In 1981, when he was thirty-three and had just caught what was then the largest British carp, Chris Yates wondered if he could now dream of capturing Redmire's Pool's real monster: the King. But far from the King itself, it was the idea of such a leviathan that hooked Chris that summer, playing him along the banks for one final season before releasing him back into the world. Chris's account of those pivotal months - originally published as The Lost Diary - recounts the final reckoning of an angler's long relationship with a beloved and mysterious pool. It is also a magical record of both familiar and freshly discovered waters, meetings with new friends, and unexpected encounters with creatures other than fish and presences that are not quite human.

Acerbic, wisecracking and hilarious, this is the definitive essay collection from New York legend and satirist, Fran Lebowitz, star of Martin Scorsese's hit Netflix series, Pretend It's a City. 'The gold standard for intelligence, efficiency and humour. Now and forever' DAVID SEDARIS 'She's inexhaustible - her personality, her knowledge, her brilliance, most of all her humour' MARTIN SCORSESE 'The rare example of a legend living up to her own mythology. She really is THAT funny' HADLEY FREEMAN Lebowitz turns her trademark caustic wit to the vicissitudes of life - from children ('rarely in the position to lend one a truly interesting sum of money') to landlords ('it is the solemn duty of every landlord to maintain an adequate supply of roaches'). And her attitude to work is the perfect antidote to our exhausting culture of self-betterment ('3.40pm. I consider getting out of bed. I reject the notion as being unduly vigorous. I read and smoke a bit more').

’n Bloemlesing gedigte oor vroue, deur vroue – en vir dié wat met vroue leef. Lees oor beroepsvroue en huisvroue, verliefde, geliefde en ontnugterde vroue, vroue met kinders en sonder kinders, vroue wat in die kalklig staan en vroue wat deur grense breek. Hierdie verse beskou die heelal deur ’n vroulike blik. ’n Bundel om aan te gee vir ’n vriendin of ’n suster, vir ma’s en vir dogters, vir geliefdes – omdat ons almal ’n bietjie so is, en ook nié so is nie.

Met die twee dramatekste in hierdie bundel het die talentvolle Nicola Hanekom die teaterganger in die holte van haar hand. In Trippie word die gehoor "passassiers" op 'n busrit deur die Karoo en word 'n warboel van emosies op 'n boeiende en onvoorspelbare wyse oopgevlek. Hol, 'n uitdagende eenvroutoneelstuk, neem die wegholtempo van 'n moderne vrouelewe in oenskou.

Transcend Time final hours, you are almost there, just 2 and a half days until you are out your bosses maze, but you might have another 2 and a half decade's, if you don't read words that encourage change, read these ... you will have less complaints, a sense of self and maybe some new chat up lines for some dames; and to my ladies ... how to rid of them lames. Time told me to live my gift and present ... so unwrap it fellow reader and Transcend; Join me in my Final Hours and increase your life's powers... Your Present Prophetic Poet... Le Hornet.

In Oolog word stryd, konflik en oorlogvoering op verskeie vlakke ondersoek – nie net met verwysings op ’n nasionale en internasionale skaal nie, maar veral in die beskrywing van intieme, persoonlike ruimtes. Die realiteite van die Kaapse Vlakte word oopgeskryf.

Met sy narratiewe verse, geskryf in verrykende Kaaps, vertel Trantraal stories wat dikwels met ’n vuishou in die verrassende slotreëls tref. Hierdie gedigte is vindingryk en vreesloos, met donker humor maar nie sonder deernis nie.

A raw, honest and heartfelt poetry collection from Taz Alam - for the tough times, the great times, and everything in between. Depressed, but it's fine. Anxious, but it's fine. Heartbroken, but it's fine. When you're ready to embrace how you really feel, I hope this book helps you connect, reflect, and be seen. What matters is that you're here. Maybe we can be fine, together.

Hierdie debuutbundel is sterk geanker in die wereld van die Wes-Rand en die Magaliesberg waar die digter grootgeword het. Hy skryf met deernis oor mense wat hy in sy kindertyd geken het, familielede, gesinslede en die mense van die buurt, ’n vergange werklikheid waarvan hy in die reeks “Moenie jou verlede Google Earth nie’ se: Daar is geen wreder klank as voetstappe van lewens wat wegdraai uit lee huise nie. In ander gedigte word die saambestaan van verskillende lewensvorme – bome, grassoorte, voels en klein diertjies – geteken. Dit is egter geen idilliese landelike wereld nie, veel eerder ’n wereld wat sowel bedreig as bedreig word deur verwaarlosing, veranderinge in die samelewing en aankruipende verstedeliking. Reeds in die openingsgedig, “Stapgids tot Blougat”, word wrang gewaarsku dat selfs in ’n natuurreservaat die stapper nie aan die werklikhede van die groter samelewing kan ontkom nie. Bo-op (of onder) die laag van die werklikheid le egter ook ’n laag waarin daar met taal geeksperimenteer word (bv. in die afdeling “ondersonsganger”) en waarin woorde soms verwring of in nuwe kontekste bymekaar gevoeg word sodat die leser baie fyn moet kyk om agter die betekenis van die verse te probeer kom. Ook die by- en opmekaarplasing van objekte en beelde (soos in “Luipaardsvlei Stortingsterrein” dra by tot ’n sterk surrealistiese element in die bundel.

In Susan Smith se eerste bundel, in die afwesigheid van sin, het reeds ’n hele aantal gedigte oor die omgewing verskyn. In die nuwe bundel word die omgewingsgesprek voortgesit. Die gedigte handel egter nie oor bewaringsvraagstukke nie, maar oor die mens se verhouding tot die aarde en die lewende wesens daarop. Soos die titel aandui, word die aarde gesien as ’n soort vaartuig wat deur die heelal reis. Dit is ook die boot waarmee die mens op sy lewensreis vaar deur verskillende waters. Plante, veral bome, is verwysingspunte op hierdie reis. Die woorde van die digter is instrumente wat die vaart moontlik maak, dit beskryf en die bedreigde lewendes help bewaar: die aarde is ’n eierblou ark wat deur die melkweg veer waarin ons waterdeurdronge deur soutreen en sleepmistonge hiermaals vaar en as bede om vergiffenis en genade daagliks silwer woordspane deur water stuur.

The Diary of Losing Dad is the true story of a heartbroken woman trying to keep it together, and an intimate insight into what it is like to slowly, painfully lose someone you love. Actor and writer Emily Bevan recalls the surreal months leading up to her father's untimely death, during which she was filming a zombie series for television. Told from the perspective of a family who are stress-eating Percy Pigs, scrabbling around for change for the parking machine, and breaking down in the chemist because the pharmacist won't sell them two packets of cream, this moving account is interspersed with diary entries, poems and her daily scribblings. Here Emily renders scenes of hospital life - both devastating and life-affirming - together with anecdotes of her family rallying around this much-loved man, and the poignant memories of his constant and enduring presence. The book looks at how we each have our own unique response to tragedy: we all know that we are going to have to face death, yet we are so ill-equipped to deal with it.

Die Duiwel is hier aan die woord – skerpsinnig, dog simpatiek teenoor die probleme wat hy uitlig. In hierdie bundel ondersoekthe skrywer geloof in die hedendaagse konteks, en kom sy belesenheid na vore. Hy bied met sy skerp waarnemingsvermoe kommentaar op eietydse ervaringe, maar plaas dit in die konteks van eeue.

From the editor of the celebrated anthology "Goodbye to All That"" Writers on Loving and Leaving New York," comes a new collection of original essays on what keeps writers tethered to New York City.
The "charming" ("The New York Times") first anthology" Goodbye to All That"--inspired by Joan Didion's classic essay about loving and leaving Manhattan--chronicled the difficulties and disappointments inherent in loving New York, while "Never Can Say Goodbye" is a celebration of the city that never sleeps, in the tradition of E.B. White's classic essay, "Here Is New York."
Featuring contributions from such luminaries as Elizabeth Gilbert, Susan Orlean, Nick Flynn, Adelle Waldman, Phillip Lopate, Owen King, Amy Sohn, and many others, this collection of essays is a must-have for every lover of New York--regardless of whether or not you call the Big Apple home.

At the start of the coronavirus lockdown, Paul Cookson set out to write (at least) a poem a day - and kept on going. Volume Two of The Man Who Launched a Thousand Poems is the debut publication of poems 501 through to 1000, from July 2021 to November 2022. Compassionate, societal, political and principled, and laced with the author's renowned humour, here is an extraordinary collection for extraordinary times and a reflective documentation of a nation's resolve and wellbeing.

In die bekroonde digter Ronelda Kamfer se vierde bundel, Chinatown, bied sy opnuut poësie met ’n emosionele slaankrag wat die leser nie onaangeraak sal laat nie. Geslagspolitiek word ondersoek deur ’n vrouestem wat opklink teen die patriargie. Verwysings na ’n gebroke verhouding tussen pa en dogter kom deurlopend voor. En kwessies wat deel vorm van die huidige sosio-politieke diskoers – vrouemishandeling, rassisme en armoede – kom aan die bod, maar word met ’n diep menslikheid hanteer.