There are many opinions about what constitutes a postcolonial novel. The act of
representation is part of this controversy: which voices should be represented by the
narrator and which should remain silent? This aspect of aesthetic empathy is widely
discussed by postcolonial theorists. Andre Brink's narrative The Other Side of Silence,
which deals with the German colonial period in what is now Namibia and the fate of the
female protagonist Hanna X, employs a special use of different narrating voices, a
combination of archival documents and fiction and an overt critique of colonialism.
This paper analyses the peculiarities of this narrative by taking account of the critical
voices against Brink's fiction.