Meet the Mafus, a close-knit, traditional family with three daughters. As leaders of their church, The Kingdom of God, Pastor Abraham and his wife Phumla are guiding the community of Bulawayo in faith, while trying to keep the different branches of their family intact.

Independent and feisty Xoliswa returns home, after a hiatus abroad, hoping for a fresh start and a chance to steer the family business; rebellious Yandisa has met the love of her life and is finally getting her act together; while dutiful newlywed Zandile is slowly becoming disillusioned with her happily ever after.

The Mafus always present a united front, but as their personal lives unravel, devastating secrets are revealed that threaten to tear the family apart. For how long will they be able to hide behind the façade of a picture-perfect family?

A year ago Patrick Winter, a young South African, was sent to Namibia to complete his military service and to defend his country against ‘terrorism’. Now he is back, to meet Godfrey, his mother’s freedom-fighter boyfriend, and to witness the country’s first free elections.

But Patrick needs to confront and process much more than a country in transition, and in doing so he is forced to revisit his past and to face the pain and the demons that haunt him.

Die storie van Jono, die alleenloper-visserman, wat een dag ‘n wonderwerk vang.

Jono is ’n alleenloper-visserman wat met harde werk sy skuld moet terugbetaal. Uncle Mike is ’n fabriekbaas wat worstel om kop bo water te hou. Die Baai is ’n klein plekkie waarvan die inwoners al vir generasies op dieselfde manier hengel. En nou’s daar nie meer vis nie.

Wanneer uitlanders met reuse vissersbote opdaag, steier dié eenvoudige gemeenskap onder die fratsgolwe van ’n veranderende wêreld. Hoe gaan die Baai dit oorleef? Maar die seun het ’n sonderlinge talent: hy kan die visse se gedagtes hoor.

En in die dieptes skuil ’n groot geheim, iets wat slegs Jono met sy lyn kan uitkatrol…

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.

Is dit 'n vergeldingsdrang wat iemand laat moor, of kan dit die psigologiese nagevolge van traumatiese kinderjare wees?

Magdalena Bakkes moor vir die derde keer in haar lewe en kies om te vlug, gedring deur die moeras van molestering en geweld wat haar kinderjare gekenmerk het. Niemand behalwe die onbekende vrou wat haar help wegkom, weet van die verkragting nie. En niemand sal weet dat Magdalena haar aanvaller se lewe geneem het nie. Sy sal nooit weer in 'n sel sit nie, al kos dit wát. Sy veg om 'n fasade van normaliteit te behou, help haar beskadigde kliënte en bied vir 'n groep ewe beskadigde elfjarige weeskinders Sondagskoolklasse aan terwyl sy haar blinde ma ondersteun en poog om die psigologiese nagevolge van die verkragting en moord te verwerk. Is daar onheil by die kinderhuis? Hoe diep en wyd strek die boosheid? Is haar ma werklik in die greep van demensie, of is daar iets anders, iets erger aan die gang? Sal die groep vigilantes daarin slaag om haar moord toe te smeer, of sal die groot polisieman sy woord gestand doen en die moordenaar aankeer?

Doodsengel is Rust se 6de boek met 'n splinternuwe hoofkarakter.

Twenty-two-year-old Etienne is studying film in London, having fled conscription in his native South Africa. It is 1986, the time of Thatcher, anti-apartheid campaigns and Aids, but also of postmodern art, post-punk rock, and Royal Vauxhall Tavern. Adrift in a city cast in shadow, he falls in love with a German artist while living in derelict artists’ communes. When Etienne finds the first of three reels of a German film from the 1930s, he begins searching for the missing reels, a project that turns into an obsession when his lover disappears in Berlin. It is while navigating this city divided by the Wall that Etienne gradually pieces together the history of a small group of Jewish film makers in Nazi Germany. It is a desperate quest amid complications that pull him back to the present and to South Africa. However, his search for the missing film continues. Ambitious and cosmopolitan, the material of SJ Naude’s The Third Reel is as disparate as the cities in which the book is set. Architecture, cinematography, sex, music, illness, loss and love all collide in this exquisitely wrought, deeply affecting novel.

A farmhouse is being reproduced a dozen times, with slight variations, throughout a valley. Three small graves have been dug in the front garden, the middle one lying empty. A woman in a wheelchair sorts through boxes while her husband clambers around the old demolished buildings, wondering where the animals have gone. A young woman - called 'the barren one' behind her back - dreams of love, while an ageing headmaster contemplates the end of his life. At the entrance to the long dirt driveway, a car appears and pauses - pointed towards the house like a silver bullet, ticking with heat.

So begins The Dream House, Craig Higginson's riveting and unforgettable novel set in the Midlands of KwaZulu-Natal. Written with dark wit, a stark poetic style and extraordinary tenderness, this is a story about the state of a nation and a deep meditation on memory, ageing, meaning, family, love and loss.

This updated 2016 edition contains new content, with Craig Higginson exploring the background to The Dream House, his varied experiences in a farmhouse in KwaZulu-Natal and the subsequent and poignant motivations for this moving novel.

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.

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.

He is speaking in a hushed tone, as if this is a forbidden subject. 'He said there were twins here, boys. He said their father died on the day they were born.' He stops and squints as if trying to remember something. 'I'm not sure if I'm getting the story right, but there were other twins before, but they all died. The father must have done something because these two lived, only them, and then he died. They were good children, that's what my father said, but then one day they must have been 14 years old...' He stops when he hears a gasp.

'What happened? What did they do?' Qhawe asks. 'They killed a priest. He was one of those that were recruiting people o join a church, and most people here believed him and followed him. He built a school and stuff. The twins went to that school. But he must have made them very angry because...' 'How did they kill him?'-Mqhele

The man shrugs before he speaks. 'From what I was told, they slit his throat and left him sitting on a chair, bleeding to death.' There's silence. The man is telling the story like its an urban legend, but they know, it is a familiar one. 'Is that what you wanted to know?' the man asks, looking at Sisekelo. He doesn't answer. 'So, what happened to the twins' mother?' Qhawe asks. The man sighs deeply. 'They burnt her alive.'

Grietjie se loutering is die aangrypende verhaal van ’n weduwee wat haar inkomste as tydelike huiswerker verdien in Grabouw. Sy sukkel om kop bo water te hou, maar haar geloof dra haar. Wanneer haar seun deur ’n provinsiale rugbyspan gewerf word, het die gesin hoop op ’n beter lewe.

Grietjie se geloof word getoets wanneer ’n tragedie die gesin tref.

“Ek weet wanneer ek eendag by die punt kom waar ek weer met die Here kan praat met vrymoedigheid, dan wag Hy vir my. En wanneer dit voel ek kan nie meer nie, dan dra Hy my. Maak nie saak wat ek verloor nie, ek het Hom altyd. Wat meer wil ek hê?”

Durban lawyer Teddy Dickerson has run out of ideas. Cynical, single and middle-aged, he’s the very last of his family to still call South Africa home.

When his formidable Aunt Val dies, she leaves him an unusual bequest: her task for Teddy is to post letters to eight of her friends around the world, a job that will take him on a journey into new and unexpected territory. When the replies start flowing in – quirky, unexpected and often hilarious missives from India, Egypt, England, Canada and beyond – Teddy realises there was more to his tough aunt than he’d thought.

Will he take on Aunt Val’s role as confidant and comforter of the lost? Confidant and comforter? Teddy?!

One thing’s for certain: Aunt Val is laughing in her grave.

Die Vroue Van Kosmoslaan vertel die stories van vyf uiteenlopende vroue.

Ellie skryf kinderboeke en wens sy kan swanger raak en haar stories vir haar eie kind vertel. Ida Scholtz se man en seun is saam in ’n motorongeluk dood en nou bly Claire, haar skoondogter by haar. Marella is ’n prokureur en lewe streng volgens voorafuitgewerkte lysies. Julia en haar seun, Rudi, bly ook in die laan en Julia is bly dat sy destyds die huis in haar naam gesit het want haar man het saam met sy sekretaresse weggeloop en nou het sy en Rudi darem ’n dak oor hul koppe. Alma en Jurie bly langs Ellie en wanneer Alma se dogter verdwyn begin almal in die laan na haar soek.

Die vroue deel hul pyn en vreugde met mekaar wanneer hulle eenkeer ’n maand bymekaar kom om te brei. Dit was Marella se idee om die groep te begin al was dit nie die intensie om so gereeld bymekaar te kom nie. Die breigroep word die vroue se toevlug en die kosmosblom word ’n teken van tweede kanse, hoop, drome en geluk.

Die boeiende verhaal is elke vrou se verhaal. Die vroue van Kosmoslaan ervaar God se genade en sy belofte om te voorsien wanneer hulle dit die nodigste het.

Web van liefde is ñ samestelling van Rykie Roux se vorige Romanzas - Mariek en die magnaat; Satynprinses & Naweekbruid.

Yvette, Paul, Mila, Emma, Adriaan, Liane, Max, Bobby, Ralph, Philip: Tien karakters wie se verhouding in Wegkomkans oor ’n tydperk van tien jaar eb en vloei soos die getye van die see wat telkens die agtergrond vir hulle “wegkomkanse” vorm.

Vanaf die politieke noodtoestand in die jare tagtig tot die demokratiese bevryding in 1994: Dié vriendekring se samesyn bly die konstante in ’n andersins veranderende wêreld waarin die ontnugterings en teleurstellings van die werklikheid soms met niks anders as goeie kos, goeie wyn en ’n stewige skeut selfspot getemper kan word nie. Soos hulle jeugdrome vervorm en hulle naïewe optimisme oor die lewe verdof, groei en verander die vriendskap. Verhoudings kom en gaan, ouerskap word ’n al hoe prominenter onderwerp van bespreking, die jeugdige passie oor ’n “nuwe” Suid-Afrika word ’n neutraler, meer besadigde gelatenheid oor wat nié verander kan word nie.

“Verlore liefde tussen twee mense,” verklaar een van die karakters, “kan so tragies wees soos verlore menseregte vir miljoene.” Uiteindelik is dit vriendskap wat die aanslag van tyd en trauma deurstaan; wat ’n skans teen verlies vorm.

Die nuwe Slotwoord tot hierdie roman, skryf Marita van der Vyver: “Hierdie roman, so vertel hulle my, kan ’n nuwe geslag lesers help begryp hoe Afrikaanse stedelinge in die laat jare tagtig en vroeë jare negentig, tussen die laaste stuiptrekkings van die Ou Suid-Afrika en die skrikwekkende geboortepyne van die Nuwe Suid-Afrika, dit reggekry het om op die rand van ’n afgrond te bly dans.”

Wegkomkans bied op hoogs vermaaklike dog erg simpatieke wyse insig in Suid-Afrikaners se versugtinge en ontnugterings – wat byna 20 jaar nadat die teks oorspronklik verskyn het nog net so relevant is soos destyds.

“Nyakale. This has always been my name. It lost vowels and consonants and got rearranged into “Kay” by my Grade Three teacher. “Easier to pronounce,” she said.

Aunty Mercy’s response was to accept. “After all, muwala wange, we are in this country, and ours is not to stand out but to survive.”

“Survive” sounds lifeless, inanimate, not like the survive of Aunty Mercy’s stories of growing up in Uganda. There, survival was active, done daily. In South Africa, the word had taken on a new meaning. No longer doing, but hiding to make existence easier. Gradually becoming chameleons. I learnt to lurk in the shadows. Drawing just enough attention, not too much. No sudden movements, everything calculated and measured.”

Upon giving birth to twin girls in rural Uganda, Nyakale’s mother decides to send one away to her sister in South Africa for a shot at a better life.

In the heart of this beautifully woven coming of age story, is the story of twins growing up in two different worlds one in rural Uganda and the other in South Africa. The novel follows theirs lives and journeys of navigating the politics of their respective worlds.

Nyakale and Achen grew up despising each other for what they imagine the other to have because of their mother’s drastic decision. When they finally meet , how mirrored will they feel by the other?

Bandile Ndala is a once-successful scriptwriter who now struggles with substance abuse, anxiety and depression as he starts to lose his tenuous grip on reality.

His career has stagnated with the rejection of his literary work and life at home with his family is under strain. His life starts to descend into a living nightmare, literally. Bandile is desperately searching for inspiration so he can make a much-needed comeback. When Bandile finds himself in room 28 at the Cariba Inn with a sultry temptress he wonders whether he has gone crazy. Has the formerly brilliant writer who churned out hit TV show after hit TV show lost his mind? Is he on drugs? Or is it all in something he ate at a dinner a few years back…?

Buthelezi takes us through the inner workings of Bandile’s mind as he thinks about his writing and battles with the possibility of not producing something meaningful, ever. The Last Sentence introduces us to a remarkable literary talent. Tumelo Buthelezi is an exceptional storyteller.

From the moment 26-year-old Tristan Hansen steps out of the shower and onto the roof garden of his Maboneng loft, Toyboy pulsates with eroticism. The air is hot and humid, and there’s a Joburg thunderstorm brewing on the horizon. The first flashes of lightning illuminates Tristan’s spectacular flat and the riches it contains: gifts of thanks from his many clients, tokens of their appreciation. Because Tristan is an angel of pleasure, an exclusive escort to Johannesburg’s rich and powerful women. And he is one of a kind.

At how the enigmatic Tristan were trained in the art of lovemaking his clients can only guess. He seldom speaks of those who helped him shake off the strictures of his conservative mother who had to raise him on her own when his father committed suicide. Christina, his first love, and their story set far off in a small Italian village, he also keeps to himself.

But how did Tristan end up here? Who were those women who taught him all he knows? And who is the mystery caller who keeps on phoning and whose calls are filled with menacing silence?

Twenty years ago, Leon van Nierop published his Afrikaans bestseller Plesierengel. Toyboy, published in Afrikaans and English, is its prequel.

“I am his first wife.”

Is that how low you think of me? You think I will run and rat you out to Raymond? Let me tell you something, Raymond is not my husband without you. He needs you, he inhales and exhales because of you, he adores you, Anelisa, because you are his first wife.

Die surfer-meisie Simone, die wulpse huisvrou Andrea en die gesofistikeerde weduwee Maggie is vreemdelinge vir mekaar. Maar op ’n dag wat die lewe hul al drie platgeslaan het, bring die noodlot hulle in ’n ou kombi byeen en so begin ’n onwaarskynlike maar besonderse vriendskap. Wie sou kon raai dat hul liefdes en verliese toe nie so verskillend is nie? Saam trotseer die drie vroue die hoogwater in hul lewe, hoe hakke en al.

Willem Prins wanders the streets of Paris, disillusioned and glum. Once, he showed great promise as a South African writer of distinction, but years of disappointment have left their mark. Drowning himself in the Seine may well be the only option left to drive up his book sales. His reason for being in Paris - the French translation of an erotic novel he wrote under a pseudonym - is not exactly something to be proud of. He is no stranger to Paris. An ex-wife of his (one of three) lives in the city with his eldest son, a young man who barely knows his father. Willem finds an unlikely companion in Jackie, a young South African working as an au pair in the city, a woman old enough to be his daughter. Together, the two of them will face the chaos of the terror attacks on Friday the thirteenth in Paris. You Lost Me is bestselling author Marita van der Vyver's thirteenth novel, a story about life's thunder clouds and the bonds between us that offer shelter. It is a tale of disillusionment and loss, told with warmth and wicked humour.

Op Pelgrimshoop, 'n weggesteekte dorpie in die voue van die Laeveld, waar die vlaktes wemel van skaap, gras en die oudste klipformasies in Suid-Afrika, daar vind Hannah de Witt haar voete weer na 'n verbryselende verhouding wat sy agterlaat in Pretoria. Ongeag die feit dat haar student, Elias Bart, die knorrige boer van Bartelheim, die man wat 'die ding het met die perde', aanvanklik nie wil saamwerk met waarvoor hy haar laat kom het nie: Om hom verder te kom leer. Die legendariese fete tussen Vliet Vorster, sy 4-manbende, en Bart dreig boonop om in 'n volskaalse konflik te ontaard want Vorster haat die 'bontspul' op Bartelheim. Vliet Vorster, voorste boer en burgemeester, wat elke Saterdagaand Die Oog leegdrink en Sondag voor in die kerkgestoeltes sit. Ondanks die dorp se opstand oor Hannah en haar skrywerbroer Abram se teenwoordigheid in die omgewing, die atmosfeer op die plaas wat maar styf is en Hannah se onwillige student groei die waarheid, teerheid en nederigheid - en Hannah leer 'n ander Elias ken.

After his father’s violent death on a hot November day in the droughtstricken Free State, a young man leaves the derelict family farm with no plan, and with no way of knowing that his life will soon be changed for ever by two strangers he encounters on his journey south: a mute little girl who bears a striking resemblance to his late niece, and a troubled lawyer who detests the Cape wine estate she’s inherited from a father she despised.

Set in South Africa against the backdrop of a country in flux, The Safest Place You Know is a powerful story, rendered in meticulously crafted, lyrical prose, about redemption and recovery, and what it means to carry the past with you.

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.

As a daughter of Israel, Yehudit has always loved and trusted in Yahweh, the God of her people. But personal tragedy and the threat of a mighty enemy pose challenges to her faith. God is with her and will use her in her weakness to deliver an entire nation from evil. Accompany Yehudit on her journey from being a young girl defeated by tragedy to becoming a mighty warrior. Along the way, you will discover how the same God who strengthened her can heal your own wounds and shape your destiny.