Professor Raymond Bogatsu is a determined man, hell-bent to trap her in. He wins her heart, he wins her love, then traps her in the shackles of a two is better than one setup. The trio covenant of not ME, HIM or HER but WE till the end of time.

In January 1991, when civil war came to Mogadishu, the capital of Somalia, two-thirds of the city’s population fled. Among them was eight-year-old Asad Abdullahi. His mother murdered by a militiaman, his father somewhere in hiding, he was swept into the great wartime migration that scattered the Somali people throughout sub-Saharan Africa and the world.

Serially betrayed by the people who promised to care for him, Asad lived his childhood at a sceptical remove from the adult world, his relation to others wary and tactical. By the time he had reached the cusp of adulthood, Asad had honed an array of wily talents. At the age of seventeen, in the Ethiopian capital Addis Ababa, he made good as a street hustler. He also courted the famously beautiful Foosiya and, to the astonishment of his peers, married her.

Buoyed by success in work and in love, Asad put $1 200 into his pocket and made his way down the length of the African continent to Johannesburg, South Africa. And so began a shocking adventure in a country richer and more violent than he could possibly have imagined. A Man of Good Hope is the story of a person shorn of the things we have come to believe make us human – personal possessions, parents, siblings. And yet Asad’s is an intensely human life, one suffused with dreams and desires and a need to leave something of permanence on this earth.

Billy se draaktatoe sal skewe kyke lok op die Karoodorpie waarheen sy gesin verhuis. Dis moeilik om in te pas as jou pa die nuwe polisiekolonel is en jou ma haar pille saam met wyn sluk.

Voordat Billy vir Sue ontmoet, wat hom laat droom in ’n aweregse wêreld, bied die gangster Ou Joe se bordeel ’n vreemde troos vir trokdrywers én nuuskierige seuns. Ou Joe beplan om iets hier na te laat voordat hy sy finale geveg met die groeiende kanker in sy maag het.

Ná ’n bloedige nag is Ou Joe se plek in die kolonel se visier en moet Billy stelling inneem terwyl goed en kwaad nog kant kies.

In die styl van ’n moderne western is Johan Vlok Louw se roman vol driftige jonges, motors en gewere. Die boek is ’n vuishou in die maag; die styl so evokatief soos die Karoolandskap waar die verhaal afspeel.

Out of the crooked timber of humanity, no straight thing was ever made. Maja Jellema is in Cape Town to do what she does best steal. Her new employer wants a certain item from a building in Long Street, and the only thing that stands between Maja and her prize is Hershel Bloch, the bumbling building manager. But what seems like the easiest job Maja has ever seen is about to get a whole lot more complicated . . . Will Maja be able to finish the job in time to save her no-good brother from large Dutch men with no sense of humour? Can Hersh turn his topsy-turvy world around before he gets fired from Black Enterprises for being the worst estate agent in the history of the universe? Will Surita finally make peace with her father and stop using her judo skills on people who just want to hug her? Can the rage-filled waitresses at The Peoples Republic the greatest socialist coffee shop in all of Cape Town produce even one cup of coffee without backchat? Only time will tell. And its running out. Fast-paced and slickly-written, Paradise is both an uproarious comedy about lawlessness and a serious allegory about bondage. Greg Lazarus once again presents a cast of engaging, believable characters, not least of whom is the adorable klutz, Hershel Bloch. Finuala Dowling

Sy het gedink dit was verby; ’n hoofstuk van haar lewe wat afgesluit is, maar toe sien sy uit die hoek van haar oog die gestalte by die begrafnisdiens inloop: ’n lang, benerige man met ’n effens ongekoördineerde manier van beweeg. Lana raak oombliklik naar en lighoofdig van die skrik. Dit is asof sy in ʼn yskoue stilte inplons, tuimel deur die afsondering en bo-aardse stilte van water, en vir altyd net daar wil bly.

Lana sal mettertyd agterkom dat herlewing en die dood dikwels dieselfde skokeffek het, en dat dit dan bitter moeilik is om vas te stel wat die begin en wat die einde is.

Erika Murray-Theron stuur haar karakters met soveel intelligensie en subtiliteit op hul lewensweë dat Stippellyn die gewaarwording bring van ’n ontdekking van die lewe self.

’n Dekade of wat gelede het Marita van der Vyver soos ’n wafferse prinses van ’n verre land deur Frankryk gereis en ’n vreeslik verleidelike padda leer ken. Omdat sy so graag in sprokies wil glo, het sy gehoop dat as sy hierdie slim padda soen, hy in ’n prins gaan verander. Dis mos hoe sprokies werk.

En wat gebeur toe?

Saam met haar prins sit sy huis op in ’n Franse dorpie. Hulle gaan woon in ’n ou kliphuis in Rue de l’église – Kerkstraat. Dáároor skryf sy in In die hart van ons huis.

En wat gebeur nou?

Hulle trek. En nie waarheen nie . . . Na ’n plek wat bekend staan as Plek van die Paddas.

’n Fontein Voor Ons Deur is ’n reeks stories oor ’n verhuising – ’n Franse verhuising! Maar dit is dan eintlik stories oor dit wat die hart vasmaak aan ’n huis en sy mense; ook dit waarvan jy jou moet losmaak as jy verhuis. En daardie dinge wat altyd met jou saamtrek.

Een ding is seker: Of dit nou in Kerkstraat of Paddastraat is, soos Marita van der Vyver dit sien, bly die lewe ’n fontein bruisend met verrassings.

Winner of the Dinaane Debut Fiction Award for 2015.

Dub Steps has a strange long aftertaste. It is science fiction with ordinary characters trying to understand what it is to be alive.

People have gone, suddenly, inexplicably, and the remaining handful have to find each other and start again. In that new beginning they wrestle with identity, race, sex, art, religion and time, in a remarkably realistic, step-by-step way. Nature comes back, Johannesburg becomes wonderfully overgrown, designer pigs watch from the periphery walls, and the small group of survivors have to find ways of living with their own flaws and the flaws of each other. The aftertaste comes from the surprisingly real meditations in the middle of the end: after all simulated reality has gone, what human reality is left?

There are no clichés in this book, but there is plenty of humour, originality and a gripping, unusual interrogation of the ordinary but really extraordinary fact of being alive.

An extraordinary, ambitious, globe-spanning novel about what we owe our consciences.

Fleeing her moribund marriage in Cape Town, Beth accepts a diplomatic posting to Shanghai. In this anonymous city she hopes to lose herself in books, wine, and solitude, and to dodge whatever pangs of conscience she feels for her fealty to a South African regime that, by the 21st century, has betrayed its early promises.

At night, she hears the sound of typing, and then late one evening Zhao arrives at her door. They explore hidden Shanghai and discover a shared love of Langston Hughes–who had his own Chinese and African sojourns. But then Zhao vanishes, and a typewritten manuscript–chunk by chunk–appears at her doorstep instead. The truths unearthed in this manuscript cause her to reckon with her own past, and the long-buried story of what happened to Kay, her fearless, revolutionary friend…

Connecting contemporary Shanghai, late Apartheid-era South Africa, and China during the Great Leap Forward and the Tiananmen uprising–and refracting this globe-trotting and time-traveling through Hughes’ confessional letters to a South African protege about the poet’s time in Shanghai–How to Be a Revolutionary is an amazingly ambitious novel. It’s also a heartbreaking exploration of what we owe our countries, our consciences, and ourselves.

Deur hoeveel brandende hoepels moet Libbi nog spring voordat sy haar tribe vind?

Libbi de Lange is die langste meisie in die kontrei. In die hele wye wêreld, of so voel dit vir haar. Die lewe werk rof met iemand wat nie by die gewone inpas nie; die neiging is mos oral om die kop af te kap van ’n papawer wat aanhou uitstyg. As jy dan nog die dogter is van ’n pastoor van ’n volksvreemde kerk in die Knysnabosse, is die verleentheid groot en die hoop min.

Die nuwe millennium is op pad, die vrees vir die Y2K-virus ’n werklikheid. Libbi moet trou, en gou ook sodat sy die gespot oor haar van kan agterlaat. Nogal moeilik as jou dansmaat se kop deur jou boobs verswelg word.

Dis Flooze, haar kamermaat op universiteit, wat Libbi leer om haar eie identiteit te omarm en uitdagend anders te wees, om uit die soetkoekblik te klim. Die verlange na liefde bly egter knaag, die honger van die lyf ook. Toe word sy maar mevrou Libbi Landman – en sit steeds met ’n honger vir 51% meer as wat sy gekry het. Boonop vergemaklik haar vriend Beer se huiwering op haar drumpel glad nie sake nie.

Tydens Covid kry die komplikasies rondom haar liewe, halfheilige pa, Beer en haar gesin net kleintjies. Deur hoeveel brandende hoepels moet Libbi nog spring voordat sy haar tribe ontdek? Voordat die lang papawer kan blom?

UVusumuzi noNathi bakhule ndawonye eNquthu, eNondweni. UVusumuzi uthathwa umngani wakhe osekade asebenzela eGoli ukuba naye ezozama amatoho.

UPuleng uyadideka ngoVusumuzi osala naye emini lapha endlini.Umsiza kukho konke;izitsha,izimbali phandle; ukupheka, njll. UThobile uyehluleka ukuziba impunyela enguMthokozisi efuna ukumshada ngokuphazima kweso.

ULerato uhlezi eqasha esaluni yakhe abasazozama impilo lapha kwaNdongaziyaduma. UNonhlanhla uyehluleka ukulinda uVusumuzi akhulelwe emakhaya.UDiliza umthobanhliziyo kaNathi emsebenzini.

Against the backdrop of a world in flux at the start of a new century, Arctic Summer portrays the life of British writer E. M. Forster: his inner turmoil, his search for love and the story behind one of the greatest novels in English, A Passage to India.

In 1912, Forster follows his friend Syed Ross Masood to India. It is on this journey – travelling around the country while it is still under British rule – that the seeds of his novel are planted. But it will be another twelve years, and a second time spent in India, before his book is published. Between these two journeys lie the writing of an unpublishable novel, the outbreak of the First World War, and a long stay in Alexandria, where he has an unlikely affair with an Egyptian tram conductor. As we follow Forster across continents – stuttering, aching, his love mostly unrequited – Galgut captures with colour and exquisite delicacy the England, India and Egypt of the era.

Meticulously researched, Arctic Summer conjures the figure of Forster in all his contradictory genius, providing a fascinating glimpse into the creation of a masterpiece.

Through young Mai’s eyes, life is enchanting and full of beauty. She dances on her grandfather’s feet while he talks of freedom. But the world is hard and her mother is struggling. When Rashid arrives, he casts a deep shadow over their lives. Nothing is beyond her new stepfather.

They are desperate to escape from him, and their world becomes a constant battle for survival – one of fleeing, multiple identities, abduction and upheaval. Mai’s eyes not only witness the story of her mother, but also the poignant stories of the many women she encounters across different countries. Finally, Mai learns that, when freedom comes, it comes at a bitter price.

From Mexico to Scotland to London to North Africa, the West Indies and back again, Glowfly Dance is a powerful and haunting story of migration, resilience and, ultimately, hope.

Billy’s dragon tattoo will attract strange looks in the Karoo town his family now calls home. It’s difficult to blend in when your father’s the new police colonel and your mother’s strung out on pills and wine.

Before Billy meets Suzan, who makes him dream in a sideways world, the gangster Ou Joe’s roadside brothel provides strange comfort to truckers and curious youths alike. Ou Joe plans to leave a legacy before staging his final showdown with the cancer growing in his belly.

After a brutal night, the colonel sets Ou Joe’s place in his sights and Billy must take a stand when good and evil are yet to pick sides.

In the style of a modern western, Johan Vlok Louw’s novel is filled with youth, cars and guns. The book is an uppercut to the chin, its prose as evocative as the Karoo landscape of its setting.

A young English biographer is working on a book about the late writer, John Coetzee. He plans to focus on a period in the seventies when, the biographer senses, Coetzee was 'finding his feet as a writer'. He embarks on a series of interviews with people who were important to Coetzee - a married woman with whom he had an affair, his favourite cousin Margot, a Brazilian dancer whose daughter had English lessons with him, former friends and colleagues. Thus emerges a portrait of the young Coetzee as an awkward, bookish individual, regarded as an outsider within the family. His insistence on doing manual work, his long hair and beard, and rumours that he writes poetry evoke nothing but suspicion in the South Africa of the time.

Nobel Laureate and two-time Booker prize-winning author of Disgrace and The Life and Times of Michael K, J. M. Coetzee reimagines Daniel DeFoe's classic novel Robinson Crusoe in Foe. In an act of breathtaking imagination, J.M Coetzee radically reinvents the story of Robinson Crusoe. In the early eighteenth century, Susan Barton finds herself adrift from a mutinous ship and cast ashore on a remote desert island. There she finds shelter with its only other inhabitants: a man named Cruso and his tongueless slave, Friday. In time, she builds a life for herself as Cruso's companion and, eventually, his lover. At last they are rescued by a passing ship, but only she and Friday survive the journey back to London. Determined to have her story told, she pursues the eminent man of letters Daniel Foe in the hope that he will relate truthfully her memories to the world. But with Cruso dead, Friday incapable of speech and Foe himself intent on reshaping her narrative, Barton struggles to maintain her grip on the past, only to fall victim to the seduction of storytelling itself. Treacherous, elegant and unexpectedly moving, Foe remains one of the most exquisitely composed of this pre-eminent author's works. 'A small miracle of a book. . . of marvellous intricacy and overwhelming power' Washington Post 'A superb novel' The New York Times South African author J. M. Coetzee was awarded the Nobel Prize for Literature in 2003 and was the first author to win the Booker Prize twice for his novels Disgrace and The Life and Times of Michael K. His novel set during the South African apartheid, Age of Iron, winner of the Sunday Express Book of the Year award is also available in Penguin paperback.

Winner of the M-Net Book Prize
Shortlisted for the CNA and Noma Awards

In Ways of Dying, Zakes Mda's acclaimed first novel, Toloki is a "professional mourner" in a vast and violent city of the new South Africa. Day after day he attends funerals in the townships, dressed with dignity in a threadbare suit, cape, and battered top hat, to comfort the grieving families of the victims of the city's crime, racial hatred, and crippling poverty. At a Christmas day funeral for a young boy Toloki is reunited with Noria, a woman from his village. Together they help each other to heal the past, and as their story interweaves with those of their acquaintances this elegant short novel provides a magical and painful picture of South Africa today.

Ways of Dying was awarded South Africa's prestigious M-Net Book Prize, awarded by the TV channel M-Net to books written in one of South Africa's official languages, and was shortlisted for the Central News Agency (CNA) Award and the Noma Award, an Africa-wide prize founded by Shoichi Noma, onetime president of Kodansha International.

Lizzie de Villiers dink sy het haar man, Marthinus nie meer lief nie. Sy neem haar lewe en hulle huwelik van 28 jaar in oenskou. Wanneer het hulle uitmekaar begin dryf? Sal sy hulle ou liefde weer kan laat ontvlam? As sy nie kan nie, moet sy in hulle liefdelose, maar gemaklike huwelik bly, of moet sy maar haar eie paadjie stap? Marthinus stem nie met Lizzie saam nie. Volgens hom is daar niks verkeerd nie, en hy wil gewis he Lizzie moet bly, lief vir hom of nie. Die konflik tussen Lizzie en Marthinus veroorsaak konflik tussen Lizzie en hulle dogter Estelle, wat op die ouderdom van vier en twintig skielik soos n tiener optree. Beide Lizzie en Marthinus voel daar is fout, maar sy bly afsydig en byna vyandig, veral teenoor Lizzie. Lizzie se vertwyfeling bring haar egter nader aan die ander vroue in haar lewe. Hulle word groter bondgenote, elkeen met n unieke perspektief. n Geleentheid om afstand te kry tussen Lizzie en Marthinus duik op, en Lizzie gryp dit met albei hande. Sy bevraagteken gou haar oenskynlik onafhanklikheid, en Marthinus word gedwing om hand in eie boesem te steek. Sal hierdie huwelik die toets deurstaan?

'n Deerniswekkende verhaal van twee vroue wat elkeen op hul eie manier weer hul voete vind.

Wanneer Bea Klinge as jong boervrou op Leliepan aan die soom van die Namib aankom, glo sy dat sy hier vir haar, Kurt en hul kinders 'n oase van liefde sal kan skep. Ná 'n skokontdekking meer as vier dekades later kry Bea 'n miniberoerte en beland in 'n koma in die hospitaal.

Haar herstel bring Bea voor nuwe keuses te staan. Sy besef sy het haar vier dogters elkeen op 'n manier gefaal deur by Kurt te staan al het hy hulle hoe verontreg. Moet sy oop kaarte met hulle speel oor die donker geheim wat haar vasgevang gehou het in 'n liefdelose huwelik met 'n man wat haar soos 'n onderdaan behandel? Bowenal moet Bea besluit of sy die kans op geluk waarop sy destyds haar rug gekeer het gaan aangryp en vir een keer in haar lewe gaan doen wat reg is vir haar en nie vir ander nie.

Nel, haar rebelse laatlam, gaan soek haar heil in Johannesburg. Hier word sy as sukkelende aktrise met die donker kant van die vermaaklikheidsbedryf gekonfronteer. Sy raak betrokke in 'n toksiese verhouding met 'n invloedryke filmvervaardiger Buks Bothma en word die slagoffer van date-rape. Nel ontdek ook die skokkende waarheid omtrent haar herkoms.

Lex le Roux, 'n medeakteur en donkieboer bied haar 'n kontrak aan om die gesig te wees van sy velsorgprodukte wat uit donkiemelk vervaardig word. Nel gryp die geleentheid met albei hande aan. Ná die trauma waardeur Nel is, het sy tyd nodig om heel te word. Sy besluit om haar droom na te volg en 'n dramakursus in New York te gaan volg. Mettertyd ervaar sy die vreugde om haar pad boontoe te werk en nie te slaap nie. Sy kry dit reg om aan haarself te bewys dat Nel Klinge sonder hulp sukses kan behaal. Nel besef ook dat haar genesingsproses voltooi is en dat sy reg is vir meer as 'n vriendskapsverhouding met Lex.

Jazz painist Bent lives in squalor in Observatory. After a gig one night, the enigmatic Leonard Fry offers him a vast sum of money to play at a private party.

Bent accepts and duly plays the piano. After the guests have departed, Leonard Fry makes him a Faustian proposition: he, Leonard Fry, his appetites jaded by the pleasures his enormous wealth has afforded him, wants to undertake an experiment: he wants to lock himself in a bare room, containing only the most basic essentials, for a year. Bent’s role in this endeavour would be to live in Fry’s mansion for the year, passing Fry three meals a day through a slot in the door, without any other interaction, even – especially – if he begs to be released. When Bent locks Fry in the room, the strange trip begins.

But there’s a mysterious stranger lurking outside the house, and Bent soon begins to wonder who the real subject of Fry’s bizarre experiment is.

Aan die einde van elke jaar word daar op Gatlek, Dawid Fourie se plaas, feesgevier. ʼn Soort danksegging, kan jy sê. Dawid beloon sy werkers vir hul harde werk, en hulle betoon hul dankbaarheid op ʼn manier waaroor daar ná die tyd nie veel uitgewei word nie.

Dit was tydens die nag van die laaste groot vleisbraai dat dinge vir Dawid en Gatlek begin skeefloop het.

Jan-Vlok, Dawid se seun, sit nou verbitterd sonder ʼn erfplaas. Sy pa swyg oor Gatlek terwyl hy sy dae vul met grafstene maak in sy agterplaas. Totdat sy mal oom Outa oor die verlede begin praat en niemand hom meer kan ignoreer nie.

Dan is daar Bettie Rondganger. ’n Alleenloper. ’n Vrou wat wil voorthol om van haar verlede te vergeet. Sy gee haar lyf vir Jan-Vlok, maar ook vir Klippies, sy jeugvriend wat aan die werkerskant van die plaas grootgeword het. Sy en Klippies ken immers die etiek van die vullishope waar hulle nou ʼn bestaan moet maak.

Maar wat het werklik daardie aand op Gatlek gebeur?

Dinge van ’n hond is ’n roman oor vergeet, maar ook oor onthou. En die besef dat ’n mens jou nooit rêrig van jou verlede kan losmaak nie.

“Ek het vir prof ʼn storie om te skryf.” Só begin Drie vroue en ’n meisie toe die mooie Katryn een middag ná klas ongenooid voor die skryfkunsprofessor se lessenaar kom staan om hom in te lig dat hy haar familiegeskiedenis gaan skryf. Die ellendige saga en lotgevalle van drie generasies vroue wat by Katryn se grootjie in die miserabelheid van die delwerye van Miersehoop wat byna reeds uitgewerk is, begin.

Almal wat kom soek het na ’n diamant so groot soos ’n skaapkop, weet teen hierdie tyd die droom is aan ’t sterwe. Maar die hoop bly, die hoop bly ... En alles wat goed en sleg is, word soos die aarde uitgewerk onder dié wat volhard. Nypende armoede en hoogmoed, onnoselheid en opregtheid vermeng op die harde Noordwes-Hoëveld en verdring só alles wat goed kon wees.

Hieruit groei die verhaal van ’n weeskind wat nie kos of menswaardigheid gegun word nie, laat staan keuses. Daaruit ontvou nog ’n verhaal en daaruit nog een. En uiteindelik keer dit terug na waar dit begin het. Só word die verlede oopgebreek om in die hede lig vir die liefde te maak.

Toe skryf die professor oor Katryn se ma, haar ouma en oumagrootjie, sonder dat hy of sy kon voorsien dat hulle self deel van dié saga van dooie drome, armoede en vernedering sou word. Selfs die liefde is onvoorspelbaar op ʼn delwery tussen die mielielande van die wispelturige Hoëveld. Durf ons droom van ’n beter lewe waarin minagting nie langer verduur hoef te word nie?

Hans du Plessis is ’n geliefde naam in die Afrikaanse letterkunde. Sy historiese romans staan stewig in die hede gewortel en hy is bekend vir die bedrieglike eenvoud in sy verhale wat dieper waarhede dra – hy ken die mense oor wie hy skryf en dié waarvoor hy skryf. Du Plessis is ook bekend as digter, dramaturg en taalkundige.

Stifled by the torpor of colonial South Africa and trapped in a web of reciprocal oppression, a lonely sheep farmer seeks comfort in the arms of a black concubine. But when his embittered spinster daughter Magda feels shamed, this lurch across the racial divide marks the end of a tenuous feudal peace. As she dreams madly of bloody revenge, Magda's consciousness starts to drift and the line between fact and the workings of her excited imagination becomes blurred. What follows is the fable of a woman's passionate, obsessed and violent response to an Africa that will not heed her.

In the Eastern Cape, Stephen (Malusi) Mzamane, a young Anglican priest, must journey to his mother’s rural home to inform her of his elder brother’s death.

First educated at the Native College in Grahamstown, Stephen was sent to England in 1869 for training at the Missionary College in Canterbury. But on his return to South Africa, relegated to a dilapidated mission near Fort Beaufort, he had to confront not only the prejudices of a colonial society but the discrimination within the Church itself.

Conflicted between his loyalties to the amaNgqika people, for whom his brother fought, and the colonial cause he as Reverend Mzamane is expected to uphold, Stephen’s journey to his mother’s home proves decisive in resolving the contradictions that tear at his heart.

Following his brother’s funeral, Chisoni, a thirty-three-year-old Malawian, embarks on a long-haul flight to England, where he lives. His neighbour on the plane is a loquacious Irishman who speaks openly about many things, including the loss of his own father. Over the course of their thirteen-hour flight, the two form a genuine connection, sharing their thoughts, fears and ideas about life and death.

A man with high anxiety, Chisoni analyses his childhood, his family, and the events that led to his brother’s untimely death. He is consumed with guilt for his role in his brother’s decline. In his jacket pocket is a note, addressed to their father, handwritten by his brother shortly before his death. In a drunken hand, it begins: Dad, I’ve been trying to meet you but all efforts are proving futile … Chisoni cannot bring himself to look at the note, let alone deliver it. Is it his duty to fulfil his brother’s request, or will doing so only break their father’s heart?

Thought-provoking and at times humorous, this honest account of grief embraces the themes of addiction, brotherhood, and the relationship of fathers and sons.

From South Africa to Iceland, rural Belgium and the Alps, the stories in Mad Honey radiate out to encompass the globe.

In Johannesburg a couple raise their son in leafy suburbia, while their cleaner’s child must face the inequities of their country head on.

Amid Reykjavik’s arctic landscape, a woman takes mad honey with the man who has left her for another, and spends a chilling night with a violent Russian and his companion.

And in New England two lovers face the cruelty of a host whose humanity has left him, while a mother takes pity on a street child she finds on a platform at Park Station.

Crowning this collection is a story cycle featuring a young Namibian and his Japanese friend, who spend a claustrophobic night in a chateau with a dark pool of glimmering eels – this after being pulled into a tragedy on the ski slopes of Italy.

Following on from his multi award-winning first collection, published in English as The Alphabet of Birds, SJ Naudé’s second collection of short stories disturbs, surprises and enthrals.