In his debut collection of award-winning stories, Nick Mulgrew tells fourteen subtly interlinked tales set along the Southern African coastline from Cape Town to Mozambique, in which relationships, dreams and even narrators die: where fields catch fire, towers implode and the shadows of the past grow long.

But even from the most uneasy corners – tourist traps, colonial purgatories and libraries for the blind – these stories offer small mercies: glimpses of faith, beauty, and the possibility of salvation, no matter how slight.

Told with the magpie’s eye for the vivid in the ordinary, and the surreal in the everyday, Stations presents a fresh, compelling and essential new voice.

Stories featured:
1) Athlone Towers;
2) Turning;
3) Posman;
4) Ponta da Ouro;
5) Stars;
6) Daughter;
7) Gala Day;
8) Die Biblioteek vir Blindes;
9) 1-HR FOTO;
10) Appreciation;
11) Mr Dias;
12) Restaurant;
13) Marianhill, in the Gardens;
14) Stations

Van 1981 tot 2014 skryf Cecile Cilliers rubrieke vir Beeld, De Kat en Sa​rie. Deur die jare het sy etlike bydraes vir verskillende bundels gemaak, maar Die ou vrou en die priester is haar eerste eie kortverhaalbundel. Verskeie klassieke temas word onder die loep geneem: dit wat in 'n huwelik ongesê bly tussen man en vrou, die verwikkelde band tussen ma en dogter, die oorweldigende blindheid van 'n eerste liefde, en bowenal die uitdagings van oud word.

Die verhale spreek tot 'n breë gehoor. Baie leesbaar, met 'n diep menslikheid wat uit die stories straal.

Nobel Laureate and two-time Booker prize-winning author of Disgrace and The Life and Times of Michael K, J. M. Coetzee tells the remarkable story of a nation gripped in brutal apartheid in his Sunday Express Book of the Year award-winner Age of Iron. In Cape Town, South Africa, an elderly classics professor writes a letter to her distant daughter, recounting the strange and disturbing events of her dying days. She has been opposed to the lies and the brutality of apartheid all her life, but now she finds herself coming face to face with its true horrors: the hounding by the police of her servant's son, the burning of a nearby black township, the murder by security forces of a teenage activist who seeks refuge in her house. Through it all, her only companion, the only person to whom she can confess her mounting anger and despair, is a homeless man who one day appears on her doorstep. In Age of Iron, J. M. Coetzee brings his searing insight and masterful control of language to bear on one of the darkest episodes of our times. 'Quite simply a magnificent and unforgettable work' Daily Telegraph 'A superbly realized novel whose truth cuts to the bone' The New York Times 'A remarkable work by a brilliant writer' Wall Street Journal 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, Foe, an exquisite reinvention of the story of Robinson Crusoe is also available in Penguin paperback.

Internationally acclaimed, prize-winning thriller writer Deon Meyer has been heralded as the King of South African Crime. In Thirteen Hours, morning dawns in Cape Town, and for homicide detective Benny Griessel it promises to be a very trying day. A teenage girl's body has been found on the street, her throat cut. She was an American--a PR nightmare in the #1 tourist destination in South Africa. And she wasn't alone. Somewhere in Cape Town her friend, Rachel Anderson, an innocent American, is hopefully still alive. On the run from the first page of Thirteen Hours, Rachel is terrified, unsure where to turn in the unknown city. Detective Griessel races against the clock, trying to bring her home safe and solve the murder of her friend in a single day. Meanwhile, he gets pulled into a second case, the murder of a South African music executive. Griessel's been sober for nearly six months--156 days. But day 157 is going to be tough. A #1 best seller in South Africa and a finalist for the CWA International Dagger, Thirteen Hours is an atmospheric, intensely gripping novel from a master storyteller.

Hierdie omnibus is ’n samestelling van drie van Mari Roberts se vorige Romanzas, Dans in die reën, Sprokiesprinses en Fasade van die hart.

Dans in die reën:

Nick du Toit was nog altyd sexy. Gevaarlik sexy.

Kleintyd het haar maats se leepoë oor hom haar geamuseer. Totdat Lillie se mond ook begin droog word het. Skielik was hy meer as net haar aangetroude neef, haar mentor, die ou wat haar beskerm.

Hy was die man wat sy liefhet.

Maar Nick is nege jaar ouer as sy. Wêreldwys. ’n Rokjagter.

Ná vier jaar op universiteit kuier sy weer by haar tante-hulle op die plaas. En Nick is daar. Sterk. Onweerstaanbaar. Onvoorspelbaar. Hy verwar Lillie, maak haar woedend … én haar bene lam. En sy weet sy moet liewer padgee, ás sy haar stukkende hart wil laat heel word.

Sprokiesprinses:

’n Maand voor haar troue word Zoë in die steek gelaat. Haar selfvertroue is daarmee heen. Sy twyfel aan haar vroulikheid, en haar selfbeeld is aan skerwe.

Die stappery in die Outeniqua moet help om haar kop skoon te kry, haar help heel word. Maar ’n groter probleem wag daar – Kian Richards. Om amper met ’n gay man te trou, was erg, maar om die bewerasie te kry naby ’n man wat vroumense so geniet dat hy hom nie laat bind nie, is onhanteerbaar.

Miskien moet sy ’n bietjie flirt, haar vroulikheid toets. Maar sy is nie opgewasse teen die intensiteit van haar gevoelens nie. Koelkop kan sy Kian nie hanteer nie.

Fasade van die hart:

Sy verfoei hom, kan dit nie eens verduur om naby hom te staan nie, wat nog te sê langs hom sit en wild uit die helikopter met dwelmpyltjies skiet.

Beate weet van Derrick de Winter se voete van klei.

Kleintyd was hy haar beste maat, haar held, totdat hy met Lucy begin uitgaan het ... en geweier het om die verantwoordelikheid van hul kind te dra.

Sy weet hy gryp onbetrokke na vroue soos stukkies dryfhout wat verbykom, en los hulle ewe vinnig.

Sy sal haar nie laat meesleur nie.

Maar die aand van die verpestelike rooi rok speel sy roekeloos saam, met gevolge wat selfs sy nie kon voorsien nie.

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.

Jan Wentzel, verhaleredakteur van Die voorpunt, kry te make met Marié Hurter, ’n aspirant-skrywer wat maar net nie wíl aanvaar dat haar liefdesverhaal afgekeur is nie. Jan het hoë ideale en neem sy werk ernstig op, maar ’n probleem ontstaan. Hoe gemaak as hy nou ook ’n ogie op Marié het? Of voer dié ondeunde rooikop iets in die mou?

In Die rooikop en die redakteur en ander stories bring H&R vroeë verhale deur een van Afrikaans se belangrikste skrywers in een band byeen. Vóór die Sestiger-beweging, etlike literêre pryse en internasionale aansien het André Brink sy loopbaan begin as skrywer van humoristiese stories en spannings- en liefdesverhale in gesinstydskrifte. Die vermaaklike stories in dié bundel het gedurende die 50's in die tydskrifte Die huisgenoot en Die brandwag verskyn. Dié bundel kombineer Brink se eiesoortige sin vir humor met ’n tikkie nostalgie – perfek vir ’n ouer én nuwe geslag lesers. Saamgestel deur Cecilia van Zyl, voormalige verhaleredakteur van Die huisgenoot.

A collection of new and critically acclaimed stories by award-winning South African author Ken Barris. Here, Barris's work combines everyday events with the surreal and fantastical: the title story centres on a dog called Worm; in another, husband and wife quarrel over a plugless lamp; and in another, a man encounters a speaking baboon in his kitchen. Poised, lyrical and humorous, the stories in this collection concretise the human condition via the author's characteristically unfettered style.

Paul Rayment is on the threshold of a comfortable old age when a calamitous cycling accident results in the amputation of a leg. Humiliated, his body truncated, his life circumscribed, he turns away from his friends. He hires a nurse named Marijana, with whom he has a European childhood in common: hers in Croatia, his in France. Tactfully and efficiently she ministers to his needs. But his feelings for her, and for her handsome teenage son, are complicated by the sudden arrival on his doorstep of the celebrated Australian novelist Elizabeth Costello, who threatens to take over the direction of his life and the affairs of his heart.

A group of women at a specific period in the history of Southern Africa find their family life under the pressures of capitalist modernity and apartheid.

These ordinary, 'private' stories are anchored to the more powerful public stories of Penelope of ancient Greek mythology, who waited eighteen years while her husband Odysseus was away, and Winnie Mandela who waited for twenty-seven years.

The life story of Winnie Mandela remains one of the great unfolding dramas of our times; a tale of triumphs and tragedies that is only just beginning to be examined.

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.

In the title story Away From the Dead we meet Isaac Witbooi, a farm worker, who has to come to grips with losing everything including the graves of his entire deceased family. In After Spring a couple takes a holiday but we're drawn into the issue of identity: Even if they hadn't heard us speaking English earlier, they would have known our foreignness simply by sight. It is visible to them in our facial features, the way we wear our clothes, our hair. The fact that we are third and fifth generation South Africans respectively matters little to them. Making Challah is a touching picture of an ageing woman, and it uses the baking of challah as a wonderful metaphor of passing time. Ridwaan and Chadley are On the Train, a seemingly routine journey but somehow a dog has been acquired and it's been Chadley's first time to kill. Find out how it felt to be Andries Tatane who, on 13 April 2012, died during a service delivery protest in Ficksburg, South Africa. In the Narrative of Emily Louw, a true story, a young woman regrets not having given something to old Emily after listening to her sad story: At the second, a policeman had looked at the blanketed child, her worn face and bleeding feet and he had smirked, as though to indicate that her husband had left by choice and couldn't be blamed for his departure. Next is a thoughtful reflection on being called Muzungu when a white South African woman visits Uganda. From Dark is a rallying call to remember that illegal mining causes the deaths of hundreds every year. Zama-zamas (Zulu for 'chancers') live underground for months at a time, dying in police raids, fires, cave-ins and poor conditions. A young couple's outing goes horribly wrong in At the Seaside. Grandmother's great big wicker picnic basket, which was supposed to be a treat, takes the blame. An 'informal settlement' of zinc shacks on the flatlands sets the scene in Allotment. Warda Meintjes and her husband struggle to survive. A great stadium for the World Cup is being built but Warda's unborn child stops moving. The homeless were being rounded up by police, placed in trucks, driven out into the countryside and dumped. 'Thank God we're spared that,' one woman said. 'Don't fool yourself,' another replied. 'That is us. It has already happened to us.' In The Shark Mia's very sense of being gets overtaken by events. A dark story leading on to Development, darker still, but thought-provoking, and about what it is to be human. The Wall is almost surreal and deals with growing old on the street. Alletjie lives with her husband Jan Bakker and Solly, her disabled brother, next to an old mine built by Cornish miners in the 1880s. Their circumstances are a cut above those of Warda and her husband, yet, 'living on the old goats and chickens and a disability grant was never enough', and Alletjie who 'does everything' thinks it isn't fair, 'the mine owned her this future for herself'. Resurrecting again exerts a certain surreal appeal. A father takes to his bed because of a crushed pigeon or is it a metaphor for a crushed soul in the office? His son is told to pray but is there going to be a resurrection?

Dis waar dit geëindig het, toe die trekker se wiel Klara se pa papgedruk het. Toe hulle ná haar pa se dood van Boplaas moes weg en in die wit lokasie gaan woon, toe was alles verby. En dit was nog lank voordat al agt die kinders gebore is wat die agt knope in Klara se naelstring voorspel het. Maar verby was die tyd dat Klara die dae onder die wilgerboom op die damwal langs die lusernland kon omdroom, of met rooi koeldrank en koekies voor die stoof kon sit en luister na Polla se stories oor waar die bul vir oom Slap Soois geskop het.

Boplaas het hulle afgeskud.

Of so het Klara gedink. Maar die waarheid is dat Boplaas nie klaar was met haar nie. Haar susters kon wegkom – Leen met haar oneerbiedigheid en Martie deur met ’n halwe Duitser te trou en landuit te vlug – maar nie sy nie. Iemand moes omsien na Ma wie se kop heeltemal uitgehaak het, en iemand moes help om Ma se fratskind, Henk, deur matriek te sien, en daarby moes Klara ook nog haar eie geleerdheid kry.

Eers toe die ding met Dries, Boplaas se erfgenaam, op die rotse loop, was dit asof Klara haar kon losmaak van haar verlede. Maar dit is juis toe sy uiteindelik weggaan dat sy agterkom hoe onlosmaaklik sy verstrengel is met daardie plaas en sy mense.

Klara is ’n verhaal met ’n onweerstaanbare aardsheid. Snaaks én hartverskeurend. Dis nie aldag dat ’n mens jou so kan verlustig in die vreemde draaie wat die lewe gooi nie.

Nuwe plek, nuwe skool, nuwe mense. Ek het my eenkant gehou, net in die middae pinball gespeel by die Griek se kafee op die hoek. Pinball was my ding. My nuwe klasmaats het gesien hoe ek speel.

“Kyk hoe jive die cat daar agter die pinball,” lag die een. “Ek scheme dié Randfontein cat is nie te bad nie.”

Omdat ek ’n soort van pinball wizard was, het hulle my nie so geboelie soos vir my kleinboet Johnny nie.
 
Ná ’n lewe in die skadus neem ’n man stelling in, rewolwer in die hand, om sy allerlaaste misdaad te pleeg.
 
Terwyl hy in ’n donker sitkamer wag, loop sy herinneringe wye draaie: na harde grootwordjare in Randfontein en Germiston se strate, waar selfs jou eie familie jou kon bloedmond slaan. Hy onthou die Suid-Afrika waarin hy opgegroei het: die Castle Lager en Lucky Strikes agter skoolpawiljoene, die seuns met aanvalsgewere op die grens.
 
Vir ’n hierjy soos hy was sy pad reeds vroeg uitgemeet: hoëtroustelle steel, baie Klipdrift, verbeteringskool, daarná die army. En toe sluk Sunnyside se nagklubs en onderwêreld hom in.
 
In André Krüger se aangrypende roman oor familie, verraad en wraak – geskryf in die taal van die straat en die tyd – voer een man ’n uiterste stryd teen sy lotsbestemming.

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.

'n Afgetrede navorser raak betrokke in ’n vete met die bure na hulle twee reusagtige bome op sy erf afkap. Terwyl hy probeer wraak neem (met komiese gevolge!), kom sy joernalis-dogter op die spoor van ’n geheimsinnige graffiti-kunstenaar wat Da Vinci se Vetruviaanse Man op stadsmure in Johannesburg aanbring. Die verhaal speel af in die voorstede van Johannesburg en die distopiese ruimtes van Hillbrow. ’n Slim, humoristiese roman cum speurverhaal deur ’n bekroonde dramaturg.

“We must do something to pass the time, I thought. Two women in a room, hands and feet tied.”

Kidnapped in Nigeria by a group not unlike Boko Haram, two women, Nwabulu and Julie, relate the stories of the very different lives fate has meted out for them.

When Nwabulu’s father dies, her stepmother sends her off to become a housemaid. For years, she suffers the abuse of employers, a love affair with an employer’s son offering little comfort. Out of their union a son is born, but the young Nwabulu has to give him up, and is bound to suffer in her stepmother’s home again until she can flee, establishing herself as a fashion designer, finally able to inhabit Julie’s world.

Julie: privileged, educated, and adored by her parents. She has the opportunity to become whomever she desires. But sometimes too much choice can be a dangerous thing, and in Julie’s case it is. At thirty-four she is still unmarried and, for the first time, there is pressure: a burden that will only be lifted with the birth of a son. So determined is Julie for release that she goes as far as a polygamous marriage.

While the two women wait for the ransom to be paid, fate will once again decide the course of their lives.

Die vrou van die klippesee vertel hoe die lewe vir Hendrik tot nou toe gerol het soos ’n stormsee. Hy is ’n visserman van ’n klein dorpie aan die Weskus wat jou aan Paternoster laat dink en in sy lewe het hy reeds sy broer aan die dood afgestaan. Maar dit is die verdwyning van sy vrou wat hom bitter maak en na die papsak wyn laat reik. Só staan hy dronk en droewig in die koue see, reg om homself te verdrink terwyl sy hond op die strand vir hom wag wanneer die roman begin. Hendrik se lewe begin handomkeer verander wanneer hy ’n gewonde gedierte, miskien iets soos ’n meermin, huis toe bring. Die vrou van die klippesee wys hoe goed fiksie sosiale en politieke kwessies kan ondersoek wanneer die skrywer lig werp op die lewe van ’n karakter wat aanvanklik niksseggend en nietig blyk te wees.

All his life, Kabelo Mosala has been the perfect child to his doting absent parents, who show him off every chance they get. Both his parents and his small community look forward to him coming back after medical school and joining his father's practice. They also plan to give him the perfect township wedding. But Kabelo's one wish has always been to get as far away from the township as he possibly can and never come back.

A few weeks before he leaves for university, however, he forms a close bond with Sediba, one of his childhood friends, confirming his long-held suspicion that he is gay. Their relationship is thrown into turmoil by social pressures and conflicting desires, and it starts to look as if they can't be together. But against all odds the two young men make their way back to each other, risking scorn from the community that raised them.

In her characteristic, beautifully modulated voice, with razor-sharp clarity, Kagiso Lesego Molope tackles an urgent issue in her country of birth.

Die roman wat by uitstek met die naam van Van Melle geassosieer word, is Bart Nel, de opstandeling (1951), wat eers in Nederlands met Afrikaanse dialoë gepubliseer is, in 1942 volledig verafrikaans is tot En ek is nog hy en in 1951 vir ’n herdruk sy finale titel, Bart Nel, gekry het.

Die essensie van die roman is ook nie die historiese Rebellie van 1914 waaromheen die gebeure van hierdie roman gebou is nie. Bart Nel is trouens nie ’n historiese roman nie. Dis eerder ’n sielkundige of karakterroman wat handel oor ’n komplekse vereensamingsproses.

Daarmee was die werk verrassend modern in Afrikaans, soseer dat niemand dit aanvanklik besef het nie. Aan die hand van ’n nugter, maar darem nie gevoellose verteller nie word die leser binnegelei in die sel van Bart en Fransina se leef- en dinkwêreld, wat onvermydelik en dus tragies in twee vyandige selle splits en vanweë trots en onbegrip nie meer tot eenwording in staat is nie.

Hierdie gebeure van ’n genadelose afstropingsproses, waarby geliefdes en besittings in die slag bly, was in dié stadium uniek in die Afrikaanse prosa. Volgens Olivier (1981:55) wat op Spangenberg (1980) gereageer het, is daar min romans “waarin die onmag en die beperktheid van mense, en die onmoontlikheid om selfs naasbestaandes en geliefdes te begryp, op so ’n beklemmende en oortuigende manier uitgebeeld word”.

Esther Gelderblom has been waiting for a house for twenty years. In the bitter Oudtshoorn winter she and her friend Katjie queue to ask when their names will finally appear on the government’s list of housing recipients. Esther dreams of a home for her daughter Liedjie, who plays the keyboard for the Bless Me Jesus church, and for her husband, Neville, who will then get his life in order.

But corruption is rife as housing officials manipulate the list for favours. When Katjie’s shack burns down, the two women take matters into their own hands, occupying two empty houses and setting in motion events that will compromise everything they hold dear.

Esther’s House is a story of greed, power, and the fight for what is right when good people are pushed too far.

Life wasn't always this hard for fourteen-year-old Mvelo, who lives with her mother, Zola in the shacks on the margins of Mkhumbane township.

There were good times when they lived with Sipho, Zola's lawyer boyfriend. But when the beautiful and mysterious Nonceba Hlathi arrives, Zola has to make a choice. She also has her pride. Now their social grants have been discontinued: the one for Mvelo being underage reared by a 31-year-old single mother, and the other for Zola because of her status. And there is also an elephant growing in their shack as the terrible thing that happened that night in the revival tent remains unspoken.

In her second novel, Futhi Ntshingila once again introduces us to a cast of strong women who have little, but are determined to shape their own destinies.

This African fiction book reflects a positive narrative towards African success – relates to aspiring entrepreneurs and those that aspire to be successful in life despite previously disadvantaged backgrounds.

The reader is invited to join Don Mthethwa on a journey through the interesting life of an African child who aspires to be a successful entrepreneur but faces obstacles as a result of succumbing to society pressures prevalent in African societies today. Readers learn about the journey of an entrepreneur from dusty ashes and the endurance that emanates from persevering to make it successful despite challenges.

The story features a real-life scenery on the type of relationships that influence an individual’s character in their pursuit of following a career path and envisaged success. It includes historic philosophies and myths that have over the times resonated with the ordinary African child on this phenomenon.

This is the story of Shumikazi, the only surviving child of Jojo and Miseka. She grows up in a small village in the remote Eastern Cape during the days of white rule – from the outside, an apparently unremarkable life. And yet Shumi is marked for extraordinary things from the moment of her birth.

Wry, tragic, funny, scathing, with a Greek chorus of villagers’ voices, this rich novel from one of South Africa’s most beloved storytellers underscores the dignity of those often rendered invisible – poor, rural women, their families and communities. These marginal characters crackle with life and verve as they step into the centre of the national narrative in Magona’s skilled hands.

A powerful meditation on the vulnerability of rural women, it is also a series of overlapping love stories – above all, the love a father has for his daughter.