In some ways, it all begins with a very bad day for Jethro. First, he’s attacked by an angry man who takes his good intentions the wrong way, then he’s robbed in the middle of the night by two men who try to iron out of him – literally – where he keeps his valuables. The problem is that Jethro’s valuables consist of a box of photos and other keepsakes – which only aggravates his assailants.

Traumatised, he seeks counselling. With Dr Chatwin, Jethro traces his bond with his best friend, Sam, the loss of his girlfriend, his encounters with the enigmatic artist Matsotso Cecilia Dumisa, and why he carries a hat, a shoe and a painting around with him everywhere.

Set in the turbulence of South Africa right now, The Space Between The Space Between tells the story of a young man trying to stay afloat as he’s assaulted by life’s cross-currents. The novel honestly and humanely portrays South Africa today without reverting to moral or political grandstanding. As Jethro ricochets through life, a story of loss, the gaining of wisdom and a little healing emerges.

Die oorlog en Gordon Fraser veroorsaak ’n oënskynlik onoorbrugbare kloof tussen Catriona en Rudolf Dreyer.

Waar daar kort gelede nog liefde was, lees Catriona haat, afkeer en veragting in sy oë. Hy glo sy was vir sy twee broers se teregstelling verantwoordelik en sy kan hom nie bereik om hom van die teendeel te oortuig nie.

Hierdie is die tweede boek in ’n tweeluik na Onder 'n Sterrehemel.

Gebaseer op die treffer TV-reeks. Jacques Rynhard, een van die land se gewildste skrywers, verdwyn op die kruin van sy loopbaan. Joernalis Carina Human moet uitvind waar hy is, maar meer belangrik, hoekom hy verdwyn het. Sy krap 'n perdebynes oop van verraad, donker geheime, moord en mislukte verhoudings.

Vuurtoringwagter Hannes Harker word met sy vrou na ’n afgeleё eiland verplaas. Hy ontdek iets wat lank in die toring weggesteek was wat hom sy balans laat verloor, en hy val.

In die hospitaal vertel hy met rukke en stote aan verpleegsuster Rika sy lewensverhaal – van sy ma se geheimsinnige dood, van sy onbeheerbare jong vrou, Aletta, en van die verlate eiland waar net die vuurtoringwagters en ghwanowerkers woon. Dié twee groepe leef saam maar tog ook streng apart op een van die onherbergsaamste plekke op aarde. Met die aankoms van ’n karakter uit Aletta se verlede kom haar eie geheime onvermydelik aan die lig, net soos die pruttende spanning en onregte wat die ghwanowerkers so lank verduur het tot uitbarsting kom in ’n enkele, skokkende gebeurtenis.

Die Bewaker is die verhaal van twee geslagte vuurtoringwagters – mans verbete in hulle plig, en vroue wat saam met hulle in skrikwekkende afsondering leef. Dit is geskryf in die kenmerkende meevoerende styl waarvoor Marguerite Poland so bekend is, nou vir die eerste keer in Afrikaans.

’n Roman oor die krag van geheime, die krag van die liefde en die krag van stories.

As hy die finansiële state het, kan hy begin. Daarvoor het hy kontakte by al die belangrikste banke, sorgvuldig oor jare bymekaargemaak. Op sommige van hulle het hy ’n houvas omdat hy inligting oor hulle uitgesnuffel het.

Wanneer hy die dokumente voor hom het, begin die werklike kragmeting: sy stadige, planmatige, geduldige kyk met forensiese X-straalvisie na wat skelm rekenmeesters en regsadviseurs hulle base help verdoesel. Hy kyk nie net na wat daar is nie, maar ook na wat nie daar is nie. Hy voel die afwagting in sy maag. Dis soos wanneer ’n jagter die slot oopmaak en die patrone in die magasyn druk. Vir hom is só ’n finansiële dokument die reuk van forensiese geweerolie. Daar is geen waarborg dat hy sal tref of selfs ’n skoot sal inkry nie, maar dis die begin van die jag.

Roux Venske, hy is dié jagter. Finansiële knoeiers is sy prooi.

Inspector Albertus Beeslaar has left the ruthless city, only to have his hopes of finding peace and quiet in the Kalahari shattered by the brutal murder of artist Freddie Swarts and her adopted daughter. But Freddie's journalist sister Sara is not convinced that this was a typical farm attack. Amid a spate of stock thefts, Beeslaar must solve this high-profile crime, all the while training his two rookie partners, Ghaap and Pyl. After more murders, the disturbing puzzle grows increasingly sinister, as age-old secrets and hostilities surface, spurring the local inhabitants to violent action. No one is above suspicion, not least the mysterious Bushman farm manager and falconer, Dam. Weeping Waters is Maya Fowler and Isobel Dixon's translation of the Afrikaans bestseller Plaasmoord, a novel that peels away the layers of a landscape steeped in conflict, and hails the arrival of a bright new voice in South African crime fiction available in English.

Kruispad is die kern van Deon Opperman se groot TV-trilogie oor die Afrikaner se pad in Suid-Afrika. Dit beeld presies uit waar die groot verandering gekom en hoe die Afrikaner daarop gereageer het.

Die roman wentel om Sophia en Mariana, die twee dogters van ’n welgestelde boer, Soois van Rooyen, en sy vrou, Mart. Sophia is met die skatryk FG van den Berg getroud en Mariana met die arm, bekrompe Andries Landman. Terwyl FG en Andries albei hul ekonomiese status ná die verkiesing van 27 April 1994 verloor, sit hul onderskeie seuns, Klein FG en Henk, met die nalatenskap van apartheid.

Kruispad belig nie net die snykant van apartheid fel nie, maar boor ook diep in die problematiek waarmee die Afrikaner in die jare negentig moes worstel en toon hoeveel inbors en karakter dit verg om die juk van die verlede af te skud.

When lighthouse keeper Hannes Harker is posted to a remote island with his young wife, he discovers something long-hidden in the tower that causes him to lose his footing and fall.

Seriously injured, Hannes is evacuated to hospital and nursed back to health by Sister Rika, to whom he haltingly tells the story of his life: of his mother’s mysterious death, of his wild young wife, Aletta, and of the desolate island inhabited only by the lighthouse keepers and guano workers – two communities confined together, yet rigidly separated in one of the bleakest places on earth. With the arrival of a figure from Aletta’s past, her own secrets erupt into the present, just as the simmering tensions and injustices endured for so long by the guano workers erupt into a single, shocking act of violence.

Written in the exquisite, haunting prose for which Marguerite Poland is renowned, The Keeper is the story of two generations of lighthouse keepers – men obsessed by their duty to the light – and the wives who accompany them into a life of frightening isolation.

The Keeper is a novel about the power of secrets, the power of love, and the power of stories.

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?

At a prayer meeting on a cold Rotterdam night, the young clerk Aart Anthonij van der Lingen – a pale, sickly, hunchbacked ‘fish from the North’ – is held in the charismatic Reverend Johannes Kicherer’s thrall. Lured by Kicherer’s passion, he leaves his grey and loveless life to land at the Cape of Good Hope as a lay missionary in 1800.

But when the Missionary Society draws lots to determine where to send the new arrivals, Van der Lingen is sent east and Kicherer north. The hunchback missionary must make his own way in a place that, on the surface, God has forsaken – until, as the pitiless landscape and the blank faces of his would-be congregants strip Van der Lingen incrementally of his pride, he learns that he has nothing to give to the Africa that is ultimately his salvation.

Based on historical figures drawn from the Cape Town Church Archives, The Hunchback Missionary is a sweeping narrative of vanity and humility, of the sacred and the profane, of how Europe’s rampant strides across newly colonised Africa led to the abyss from which a continent still struggles, today, to retreat.

Nes ’n geslypte diamant het die waarheid baie kante. Hoe dit vir jou skyn, hang af van waffer kant af jy kyk. Magrieta Malgas, die kleindogter van ’n reenmaker en die half-Koranna Klein-Lit, word in die sewentigerjare vir die onwettige ontginning van edelgesteentes aangekla. Saam met haar onwaarskynlike medebeskuldigdes, ’n bejaarde en ’n gestremde, beweer sy dat hulle die rivieroewer slegs maar oopgeskiet het om 'n oorlede vrou se as te bere waar 'n groot vloed dit sal meesleur. "Weg … see toe." Susara Vermeulen, 'n ietwat onbeholpe verslaggewer, word Oranjerivier toe gestuur om die saak op te volg. Sonder haar redakteur se medewete neem sy Magrieta se verhaal, getik in die Afrikaans van daardie streek, en ’n raaisel na 'n versteekte skat, saam. Deurweef met liriese oomblikke en ou legendes, ontvou die storie van Ntatisi, die Matabele-krygsvrou wat ’n diamant op haar voorkop gedra en haar soldate vreesloos in die stryd gelei het. Soos die Oranjerivier in vloed edelgesteentes saamspoel, raak Susara se verhaal met Magrieta s’n vervleg en word dit ’n reis na kennis van die mistieke, die self en lotsverbondenheid in Afrika. Jeanette Ferreira oor Die engel en die bont bees: “Uit die metafore van ’n gesuurde brood en ’n rivier wat die oewers oorstyg, groei hier ’n wonderlik verbeeldingryke roman. So word feite die klein begin van groot mites wat eweseer oortuig, diep verweef in Ou Afrika en die vele tonge van Afrikaans. Uitsoek-Le Roux."

Award-winning novelist Michiel Heyns is back with a darkly comic tale.

When a young South African literary scholar, Michael Marcussi, is offered, via a Facebook contact, a house in the Tuscan village of Gianocini, he accepts with alacrity: this is just the space and quiet he needs to complete his study of Literary Representations of Tuscany.

But even before he has boarded his plane at Stansted Airport, things start vexing him: an obnoxious old man jumps the boarding queue, and Michael is given the evil eye by a belligerent bovver boy covered in tattoos. Nor is this to be his last meeting with these objectionable characters: they turn up in unexpected places, first in Florence and then in Gianocini itself, with a frequency that cannot be purely coincidental.

In the meantime Michael is pursuing his own extracurricular agenda, through the streets of Florence and the passages of the Uffizi, then through the medieval alleys of Gianocini, only to find himself the object of mysterious designs and the subject of some very disturbing paintings. Add to this the innocent but curious Wouter, the startlingly rude upper-class harridan, Sophronia, the beautiful but supercilious Paolo and a dog called Thanatos: the Tuscan sun never shone on a more bizarre mix.

After the sophisticated comedy of The Typewriter’s Tale and Invisible Furies, and the poignant ironies of Lost Ground, Michiel Heyns here returns to the broader comedy of The Reluctant Passenger, in a scintillating tale of love, revenge and trippa.

Leke is a troubled young man living in the suburbs of Cape Town. He develops strange habits of stalking people, stealing small objects and going from doctor to doctor in search of companionship rather than cure. Through a series of letters written to him by his Nigerian father whom he has never met, Leke learns about a family curse; a curse which his father had unsuccessfully tried to remove.

Bom Boy is a well-crafted and complex narrative written with a sensitive understanding of both the smallness and magnitude of a single life. Part of the narrative is presented through letters written by Leke's father, Oscar, to Leke's mother, Elaine; other sections are comprised of letters written by Oscar to Leke - letters which tell him about Oscar's early life in Nigeria and the origins of a family curse. A curse which resulted in Oscar being imprisoned. Through these letters, a wonderful feeling of traditional Nigerian beliefs and customs are brought to both Leke and the reader.

The pages of this novel are filled with the simple difficulties of living - coming to terms with death, with ourselves, with others, with loneliness, independence, trust - these are dealt with by Omotoso in a careful and nuanced manner.

Tydens ’n skoolreünie kom die lewe van ’n groep Suid-Afrikaners onder die loep.

Dit is twintig jaar ná demokrasie, en die land neem die nuwe bedeling in oënskou. Demokrasie het vryheid vir baie beteken, maar vir hierdie groep het dit ook beteken dat die lewe waarvoor hulle voorberei is, oornag verdwyn het. Is nostalgie vir ’n verlore wêreld hul enigste uitkoms?

’n Pakkende kontroversiële roman.

It is 1993. South Africa is on the brink of total transformation and in Walmer Estate, a busy suburb on the slopes of Devil’s Peak, fourteen-year-old Alia Dawood is about to undergo a transformation of her own.

She watches with fascination and fear as the national drama unfolds, longing to be a part of what she knows to be history in the making. As her revolutionary aspirations strengthen in the months before the elections, her intense, radical Uncle Waleed reappears, forcing her parents and sister Nasreen to confront his subversive and dangerous past.

Nadia David’s first novel moves across generations and communities, through the suburbs to the city centre, from the lush gardens of private schools to the dingy bars of Observatory, from landmark mosques and churches to the manic procession of the Cape Carnival, through evictions, rebellions, political assassinations and first loves. The book places one family’s story at the heart of a country’s rebirth and interrogates issues of faith, race, belonging and freedom.

An Imperfect Blessing is a vibrant, funny and moving debut.

Haar tyd op Winburg raak ’n ontdekkingstog deur die dorp se verlede en haar eie verbintenisse daarmee. Sy verken bywonerstentedorpe ná die Anglo-Boereoorlog, kyk saam met die vroue van 1901 in die naghemel op na die Groot Komeet, hoor van die vloek wat Christiaan de Wet oor Winburg uitgespreek het. Daar is die monument wat haar ma se buurvrou en dié se seuns ná ʼn plaasmoord begin bou het – die mees onwaarskynlike monument ooit. En haar ma se oppasster, wie se grootjie in die swart konsentrasiekamp was, praat ook saam.

Wanneer Yachin, Margo se Israeliese geliefde, op besoek kom om haar terug te vat na hul tuiste in Israel, is die besluit – waar hoort ek? – nie meer so eenvoudig nie. Monument is die verhaal van die Vrouemonument in Bloemfontein, en van ander monumente: dié van klip en marmer, maar ook die monumente wat Suid-Afrikaners – die vroue in die eerste plek – in mekaar se menswees gebou het.

Een plaas. Een familie. Een bloedlyn. Sewe geslagte.

In 1838 vlug Pieter de Witt uit die Oos-Kaap na Natal om ná maande van uiterste ontbering op die walle van die Tugelarivier ’n hoekpaal in te kap en sy plaas af te tree. Hy noem die plaas Donkerland. Dit is hier waar sewe geslagte De Witts die wel en wee van ’n ontluikende volk beleef: die Groot Trek, die stryd teen die Zoeloes, die Anglo-Boereoorlog, Groot Depressie, 1948-verkiesing, Grensoorlog, Soweto-opstande en die oorgang tot ’n demokratiese Suid-Afrika. Vir honderd agt-en-vyftig jaar leef die De Witts die triomf en die smaad van die geskiedenis op ’n enkele stuk grond uit; ná sewe geslagte begin dit deurskemer wat dit beteken om in hierdie aarde ’n hoekpaal in te slaan en ’n plaas af te tree.

Donkerland is die eerste aflewering in Deon Opperman se Afrikaner-trilogie.

Tristan Hansen is 'n man wat R15 000 per nag vra en die land se mees invloedryke en wêreldwyse vroue soveel plesier gee dat hulle terugkom vir meer. Maar wanneer een van sy kliënte haar eie lewe neem, verander die plesierengel in 'n doodsengel, en bely sy kliënte die een na die ander wat agter toe deure gebeur het. Maar waarom doen hy dit? Beslis nie net vir die geld nie. 'n Sielkundige, Erika Hamilton, ontmoet hom toevallig. Albei van hulle bied op beroepsvlak verligting van neurose, onvervuldheid en frustrasie - die een op akademiese wyse, die ander met lyflike plesier. Wat gebeur wanneer hulle ontmoet?

Ignatius Smit sterf by geboorte op Woensdag, 3 Maart 1982 op Katima Mulilo in Namibie se Kaprivistrook. Omdat Ignatius se ouers die sendingpaar is, word hy begrawe op 'n afgelee plek in 'n bos, naby die graf van magistraat Trollop wat aan koors in Barotsiland gesterf het.

Sy ma sukkel om sy dood te verwerk, omdat sy as geestelike leier verantwoordelik voel vir die vertroosting van die dorpsmense, wat net so platgeslaan is deur sy onverwagte dood. Jare later haal sy onverwekte dood haar in. Hierdie is haar, Leonette, se verhaal. Dis 'n verhaal van verlies en die verwerking daarvan, wat grootliks afspeel binne die militêre milieu - waarvan grenslewe 'n groot komponent is.

Baie jare later kry sy vertroosting deur berading en musiekterapie van 'n orrelsimfonie van Saint-Saens. Dit gee vir haar 'n visualisering van Ignatius se lewe na die dood. So kry sy volkome bevryding vir haar pynlike smart.

Nelson Jekwa: young, black, privileged. Named after Mandela, his future in the city of Cape Town blinks promisingly.

Bored and high, he and his friends play a game of risk. But what starts off as some edgy fun, evolves, spawning an entire social movement. The goal: to help Africa get out from the bottom of the world’s toilet.

While missions are being executed all over the continent, Nelson’s group plans ten heists to help pay back Africa’s debts to the West. But their game has spun out of control.

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.

Karen werp haarself in ‘n binnenshuise ontwerp-wedstryd na die geboorte van haar baba, om van haar skuldgevoel oor die destydste dood van haar gestremde broer te vlug. Sy glo haar ouers neem haar steeds kwalik oor haar broer se dood en vertrou haar nie met haar eie kind nie. Sy reis met baba en al na Mali, waar sy hoop om die inspirasie vir haar wedstrydinskrywing te vind.

When her husband Amir abruptly leaves home, film editor Lucinda is left angry and puzzled. Where has Amir gone, and why? In the months before he left, Amir seemed troubled and preoccupied and their marriage had become strained and tense. Now Lucinda worries that his departure could be her fault. Soon afterwards, Lucinda is brutally assaulted in a knife attack, which throws her even more off balance. Searching for composure, she finds a distraction in assisting an older friend, Austrian film-maker Thomas, with a documentary he is making about an old mission station which is allegedly haunted. But the experience becomes an unnerving one for Lucinda who finds Thomas's growing obsession with the story behind his film worrying. As tensions build, so does the underlying mood of constant menace, until Lucinda is confronted with a disturbing revelation. The Cutting Room is a thoughtful and provocative novel of loss and loneliness, longing and guilt, and the different ways in which people can be haunted.

Alison seems to have life sorted. Despite her high-flying job producing commercials she still manages to keep her infant son on the breast and her daughter in Strawberry Pops. But her texts to her best friend Evie tell a much less glamorous story.

Beth is new to the ad industry and desperate to impress. But the more she succeeds at work, the more things seem to be unraveling at home. And to make matters worse, she’s finding it hard to resist the advances of a sleazy colleague.

Things get really messy when a shoot takes their team to an isolated hell-hole in the middle of the South African bush. Accidents happen and dark secrets are revealed, and soon both Beth and Alison are forced to face some home truths.

Saucy and smart, Thirty Second World is a funny, moving, real-world tale set in the unreal world of the South African film industry.

Met die oorspronklike publikasie van die drie romans oor die wel en wee van vier geslagte Meissners het Ena Murray opnuut haar status as koningin van die Afrikaanse liefdesverhaal gestand gedoen. Die drieluik bestaan uit: Die Meissner-kliniek, waar ons die die stigter van die eksklusiewe privaat kliniek en sy gedugte span dokters ontmoet. Die vrede word in 'n oogwink omvergewerp wanneer 'n nuwe trolliejoggie daar begin werk ... Dokter Julene, waar Julene die veilige hawe van die Meissner-kliniek verlaat om by haar biologiese pa in Switserland aan te sluit ... en dan onverwags in Istanboel beland. En Die ongebore uur, waar Inge Buchner, die agterkleindogter van dr. Albert Meissner, alles in haar vermoe doen om te probeer verseker dat iemand met die van Meissner weer aan die hoof van die kliniek sal staan.