Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

For many years an atheist, C. S. Lewis vividly describes the spiritual quest that convinced him of the truth and reality of Christianity, in his famous autobiography. "In the Trinity Term of 1929 I gave in, and admitted that God was God ... perhaps the most dejected and reluctant convert in all England." Thus Lewis describes memorably the crisis of his conversion. 'Surprised by Joy' reveals both that crisis and its momentous conclusion that would determine the shape of Lewis's entire life.

"A wise and beautiful book about what it feels like to be alive--I really loved it."--Zadie Smith

"Maggie Gee's account of her life as a writer cuts to the bone as she relives triumphs, rejections, despair and renewal. It's a wonderful book, for its boldness and vigour, and for its piercing honesty."--Claire Tomalin

How do you become a writer, and why?

Maggie Gee's journey starts in a small family in post-war Britain, a long way from the literary world. At seventeen, Maggie goes, a lamb to the slaughter, to university. From the 1960s onwards she lives the defining events of her generation: the coming of the Pill and sexual freedom, tremors in the British layer-cake of class and race. In the 1980s, Maggie finally gets published, falls in love, marries, and has a daughter--but for the next three decades and beyond, she survives, and sometimes thrives, by writing. This frank, bold memoir dares to explore the big questions: success and failure, sex, death, and parenthood--our animal life.

Maggie Gee was chosen as one of Granta's original Best Young British Novelists. She has published many novels to great acclaim, including "The White Family," shortlisted for the Orange and IMPAC prizes; "My Cleaner"; "The Flood," longlisted for the Orange Prize; and "The Ice People." She was the first female chair of the Royal Society of Literature from 2004-2008 and is now one of its vice presidents.

Systemic racism and sexism caused one of South Africa’s most important writers to disappear from public consciousness. Is it possible to justly restore her historical presence?

Regina Gelana Twala, a Black South African woman who died in 1968 in Swaziland (now Eswatini), was an extraordinarily prolific writer of books, columns, articles, and letters. Yet today Twala’s name is largely unknown. Her literary achievements are forgotten. Her books are unpublished. Her letters languish in the dusty study of a deceased South African academic. Her articles are buried in discontinued publications. Joel Cabrita argues that Twala’s posthumous obscurity has not developed accidentally as she exposes the ways prejudices around race and gender blocked Black African women like Twala from establishing themselves as successful writers.

Drawing upon Twala’s family papers, interviews, newspapers, and archival records from Pretoria, Uppsala, and Los Angeles, Cabrita argues that an entire cast of characters—censorious editors, territorial White academics, apartheid officials, and male African politicians whose politics were at odds with her own—conspired to erase Twala’s legacy. Through her unique documentary output, Twala marked herself as a radical voice on issues of gender, race, and class. The literary gatekeepers of the racist and sexist society of twentieth-century southern Africa clamped down by literally writing her out of the region’s history.

Written Out also scrutinizes the troubled racial politics of African history as a discipline that has been historically dominated by White academics, a situation that many people within the field are now examining critically. Inspired by this recent movement, Cabrita interrogates what it means for her —a White historian based in the Northern Hemisphere—to tell the story of a Black African woman. Far from a laudable “recovery” of an important lost figure, Cabrita acknowledges that her biography inevitably reproduces old dynamics of White scholarly privilege and dominance. Cabrita’s narration of Twala’s career resurrects it but also reminds us that Twala, tragically, is still not the author of her own life story.

In Kambrokind deel F.A. Venter sy jeugherinneringe vanaf sy voorskoolse jare tot op universiteit.

Op boeiende wyse vertel Venter hoe hy die Karoo se sagte én harde kant leer ken. Hy kon homself wees in die veld en sy gedagtes vrye teuels gee, maar hy het ook die wreedheid van droogtes en siektes en die lang trekpad met skaap na beter weiding ervaar.

Op skool het sekere onderwysers hom ontvanklik gemaak vir die wêreld van boeke en oordenking en het dit hom gedryf om hard te werk sodat hy met ’n studielening en twee pakke klere kon gaan studeer aan die Universiteit van Stellenbosch.

Die eerste uitgawe van Die keer toe ek my naam vergeet het verskyn in 1995, vyf jaar nadat die skrywer F.A. Venter ’n beroerte gekry het. In hierdie outobiografiese vertelling dokumenteer hy die pynlike en stadige proses van herstel: hy moet weer leer loop, leer praat, leer skryf. Dit is verder ’n verhaal oor die verhouding tussen Venter en sy geliefde vrou, Stella. In Die Afrikaanse literatuur 1652–2004 beskryf J.C. Kannemeyer Die keer toe ek my naam vergeet het as een van Venter se “belangrikste bydraes tot die Afrikaanse prosa”: “Die aangrypende verhaal van ouderdom en lyding, maar ook van ’n mooi huwelik en toegewyde liefde, is terselfdertyd ’n getuienis van die onblusbare gees van die skeppende mens wat, ten spyte van alle teenspoed, kan voortgaan met die werk waarvoor hy hier op aarde geplaas is.” Op ’n eerlike en roerende wyse, en met ’n tikkie humor, raak Venter die universele, tydlose temas van siekte, oudword en die dood aan. Uiteindelik is dit ’n verhaal van aanvaarding: “Ek het baie verloor – die kosbaarste. Maar ek het ook geleer om te verduur. Te aanvaar. Tevrede te wees. Anders sou dit ondraaglik wees.”

'Utterly fascinating' Daisy Goodwin, Sunday Times Benjamin Franklin took daily naked air baths and Toulouse-Lautrec painted in brothels. Edith Sitwell worked in bed, and George Gershwin composed at the piano in pyjamas. Freud worked sixteen hours a day, but Gertrude Stein could never write for more than thirty minutes, and F. Scott Fitzgerald wrote in gin-fuelled bursts - he believed alcohol was essential to his creative process. From Marx to Murakami and Beethoven to Bacon, Daily Rituals by Mason Currey presents the working routines of more than a hundred and sixty of the greatest philosophers, writers, composers and artists ever to have lived. Whether by amphetamines or alcohol, headstand or boxing, these people made time and got to work. Featuring photographs of writers and artists at work, and filled with fascinating insights on the mechanics of genius and entertaining stories of the personalities behind it, Daily Rituals is irresistibly addictive, and utterly inspiring.

In Funny Thing, Getting Older, one of our most beloved novelists shares his reflections from a lifetime of writing stories about the world. Here, collected for the first time on Michael's 82nd birthday, are his thoughts on nature, childhood, writing, peace and war, and getting older. Some are deeply personal, some political, others in between. And woven in amongst them you will find a play, a poem or two, and even a few stories.

Full of wonder, gentle humour and sharp observation, Funny Thing, Getting Older is a book to treasure.

A story is like a kite. If I make it right, if I fly it right, it will swoop and soar. And it will please my heart when it's up there, floating on the wind.

Written by the preeminent Fitzgerald biographer and literary critic Scott Donaldson, this book presents a fresh, insightful exploration of the war between the sexes in F. Scott Fitzgerald's fictional and autobiographical writings. The volume opens with a close reading of Tender Is the Night, in which Donaldson argues that the key theme of the novel is warfare-the struggle between the sexes for dominance in a marriage or relationship. Other essays expand on this theme, examining Fitzgerald's assessment of love and the American dream in The Great Gatsby, Zelda Fitzgerald's alleged affair with the French aviator Edouard Jozan, the writer's relationship with his fellow author Dorothy Parker, and Fitzgerald's autobiographical writings, in which he recounts his fast, extravagant life during the Jazz Age. Engagingly written and based on a deep understanding of Fitzgerald's life and career, Fitzgerald and the War Between the Sexes will inform and influence fans and students of Fitzgerald's work for many years to come.