Shining Bright Lights in Dark Places is a recount of the time spent in prison by the Television Presenter Ashley Blake. Taken directly from the diary he wrote in prison day by day, capturing his feelings, both personal and those expressed by others at the time. The rights or wrongs of his situation where not the point, but the futility, frustration, and the deprivation of liberty which he experienced he felt compelled to tell in this bare bones autobiography.

Africa Writes Back was published in 2008 to coincide with the 50th anniversary of the publication of Chinua Achebe's Things Fall Apart - the novel which provided the impetus for the foundation of the Heinemann African Writers Series in 1962 with Chinua Achebe as the Editorial Adviser. With the 50th anniversary of the AWS being celebrated in 2012, James Currey's book has a new resonance. '... not only the story of a publishing enterprise of great significance; it is also a large part of the story of African literature and its dissemination in the latter half of the twentieth century. The manuscript is full of the drama of that enterprise, the drama of dealing with the mother house, William Heinemann, of dealing with the often intractable political constraints dominating the intellectual space across Africa, and not least of all dealing with the writers themselves - with their ambitions, their temperaments, their financial needs and, at time, their perception of a colonial relationship between themselves and a European publishing house.' - Clive Wake, Emeritus Professor of Modern Languages, University of Kent at Canterbury. North America: Ohio U Press; South Africa: Wits U Press; Nigeria: HEBN; Kenya: EAEP; Zimbabwe: Weaver Press

Today's innovative poets no longer express their dissenting voice on the printed page but in the experimental realm of contemporary media, where holograms, video projections, and even biotechnology form the basis of a new syntax. Celebrated poet and artist Eduardo Kac's" Media Poetry" is the first anthology to document this radically new form, which is taking language beyond the confines of verse and into the non-linear world of digital interactivity and hyperlinkage.This unparalleled volume takes up all the exhilarating incarnations of media poetry, from real-time text generation and spatiotemporal discontinuities to immateriality and visual tempo, exploring the international group of revolutionary poets responsible for such innovations. By embracing the vast possibilities made available by new media, the artists featured in this anthology have become the poetic pioneers of the next millennium.

The Tenth Edition introduces diverse, compelling, relevant texts-from Civil War songs and stories to The Turn of the Screw to The Great Gatsby to poems by Juan Felipe Herrera and Claudia Rankine to a science fiction cluster featuring Octavia Butler and N. K. Jemisin. And continuing its course of innovative and market-responsive changes, the anthology now offers resources to help instructors meet today's teaching challenges. Chief among these resources is InQuizitive, Norton's award-winning learning tool, which includes interactive questions on the period introductions and often-taught works in the anthology. In addition, the Tenth Edition maintains the anthology's exceptional editorial apparatus and generous and diverse slate of texts overall. Available in print and as an annotatable ebook, the anthology is ideal for online, hybrid or in-person teaching.

Stafford Cripps cut an incongruous figure in British politics in the 1930s. His fortuitous appointment as Ambassador to Moscow in 1940 secured him a prominent position in the War Cabinet. His meticulously kept diary describes the change in his political fortune and bears witness to key German-Soviet events during World War 2.

A student edition of Mamet's Pulitzer Prize-winning play First staged in Britain in 1983, Glengarry Glen Ross is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film, starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992. "The finest American playwright of his generation" Sunday Times "A chillingly funny indictment of a world in which you are what you sell" Guardian "Nobody alive writes better American...Here at last, carving characters out of language, is a play with real muscle" Observer "David Mamet, screenwriter of The Verdict and The Postman Always Rings Twice, is alongside Sam Shepard and Michael Weller, one of the most distinctive voices on the contemporary American stage" Michael Coveney, Financial Times

Dié jongste bundel verse deur Philip de Vos is vir jonk én oud, en getuig opnuut van sy vakmanskap as digter, sy slinkse, aweregse humor maar ook sy fyn waarnemingsvermoë.

Ritme dien as ruggraat vir elke vers, met ’n goeie skeut tong-in-die-kies stuitigheid, maar soms ook met ’n melancholiese, elegiese ondertoon.

Daar is verse oor die Skepping, oor Moses en oor Lot, verskeie oor nig Mara en Maraaia, en ter afsluiting meer as ’n handvol stoute kwatryne.

Wanneer ’n mens aan die ervarings van Boerevroue en -kinders tydens die Anglo-Boereoorlog dink, is die outomatiese konnotasie die van konsentrasiekamplyding. ’n Fassinerende en grotendeels onbekende buitebeentjie in hierdie genre is die dagboek van Anna Barry, waaruit ’n unieke en veelkantige beeld van die oorlog na vore kom. Aan die een kant van Anna se oorlogservaring staan haar broer Japie – ’n begeesterde jong soldaat wat uiteindelik as krygsgevangene op Ceylon sterf. Hierteenoor le haar geliefde pa Thomas (aanvanklik ’n gerespekteerde veldkornet) al in 1900 die eed van neutraliteit af, en wag hy die grootste gedeelte van die oorlog in die neutrale Basoetoland uit. Vir die tienderjarige Anna is die oorlog as gevolg hiervan ’n uiters verwarrende ervaring en haar dagboek bied ’n sonderlinge blik op die gefragmenteerdheid en buigbaarheid van konsepte soos “identiteit”, “nasie” en “volk”. Die feit dat die dagboek eers in 1960 vir die eerste keer gepubliseer is en daarna grotendeels in die vergetelheid verval het, is verder veelseggend in terme van hoe Anna self verwag het haar ervarings kort na die oorlog ontvang sou word – maar ook in terme van hoe blinde lojaliteit aan sekere groepe so dikwels in die geskiedenis van Suid-Afrikaners vereis is. Die dagboekteks, geboekstut deur Ena Jansen se insiggewende en verhelderende voor- en nawoord, bied nie slegs ’n sonderlinge blik op die Anglo-Boereoorlog nie, maar is verweef met kwessies van taal, politieke mag en sosiale status wat vandag nog net so relevant is soos toe die dagboek geskryf is.

'Reads like a mashup of The Godfather and Chinatown, complete with gun battles, a ruthless kingpin and a mountain of cash. Except that it's all true.' Time In this thrilling panorama of real-life events, the bestselling author of Empire of Pain investigates a secret world run by a surprising criminal: a charismatic middle-aged grandmother, who from a tiny noodle shop in New York's Chinatown, managed a multimillion-dollar business smuggling people. In The Snakehead, Patrick Radden Keefe reveals the inner workings of Cheng Chui Ping aka Sister Ping's complex empire and recounts the decade-long FBI investigation that eventually brought her down. He follows an often incompetent and sometimes corrupt INS as it pursues desperate immigrants risking everything to come to America, and along the way he paints a stunning portrait of a generation of undocumented immigrants and the intricate underground economy that sustains and exploits them. Grand in scope yet propulsive in narrative force, The Snakehead is both a kaleidoscopic crime story and a brilliant exploration of the ironies of immigration in America.

In hierdie drama word die leser/gehoor gekonfronteer met die gevolge van keuses waarmee bykans alle Suid-Afrikaners kan identifiseer: kwessies soos emigrasie, die behoud van bande met die geboorteland, nagevolge van die Angolese bosoorlog, moorde op bejaardes en sosiale onsekerhede as gevolg van kriminele geweld. Hiermee gee Opperman dramaties gestalte aan die gedagte dat die persoonlike dikwels ’n politieke strekking het. Ook ander verwysingsraamwerke tree na vore, waaronder die invloed van die geskiedenis en die soeke na identiteit.

South Africa, 2019. Twenty-five years since the first post-apartheid democratic elections, two men from contrasting walks of life are thrust together to reflect on a quarter-century of change. Jack Morris is a celebrated classical actor who has just been given both a career-defining role and a life-changing diagnosis. Besides his age, Jack has seemingly little in common with his at-home nurse Lunga Kunene, but the two men soon discover their shared passion for Shakespeare, which ignites this ‘rich, raw and shattering head-to-head’ (The Times).

Written by South African actor, activist and playwright John Kani, this refreshingly funny and vital new play premiered in the Swan Theatre, Stratford-upon-Avon in 2019, before transferring to the Ambassadors Theatre in London. A co-production with the Fugard Theatre, it was directed by Janice Honeyman with moving performances from Antony Sher and John Kani.

The Antarctic: An Anthology features an international mix of classic first-person accounts of exploration, literary travelogues and works of cultural history, natural science and fiction about the South Pole. Contributors include British, American, Australian, Scandinavian, Japanese and Russian explorers such as Ernest Shackleton, Apsely Cherry-Garrard, Robert Falcon Scott, Roald Amundsen, Richard Byrd and Fouglas Mawson; novelists such as H. P. Lovecraft, Diane Ackerman, Jenny Diski and Kim Stanley Robinson; and popular travel writers such as Sara Wheeler. It is published alongside acompanion volume, The Arctic: An Anthology.

This story collection by multiple award-winning poet, author and playwright Kobus Moolman is a volume of unconventional potency. Written in a range of styles, voices and genres, each of the ten stories offers original insights into the difficulties of staying afloat. Whether the challenge is being differently abled (with all the outsider isolation this brings); lower-income family life under unbending patriarchal rule; or being born a female child in an abusive, gendered culture, the narratives are convincing (often humorous) in their portrayal of trapped lives striving for transcendence. The darkly funny `Kiss and the Brigadier' invokes the stultifying boredom of small-town life and the captured mentalities of its understimulated citizens; `Extracts from a Dispensable Life' offers a creative and sensitive reading of the gender violence theme; while the irreverent but never disrespectful `Angel Heart' ventures into the risky waters of religious send-up. The Swimming Lesson and Other Stories is a collection that stands out for its unusual perspectives; its frank, often uncomfortable treatment of taboo topics; its creative risk-taking; and its skilful and observant recreation of worlds gone by, which still leave their aftershocks.

Die woord “skryn” het verskillende betekenisse: 'n Skryn is 'n klein kissie of houer waarin kosbaarhede soos juwele bewaar word, en as werkwoord kan die woord dui op afskuur of -skaaf (soos wat 'n skrynwerker doen) of op 'n pynlike wrywingsproses (vandaar die beskrywing van 'n ervaring as “skrynend” of “skrynerig”). Alhoewel al hierdie betekenisse geaktiveer word in Emma Bekker se debuutdigbundel, sal die leser vergeefs soek na konvensionele “vroulike” skatte soos juwele, klere en meubels. Reeds in die tweede gedig is daar 'n aanduiding van wat in die res van die bundel te wagte gaan wees: In hierdie herinnering aan 'n ontwrigtende kinderervaring, word die dogtertjie se krytblikkie, versier met 'n afbeelding van die Taj Mahal, 'n soort skryn word waaraan sy kan vashou. Algaande ontvou die beweging tussen die skrynende en die kosbare wat as gedigte bewaar word en word die bundel self die skryn. 'n Tweede belangrike tema in die bundel is die verkenning van 'n enigsins ongewone, onkonvensionele vroulikheid. Al open die bundel met 'n kwatryn oor die gewone buurt met “'n drankwinkel, 'n pawn shop en die Spar” waar die digteres woon, word hierdie skynbaar gewone voorstedelike bestaan gou die vertrekpunt van waar verskillende enigsins alternatiewe en onkonvensionele vroulikhede ondersoek word. Sy maak die luike van die binnekamer oop en ervaar tuin, veld en stad; Sy herken die tierboskat in haar skootkat en in haarself; In die liefdespel wil sy niemand se baby wees nie; Sy waag dit om op 'n tweede wittebrood die jas van “onverpoosde verantwoordelikheid” uit te trek en in die kombuis gee sy haar oor aan die sinnelike vreugde – en soms selfs wrede – van kosmaak. Bewaring en blootstelling, kwesbaarheid en krag, sinnelikheid en spiritualiteit word in hierdie bundel verwoord deur 'n vaardige digteres wat sowel die tug van die kwatryn, die liriese van kabaretagtige verse as vryer, narratiewe verse beheers.

An unhappy game of romantic follow-the-leader explodes into murder one weekend at The Hollow, home of Sir Henry and Lucy Angkatell. Dr. Cristow is at the center of the trouble when his mistress Henrietta, ex-mistress Veronica, and wife Gerda, simultaneously arrive at The Hollow. Also visiting are Edward (who is in love with Henrietta) and Midge (who loves Edward). Veronica ardently desires to marry Cristow and succeeds in reopening their affair but is unable to get him to divorce his wife. Veronica unwisely states that if she cannot have him, no one shall. Within five minutes Cristow is dead. Nearly everyone has a motive and most had the opportunity. Enter Inspector Colquhoun and Sergeant Penny to solve the crime.

It is 1934. Winsome Manor is in financial difficulties and, with a heavy heart, the widowed Lady Winsome needs to fire long-standing servants Joe the gardener and James the chauffeur. However, unbeknown to Lady Winsome, James has been using the estate's Rolls Royce for a taxi business and Joe has been profiting from the garden produce. As the play unfolds, the two desperately attempt to prevent Lady Winsome from discovering their illicit dealings and from selling the Manor. But Lady Winsome is not so naive and with a final twist-in-the-tail this amusing one act play comes to a surprising conclusion.

Ex-boxer Spinks is myopic, poor and lonely, his one companion being the alcoholic Kingsley with whom he has a rather tetchy, exasperated friendship. To gain attention, Spinks pretends to win the National Lottery and he starts receiving freebies and handouts from people hoping to get a share of his fortune. Plain Dawn Pringle who loves Spinks for himself not his money, warns against her maneater identical twin sister Donna, who then turns up and seduces him. Just in time he makes an important discovery about his new-found loves.

As the seas rise, the fight intensifies to save the Pacific Ocean's Marshall Islands from being devoured by the waters around them. At the same time, activists are raising their poetic voices against decades of colonialism, environmental destruction, and social injustice. Marshallese poet and activist Kathy Jetn-il-Kijiner's writing highlights the traumas of colonialism, racism, forced migration, the legacy of American nuclear testing, and the impending threats of climate change. Bearing witness at the front lines of various activist movements inspires her work and has propelled her poetry onto international stages, where she has performed in front of audiences ranging from elementary school students to more than a hundred world leaders at the United Nations Climate Summit. The poet connects us to Marshallese daily life and tradition, likening her poetry to a basket and its essential materials. Her cultural roots and her family provides the thick fiber, the structure of the basket. Her diasporic upbringing is the material which wraps around the fiber, an essential layer to the structure of her experiences. And her passion for justice and change, the passion which brings her to the front lines of activist movements-is the stitching that binds these two experiences together. Iep Jaltok will make history as the first published book of poetry written by a Marshallese author, and it ushers in an important new voice for justice.