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THE DISORDER OF THINGS BUILDS ON WORK CARRIED OUT FOR A PHD AT the University of Essex. I would not have been able to undertake this without the funding support of The States of Jersey’s Department of Education, Sport and Culture. I remain grateful to them for allowing me to extend my studies and hope that future generations of students will continue to benefit from such investment. I would like to thank Angela Smith, who was an inspirational mentor to me during an MPhil year at the University of Stirling. Angela introduced me to Farah’s work. As such, she played a decisive role at a formative stage of this project. In the years that have followed, Angela has continued to be a source of great support. I must thank my colleagues and friends in the Department of Literature, Film and Theatre Studies at the University of Essex. The late Joe Allard, Sanja Bahun, Emily Barker, James Canton, Clare Finburgh, Maria Cristina Fumagalli, Esther Kober, Wendy McMahon, the late David Musselwhite, Ildiko Olah, Owen Robinson, Phil Terry, Jane Thorp, Jonathan White and Penny Woollard, in particular, offered me great personal and professional guidance. I reserve special thanks for my supervisor, Peter Hulme. My decision to return to Essex was, in large part, motivated by the desire to work with Peter. Throughout my studies, he always provided considered advice whilst allowing me to pursue my own research interests. The working relationship between any student and their supervisor is critical and I am fortunate to have enjoyed such a productive one with Peter.

As I discuss throughout the book, The Disorder of Things was galvanised by my relocation to South Africa in 2010. I owe a particular debt of gratitude to colleagues in the Department of English at the University of the Witwatersrand, Johannesburg. Michelle Adler, Gerald Gaylard, Victor Houliston, Sofia Kostelac, Kirby Mania, Robert Muponde, Denise Newfield, the late Arlene Oseman, Chris Thurman, Tim Trengove-Jones and Merle Williams have all been incredibly supportive. I feel the benefits of their collegiality, professionalism and friendship on a daily basis. Michael Titlestad has been much more than a ‘line manager’ and I owe him a particular debt of gratitude. He allowed me to buy-out some of my teaching in 2012 so that I could complete this book project. On a personal and professional level, I thank him warmly. Antonette Gouws, Libby Meintjes, Moipone Ndala and Delia Rossouw of the School of Literature, Language and Media have also been very supportive.

At Wits University Press, Roshan Cader, Veronica Klipp, Tsitsi Makina and Tshepo Neito have been thoroughly patient and professional. Louise Banks has offered wonderful editorial advice and I remain extremely grateful to her. Special thanks also go to Julie Miller. Julie believed in this project when few others did. I applaud and appreciate her persistence. I am also grateful for the insights offered by anonymous peer-reviewers. The Disorder of Things is much richer for their comments. I must offer particular thanks to my friend and colleague Ashlee Neser. Ashlee read sections of the manuscript in the lead-up to publication, offering always considered and constructive feedback. I have no doubt the book is stronger because of this. I am grateful to Cambridge Scholars Publishing and Rodopi for granting me permission to feature versions of chapters that originally appeared in their publications. The previous incarnations of what is now Chapter 7, ‘Bringing It All Back Home: Theorising Diaspora and War in Yesterday, Tomorrow and Links’, were published as ‘Borders Immaterial? Recent Developments in the Work of Nuruddin Farah,’ in Baker, C. & Norridge, Z. (Eds.). 2007. Crossing Places: New Research in African Studies (Newcastle: Cambridge Scholars Press, 2007), pp. 88–100 and ‘A Post-mortem on the Postmodern? Conflict and Corporeality in Nuruddin Farah’s Links’ in Makokha, JKS. & Wawrzinek, J. (Eds). Negotiating Afropolitanism: Essays on Borders and Spaces in Contemporary African Literature and Folklore (Amsterdam: Rodopi, 2011), pp. 141–162.

My friends and family have and continue to put up with the good, the bad and the ugly from me. Whilst words fall short, this book would simply not have been possible were they not the people they are. It is my privilege to count Lee and Natalie Tatum amongst my best friends. I do not think I could ever repay the kindness and care they have shown me. As this book came into being, so too did Esme and Zac Tatum. They bring great joy into my life and, whilst thousands of miles separate us, they have and will always have a special place in my heart. For their support and compassion through it all, I must also thank Alan and Jill Clarke as well as Brian and Mandy Masheter. For reminding me what friendship is all about, my appreciation goes out to Robert Ball, Andrew Cook, Neil Corbel, Declan Cullinan, Anmol Kalsi, Joel Martins, Paul Martins, David McLoughlin, Ian Simpson, Simon Suleman and David Wooton, amongst many others. To the Sanchez and Italian crews in South Africa, thank you for making me feel at home away from home.

Anna Masheter was a source of great support and strength throughout the initial stages of this project. Whilst the thank you comes late, I remain truly grateful to her. Similarly, Kate Powis was incredibly positive about this study from the moment we first discussed it. I thank her for her care and compassion. I must also take this opportunity to express my gratitude to Alan Jones and Michael Wood. Whilst it took me years to call him by his first name, Alan is largely responsible for putting me on this literary path. For good or ill, The Disorder of Things is the result. Michael is a dear friend as well as being a source of musical inspiration. To him as well as Isobel, Gerald and Philip Wood, I owe particular thanks.

Lastly, my love and gratitude go to my family. To Kathleen Masterson, Stuart and Marlyn Somers, Graham and Dorothy Somers, Archie and Nan Somers: you have helped and inspired me in so many ways. Thank you for being you.

My father, Eddie, passed away before this book found its way into the world. I dedicate The Disorder of Things to him. To my mother, Liz, I offer it as a token of my love and appreciation.