In 1957 emigreer die negejarige Henk van Woerden vanaf Nederland met sy gesin na Kaapstad – leertas in die hand, mussie oor die ore, serp om die nek, glasoog in die oogkas. Eers veertig jaar later ontdek hy wat die rede was vir hierdie vertrek na Suid-Afrika: Sy pa was ’n kollaborateur in die Tweede Wêreldoorlog. Die emigrasie is die begin van ’n lewe as buitestaander en vorm later die goue draad in sy skilderye en literêre werk.

Koning Eenoog is ’n boeiende biografie van die ewig soekende emigrant Henk van Woerden (1947–2005), ’n skrywer wat nie net ’n bekroonde oeuvre agtergelaat het nie (Een mond vol glas – Alan Paton Award en die Frans Kellendonk-prys, Ultramarijn – Gouden Uil en Inktaap) maar ook die Nederlandse literatuur oor Suid-Afrika verander het.

The lives of South Africans have always been interwoven in complex ways. There is a long history of division; but also of profound (and often surprising) instances of mutual recognition. Recognition is an exciting anthology of short stories in which twenty-two South African writers render these intricate connections.

The writers whose stories have been selected use the transformative power of the imagination and the unique appeal of the short story to illuminate aspects of our past and present. Cumulatively their stories tell of a history tainted by misrecognition but not, finally, bound by it. Amongst the twenty-two contributors are some of our best-known short story writers: Pauline Smith, Herman Charles Bosman, H.I. E. Dhlomo, Can Themba, Nadine Gordimer, Alex La Guma, Dan Jacobson, Miriam Tlali, Ahmed Essop, Njabulo Ndebele, Mandla Langa, Chris van Wyk, Damon Galgut, Achmat Dangor and Zoe Wicomb. And there is also a selection of vibrant newer voices: Makhosazana Xaba, Nadia Davids, Mary Watson, Lindiwe Nkutha, Wamuwi Mbao and Kobus Moolman.

Chronologically the collection ranges from the 1920s to the twenty first century. It builds on its predecessor, Encounters, but devotes significant attention to the transitional and post-apartheid years: almost half the stories were published after 1994. The anthology includes a generous and detailed introduction, written by David Medalie. It traces the motif of recognition, discusses the general characteristics of short stories and the narrative devices used by writers, and includes a brief analysis of each short story.

Recognition will appeal to teachers and students of literature. It will be enjoyed by all those who love short stories and appreciate the craftsmanship involved in telling a memorable tale.

The first ever memoirs from the Number One global bestselling adventure author.

Wilbur Smith has lived an incredible life of adventure, and now he shares the extraordinary true stories that have inspired his fiction. From being attacked by lions to close encounters with deadly reef sharks, from getting lost in the African bush without water to crawling the precarious tunnels of gold mines, from marlin fishing with Lee Marvin to near death from crash-landing a Cessna airplane, from brutal school days to redemption through writing and falling in love, Wilbur Smith tells us the intimate stories of his life that have been the raw material for his fiction.

Always candid, sometimes hilarious, and never less than thrillingly entertaining, On Leopard Rock is testament to a writer whose life is as rich and eventful as his novels are compellingly unputdownable.

A Manifesto For Social Change is the third of a three-volume series that started seven years ago investigating the causes of our country’s – and the continent’s – development obstacles.

Architects of Poverty: Why African Capitalism Needs Changing (2009) set out to explain what role African elites played in creating and promoting their fellow Africans’ misery. Advocates for Change: How to Overcome Africa’s Challenges (2011) set out to show that there were short-term to medium-term solutions to many of Africa’s and South Africa’s problems, from agriculture to healthcare, if only the powers that be would take note. And now, more than 20 years after the advent of democracy, we have A Manifesto For Social Change: How To Save South Africa, the conclusion in the ‘trilogy’.

This book started its life as Gridlocked, but through the process of research undertaken by Moeletsi and Nobantu it has evolved into a different project, a manifesto that identifies some of South Africa’s key problems and what is required to change the country’s downward trajectory.

Die Singende Hand: Versamelde Gedigte 1984 – 2014 is Breyten Breytenbach se derde versamelbundel.

Dit vorm ’n drieluik met die vorige twee bande, Ysterkoei-Blues en Die Ongedanste Dans.

What does friendship have to do with racial difference, settler colonialism and post-apartheid South Africa? While histories of apartheid and colonialism in South Africa have often focused on the ideologies of segregation and white supremacy, Ties that Bind explores how the intimacies of friendship create vital spaces for practices of power and resistance. Combining interviews, history, poetry, visual arts, memoir and academic essay, the collection keeps alive the promise of friendship and its possibilities while investigating how affective relations are essential to the social reproduction of power. From the intimacy of personal relationships to the organising ideology of liberal colonial governance, the contributors explore the intersection of race and friendship from a kaleidoscope of viewpoints and scales. Insisting on a timeline that originates in settler colonialism, Ties that Bind uncovers the implication of anti-Blackness within nonracialism, and powerfully challenges a simple reading of the Mandela moment and the rainbow nation. In the wake of countrywide student protests calling for decolonization of the university, and reignited debates around racial inequality, this timely volume insists that the history of South African politics has always already been about friendship. Written in an accessible and engaging style, Ties that Bind will interest a wide audience of scholars, students, and activists, as well as general readers curious about contemporary South African debates around race and intimacy.

Twentieth Anniversary Edition with Contributions from Joe Hill and Owen King.

Part memoir, part masterclass by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999 - and how the inextricable link between writing and living spurred his recovery.

Immensely helpful and illuminating to any aspiring writer, this special edition of Stephen King's critically lauded, million-copy bestseller shares the experiences, habits, and convictions that have shaped him and his work.

Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it - fans, writers, and anyone who loves a great story well told.

York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Tense Future falls into two parts. The first develops a critical account of total war discourse and addresses the resistant potential of acts, including acts of writing, before a future that looks barred or predetermined by war. Part two shifts the focus to long interwar narratives that pit both their scale and their formal turbulence against total war's portrait of the social totality, producing both ripostes and alternatives to that portrait in the practice of literary encyclopedism. The book's introduction grounds both parts in the claim that industrialized warfare, particularly the aerial bombing of cities, intensifies an under-examined form of collective traumatization: a pretraumatic syndrome in which the anticipation of future-conditional violence induces psychic wounds. Situating this claim in relation to other scholarship on "critical futurities," Saint-Amour discusses its ramifications for trauma studies, historical narratives generally, and the historiography of the interwar period in particular. The introduction ends with an account of the weak theory of modernism now structuring the field of modernist studies, and of weak theory's special suitability for opposing total war, that strongest of strong theories.

The Oxford Handbook of American Literary Naturalism offers twenty-eight original essays about an important genre that typically depicts human beings as the product of biological and environmental forces over which they have little control. Drawing upon recent scholarship as well as innovations in cultural studies, contributors offer an authoritative and in-depth reassessment of a genre that included writers from Stephen Crane, Frank Norris, Theodore Dreiser, and Jack London to Kate Chopin, Edith Wharton, Upton Sinclair, Ernest Hemingway, John Steinbeck, Richard Wright, Joyce Carol Oates, Cormac McCarthy, and Don DeLillo. Organized by topic and theme, essays explore the contexts that prompted the origins of the genre, the problem of definition and the interconnections with other genres, and the scientific and philosophical background. Others examine the tensions with the genre-the role of women and African-American writers, depictions of sexuality, the problem of race, the critique of commodity culture and class, and the continuing presence of naturalism in twentieth- and twenty-first century fiction. Contributors also consider the role of the marketplace in the development of naturalism as well as the popular and critical response and the influence of naturalism in the other arts.

The second of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of 'little magazines' which were so instrumental in introducing the new writing and ideas that came to constitute literary and cultural modernism.
This book contains forty-four original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism. The chapters are organised into thirteen sections, each with a contextual introduction by the editors, and consider key themes in the landscape of North American modernism such as: 'free verse'; drama and criticism; regionalism; exiles in Europe; the Harlem Renaissance; and radical politics. In incisive critical essays we learn of familiar 'little magazines' such as Poetry, Others, transition, and The Little Review, as well as less well-known magazines such as Rogue, Palms, Harlem, and The Modern Quarterly. Of particular interest is the placing of 'little magazines' alongside pulps, slicks, and middlebrow magazines, demonstrating the rich and varied periodical field that constituted modernism in the United States and Canada.
To return to the pages of these magazines returns us to a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.

The Oxford Handbook of Modern and Contemporary American Poetry gives readers a cutting-edge introduction to the kaleidoscopic world of American poetry over the last century. Offering a comprehensive approach to the debates that have defined the study of American verse, the twenty-five original essays contained herein take up a wide array of topics: the influence of jazz on the Beats and beyond; European and surrealist influences on style; poetics of the disenfranchised; religion and the national epic; antiwar and dissent poetry; the AIDS epidemic; digital innovations; transnationalism; hip hop; and more. Alongside these topics, major interpretive perspectives such as Marxist, psychoanalytic, disability, queer, and ecocritcal are incorporated. Throughout, the names that have shaped American poetry in the period--Ezra Pound, Wallace Stevens, Marianne Moore, Mina Loy, Sterling Brown, Hart Crane, William Carlos Williams, Posey, Langston Hughes, Allen Ginsberg, John Ashbery, Rae Armantrout, Larry Eigner, and others--serve as touchstones along the tour of the poetic landscape.

This books provides students with an introduction to the work of Ian McEwan that places his fiction in historical and theoretical context. It explores his biography and his hallmark literary techniques, and it looks at the issues of ethics and representation, focusing particularly on his most recent fiction. Including a timeline of key dates and an interview with the author, this guide offers an accessible reading of McEwan's work and an overview of the varied critical reception this has provoked.

This book examines the profound effect, on a major critic and novelist of the twentieth century, of the period of English literature's greatest glory, the Renaissance. Beginning in the sixteenth century with the poems and plays of Shakespeare and his contemporaries, and with prose writings such as Hakluyt's Voyages, and continuing through the great lyric poets of the seventeenth century, the Renaissance influenced every aspect of Virginia Woolf's work. All her available writing - letters, diaries, reading-notes, drafts of essays, and novels, and feminist polemic - are explored in this illuminating study of Virginia Woolf's varied reactions to the period and its impact on her fiction and criticism. Each of the novels, in particular, is shown to integrate some element of Renaissance literature in its language, characterization, and often structure, enriching the fiction; thus this study deepens our understanding of Woolf's creative process, and our enjoyment of the works.

We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. Clive Scott's readable and scholarly study indicates the strategies of reading needed if justice is to be done to free verse's rhythmic versatility. The core of Reading the Rhythm is an analysis of key French twentieth-century poets and poems, including Perse's Eloges, Cendrars's Prose du Transsiberien, Dix-neuf poemes elastiques, and Documentaires; Apollinaire's Calligrammes; Supervielle's Gravitations; and Reverdy's Sources de vent. Contemporary trends in the visual arts - Cubism, Futurism, Orphism, photography - are called upon as perceptual models to illuminate free verse and a further perspective is added by the theme of travel and movement. This is an accomplished examination of the rhythms of free verse, and of its implications for our reading of regular verse. It is also a significant study of modernist poetics.

The paintings and drawings of J.R.R. Tolkien are featured in this illustrated study, seen in the context of his writing. He is the author of "The Hobbit", "The Lord of the Rings" and "The Silmarillion". This book explores Tolkien's art at length, from his childhood paintings and drawings to his final sketches. Central to the book are his illustrations for his works, especially his tales of "Middle-earth". Also examined are the pictures Tolkien made for his children, notably in his "Father Christmas" letters and for the story of "Mr Bliss", his calligraphy, his love of decoration, and his contributions to the typography and design of his books. Wayne G. Hammond is the author of "The Graphic Art of C.B. Falls" and "J.R.R. Tolkien: a Descriptive Bibliography" and he is a contributor of notes on Tolkien to the journal "Mythlore". Christina Skull is the author of "Soane Hogarths" and she edits the journal, "The Tolkien Collector".

A portrait of the writer Mikhail Bulgakov, fighting for his work and his life in a society riven with fear of Stalin's tyranny Mikhail Bulgakov was born in Kiev in 1891. He started as a career writing articles and satiric short stories about the revolution and the economic reconstruction in the young Soviet state. He drew on these writings in many of his stage plays which brought him into conflict with the authorities. He died in 1940.

In this perceptive and original study of one of the most popular of English poets, Douglas Kerr has written the life of Wilfred Owen's language. The book explores the meaning in Owen's life of the family, the Church, the army, and English poets of the past. It examines the language of these four communities, and shows how their discourses helped to mould the poet's own. The language in which Owen's extraordinary poems and letters are written was learned in and from these communities which shaped his short career. But there were times too when he hated each of them. As Douglas Kerr shows, much of the power of Owen's writing derives from his desire to transform the communities which formed him. Accessible and lucid, and informed by the insights of recent theory, Wilfred Owen's Voices throws important new light on the best-known of the English war poets, and on both the cultural history and intense personal drama to be read in his work.

Derived from the word "to propagate," the idea and practice of propaganda concerns nothing less than the ways in which human beings communicate, particularly with respect to the creation and widespread dissemination of attitudes, images, and beliefs. Much larger than its pejorative connotations suggest, propaganda can more neutrally be understood as a central means of organizing and shaping thought and perception, a practice that has been a pervasive feature of the twentieth century and that touches on many fields. It has been seen as both a positive and negative force, although abuses under the Third Reich and during the Cold War have caused the term to stand in, most recently, as a synonym for untruth and brazen manipulation. Propaganda analysis of the 1950s to 1989 too often took the form of empirical studies about the efficacy of specific methods, with larger questions about the purposes and patterns of mass persuasion remaining unanswered. In the present moment where globalization and transnationality are arguably as important as older nation forms, when media enjoy near ubiquity throughout the globe, when various fundamentalisms are ascendant, and when debates rage about neoliberalism, it is urgent that we have an up-to-date resource that considers propaganda as a force of culture writ large. The handbook will include twenty-two essays by leading scholars from a variety of disciplines, divided into three sections. In addition to dealing with the thorny question of definition, the handbook will take up an expansive set of assumptions and a full range of approaches that move propaganda beyond political campaigns and warfare to examine a wide array of cultural contexts and practices.

Although Housman's three collections of poems, the third published posthumously, have remained popular, they have not received much serious critical attention. John Bayley makes good the omission in this thorough and comprehensive reappraisal of the whole oeuvre, placing Housman's achievement in the context of the poetry of his own time and of more recent European and American poetry. Close analysis and comparison with other poets - Hardy, Frost, Edward Thomas, Larkin, and Paul Celan - prove illuminating in relation to a poet who has usually been considered something of an odd man out, and even an anachronism in the modern era. Professor Bayley explores and explains the continuing appeal of the poet to present-day readers, and the nature of the craftsmanship and psychology which lie behind its deceptive simplicities. The book will be a valuable introduction to Housman's achievement for the specialist and the poetry-lover alike.

Guilty But Insane takes an historical approach to golden age detective fiction by Margery Allingham, Christianna Brand, Agatha Christie, Dorothy L. Sayers, and Gladys Mitchell. It examines how writers and readers of detective fiction during the 1920s to 1940s understood guilt, responsibility, and the workings of the mind as they related to the commission, the investigation, and the punishment of crime. Under the lens of psychology, the detective novel is revealed as a site for the negotiation of competing interpretations of sanity and insanity. An unexplored depth and subtlety is revealed in detective novels that address major controversies in legal and psychiatric theory and practice, while significant resonances with specific concerns of modernist fiction come into focus for the first time. During the interwar years, proponents of competing psychological schools challenged legal concepts of responsibility and free will. In response, golden age writers began to reflect on the genre's promise to accomplish true and just solutions in a social order in which the relationship between law and justice was being problematized on several fronts. By making connections between high modernism and popular culture, and by tracing the impact of psychological discourses across a range of different cultural outputs, this book makes a persuasive case for reading detective fiction historically. It aims to demonstrate the richness of these texts and their value for scholarship, not only as historical documents or residues of discourse, but as literary texts which challenge, subvert, toy with and test the prevailing values and prejudices of interwar Britain.

The poet Ezra Pound (1885-1972) was the only child of Homer Loomis Pound (1885-1942) and Isabel Weston Pound (1860-1948). He grew up in Philadelphia, where his father was an assayer in the U.S. Mint; was educated at the University of Pennsylvania, and at Hamilton College in upstate New York; taught briefly at Wabash College, Crawfordsville, Indiana; then left America for London, where he lived from 1908 to the end of 1920, after which he lived in Paris until 1924, and then in Rapallo, Italy. His letters home reveal not only the warm affection, openness, and playfulness of the young man to his devoted parents, from schooldays through college and on into his life as teacher, poet, and critic, but also the ways in which he shared with them the ideas, influences, and experiences that went into the development of his exceptional poetic genius. He kept them in touch with his progress in realising his ambition to become a good and powerful poet, with what he was writing and doing, who he was meeting, his dealings with publishers, editors, and magazines, and his bold plans for reforms and revolutions. The letters are a rich mine of information about Pound himself and about the literary and social worlds in which he moved and had his being. They also display his epistolary idiosyncrasies and his inventive and witty way with words. Altogether they are of great human as well as literary and historical interest, and give an intimate insight into this revolutionary and influential poet's life and work. This is an essential volume for anyone interested in Pound, and an irresistible book for the general reader with an interest in literary life in the twentieth century.
All the extant letters to his parents up to 1929, the year they moved to be near him in Rapallo, are included here in full. Ezra Pound's daughter Mary de Rachewiltz directed the edition, and contributes a memoir of Isabel and Homer Pound. There is a comprehensive Glossary of persons named in the letters, and the letters are accompanied by explanatory notes and commentary.

Eliot is the rare case of a great poet who was also an academic philosopher. Donald Childs' study examines the relationship between Elliot's writing of poetry and his philosophical pursuits, in particular his lifelong occupation with the work of F.H. Bradley, Henri Bergson, and William James. This account also considers the reception of Eliot's writing in philosophy and argues that the study of this work has significantly entered recent Eliot criticism. Overall, this volume provides a new reading of Eliot's famous poems, his literary criticism, and social commentary.

The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. It is often claimed that unlike the British novel or the novel in indigenous Indian languages, Anglophone fiction in India has no genealogy of its own. Interrogating this received idea, Priyamvada Gopal shows how the English-language or Anglophone Indian novel is a heterogeneous body of fiction in which certain dominant trends and recurrent themes are, nevertheless, discernible. It is a genre that has been distinguished from its inception by a preoccupation with both history and nation as these come together to shape what scholars have termed 'the idea of India'. Structured around themes such as 'Gandhi and Fiction', 'The Bombay Novel', and 'The Novel of Partition', this study traces lines of influence across significant literary works and situates individual writers and texts in their historical context. Its emergence out of the colonial encounter and nation-formation has impelled the Anglophone novel to return repeatedly to the question: 'What is India?' In the most significant works of Anglophone fiction, 'India' emerges not just as a theme but as a point of debate, reflection, and contestation. Writers whose works are considered in their context include Rabindranath Tagore, Mulk Raj Anand, RK Narayan, Salman Rushdie, Nayantara Sahgal, Amitav Ghosh, Arundhati Roy, and Vikram Seth.

These essays on representative Jewish and Irish writers are true to the form's definition as an attempt or experiment rather than a credo. Wohlgelernter defines the author's "excited imagination" by thoroughgoing analysis of the work's constituent parts. He gives particular emphasis to the author's own words and expressions, those verbal inventions that linger in the mind long after the act of reading or criticism. He finds a passionate love of words and language forging a powerful link between Jewish and Irish literature, rooted as they are in similar historical experience. Both literatures engage the human struggle with life and death, virtue and weakness, success and failure, dreams and nightmares, all under the constant surveillance of tradition. Wohlgelernter divides his book into four general categories: the Holocaust, Jewish-American writers, Irish writers, and memoirs and autobiography. His chapters on Holocaust literature engage a range of literary perspectives that combine memoir, journalism, fiction, and philosophical reflection in the writings of Ladislas Fuks, Lucy Dawidowicz, Sabine Reichel, and Primo Levi. Chapters on postwar Jewish writers including Saul Bellow, Bernard Malamud, and Philip Roth explore the ambivalences of assimilation with its encroachments of a provincial past and dissatisfactions with mainstream culture. Wohlgelernter notes how all yoke street raciness and high cultural mandarin in a distinctive contribution to American prose style. A similar richness of language and preoccupation with the political and cultural claims of the past characterize the chapters on the great short story writer Frank O'Connor, the playwright Brendan Behan, and the Irish-American journalist and novelist Pete Hamill. The last decades of the twentieth century have seen a prolific outpouring of autobiographical writing, and in the concluding section of the book the author treats representative examples that amplify or reflect on the personal and historical themes encountered in Jewish and Irish fiction: assimilation, personal ambition, intermarriage, and political allegiance. Among the writers treated here are Norman Podhoretz, Calvin Trillin, James McBride, Ari Goldman, and Howard Shack. Wohlgelernter's emphasis on the timeless, recurring themes of literature is matched by a lucidity of style and soundness of method that yield what is central to all criticism, namely insight. "Jewish Writers/Irish Writers" will be of interest to literary scholars, Jewish studies specialists, and cultural historians.