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Khamr: The Makings Of A Waterslams is a true story that maps the author’s experience of living with an alcoholic father and the direct conflict of having to perform a Muslim life that taught him that nearly everything he called home was forbidden.
A detailed account from his childhood to early adulthood, Jamil F. Khan lays bare the experience of living in a so-called middle-class Coloured home in a neighbourhood called Bernadino Heights in Kraaifontein, a suburb to the north of Cape Town. His memories are overwhelmed by the constant discord that was created by the chaos and dysfunction of his alcoholic home and a co-dependent relationship with his mother, while trying to manage the daily routine of his parents keeping up appearances and him maintaining scholastic excellence.
Khan’s memories are clear and detailed, which in turn is complemented by his scholarly thinking and analysis of those memories. He interrogates the intersections of Islam, Colouredness and the hypocrisy of respectability as well as the effect perceived class status has on these social realities in simple yet incisive language, giving the reader more than just a memoir of pain and suffering.
Khan says about his debut book: "This is not a story for the romanticisation of pain and perseverance, although it tells of overcoming many difficulties. It is a critique of secret violence in faith communities and families, and the hypocrisy that has damaged so many people still looking for a place and way to voice their trauma. This is a critique of the value placed on ritual and culture at the expense of human life and well-being, and the far-reaching consequences of systems of oppression dressed up as tradition."
The Love Diary of a Zulu Boy is a fable of lust, love, sex, obsession, loss, friendship, betrayal and fantasy. By turns erotic, romantic, tragic and comic, it is inspired by the real-life drama of a romantic relationship between a Zulu boy and an Englishwoman.
A series of diary entries takes us on a whirlwind tour of a relationship that has not only survived, but thrived for 17 years. As the author reflects on love across the colour line, it triggers memories of failed affairs and bizarre experiences: love spells, wet dreams, infidelity, sexually transmitted diseases, a phantom pregnancy, sexless relationships, threesomes and prostitution.
A unique book for the South African market, The Love Diary of a Zulu Boy is written with an honesty rarely encountered in autobiographical writing.
‘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.
An authentic Turkish cookbook by the owner of the Turkish restaurant Anatoli in Cape Town.
Travel with Tayfun Aras to Turkey and get to know him and the food tradition he grew up with better. Tayfun, who made South Africa his home in 1998 after marrying an Afrikaans girl, Louise, shares the restaurant’s most popular recipes. The dishes range from simple mezes and delectable main courses (lamb dishes and kebabs) to fabulous desserts (baklava and kadayif) and drinks (Turkish coffee and tea and the national drink raki). All ingredients are readily available in South Africa.
Get to know Turkish food tradition and culture as well as the heart of Turkish food: complex, honest food shared with Turkish generosity.
We live in an age of perfectionism.
Every day, we’re bombarded with the beautiful, successful, slim, socially-conscious and extroverted individual that our culture has decided is the perfect self. We see this person constantly in shop windows, in newspapers, on the television, at the movies and all over our social media. We berate ourselves when we don’t match up to them – when we’re too fat, too old, too poor or too sad. This cycle can be extremely bad for us. In recent years, psychologists have even begun to think that many people take their own lives because of the impossible standards that are set for who they ought to be.
Will Storr began to wonder about this perfect self that torments so many of us. Who, actually, is this person? Why does it hold such power over us? Could it be humanity’s deadliest idea? And, if so, is there any way we can break its spell? To find out, Storr takes us on a journey from the shores of Ancient Greece, through the Christian Middle Ages, the encounter groups of 1960s California and self-esteem evangelists of the late twentieth century to modern-day America, where research suggests today’s young people are in the grip of an epidemic of narcissism. He’ll tell the strange story of the individualist Western self from its birth on the Aegean to the era of hyper-individualistic neoliberalism in which we find ourselves today.
Selfie reveals, for the first time, the epic tale of the person we all know so intimately . . . because it’s us.
In this book, Adrian Koopman describes the complex relationship between birds, the Zulu language and Zulu culture. A number of chapters look at the underlying meaning of bird names, and here we will find that the Zulu name of the Goliath Heron means ‘what gives birth to baby crocodiles’, the dikkop (umbangaqhwa) means ‘what causes frost’, and the African Hoopoe is a party-goer who wears a colourful blanket.
The book goes further than just Zulu names, exploring the underlying meanings of bird names from other South African languages and languages from Central and East Africa. Here we find birds with names that translate as ‘cool-porridge’, ‘kiss-banana-flower’ and ‘waiter-at-the-end-of-the furrow’.
A focus on Zulu traditional oral literature details the roles birds have played in Zulu praise poetry (including the praise poems of certain birds themselves) and in proverbs, riddles and children’s games. Also considered is traditional bird lore, examining the role played by various species as omens and portents, as indicators of bad luck and evil, as forecasters of rain and storm, and as harbingers of the seasons. Here we see that the Bateleur Eagle (ingqungqulu) is linked to war, the Southern Ground Hornbill (insingizi) to thunder and heavy rain, the Red-chested Cuckoo (uphezukokhono) to the start of the ploughing season, and the Jacobin Cuckoo (inkanku) to the start of summer.
Zulu Bird Names and Bird Lore discusses the Zulu Bird Name Project, a series of Zulu bird name workshops held between 2013 and 2017 with Zulu-speaking bird guides designed to confirm (or otherwise) all previously recorded Zulu names for birds, while at the same time devising new names for those without previously recorded names. The result has been a list of species-specific names for all birds in the Zulu-speaking region. Finally, the book turns to the role such new bird names can play in conservation education and in avi-tourism.
67 of South Africa's finest cooks, chefs, gardeners, bakers, farmers, foragers and local food heroes let us into their homes - and their hearts - as they share the recipes they make for the people they love.
Each recipe is accompanied by stunning original photography that captures the essence of our beautiful country.
Featuring over 130 recipes, from tried and true classics to contemporary fare, The Great South African Cookbook showcases the diversity and creativity of South Africa's vibrant, unique food culture.
Ngugi describes this book as 'a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature.' East Africa (Kenya, Tanzania, Uganda and Rwanda): EAEP
The End Of Whiteness aims to reveal the pathological, paranoid and bizarre consequences that the looming end of apartheid had on white culture in South Africa, and overall to show that whiteness is a deeply problematic category that needs to be deconstructed and thoughtfully considered.
This book uses contemporary media material to investigate two symptoms of this late apartheid cultural hysteria that appeared throughout the contemporary media and in popular literature during the 1980s and 1990s, showing their relation to white anxieties about social change, the potential loss of privilege and the destabilisation of the country that were imagined to be an inevitable consequence of majority rule.
The ‘Satanic panic’ revolved around the apparent threat posed by a cult of white Satanists that was never proven to exist but was nonetheless repeatedly accused of conspiracy, murder, rape, drug-dealing, cannibalism and bestiality, and blamed for the imminent destruction of white Christian civilisation in South Africa.
During the same period an unusually high number of domestic murder-suicides occurred, with parents killing themselves and their children or other family members by gunshot, fire, poison, gas, even crossbows and drownings. This so-called epidemic of family murder was treated by police, press and social scientists as a plague that specifically affected white Afrikaans families. These double monsters, both fantastic and real, helped to disembowel the clarities of whiteness even as they were born out of threats to it. Deep within its self-regarding modernity and renegotiation of identity, contemporary white South Africa still wears those scars of cultural pathology.
How do Muslims fit into South Africa’s well-known narrative of colonialism, apartheid and postapartheid?
South Africa is infamous for apartheid, but the country’s foundation was laid by 176 years of slavery from 1658 to 1834, which formed a crucible of war, genocide and systemic sexual violence that continues to haunt the country today. Enslaved people from East Africa, India and South East Asia, many of whom were Muslim, would eventually constitute the majority of the population of the Cape Colony, the first of the colonial territories that would eventually form South Africa.
Drawing on an extensive popular and official archive, Regarding Muslims analyses the role of Muslims from South Africa’s founding moments to the contemporary period and points to the resonance of these discussions beyond South Africa. It argues that the 350-year archive of images documenting the presence of Muslims in South Africa is central to understanding the formation of concepts of race, sexuality and belonging.
In contrast to the themes of extremism and alienation that dominate Western portrayals of Muslims, Regarding Muslims explores an extensive repertoire of picturesque Muslim figures in South African popular culture, which oscillates with more disquieting images that occasionally burst into prominence during moments of crisis. This pattern is illustrated through analyses of etymology, popular culture, visual art, jokes, bodily practices, oral narratives and literature. The book ends with the complex vision of Islam conveyed in the postapartheid period.
Since 1997 Representation has been the go-to textbook for students learning the tools to question and critically analyze institutional and media texts and images.
This long-awaited second edition:
This book once again provides an indispensible resource for students and teachers in cultural and media studies.
A younger generation of South Africans are developing important and innovative ways of understanding South Africa’s past, challenging narratives that have, over the last decades, been informed by notions of forgiveness and reconciliation. Carli Coetzee uses the image of history-rich blood to explore these approaches to intergenerational memory. In this book, she revisits older archives and analyses contemporary South African cultural and literary forms.
The emphasis on blood challenges the privileged status skin has had as an explanatory category in thinking about identity. Instead, Coetzee emphasises intergenerational transfer and continuity. She argues that a younger generation is contesting the terms through which to understand contemporary South Africa and interpreting the legacies of the past that remain under the visible layer of skin.
The chapters each concern blood: Mandela’s prison cell as laboratory for producing bloodless freedom, the kinship relations created and resisted in accounts of Eugene de Kock in prison, Ruth First’s concern with information leaks in her accounts of her time in prison, the first human-to-human heart transplant and its relation to racialised attempts to salvage white identity, the #Fallist moment, the Abantu Book Festival, and activist scholarship and creative art works that use blood as a trope for thinking about change and continuity.
From a Pulitzer Prize-winning critic comes an impassioned critique of the West's retreat from reason. 'The Death of Truth is destined to become the defining treatise of our age' David Grann 'The first great book of the Trump administration ... essential reading' Rolling Stone We live in a time when the very idea of objective truth is mocked and discounted by the US President. Discredited conspiracy theories and ideologies have resurfaced, proven science is once more up for debate, and Russian propaganda floods our screens. The wisdom of the crowd has usurped research and expertise, and we are each left clinging to the beliefs that best confirm our biases. How did truth become an endangered species? This decline began decades ago, and in The Death of Truth, former New York Times critic Michiko Kakutani takes a penetrating look at the cultural forces that contributed to this gathering storm. In social media and literature, television, academia, and political campaigns, Kakutani identifies the trends - originating on both the right and the left - that have combined to elevate subjectivity over factuality, science, and common values. And she returns us to the words of the great critics of authoritarianism, writers like George Orwell and Hannah Arendt, whose work is newly and eerily relevant. With remarkable erudition and insight, Kakutani offers a provocative diagnosis of our current condition and presents a path forward for our truth-challenged times.
We never snacked like this and we never binged like this. We never had so many superfoods, or so many chips. We were never quite so confused about food, and what it actually is. This is a book about the good, the terrible and the avocado toast. A riveting exploration of the hidden forces behind what we eat, The Way We Eat Now explains how modern food, in all its complexity, has transformed our lives and our world. To re-establish eating as something that gives us both joy and health, we need to find out where we are right now, how we got here and what it is that we share. Award-winning food writer Bee Wilson explores everything from meal replacements such as Huel, the disappearing lunch hour, the rise of veganism, the lack of time to cook and prepare food and the rapid increase in food delivery services. And Bee provides her own doable strategies for how we might navigate the many options available to us to have a balanced, happier relationship with the food we eat.
Anxious Joburg focuses on Johannesburg, the largest and wealthiest city in South Africa, as a case study for the contemporary global South city. Global South cities are often characterised as sites of contradiction and difference that produce a range of feelings around anxiety. This is often imagined in terms of the global North's anxieties about the South: migration, crime, terrorism, disease and environmental crisis. Anxious Joburg invites readers to consider an intimate perspective of living inside such a city. How does it feel to live in the metropolis of Johannesburg: what are the conditions, intersections, affects and experiences that mark the contemporary urban? Scholars, visual artists and storytellers all look at unexamined aspects of Johannesburg life. From peripheral settlements to the inner city to the affluent northern suburbs, from precarious migrants and domestic workers to upwardly mobile young women and fearful elites, Anxious Joburg presents an absorbing engagement with this frustrating, dangerous, seductive city. It offers a rigorous, critical approach to Johannesburg revealing the way in which anxiety is a vital structuring principle of contemporary life. The approach is strongly interdisciplinary, with contributions from media studies, anthropology, religious studies, urban geography, migration studies and psychology. It will appeal to students and teachers, as well as to academic researchers concerned with Johannesburg, South Africa, cities and the global South. The mix of approaches will also draw a non-academic audience.
Joan Didion's hugely influential collection of essays which defines, for many, the America which rose from the ashes of the Sixties. We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. In this now legendary journey into the hinterland of the American psyche, Didion searches for stories as the Sixties implode. She waits for Jim Morrison to show up, visits the Black Panthers in prison, parties with Janis Joplin and buys dresses with Charles Manson's girls. She and her reader emerge, cauterized, from this devastating tour of that age of self discovery into the harsh light of the morning after.
The definitive history of an iconic American food, with new chapters, sidebars, and updated historical accounts The full story of barbecue in the United States had been virtually untold before Robert F. Moss revealed its long, rich history in his 2010 book Barbecue: The History of an American Institution. Moss researched hundreds of sources--newspapers, letters, journals, diaries, and travel narratives--to document the evolution of barbecue from its origins among Native Americans to its present status as an icon of American culture. He mapped out the development of the rich array of regional barbecue styles, chronicled the rise of barbecue restaurants, and profiled the famed pitmasters who made the tradition what it is today. Barbecue is the story not just of a dish but also of a social institution that helped shape many regional cultures of the United States. The history begins with British colonists' adoption of barbecuing techniques from Native Americans in the 17th and 18th centuries, moves to barbecue's establishment as the preeminent form of public celebration in the 19th century, and is carried through to barbecue's ubiquitous standing today. From the very beginning, barbecues were powerful social magnets, drawing together people from a wide range of classes and geographic backgrounds. Barbecue played a key role in three centuries of American history, both reflecting and influencing the direction of an evolving society. By tracing the story of barbecue from its origins to today, Barbecue: The History of an American Institution traces the very thread of American social history. Moss has made significant updates in this new edition, offering a wealth of new historical research, sources, illustrations, and anecdotes.
A festive, delightfully-illustrated compendium that features holiday traditions from around the world. From Jolabokaflod (Christmas Book Flood) in Iceland to Festa dei sette pesci (Feast of Fishes) in Italy and Christmas lanterns in the Philippines, The Atlas of Christmas uncovers the fascinating (and sometimes, downright odd) ways that people and nations celebrate the holiday season, and inspires us to share these unique traditions together with family and friends. Do you know that in Guatemala there's a "Burn the Devil" tradition to kick off the Christmas season, where people gather to set fire to devil-pinatas? Or that in Sweden, a popular figure in Christmas traditions is the Yule Goat, a rowdy, menacing character who demands gifts? Serbian men traditionally throw grain and corn at a tree, then kiss its bark, before they cut it down to make a Yule Log. And in Japan, a big bucket of Kentucky Fried Chicken has become the classic Christmas Day feast. These and many other global Christmas traditions are featured here in this delightful little book. From decorations and activities to feasts and special treats, there's a wide range of both lovely and unusual traditions from around the globe.
Imagine an unseen universe, one that exists literally beneath our notice. One that is only visible to human eyes when magnified by powerful instruments. Then, we see a veritable garden of diversity-communities of microbes living in cooperation and competition, much as we humans do in our macro-sized world. Yet without these unseen actors-these adaptive and resilient single-celled organisms-we would literally not be ourselves, for bacteria comprise a large proportion of our bodies. They are a large part of us, and we of them. They live on and inside of us, and on every surface, quietly doing their jobs, which for the most part are highly beneficial and essential for our health and well-being. This is the secret world that fermentation expert Sandor Katz invites us to explore with him. In his latest book, Fermentation as Metaphor, he goes far beyond merely explaining the processes by which microbes transform our foods, making them tasty and safe for consumption. In a series of short reflections on fermentation, he draws intriguing parallels between the communities of microbial life and aspects of our human culture: politics, religion, social and cultural movements, art, music, sexual mores, and even our individual thoughts and feelings. Katz offers a contemplation, based on science, about the nature of ourselves, our fellow beings, and the inseparable interaction of the two. He explores the human concepts of purity and contamination, revealing that the first is an unattainable, even undesirable goal, and that the latter is typically not something to be shunned, even if we could. Along the way, he informs his arguments with his vast knowledge of fermentation, which he describes as a slow, gentle, steady, yet unstoppable force for change. Perfect for foodies and fans of fermentations and Katz's previous bestsellers (Wild Fermentation and The Art of Fermentation), this book also features dozens of incredible photos that exalt microbial life from the level of "germs" to that of high art.
Behind every typeface is a story - who designed it, and why? What are its distinctive characteristics, and what cultural baggage does it carry? This book explores fifty of the most remarkable typefaces, dating from the birth of European printing in the fifteenth century (and the type used in the Gutenberg Bible - the first significant book to be printed in Europe) to the present day. It features key examples in the aesthetic development of typography (Caslon, Baskerville, Bodoni) and those fonts which have made a significant impact on the wider world. Many fonts have added style to something culturally important (such as Johnston Sans on the London Underground), or assumed a cultural significance of their own, sometimes by accident. The designer of Comic Sans, for example, created the typeface for use in speech bubbles for a Microsoft programme, never expecting it to become one of the world's favourite - and also most maligned - fonts. Through the fonts this book also examines the often colourful lives of the key designers in the evolution of typography: Johannes Gutenberg, William Caslon, Nicolas Jenson, Stanley Morison and William Morris, among others - including one who threw his unique set of metal type into the Thames to prevent others from misusing it - and the enduring influence they have had on print culture. Of equal appeal to general readers, designers and typographers, this book is a vibrant cultural guide to the aesthetic choices we make in order to spread the word.
Horror films provide a guide to many of the sociological fears of the Cold War era. In an age when warning audiences of impending death was the order of the day for popular nonfiction, horror films provided an area where this fear could be lived out to its ghastly conclusion. Because enemies and potential situations of fear lurked everywhere, within the home, the government, the family, and the very self, horror films could speak to the invasive fears of the cold war era. "I Was a Cold War Monster" examines cold war anxieties as they were reflected in British and American films from the fifties through the early sixties. This study examines how cold war horror films combined anxiety over social change with the erotic in such films as "Psycho," "The Tingler," "The Horror of Dracula," and "House of Wax."
What makes the English English? Is it their eccentricity, their passionate love (or, indeed, hatred) of Marmite - or is it something less easily defined? Beginning at the top of a muddy Gloucestershire slope at the Coopers Hill cheese-rolling contest and traversing a landscape of lawns and queues, coastlines and sporting arenas, Ben Fogle takes us on a journey through the peculiarly English: a country of wax jackets, cricket, boat races and jellied eels, by way of national treasures such as the shipping forecast, fish and chips and the Wellington boot. Not to mention the Dunkirk spirit of relentless optimism in the face of adversity, be it the heroic failure of Captain Scott's doomed Antarctic expedition, or simply the perennial hope for better weather. The archetypal Englishman - lover of labradors and Land Rovers yet holder of two passports - Ben applauds all things quintessentially English while also paying tribute to the history, culture and ideas adopted with such gusto that they have become part of the fabric of the country. Written with Ben's trademark warmth and wit, this is a light-hearted yet touching tribute to all things English.
`If you find the subject of food to be both vexing and transfixing, you'll love What She Ate' Elle Did you know that Eleanor Roosevelt dished up Eggs Mexican (a concoction of rice, fried eggs, and bananas) in the White House? Or that Helen Gurley Brown's commitment to `having it all' meant dining on supersized portions of diet gelatine? In the irresistible What She Ate, Laura Shapiro examines the plates, recipe books and shopping trolleys of six extraordinary women, from Dorothy Wordsworth to Eva Braun. Delving into diaries, newspaper articles, cook books and more, Shapiro casts a different light on the usual narratives of women's lives. Finding meaning in every morsel, and looking through the lens of their attitudes towards food, she masterfully reveals the love and rage, desire and denial, need and pleasure, behind six remarkable appetites.
How working with our hands makes us more human In our present age of computer-assisted design, mass production and machine precision, the traditional skills of the maker or craftsperson are hard to find. Yet the desire for well-made and beautiful objects from the hands (and mind) of a skilled artisan is just as present today as it ever has been. Whether the medium they work with is wood, metal, clay or something else, traditional makers are living links to the rich vein of knowledge and skills that defines our common human heritage. More than this, though, many of us harbor a deep and secret yearning to produce something - to build or shape, to imagine and create our own objects that are imbued not only with beauty and functionality, but with a story and, in essence, a spirit drawn from us. Nick Kary understands this yearning. For nearly four decades he has worked on commission to make fine, distinctive furniture and cabinets from wood, most of it sourced near his home, in the counties of South West England. During this time, he has been both a teacher and a student; one who is fascinated with the philosophy and practice of craft work of all kinds. In Material, Kary takes readers along with him to visit some of the places where modern artisans are preserving, and in some cases passing on, the old craft skills. His vivid descriptions and eye for detail make this book a rich and delightful read, and the natural and cultural history he imparts along the way provides an important context for understanding our own past and the roots of our industrial society. Personal, engaging, and filled with memorable people, landscapes and scenes, Material is a rich celebration of what it means to imagine and create, which in the end is the essence of being human, and native to a place. As Kary puts it, "Wood and words, trees and people, material and ethereal - it is here I love increasingly to dwell."
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