The Malleus Maleficarum is a seminal treatise regarding witchcraft and demons, presented here complete with an authoritative translation to modern English by Montague Summers. At the time this book was published in 1487, the Christian church had considered witchcraft a dangerous affront to the faith for many centuries. Executions of suspected witches were intermittent, and various explanations of behaviors deemed suspect were thought to be caused by possession, either by the devil or demon such as an incubus or succubus. Kramer wrote this book after he had tried and failed to have a woman executed for witchcraft. Unhappy at the verdict of the court, he authored the Malleus Maleficarum as a manual for other witch seekers to refer to. For centuries the text was used by Christians as a reference source on matters of demonology, although it was not used directly by the Inquisition who became notorious for their tortures and murders.

Written by Marilyn Martin, a former director of the South African National Gallery, Between Dreams and Realities is based on extensive research and experience. This book revisits important exhibitions, events and forgotten controversies; it highlights the achievements of directors, who often faced political agendas and strained relationships within and outside the institution. Between Dreams and Realities considers the aspirations and role of civil society in creating and maintaining a national institution for the common good.

Concurrently, the book examines long-standing government disinterest and neglect for the museum, and the difficulties that confronted directors in acquiring a collection worthy of its status. It also tells the story of excellent public cooperation and support, and of boards of trustees, directors and staff together overcoming the realities of budget cuts, government interference and severe space constraints. Between Dreams and Realities is a celebration of South Africa’s heritage and cultural wealth; it contributes to the fields of museum, heritage, cultural and curatorial studies, as well as visual and art history. It opens up the discourse and revives interest in public art museums in general and in the national art museum in particular, while offering perspectives on the future, and galvanising custodians and the public into action.