Abstract This article begins with two brief descriptions of Jean Hart, before proceeding to a close reading of the story ‘Crepuscule’ by Can Themba (1972. In The Will to Die. Cape Town and Johannesburg: David Philip), in which Jean figures as the character Janet. I argue that there are both fictional and non-fictional aspects to the story. I further argue that the treatment given to Janet in this story is crucial to what makes it a fiction: as a representative figure and as a character she enables Themba to explore, with a voice of authenticity, the impact of the Immorality Act on his own personal experience. To do so he writes himself into the story as the non-fictional persona Can. Like other Drum writing, the story is sexist in its bodily representation of Janet, and racist in the community treatment her whiteness elicits. And yet Themba's rendition of the Sophiatown community is ironic in that those said to be most resistant to ‘the white man's law’ prove to be complicit with it, and those tasked to enforce it do not always do so. And its insistence on the rights of the fictional imagination set the story up in opposition to the incursions of the Immorality Act, and to apartheid more generally.

中文翻译：

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Can Themba、Jean Hart 和“Crepuscule”：记住索菲亚镇

摘要 本文首先对让·哈特进行了两个简短的描述，然后再仔细阅读坎·瑟姆巴 (Can Themba) 的故事“暮光之城”（1972 年。在《死亡的意志》中。开普敦和约翰内斯堡：大卫·菲利普），其中让让认为是角色珍妮特。我认为这个故事既有虚构的一面，也有非虚构的一面。我进一步认为，在这个故事中对珍妮特的处理对于使它成为虚构的原因至关重要：作为一个代表人物和一个角色，她使 Themba 能够以真实的声音探索不道德行为对他自己的影响个人经验。为此，他以非虚构人物 Can 的身份将自己写进了故事中。与其他 Drum 作品一样，这个故事在对珍妮特的身体表现上具有性别歧视，在社区对待她的白人时也存在种族主义。然而 Themba' 对 Sophiatown 社区的演绎具有讽刺意味，因为那些据说最抵制“白人法律”的人被证明是它的同谋，而那些负责执行它的人并不总是这样做。它坚持虚构想象的权利，使故事与《不道德法案》的入侵以及更普遍的种族隔离相对立。