This article examines the representation of time in narratives of childhood experience in Es’kia Mphahlele’s Down Second Avenue (1959) and Bloke Modisane’s Blame Me on History (1963). These two autobiographies are among the most widely-known works by the group of South African writers who have been loosely associated with Drum magazine in the 1950s. Originating from the early years of the anti-apartheid struggle and resonating widely with the heightened anticolonial resistance movements across the continent, writings by the so-called Drum writers, many of whom later went into exile, have often been viewed and criticized as “protest literature”, as literary works whose aesthetic merits are somehow compromised by the overt political purposes they appear to serve. This article seeks to revise such a reading by revisiting the politics of the stylistic innovations in these autobiographical narratives. Themes and motifs directly derived from the rhetoric of political protest, as I argue, in fact problematize a developmental logic governing the biographical transition from childhood to adulthood and contribute to a radical critique of linear temporality and teleological historiography. While writing from polemical positions and from inside the historical juncture of political resistance, these writers’ narrative reflections on and re-orderings of the relationship between the past and the present also partake of the process of refashioning modern black subjectivity, a significant move of literary intervention that still has profound resonance in our postcolonial, post-apartheid, and post-revolutionary present.