitment to the birth of their child.
Elsa accepted the uniquely crafted peace offering. She was touched by his handiwork, and the effort and thought he’d put into its creation. Happy tears rolled down her cheeks as Stanwell gently described the significance of each colored bead. At the moment he placed the necklace around her neck, Elsa’s hand reached up for his, and then she turned to face him. Stanwell cupped her face in his hands—a bas-relief in ebony and alabaster—and held her close. No longer doubting his intent, Elsa raised her lips to his. Tenderly they kissed their sorrows away.
Impetuously Stanwell knelt at Elsa’s feet. He placed his lips on her belly and kissed it. Then on his knees he began an earnest conversation with her tummy, whispering away in his mother tongue.
Elsa had never heard him speak the language of his people before. “What were you saying to our child?” she asked.
Stanwell first touched his fingers to his lips and then to hers. “Hush, I was speaking to our son,” he said.
“A son! How do you know it’s a boy?”
“I know,” he said quietly.
Elsa saw the conviction in Stanwell’s face; there was no doubt. She then knew it to be true. A trill of excitement coursed through her body. For the first time it was real; in her belly, created by their love, was their son. A boy destined to become a unique individual, a manifestation of the union of two great heritages, with skin a beautiful coffee hue. Such a child would be incapable of bigotry and tribalism.
“How could the white half of him hate his black half, or vice versa?” Elsa said softly to Stanwell. “He will be our wonderful gift to Africa.”
As they gently affirmed their belief in each other, all was still except for music that filtered into the room from somewhere in the backyard. It was mesmerizing. The melody and rhythm remained steadfast, yet as the minutes passed, evocative layers of complexity were added. Both Elsa and Stanwell were fond of the recording, and knew it by the name “Mannenburg.”
But the anguished cry of the saxophone soaring over the hypnotic strains of the keyboard meant something else, something hopeful for Elsa and Stanwell. This plaintive masterpiece by Dollar Brand was the birth of a wonderful new sound called Cape Jazz—a fusion of American jazz and local Marabi music from the District Six township—another unconventional, yet fruitful meld of two musical forms and cultural traditions.
It was dark—probably after midnight. Stanwell was already in motion. Something had alerted him, something rustling by the window. Then the barking started.
Elsa woke. “What is it?” she asked.
“It’s Leo. He’s barking outside our window.”
“Ridgebacks don’t really bark. Something must be wrong.”
Stanwell, about to lunge through the door, stopped in his tracks. A fusillade of snarls and growls had replaced the barking; then a volley of frantic curses, “Jy’s ‘n dood hond ! Jy is ‘n duiwel !”[You’re a dead dog! You are the devil!], filled the night, followed by pounding footsteps and a thud as a body made hard contact with the fence, then he heard the desperate night caller scramble to safety.
Stanwell opened the door. A proud Leo—panting, salivating—stood with a trophy in his jaw. It was the ripped back pocket from a now tattered pair of jeans.
At daybreak, among the churn of muddied footprints they discovered an overstuffed man’s wallet. Inside was the firearm license and driver’s license of a certain Ulrich van Zyl. Elsa and Stanwell recognized the face; it was “Thick,” one of the monsters who’d attempted to rape Elsa in the elevator.
Crass reality had forever invaded their discreet oasis. It was a chilling development. Stanwell hugged Elsa to his chest. Mal Zander’s stooges were closing in. Yet still Stanwell couldn’t bring himself to tell Elsa about his clash with the Security Branch operative. And he hoped he would never have to do so.
Interview with Mark Fine
Thank you so much for speaking with me, Mark. Please take a moment to tell us about your book. Tell us, how did you come up with the idea for your book?
Mark Fine: Thank you Angela for chatting with me. Though they don’t realize it, I would have to credit my two sons. I have this belief that if a people don’t know their history, they are destined to be forever lost. It was important to me that my sons learned about their African roots from their father; but my personal story isn’t that interesting. So I chose to couch the story from the perspective of far more intriguing characters, that of Elsa (who’s white) and Stanwell (who is black) and their daring romance of the no-no kind. The cruel dynamics of the love-struck couple’s story under the racist regime of then South Africa is all theirs, but the place and time that I inserted them is very much mine.
ABC: Stories always require some form of research. What kind of research did you do for your book?
MF: Besides reference works and letting my fingers stroll through the universe that’s Google, I went on safari. In capturing the romance and exotic location for The Zebra Affaire, I had the privilege of viewing many wild creatures in their natural habitats—a life-affirming experience that I strongly suggest for others. Being in the bush, tracking game (with camera, and not firearm) is not a bookish, academic pursuit, which was a welcome change. The composite of the senses are vital to telling a story that’s authentic. And as the climax of the book is resolved in the African bushveld, what better place to begin the writing process.
ABC: Which scene or chapter was the hardest for you to write?
MF: It’s less about a specific scene, than the challenge of ensuring the reader understood the arcane nature of South Africa’s apartheid rules. Without the reader truly appreciating the jeopardy Elsa and Stanwell faced in that turbulent society, the novel would not have the impact it deserved. So, instead of footnotes or endnotes—both devices that pull the reader away from the narrative, I created what critics have favorably called “anywhere notes.” These I inserted within the context of the story. In the wonderful reviews Zebra has received, these “anywhere notes” have been applauded. Readers now better understand the societal construct of the time, and Elsa and Stanwell’s story became more meaningful, touching and emotional.
ABC: Please describe your favorite scene or chapter in your book and tell us why it’s your favorite?
MF: The challenge was to set the stage for this unlikely union; a white woman and black man falling in love, at great personal risk, in a bigoted apartheid world. I don’t wish to reveal too much, but emergency events surrounding a catastrophe was the vehicle I used. Without a solid foundation to establish their relationship, and at the same time reveal the cruelty of apartheid, well, the novel would not have succeeded so handsomely. Fortunately this establishing scene worked, and as such it has become my favorite.
ABC: Which of your characters, do you relate to the most (or) who is your favorite character and why?
MF: The patriarch in the book, a character known by the initials DGF is certainly my favorite. He holds moral authority, decency and strength in an unkind world. Certainly flawed, but he represents all the honorable and kind people of South Africa who tried to make life easier for discriminated majority. He understood that bigotry was dehumanizing, and worked to make a difference. I’d like to believe that DGF is a reflection of my personal sensibilities.
ABC: I once read that every author is simply a compilation of his/her favorite authors. Which authors have done the most to influence your writing and why?
MF: Always enjoyed substantial books that both entertained and informed. It was such a pleasant way to learn. Without a doubt Herman Wouk, Leon Uris, Ken Follett, and South African authors Wilbur Smith, Andre Brink shaped me. I’d like to add Alan Furst to that list. He’s my current favorite.
ABC: “Story” has always been the center of all human cultures. We need it. We seek it out. We invent it. What does “story” mean to you?
MF: Of course, “story” takes me back to being a child, and the best moments were being read to. I was fortunate that my granny owned a private library in Johannesburg, and she shared with me her joy of the printed page. So many stories, and so many rich memories preserved in my mind.
ABC: Tells us about your next project.
MF: The Zebra Affaire is set in 1976 South Africa. I’m considering remaining in sub-Saharan Africa, and setting my next novel, The Hyena Affaire in 1978 Rhodesia (now known as Zimbabwe). I’m in the process of developing the outline, character profiles, and continuing research. Though my books are set back in time, and on a continent many are unfamiliar; the themes are relevant today, considering the tribal turmoil in the Middle East, as an example.
ABC: Where can we find you and your book?
ABC: Thank you again, so much for speaking with me.
MF: You are welcome, Angela. I enjoyed discussing my work with you.
Connect with Mark Fine