What is it like to be born dirt-poor in South Africa? Clinton Chauke knows, having been raised alongside his two sisters in a remote village bordering the Kruger National Park and a squatter camp outside Pretoria. Clinton is a young village boy when awareness dawns of how poor his family really is: there’s no theft in the village because there’s absolutely nothing to steal. But fire destroys the family hut, and they decide to move back to the city. There he is forced to confront the rough-and-tumble of urban life as a ‘bumpkin’.

He is Venda, whereas most of his classmates speak Zulu or Tswana and he has to face their ridicule while trying to pick up two or more languages as fast as possible. With great self-awareness, Clinton negotiates the pitfalls and lifelines of a young life: crime and drugs, football, religion, friendship, school, circumcision and, ultimately, becoming a man. Throughout it all, he displays determination as well as a self-deprecating humour that will keep you turning the pages till the end.

Clinton’s story is one that will give you hope that even in a sea of poverty there are those that refuse to give up and, ultimately, succeed.

The one and only Zadie Smith, prize-winning, bestselling author of Swing Time and White Teeth, is back with a second unmissable collection of essays.

No subject is too fringe or too mainstream for Zadie Smith's insatiable curiosity. From social media to the environment, from Jay-Z to Karl Ove Knausgaard, she has endless enthusiasmand the boundless wit, insight and wisdom to match. In Feel Free, pop culture, high culture, social change and political debate all get the Zadie Smith treatment, dissected with razor-sharp intellect, set brilliantly against the context of the utterly contemporary, and considered with a deep humanity and compassion.

This electrifying new collection showcases its author as a true literary powerhouse, demonstrating once again her credentials as an essential voice of her generation.

The most significant nonfiction writings of Zoë Wicomb, one of South Africa’s leading authors and intellectuals, are collected here for the first time in a single volume.

This compilation features critical essays on the works of such prominent South African writers as Bessie Head, Nadine Gordimer, Njabulo Ndebele, and J.M. Coetzee, as well as writings on gender politics, race, identity, visual art, sexuality and a wide range of other cultural and political topics. Also included are a reflection on Nelson Mandela and a revealing interview with Wicomb.

In these essays, written between 1990 and 2013, Wicomb offers insight on her nation’s history, policies, and people. In a world in which nationalist rhetoric is on the rise and diversity and pluralism are the declared enemies of right-wing populist movements, her essays speak powerfully to a wide range of international issues.

Ter viering van Dolf van Niekerk se negentigste verjaarsdag verskyn hier ’n versameling filosofiese, bepeinsende en besinnende essays uit die pen van een van Afrikaans se meesterskrywers.

Vanaf sy vroegste gewaarwordinge tot sy kennismaking met groot filosowe soos Nietzsche, Kant en Hegel op universiteit en in sy daaglikse handel en wandel daarna: altyd maar bly die bewustheid van ’n onsigbare “iets” by hierdie aristokratiese gees – en ’n soeke na ’n beter verstaan van dít wat “die sterretyd en die menstyd aan mekaar verbind”.

In 48 essays wat die biografiese tydperk tussen ongeveer sy vyfde en twintigste lewensjaar dek, skryf ’n deurleefde, wyse Van Niekerk oor sy vroegste herinnerings aan sy geboortedorp, sy gesin en sy helderste herinnerings aan die plekke en mense wat hom gevorm het tot die mens wat hy geword het. Want, soos wat hy in die verhaal “Die skinkbord” skryf: Jy kan net wees wie jy is, en jy is wat jy word.

In a telegram dated 29 April 1963, thirty-year-old Afrikaans poet Ingrid Jonker thanks André Brink, a young novelist of twenty-eight, for flowers and a letter he sent her. In the more than two hundred letters that followed this telegram, one of South African literature’s most famous love affairs unfolds. Jonker’s final letter to Brink is dated 18 April 1965. She drowned herself in the ocean at Three Anchor Bay three months later.

More than fifty years on, this poignant, often stormy relationship still grips readers’ imaginations.

In December 2014, three months before his death on 6 February 2015, André Brink offered these never-before-seen letters, as well as personal photographs, for publication.

In hierdie versamelbundel is daar ‘n groep uiteenlopende mense gevra om elk ‘n onafhanklike essay te skryf na aanleiding van ‘n Bybelteks.

Daar is skrywers, ekonome, musikante, akademici en joernaliste. Die enigste voorwaardes was dat dit persone moet wees wat nie meer kerklik betrokke en/ of ‘n dominee of teoloog is nie. Baie essays is bloot verhale, vertellings, reise of verduidelikings wat met ‘n teks verbind kan word.

Ons almal is medereisigers in hierdie verbygaande wêreldse bestel. Kom ons luister met ‘n oop gemoed na mekaar. Dán staan ons ‘n kans om te verstaan, te begryp, eerder as om te oordeel.

Van die bekende en bekroonde skrywers wat deelneem aan hierdie projek is onder andere Jurie van den Heever, Annelie Botes, Dana Snyman, Pik Botha, Heinz Modler, Lizette Rabe, Dawie Roodt, Rachelle Greeff, Piet Croukamp, Joan Hambidge, Koos Kombuis, Karin Brynard, Jean Oosthuizen, Christine Barkhuizen Le Roux, Lina Spies, Valda Jansen, Valiant Swart, Nathan Trantraal, Churchil Naude, Riku Lätti en Luke Alfred.

The first authorised biography of eternal legend Elizabeth Taylor.

Known for her glamorous beauty, soap-opera personal life and magnetic screen presence, Elizabeth Taylor was the twentieth century's most famous film star. Including unseen photographs and unread private reflections, this authorised biography is a fascinating and complete portrait worthy of the legend and her legacy.

Elizabeth Taylor captures this intelligent, empathetic, tenacious, volatile and complex woman as never before, from her rise to massive fame at the age of twelve in National Velvet to becoming the first actor to negotiate a million-dollar salary for a film, from her eight marriages and enduring love affair with Richard Burton to her lifelong battle with addiction and her courageous efforts as an AIDS activist.

Using Elizabeth's unpublished letters, diary entries and off-the-record interview transcripts as well as interviews with 250 of her closest friends and family, Kate Andersen Brower tells the full, unvarnished story of the classic Hollywood star who continues to captivate audiences the world over.

Aan die einde van 1896, enkele jare voor die Anglo-Boereoorlog, het die 26-jarige wewenaar en Transvaalse koerantman Eugène Marais na Londen vertrek om in die regte te gaan studeer. Hier het hy oënskynlik tot in die doodsnikke van die oorlog gewoon.

Oor hierdie lewensjare van een van Afrikaans se beroemdste letterkundige figure is baie min bekend. Leon Rousseau sê in sy baanbreker-lewensverhaal oor Marais, Die Groot Verlange (1974): “Tensy ontdekkings gemaak word wat ’n mens jou op die oomblik kwalik kan voorstel, sal dit altyd onmoontlik bly om ’n samehangende relaas van Marais se vyf jaar in Europa te gee.”

Hierdie ontdekkings en nog baie meer is nou gemaak. In Donker Stroom word onthul presies waarmee Marais hom kort voor, tydens en ná die bitter stryd tussen Boer en Brit besig gehou het, ’n verstommende verhaal wat ’n mens jou skaars kan indink. Was Marais die onkreukbare patriot en joernalis wat sy biograwe van hom gemaak het, of is hierdie Afrikaner-ikoon ook deur die donker stroom van die tydsgees meegesleur?

Paul Kruger: Toesprake en korrespondensie van 1881–1900 probeer om die klem te plaas op minder bekende briefwisseling en optredes van Kruger om sodoende ’n verteenwoordigende beeld van staatspresident Kruger se werksaamhede en standpunte aan te bied. Die teks is deeglik toegelig met ophelderende voetnote. Verder is ’n algemene inleiding, agtergrondsinligting en -ontleding verskaf by elke toepaslike breër tydperk in Kruger se lewe tot 1900.

Die beeld wat van Kruger na vore kom uit ’n deeglike ontleding van veral sy minder bekende korrespondensie en toesprake, verskil dikwels ingrypend van dit wat oor ’n lang tydperk in publikasies oor hom aangebied is. Hierdie publikasie vervul daarom ’n belangrike behoefte: Dit stel die leser in staat om regstreeks deur die lees en bestudering van Kruger se standpunte tot eie en nuwe gevolgtrekkings te kom.

‘Miskien issit omdat poverty my define en nie die racial politics vannie land ie.’

Wit issie ’n colour nie is ’n versameling verhale oor grootword en die lewe in die buitewyke van die Kaapse Vlakte. Dit dek identiteit, rassepolitiek, sosio- ekonomiese kwessies en bruin kultuur, en bevraagteken die Suid-Afrika waarin ons ons bevind. Dit is gevul met galgehumor, rou eerlikheid en hartverskeurende vertellings van pogings om die lewe op die Vlakte te navigeer. Hierdie versameling is diep persoonlik en ’n ontstellend waar weergawe van die lewe aan die ander kant van die spoor, geskryf in Kaapse Afrikaans.

While working for the Financial Times, investigative journalist Matt Kennard had unbridled access to the crème de la crème of the global elite. From slanging matches with Henry Kissinger to afternoon coffees with the man who captured Che Guevara, Kennard spent four years gathering extraordinarily honest testimony from the horse's mouth on how the global economic system works away from the convenient myths. It left him with only one conclusion: the world as we know it is run by an exclusive class of American racketeers who operate with virtually unlimited weapons and money, and a reach much too close to home.

Owing to the very nature of the Financial Times, however, Kennard was not able to publish these findings as part of his day job. Enter The Racket. This tell-all book, reported from all corners of the world, will transform everything you thought you knew about how the world works-and in whose interests.

Kennard reports not only from across the United States, but from the United Kingdom, the Caribbean, Latin America, Africa, and the Middle East. In doing so he provides startlingly clear and concrete evidence of unchecked, high-level, interrelated systems of exploitation all over the world. At the same time, through encounters with high-profile opponents of the racket such as Thom Yorke, Damon Albarn, and Gael García Bernal, Kennard offers a glimpse of a developing resistance, which needs to win.

These essays bring to life many facets of Magona’s personal history, her deepest convictions, love for her country and belief in her ability to activate change. They are a meaningful supplement to her fictional works, while offering insightful responses to the conditions that inspired them.

Sindiwe Magona is a celebrated South African writer, storyteller and motivational speaker known mainly for her autobiographies, biographies, novels, short stories, poetry and children’s books. I Write the Yawning Void is a collection of essays that highlight her engagement with writing that span the transition from apartheid to the post-apartheid period and addresses themes such as HIV/Aids, language and culture, home and belonging.

Magona worked as a teacher, domestic worker and spent two decades working for the United Nations in the United States of America. She has received many awards for her fearless writing ‘truth to power’. Her written work is often informed by her lived experience of being a black woman resisting subjugation and poverty.

These essays bring to life many facets of Magona’s personal history as well as her deepest convictions, her love for her country and despair at the problems that continue to plague it, and her belief in her ability to activate change. They demonstrate Magona’s engaging storytelling and mastery of the essay form which serve as meaningful supplements to her fictional works, while simultaneously offering insightful responses to the conditions that inspired them.

Engela Linde-Van Rooyen, ervare redakteur, letterkundige, verhaalredakteur en veral befaamde skrywer. Haar liefdesverhale, jeugverhale en kontreikuns het haar 'n huishoudelike naam gemaak lank voor haar meesterwerk - en toevallig haar honderdste boek - Vuur op die horison verskyn het (laasgenoemde was op die kortlys vir die M-Net-prys).

Geagte skrywer is 'n keur uit die briewe wat sy as verhaalredakteur aan skrywers geskryf het wat verhale aan haar gestuur het.

Dear Waheed: A mother’s legacy of love and wisdom in thirty unforgettable letters is a poignant collection of letters written by a mother to her son over the course of thirty days against the backdrop of Ramadaan during the pandemic lockdown.

The author found herself vulnerable and alone; her son in one city, and she in another. During her solitude, she embraced the opportunity to delve deep into her spirit and found that, as she wrote, a new pathway to healing appeared. The period was a pivotal experience for Farhana Yunnus, as it was for many. A transformative journey to reflect, heal, and restore. She discovered that her letters were bridging the gap between hearts and cities, silence and uncertainty, and the past and present.

Through her poetic and reflective prose, Yunnus navigates the trials of emotional and spiritual growth during a time when connection and comfort were hard to find. She compassionately explores themes such as faith, mental health, resilience, individuality, family, love, and the powerful bond between a mother and child.

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.

The first single-volume anthology of Brecht's writings on both art and politics This volume contains new translations to extend our image of one of the twentieth century's most entertaining and thought provoking writers on culture, aesthetics and politics. Here are a cross-section of Brecht's wide-ranging thoughts which offer us an extraordinary window onto the concerns of a modern world in four decades of economic and political disorder. The book is designed to give wider access to the experience of a dynamic intellect, radically engaged with social, political and cultural processes. Each section begins with a short essay by the editors introducing and summarising Brecht's thought in the relevant year.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
This volume collects Euipides' Alcestis (translated by William Arrowsmith), a subtle drama about Alcestis and her husband Admetos, which is the oldest surviving work by the dramatist; Medea (Michael Collier and Georgia Machemer), a moving vengeance story and an excellent example of the prominence and complexity that Euripides gave to female characters; Helen (Peter Burian), a genre breaking play based on the myth of Helen in Egypt; and Cyclops (Heather McHugh and David Konstan), a highly lyrical drama based on a celebrated episode from the Odyssey. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.

The John Donne volume in the 21st-Century Oxford Authors series offers a wholly new edition of Donne's verse and prose. It consists of a selection of the compositions that circulated in manuscript or in print form during Donne's lifetime. In keeping with the approach of the series, the texts are presented in chronological order and the text chosen is, wherever possible, the text of the first published version. Each text is paired with a generous complement of historical and textual annotation, which enables the present day reader to access the excitement with which Donne's contemporaries, his first readers, discovered his famous and incomparable originality, audacity, ingenuity, and wit. The edition incorporates new directions and emphases in scholarly editing that are foregrounded in the 21st-Century Oxford Authors series, such as the history of readership and the history of texts as material objects.

After the battle of Antietam in 1862, Harriet Eaton traveled to Virginia from her home in Portland, Maine, to care for soldiers in the Army of the Potomac. Portland's Free Street Baptist Church, with liberal ties to abolition, established the Maine Camp Hospital Association and made the widowed Eaton its relief agent in the field. One of many Christians who believed that patriotic activism could redeem the nation, Eaton quickly learned that war was no respecter of religious principles. Doing the work of nurse and provisioner, Eaton tended wounded men and those with smallpox and diphtheria during two tours of duty. She preferred the first tour, which ended after the battle of Chancellorsville in 1863, to the second, more sedentary, assignment at City Point, Virginia, in 1864. There the impositions of federal bureaucracy standardized patient care at the expense of more direct communication with soldiers. Eaton deplored the arrogance of U.S. Sanitary Commissioners whom she believed saw state benevolent groups as competitors for supplies. Eaton struggled with the disruptions of transience, scarcely sleeping in the same place twice, but found the politics of daily toil even more challenging. Conflict between Eaton and co-worker Isabella Fogg erupted almost immediately over issues of propriety; the souring working conditions leading to Fogg's ouster from Maine state relief efforts by late 1863. Though Eaton praised some of the surgeons with whom she worked, she labeled others charlatans whose neglect had deadly implications for the rank and file. If she saw villainy, she also saw opportunities to convert soldiers and developed an intense spiritual connection with a private, which appears to have led to a postwar liaison. Published here for the first time, the uncensored nursing diary is a rarity among medical accounts of the war, showing Eaton to be an astute observer of human nature and not as straight-laced as we might have thought. This hardcover edition includes an extensive introduction from the editor, transcriptions of relevant letters and newspaper articles, and a thoroughly researched biographical dictionary of the people mentioned in the diary.

Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy... So starts Homer's The Odyssey, the classic account of the Greek hero Odysseus and his ten-year journey home, following the glories and horrors of the Trojan War as recounted in The Illiad. In this prose retelling of Homer's epic poem, we follow Homer and his shipmates as they weather one danger after another, from the sorceress Circe to the one-eyed Cyclops, and the six-headed monster Scylla. Replete with classic drawings and colourful illustrations, this beautiful new edition of The Odyssey is just as gripping to read now as when it was first told to rapt Greek audiences 2,500 years ago.

Photos filled with the forlorn faces of hungry and impoverished Americans that came to characterize the desolation of the Great Depression are among the best known artworks of the twentieth century. Captured by the camera's eye, these stark depictions of suffering became iconic markers of a formative period in U.S. history. Although there has been an ample amount of critical inquiry on Depression-era photographs, the bulk of scholarship treats them as isolated art objects. And yet they were often joined together with evocative writing in a genre that flourished amid the period, the documentary book. American Modernism and Depression Documentary looks at the tradition of the hybrid, verbal-visual texts that flourished during a time when U.S. citizens were becoming increasingly conscious of the life of a larger nation.
Jeff Allred draws on a range of seminal works to illustrate the convergence of modernism and documentary, two forms often regarded as unrelated. Whereas critics routinely look to James Agee and Walker Evans' Let Us Now Praise Famous Men as the sole instance of the modernist documentary book, Allred turns to such works as Richard Wright's scathing 12 Million Black Voices, and the oft-neglected You Have Seen Their Faces by Erskine Caldwell and Margaret Bourke-White to open up the critical playing field. And rather than focusing on the ethos of Progressivism and/or the politics and aesthetics of the New Deal, Allred emphasizes the centrality of Life magazine to the consolidation of a novel cultural form.

Sophocles' Trachiniae (`Women of Trachis') is named after the chorus of this tragedy which is concerned with the innocent and ill-fated attempt of Deianeira to win back her husband Heracles after he has sacked the city of Oechalia and fallen in love with the daughter of the defeated king. Over the years, the play has suffered sustained criticism because of the difficulties it presents of reconciling the plot, language, and characterization with Sophocles' other works. Recently, however, much work has been done to achieve a better understanding of the play in isolation and to increase modern regard for it. In a thought-provoking introduction, Dr Davies discusses the merits of the play, the question of its unity, its treatment of the hero Heracles, the story's pre-sophoclean tradition, and the evidence of contemporary art. In the commentary itself he discusses textual problems that arise from a frequently corrupt and uncertain text, as well as wider issues of interpretation. the text which is reproduced and presupposed in the commentary is the recently established Oxford Classical Text of Lloyd-Jones and Wilson