In Dockside Reading, Isabel Hofmeyr traces the relationships among print culture, colonialism, and the ocean through the institution of the British colonial Custom House.

During the late nineteenth and early twentieth centuries, dockside customs officials would leaf through publications looking for obscenity, politically objectionable materials, or reprints of British copyrighted works, often dumping these condemned goods into the water. These practices, echoing other colonial imaginaries of the ocean as a space for erasing incriminating evidence of the violence of empire, informed later censorship regimes under apartheid in South Africa.

By tracking printed matter from ship to shore, Hofmeyr shows how literary institutions like copyright and censorship were shaped by colonial control of coastal waters. Set in the environmental context of the colonial port city, Dockside Reading explores how imperialism colonizes water.

Hofmeyr examines this theme through the concept of hydrocolonialism, which puts together land and sea, empire and environment.

A South African pastor and a young teacher from Cape Town battle over the fate of an eccentric elderly widow. The play won the 1988 New York Drama Critics Circle Award for Best Foreign Play.

America's foremost novelist reflects on the themes that preoccupy her work and increasingly dominate national and world politics: race, fear, borders, the mass movement of peoples, the desire for belonging. What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid? Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin Of Others.

In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O'Connor, and Camara Laye are among the authors she examines. Readers of Morrison's fiction will welcome her discussions of some of her most celebrated books: Beloved, Paradise, and A Mercy. Morrison also writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin colour to reveal character or drive narrative.

Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison's most personal work of nonfiction to date.

This anthology marks the 55th anniversary of the historic 1962 Makerere Conference of African Literature in Uganda bringing together post-independence African writers many of whom would go on to play major roles in defining Africa’s literary history.

One of them wrote; “we were amazed that fate had entrusted us with the task of interpreting a continent to the world.”

Those who gathered included the Nigerian Nobel Laureate Wole Soyinka, Chinua Achebe, Christopher Okigbo, JP Clark, Kofi Awoonor, Frances Ademola, Cameron Doudu, Lewis Nkosi, Dennis Brutus, Ezekiel Mphahlele, Bloke Modisane, the African American writer Langton Hughes et al. Fifty-five years on, many have joined the ancestors but there are a few survivors who attended the launch of this Anthology at SOAS in London on 28th October 2017.

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.

Amanda Gorman's powerful and historic poem 'The Hill We Climb,' read at President Joe Biden's inauguration, is now available as a collectible gift edition.

On 20 January 2021, Amanda Gorman became the sixth and youngest poet to deliver a poetry reading at a presidential inauguration. Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe. Her poem "The Hill We Climb" can now be cherished in this special gift edition. Including an enduring foreword by Oprah Winfrey, this keepsake celebrates our promise and affirms the power of poetry.

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.

Luise White brings the force of her historical insight to bear on the many war memoirs published by white soldiers who fought for Rhodesia during the 1964–1979 Zimbabwean liberation struggle.

In the memoirs of white soldiers fighting to defend white minority rule in Africa long after other countries were independent, the author finds a robust and contentious conversation about race, difference, and the war itself. These are writings by men who were ambivalent conscripts, generally aware of the futility of their fight—not brutal pawns flawlessly executing the orders and parroting the rhetoric of a racist regime. Moreover, most of these men insisted that the most important aspects of fighting a guerrilla war—tracking and hunting, knowledge of the land and of the ways of African society—were learned from black playmates in idealized rural childhoods.

In these memoirs, African guerrillas never lost their association with the wild, even as white soldiers boasted of bringing Africans into the intimate spaces of regiment and regime.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa.

Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising.

Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence.

I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues.

Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions.

Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country.

Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by.

Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family.

Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

The third edition of Introduction To English Literary Studies, previously published as Selves and Others, is a guide on how to approach, engage with, and write about literature. Structured into chapters that deal with reading and writing, poetry, narrative, and drama, the book enables students to become successful critical readers of English literature.

The book offers an integrated, progressive introduction to the study of literature in English, creative writing, and literary genres. Critical literacy exercises help students engage with literary concepts and develop their thinking skills. Margin glosses explain difficult terms, while information boxes provide additional contextual information or pose self-reflective questions.

Introduction To English Literary Studies is written for university and university of technology students taking first-year courses in literature and creative writing. It is ideal for both face-to-face and distance education courses.

Critical Reading and Writing in the Digital Age is a fully introductory, interactive textbook that explores the power relations at work in and behind the texts we encounter in our everyday lives. Using examples from numerous genres - such as fiction, poetry, advertisements and newspapers - this textbook examines the language choices a writer must make in structuring texts, representing the world and positioning the reader. Assuming no prior knowledge of linguistics, Critical Reading and Writing in the Digital Age offers guidance on how to read texts critically and how to develop effective writing skills. Extensively updated, key features of the second edition include: a radically revised and repackaged section that highlights the theme of discourses of power and authority and the new possibilities for resisting them; a revamped analysis of the art of communication which has changed due to the advent of new media including Facebook and Wikipedia; fresh examples, exercises and case studies including fan fiction, articles from the BBC, Daily Mail and South China Morning Post, and a selection of international ads for a variety of products; a brand new companion website at www.routledge.com/cw/goatly featuring projects, quizzes and activities for each chapter, a glossary and further reading. Written by two experienced teachers, Critical Reading and Writing in the Digital Age is an ideal coursebook for students of English language.

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.

Novelist Andre Brink married Karina Szczurek when he was 71 and she was 29. They were together for 10 years before he died on a plane, beside her, high above Africa in February 2015.

Selected and edited by Karina M. Szczurek, the love letters between herself and the writer Andre Brink included in You Make Me Possible tell in detail the story of how they met in Austria in December 2004, fell in love, and decided to forge a future together. The intense correspondence which followed in the weeks after their fateful encounter recounts their courtship in words, revealing their initially unacknowledged attraction, their fears and longings, and writing a new world of recognition and togetherness into being.

The letters chronicle the time between their first meeting and Karina's decision to relocate to South Africa to be with Andre in 2005.

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.

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.

Sol Plaatje’s Mhudi is one of South Africa’s most famous novels.

First published in 1930, it is the first full-length novel by a black South African writer, and is widely read and studied in South African schools, colleges and universities. It has been translated into a number of different languages. Written over 30 years before Chinua Achebe’s famous Things Fall Apart, Mhudi is a pioneering African novel too, anticipating many of the themes with which Achebe and other writers from the African continent were concerned.

Mhudi has had a complicated history. Critics have been divided in their views, and there was a delay of ten years between the time Plaatje wrote the book and when it was published. A century on from when it was written, the time is now right to both celebrate its composition and to assess its meanings and legacy.

In this book, a distinguished cast of contributors explore the circumstances in which Mhudi was both written and published, what the critics have made of it, why it remains so relevant today. Chapters look at the eponymous feminist heroine of the novel and what she symbolizes, the role of history and oral tradition, the contentious question of language, the linguistic and stylistic choices that Plaatje made. In keeping with Mhudi’s capacity to inspire, this book also includes a poem and short story, specially written in order to pay tribute to both the book and its author.

Post-apartheid South Africa still struggles to overcome the past, not just because the material conditions of apartheid linger but because the intellectual conditions it created have not been thoroughly dismantled. The system of 'petty apartheid', which controlled the minutia of everyday life, became a means of dragooning human beings into adapting to increasingly mechanized forms of life that stifle desire and creative endeavour. As a result, apartheid is incessantly repeated in the struggle to move beyond it.

In Undoing Apartheid, Premesh Lalu argues that only an aesthetic education can lead to a future beyond apartheid. To find ways to escape the vicious cycle, he traces the patterns created by three theatrical works by William Kentridge, Jane Taylor, and the Handspring Puppet Company – Faustus in Africa, Woyzeck on the Highveld, and Ubu and the Truth Commission – which coincided with the fall of the Berlin Wall and the end of apartheid.

Through the analysis of these works, Lalu uncovers the roots of modern thinking about race and affirms the need to revitalize a post-apartheid reconciliation endowed with truth – if only to keep alive the rhyme of hope and history.

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.

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.

Includes a new introduction from Sophie Hannah, bestselling author of THE MONOGRAM MURDERS.

Agatha Christie was not only the biggest selling writer of detective stories the world has ever known, she was also a mystery in herself, giving only the rarest interviews, declining absolutely to become any sort of public figure, and a mystery too in the manner in which she achieved her astonishing success.

H R F Keating, a crime novelist and respected reviewer of crime fiction, brought together a dozen distinguished writers from both sides of the Atlantic to throw light on this double mystery. Some analyse the art itself; some explain the reasons for her success, not just the books, but also in film and theatre. The approaches are penetrating, affectionate, enthusiastic, analytical, funny - even critical.

Together, they give an almost unique insight into the life and work of the First Lady of Crime.

I Write What I Like features the writing of the famous activist and Black Consciousness leader, Steve Biko. Before his untimely death in detention at age 30, he was instrumental in uniting Black Africans in the struggle against the apartheid government in South Africa.

This 40th anniversary edition includes a foreword by Njabulo S. Ndebele, personal reflections on Steve Biko and Black Consciousness, as well as Biko’s first known published piece of writing. In addition, it features all the material of the original Picador Africa edition: a collection of Biko’s columns entitled I Write What I Like published in the journal of the South Africa Student Organisation under the pseudonym of ‘Frank Talk’; other journal articles, interviews and letters written by Steve Biko at the time; an Introduction by Nkosinathi Biko; a preface by Archbishop Desmond Tutu; and a moving memoir by Father Aelred Stubbs, which pays tribute to the courage and power of this young leader, who was to become one of Africa’s heroes.

Part literary history, part feminist historiography And Wrote My Story Anyway critically examines influential novels in English by eminent black female writers.

Studying these writers' key engagements with nationalism, race and gender during apartheid and the transition to democracy, Barbara Boswell traces the ways in which black women's fiction critically interrogates narrow ideas of nationalism. She examines who is included and excluded, while producing alternative visions for a more just South African society.

This is an erudite analysis of ten well-known South African writers, spanning the apartheid and post-apartheid era: Miriam Tlali, Lauretta Ngcobo, Farida Karodia, Agnes Sam, Sindiwe Magona, Zoe Wicomb, Rayda Jacobs, Yvette Christianse, Kagiso Lesego Molope and Zukiswa Wanner. Boswell argues that black women's fiction could and should be read as a subversive site of knowledge production in a setting, which, for centuries, denied black women's voices and intellects.

Reading their fiction as theory, for the first time these writers' works are placed in sustained conversation with each other, producing an arc of feminist criticism that speaks forcefully back to the abuse of a racist, white-dominated, patriarchal power.

South Africa in the 1970s was a divided and increasingly traumatised country, seemingly permanently in the toils of apartheid, and with little space available for open discussion of apartheid policies or awareness of just what those policies were meaning in the lives of people. It was in this context that David Philip, a South African already involved for several years in publishing, became convinced there must be more opportunity for books with informed discussion and debate to be written and published within the country.

He persuaded his wife Marie, also with publishing experience, that they could together set up their own independent publishing company, to publish 'Books that matter for Southern Africa'- in social history, politics, literature, or whatever, good of their kind and ready to challenge mainstream apartheid thinking.

This is an anecdotal account - a memoir - of the lows and highs of a small, cheerful, underfunded but vibrant 'oppositional' publishing company, David Philip Publishers, from the year 1971 through to the birth of the new South Africa.

"Words have power. Yet that power must be rooted in truth and justice. Words must never stand apart from those principles."

Readers who have long wondered where the mysterious novelist gets his ideas and what inspires his beautifully surreal worlds will be fascinated by this highly personal look at the craft of writing.

In this engaging book, the internationally best-selling author shares with readers what he thinks about being a novelist; his own origins as a writer; and his musings on the sparks of creativity that inspire other writers, artists, and musicians.

The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel's transformative and timeless influence on an entire genre of fantasy.

It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few.

Drawing upon multiple comic book series, this collection includes Captain America's very first appearances from 1941 alongside key examples of his first solo stories of the 1960s, in which Steve Rogers, the newly resurrected hero of World War II, searches to find his place in a new and unfamiliar world. As the contents reveal, the transformations of this American icon thus mark parallel transformations in the nation itself.

A foreword by Gene Luen Yang and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of Captain America and classic Marvel comics.

The Penguin Classics black spine paperback features full-colour art throughout.