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Forgiveness Redefined is Candice Mama’s honest and healing story. It tells how she found ways to deal with the death of her father, Glenack Masilo Mama, and to forgive the notorious apartheid assassin Eugene de Kock, the man responsible for his brutal murder. We follow Candice’s journey of discovering how her father died, how this affected her and how she battled the demons of depression before the age of sixteen. But most importantly, we follow her journey towards beating the odds and rising above her heartbreaks.
Candice Mama is today still under the age of 30, but has been named as one of Vogue Paris’ most inspiring women alongside glittering names such as Michelle Obama. She has taken backstage selfies with music crooner Seal and travels all over the world to talk about her journey. This bubbly, inspiring young author tells how she shed some of the worst layers of grief and became an inspiration for others. We learn about her perplexing, unconventional childhood, her search for identity, and the beautiful bond she formed, posthumously, with a father she never had the opportunity to get to know in person. She also tells, in her own words, about the life-changing encounter between her family and her father’s killer.
Candice tenderly opens up about the result of the trauma of her father’s death on her entire family, and meeting her mother for the first time at the age of four. She tells about the confusing, yet fascinating, dynamics that later unfolded as she discovered pieces of herself, rediscovered relationships with her own family and came to forgiveness and understanding.
This book serves as inspiration for other young – and older – people to look at their own stories through different lenses. Candice’s experiences are not unique, and she offers healing thoughts to others who suffered similar trauma by sharing the details of her own story. Forgiveness Redefined is a touching, personal story by a young woman who learned too early about pain, loss and rejection – but who also learned how to overcome those burdens and live joyfully.
This extraordinary account of imprisonment shows with exacting clarity the awful injustices of the system. Sylvia Neame, activist against apartheid and racism and by profession a historian (see the three-volume, The Congress Movement, HSRC Press, 2015), has not written a classical historical memoir. Rather, this book is a highly personal account, written in an original style. At the same time, it casts a particularly sharp light on the unfolding of a policedominated apartheid system in the 1960s.
The author incorporates some of her experiences in prisons and police stations around the country, including the fabricated trial she faced while imprisoned in Port Elizabeth, one of the many such trials which took place in the Eastern Cape. But her focus is on Barberton Prison. Here she was imprisoned together with a small number of other white women political prisoners, most of whom had stood trial and been sentenced in Johannesburg in 1964–5 for membership to an illegal organisation, the Communist Party. It is a little known story. Not even the progressive party MP Helen Suzman found her way here.
Barberton Prison, a maximum security prison, part of a farm jail complex in the eastern part of what was then known as the Transvaal province, was far from any urban centre. The women were kept in a small space at one end of the prison in extreme isolation under a regime of what can only be called psychological warfare, carried out on the instructions of the ever more powerful (and corrupt) security apparatus. A key concern for the author was the mental and psychological symptoms which emerged in herself and her fellow prisoners and the steps they took to maintain their sanity. It is a narrative partly based on diary entries, written in a minute hand on tissue paper, which escaped the eye of the authorities. Moreover, following her release in April 1967 – she had been altogether incarcerated for some three years – she produced a full script in the space of two or three months. The result is immediacy, spontaneity, authenticity; a story full of searing detail. It is also full of a fighting spirit, pervaded by a sharp intellect, a capacity for fine observation and a sense of humour typical of the women political prisoners at Barberton.
A crucial theme in Sylvia Neame’s account is the question of whether something positive emerged out of her experience and, if so, what exactly it was.
Chris Barnard needed the help of exceptional men and women to stay ahead of the fast-developing science of transplantation. One of these exceptional men were Winston Wicomb, the darker brother of the famous Randall.
He had to be hidden as a child to prevent the Apartheid inspectors from discovering his family’s racial identity. He had to endure the rampant racism that existed in South Africa at school and in the army… Winston, who had to fix cars in the backyard to make ends meet, had a curious encounter with Chris Barnard and got appointed in his research laboratory. Winston had to develop an apparatus with which hearts could be kept alive to enable transport.
This is the story of an unlikely hero; a man who changed transplantation forever, and a South African citizen who never got the recognition he deserved.
It’s a story of perseverance. And hope. Even... love.
The Love Diary of a Zulu Boy is a fable of lust, love, sex, obsession, loss, friendship, betrayal and fantasy. By turns erotic, romantic, tragic and comic, it is inspired by the real-life drama of a romantic relationship between a Zulu boy and an Englishwoman.
A series of diary entries takes us on a whirlwind tour of a relationship that has not only survived, but thrived for 17 years. As the author reflects on love across the colour line, it triggers memories of failed affairs and bizarre experiences: love spells, wet dreams, infidelity, sexually transmitted diseases, a phantom pregnancy, sexless relationships, threesomes and prostitution.
A unique book for the South African market, The Love Diary of a Zulu Boy is written with an honesty rarely encountered in autobiographical writing.
When the Cradock Four's Fort Calata was murdered by agents of the apartheid state in 1985, his son Lukhanyo was only three years old. Thirty-one years later Lukhanyo, now a journalist, becomes one of the SABC Eight when he defies Hlaudi Motsoeneng's reign of censorship at the public broadcaster by writing an open letter that declares: "my father didn't die for this".
Now, with his wife Abigail, Lukhanyo brings to life the father he never knew and investigates the mystery that surrounds his death despite two high-profile inquests.
Join them in a poignant and inspiring journey into the history of a remarkable family that traces the struggle against apartheid beginning with Fort's grandfather, Rivonia trialist and ANC Secretary-General Rev James Calata.
Between 2013 and 2017, a team of researchers from the Human Sciences Research Council undertook a longitudinal qualitative study that tracked eighty students from eight diverse universities in South Africa and documented their experiences at these higher education institutions. Midway through the study, the student protests erupted and focused national attention on many of the stories we had already heard. In the subsequent years of the study, we also heard from students who were actively involved in these transformation struggles as well as those who sat on the side-lines.
Studying While Black is an intimate portrait of the many ways in which students in South Africa experience university, and the centrality of race and geography in their quest for education and ultimately emancipation. Students voices can be heard directly in a 45 minute documentary that accompanied this study entitled Ready or Not!: Black students’ experiences of South African universities – freely available on social media.
With tears in my eyes I took a last glimpse at No. 22 Cross Street as we turned into Stuckeris Street. ‘Sala kahle, District Six,’ I whispered.
Nomvuyo Ngcelwane grew up in the heart of District Six. In beautiful detail, she tells of life in a bustling community, of their interesting social lives and the vibrant atmosphere one has come to associate with District Six.
Twenty years since original publication, Ngcelwane’s story is still relevant today and paints a captivating history of black people living in District Six before forced removals took place. She writes with great honesty, warmth, humor and heart. More than fifty years since forced goodbyes, Ngcelwane’s memoir reiterates the need for social justice and casts a light on the memories forgotten by some.
“Sala Kahle, District Six is free of posturing. It has great documentary value. The fact that it is the memoir of a Black woman adds to its already considerable interest.” Vincent Kolbe
‘Miskien issit omdat poverty my define en nie die racial politics vannie land ie.’
Wit issie ’n colour nie is ’n versameling verhale oor grootword en die lewe in die buitewyke van die Kaapse Vlakte. Dit dek identiteit, rassepolitiek, sosio- ekonomiese kwessies en bruin kultuur, en bevraagteken die Suid-Afrika waarin ons ons bevind. Dit is gevul met galgehumor, rou eerlikheid en hartverskeurende vertellings van pogings om die lewe op die Vlakte te navigeer. Hierdie versameling is diep persoonlik en ’n ontstellend waar weergawe van die lewe aan die ander kant van die spoor, geskryf in Kaapse Afrikaans.
This groundbreaking, multi-genre anthology answers the question: what did the literary landscape look like in South Africa at the start of the twenty-first century?
It documents a slice of this landscape by bringing together the writings of over twenty contributors through literary critique, personal essays and interviews. The book tells the story of the seismic shift that transformed national culture through poetry and is the first of its kind to explore the history and impact of poetry by Black women, in their own voices. It straddles disciplines: literary theory, feminism, history of the book and politics – thus decolonising literary culture.
Our Words, Our Worlds covers expansive reflections: from the international diplomacy-transforming poem, ‘I Have Come to Take You Home’ by Diana Ferrus, to the pioneering publisher duduzile zamantungwa mabaso; from the self-confessed closeted poet Sedica Davids, to the fiery unapologetic feminist Bandile Gumbi; from the world-renowned Malika Ndlovu, to the engineer and award-winning Nosipho Gumede; from the formidable foursome Feela Sistah, to feminist literary scholars V.M. Sisi Maqagi and Barbara Boswell. The collective contributions are a testimony to the power of creativity and centrality of poetry in a changing society.
This book is an assertion of Black women’s intellectual prowess and – as Gabeba Baderoon puts it – black women’s visions of ‘a world made whole by their presence’.
It is well known that the African National Congress was formed in 1912 and is considered the oldest political organisation on the African continent. What is often not widely known is that the person who founded it was one Pixley ka Isaka Seme, a thirty-year-old black South African from Inanda outside the city of Durban.
What is remarkable about Seme’s achievement in founding the ANC is not only that he succeeded where most had failed at forging black political unity. It is also the speed at which he did it. He had just returned to South Africa from the United Kingdom and the United States of America, where he had been a student since he was a teenager. In slightly over a year the founding conference of the ANC was convened and he was at its helm as the main organiser.
Seme also established a national newspaper, became one of the pioneering black lawyers in South Africa, bought land from white farmers for black settlement right at the time when opposition to it was gaining momentum, became a sought-after adviser and confidant to African royalty, and was considered a leading visionary for black economic empowerment. And yet, when he became president general of the ANC in the 1930s, he brought it to its knees through sheer ineptitude and an authoritarian style of leadership. On more than one occasion he was found guilty for breaching the law, which partly led to him being struck off the roll of attorneys.
This book discusses in detail Seme’s extraordinary life, from his humble beginnings at Inanda Mission to his triumphs and disappointments across the continents, in his public and private life. When Seme died in 1951 he was bankrupt and his political standing had suffered greatly. And yet he was praised as one of the greatest South Africans ever to have lived. For all this, he has largely been forgotten. This biography brings the remarkable life of this extraordinary South African back to public consciousness.
Thando Manana was the third black African player to don a Springbok jersey after unification in 1992, when he made his debut in 2000 in a tour game against Argentina A.
His route to the top of the game was unpredictable and unusual. From his humble beginnings in the township of New Brighton, Port Elizabeth, Thando grew to become one of the grittiest loose-forwards of South African rugby, despite only starting the game at the age of 16. His rise through rugby ranks, while earning a reputation as a tough-tackling lock and later openside flanker, was astonishingly rapid, especially for a player of colour at the time. Within two years of picking up a rugby ball, he represented Eastern Province at Craven Week, and by 2000 he was a Springbok. But it isn’t solely Thando’s rugby journey that makes Being A Black Springbok a remarkable sports biography. It’s learning how he has negotiated life’s perils and pitfalls, which threatened to derail both his sporting ambitions and the course of his life.
He had to negotiate an unlikely, but fateful, kinship with a known Port Elizabeth drug-lord, who took Thando under his wing when he was a young, gullible up-and-comer at Spring Rose. Rejected by his father early in his life, Thando had to deal with a sense of abandonment and a missing protective figure and find, along the way, people to lean on.
Thando tells his story with the refreshing candour he has become synonymous with as a rugby commentator, pundit and member of the infamous Room Dividers team on Metro FM. He has arguably become rugby’s strongest advocate for the advancement of black people’s interests in the sport, and his personal journey reveals why.
Upon encountering Historian, Laurel Thatcher Ulrich’s quote “Well behaved women seldom make history” – Malebo knew that she was tired of everyone else but herself having a say on who and what she should be. Appropriating this quote, Malebo boldly renounces societal expectations placed on her as a Black woman and shares her journey towards misbehaviour. According to Malebo, it is a norm for a Black woman to live through a society that will prescribe what it means to be a well behaved woman. Acting like this prescribed woman equals good behaviour. But what happens when a black woman decides to live her own life and becomes her own form of who she wants to be? She is often seen as misbehaving.
Miss Behave challenges society’s deep-seated beliefs about what it means to be a well behaved woman. In this book, Malebo tracks her journey on a path towards achieving total autonomy and self-determinism. Miss Behave will challenge, rattle and occasionally cause you to reflect on your own life – asking yourself the question – are you truly living life the way you want to?
America's foremost novelist reflects on the themes that preoccupy her work and increasingly dominate national and world politics: race, fear, borders, the mass movement of peoples, the desire for belonging. What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid? Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin Of Others.
In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O'Connor, and Camara Laye are among the authors she examines. Readers of Morrison's fiction will welcome her discussions of some of her most celebrated books: Beloved, Paradise, and A Mercy. Morrison also writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin colour to reveal character or drive narrative.
Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison's most personal work of nonfiction to date.
First published to international acclaim in 1996, The Seed Is Mine is a bold and innovative social history concerning the disenfranchised blacks who did so much to shape the destiny of South Africa.
After years of interviews with Kas Maine and his neighbours, employers, friends, and family – a rare triumph of collaborative courage and dedication – Charles van Onselen has recreated the entire life of a man who struggled to maintain his family in a world dedicated to enriching whites and impoverishing blacks, while South Africa was tearing them apart.
In Critique Of Black Reason, eminent critic Achille Mbembe offers a capacious genealogy of the category of Blackness - from the Atlantic slave trade to the present - to critically reevaluate history, racism, and the future of humanity. Mbembe teases out the intellectual consequences of the reality that Europe is no longer the world's center of gravity while mapping the relations between colonialism, slavery, and contemporary financial and extractive capital.
Tracing the conjunction of Blackness with the biological fiction of race, he theorizes Black reason as the collection of discourses and practices that equated Blackness with the nonhuman in order to uphold forms of oppression. Mbembe powerfully argues that this equation of Blackness with the nonhuman will serve as the template for all new forms of exclusion.
With Critique Of Black Reason, Mbembe offers nothing less than a map of the world as it has been constituted through colonialism and racial thinking while providing the first glimpses of a more just future.
Set amid the civil rights movement, this is the true story of NASA's African-American female mathematicians who played a crucial role in America's space program.
Before Neil Armstrong walked on the moon, a group of professionals worked as 'Human Computers', calculating the flight paths that would enable these historic achievements. Among these were a coterie of bright, talented African-American women. Segregated from their white counterparts, these 'coloured computers' used pencil and paper to write the equations that would launch rockets, and astronauts, into space.
Moving from World War II through NASA's golden age, touching on the civil rights era, the Space Race, the Cold War, and the women's rights movement, 'Hidden Figures' interweaves a rich history of mankind's greatest adventure with the intimate stories of five courageous women whose work forever changed the world.
National Book Club Conference ‘Book of the Year’ Award Winner!
From her more than three hundred appearances for film and television, stage and cabaret, performing comedy or drama, as an unforgettable lead or a scene stealing supporting character, Jenifer Lewis has established herself as one of the most respected, admired, talented, and versatile entertainers working today. This “Mega Diva” and costar of the hit sitcom black-ish bares her soul in this touching and poignant—and at times side-splittingly hilarious—memoir of a Midwestern girl with a dream, whose journey took her from poverty to the big screen, and along the way earned her many accolades.
With candor and warmth, Jenifer Lewis reveals the heart of a woman who lives life to the fullest. This multitalented “force of nature” landed her first Broadway role within eleven days of her graduation from college and later earned the title “Reigning Queen of High-Camp Cabaret.” In the audaciously honest voice that her fans adore, Jenifer describes her transition to Hollywood, with guest roles on hits like The Fresh Prince of Bel-Air and Friends. Her movie Jackie’s Back! became a cult favorite, and as the “Mama” to characters portrayed by Whitney Houston, Tupac Shakur, Taraji P. Henson, and many more, Jenifer cemented her status as the “Mother of Black Hollywood.”
When an undiagnosed mental illness stymies Jenifer’s career, culminating in a breakdown while filming The Temptations, her quest for wholeness becomes a harrowing and inspiring tale, including revelations of bipolar disorder and sex addiction.
Written with no-holds-barred honesty and illustrated with more than forty color photographs, this gripping memoir is filled with insights gained through a unique life that offers a universal message: “Love yourself so that love will not be a stranger when it comes.”
What is it like to be born dirt-poor in South Africa? Clinton Chauke knows, having been raised alongside his two sisters in a remote village bordering the Kruger National Park and a squatter camp outside Pretoria. Clinton is a young village boy when awareness dawns of how poor his family really is: there’s no theft in the village because there’s absolutely nothing to steal. But fire destroys the family hut, and they decide to move back to the city. There he is forced to confront the rough-and-tumble of urban life as a ‘bumpkin’.
He is Venda, whereas most of his classmates speak Zulu or Tswana and he has to face their ridicule while trying to pick up two or more languages as fast as possible. With great self-awareness, Clinton negotiates the pitfalls and lifelines of a young life: crime and drugs, football, religion, friendship, school, circumcision and, ultimately, becoming a man. Throughout it all, he displays determination as well as a self-deprecating humour that will keep you turning the pages till the end.
Clinton’s story is one that will give you hope that even in a sea of poverty there are those that refuse to give up and, ultimately, succeed.
Too much of South Africa’s history has been lost and suppressed, leaving a void for many South Africans. Sylvia Vollenhoven brings together her life and that of a long-ago ancestor, Kabbo, a respected Khoisan storyteller.
She writes of her experience as being “too black” for her coloured schoolmates, working as one of the early female journalists in the misogynistic environment of the 70s, and of the constant impact on her life of her background – including her ancestors.
Becoming Men is the story of 32 boys from Alexandra, one of Johannesburg's largest townships, over a period of twelve seminal years in which they negotiate manhood and masculinity. Psychologist and academic Malose Langa documents in close detail what it means to be a young black man in contemporary South Africa.
The boys discuss a range of topics including the impact of absent fathers, relationships with mothers, siblings and girls, school violence, academic performance, homophobia, gangsterism, unemployment and, in one case, prison life. Deep ambivalence, self-doubt and hesitation emerge in their approach to alternative masculinities premised on non-violent, non-sexist and non-risk-taking behaviour. Many of the boys appear simultaneously to comply with and oppose the prevalent norms, thereby exposing the difficulties of negotiating the multiple voices of masculinity.
Providing a rich interpretation of how emotional processes affect black adolescent males, Langa suggests interventions and services to support and assist them, especially in reducing high-risk behaviours generally associated with hegemonic masculinity. This is essential reading for students, researchers and scholars of gender studies who wish to understand manhood and masculinity in South Africa. Psychologists, youth workers, lay counsellors and teachers who work with adolescent boys will also find it invaluable.
I Write What I Like features the writing of the famous activist and Black Consciousness leader, Steve Biko. Before his untimely death in detention at age 30, he was instrumental in uniting Black Africans in the struggle against the apartheid government in South Africa.
This 40th anniversary edition includes a foreword by Njabulo S. Ndebele, personal reflections on Steve Biko and Black Consciousness, as well as Biko’s first known published piece of writing. In addition, it features all the material of the original Picador Africa edition: a collection of Biko’s columns entitled I Write What I Like published in the journal of the South Africa Student Organisation under the pseudonym of ‘Frank Talk’; other journal articles, interviews and letters written by Steve Biko at the time; an Introduction by Nkosinathi Biko; a preface by Archbishop Desmond Tutu; and a moving memoir by Father Aelred Stubbs, which pays tribute to the courage and power of this young leader, who was to become one of Africa’s heroes.
Despite the fact that the ‘rise of the black middle class’ is one of the most visible aspects of post-apartheid society and a major actor in the reshaping of South African society, analysis of it has been lacking. Rather, the image presented by the media has been of ‘black diamonds’, that is, above all, as consumers of the products of advanced industrial society, and of corrupt ‘tenderpreneurs’ who use their political connections to obtain contracts which they would otherwise be denied. At the same time, the restrictions upon black professional and entrepreneurial activity in the apartheid era stunted the development of black capitalism and the black middle class, while the growth of a substantial black working class which became the class vanguard of the political liberation of South Africa, pushed the role of the middle class into the shadows.
This book presents a new way of looking at the Black middle class which seeks to complicate that picture, an analysis that reveals its impactful role in the recent history of South Africa. It provides a careful account of its historical development in colonial society prior to 1994 before examining the size, shape and structure of the middle class in contemporary South Africa, class formation under the ANC, education and black upward social mobility, the black middle class at work, the social life of the black middle class, and its political role in the shaping of a democratic society in the post-apartheid era. The trajectory of the black middle class in South Africa is related to that of its counterparts in the global south.
While the book offers the most comprehensive account of the black middle class since Leo Kuper wrote on the subject in the early 1960s, it also seeks to make a major contribution to the burgeoning debate about the middle class globally.
The African Lion, Dr Chika Onyeani, is back and roaring. The author of the phenomenally successful Capitalist N*gger, which has sold more than 100 000 copies in South Africa alone, offers a new collection of his speeches, articles and other writings over the last fifteen years.
In Roar Of The African Lion, Dr Onyeani’s unblinking gaze and plain speaking are directed at many of the burning issues of the day. He outlines his revolutionary Spider Web Doctrine – aimed at financial self-reliance and the upliftment of black communities – and attacks the parasitic leaders whose greed has robbed the people of Africa of opportunities for advancement and development since their liberation. He is equally scornful of the failures of the African elite to influence the direction of their countries, and has trenchant comments to make about racism, xenophobia and hypocrisy in Africa, America and elsewhere.
Dr Onyeani also tackles the persistence of slavery on the continent, the West’s ambivalent attitude to aid and debt relief, rampant corruption and the ‘whiteness’ of Barack Obama. Looking to the future, he cautions Africa to be wary of China’s embrace and to pursue its own solutions to African problems.
Mteto Nyati knew as a schoolboy in Mthatha, working at his mother’s store, that he wanted to fix and build things. After completing his studies at Natal University, he turned down a Rhodes scholarship and headed for Jo'burg to take up a position at Afrox. He was the only black engineer and the advice he received was ‘don’t mess up’.
He didn’t and today is one of South Africa’s top CEOs. This is his inspirational story.
Piet Matipa is jonk, swart, gay en Afrikaans. Sy rubrieke in Beeld is baie gewild omdat dit aan ’n sonderlinge lewensuitkyk uitdrukking gee. Hy praat vanuit ’n perspektief wat jy nie sommer in Suid-Afrika kry nie. Sy siening van die wêreld is gevorm deur interessante bestemmings waar sy lewenspad aangedoen het. As skolier aan Hoërskool Waterkloof en student aan die Pukke het Piet uitgeblink. Sy skryftande is geslyp as joernalis in Beeld se misdaadkantoor en as sepieskrywer vir 7de Laan , waar hy steeds werksaam is. Nie sleg vir iemand wat in ’n kinderhuis grootgeword het nie!
Afrikaans het sy lê op ’n unieke manier in Piet se mond gekry. En vir één ding deins hy nie terug nie: dit is om sy mond verby te praat. In Dwarsklap laat Piet hom uit oor aangeleenthede wat alle Suid-Afrikaners raak. Misdaad en taxi-bestuurders is groot klippe in die skoen. Wenke oor gewigsverlies word gegee, en ook hoe om ’n ontkleedanser by ’n henneparty te kry. En oor liefdesavonture kan jy vir Piet min vertel, veral wanneer sosiale media betrokke is.
’n Hoogs vermaaklike boek wat die donkerte van die lewe in ligte skakerings laat glim.
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