Die tradisie van die pryslied het in die afgelope paar jaar wyd bekend geraak. Hierdie bundle bevat 'n versameling liedere in hierdie genre, maar dis eiesoortig in die sin dat dit spesifiek deur Basotho-trekarbeiders geskep is en deur hulle uitgevoer word. Dit gee die leser 'n wye blik op die verskeurde wereld van hierdie swerwer-sangers. Aan die een kant is daar die ervarings van hul landelike wereld van herkoms. Daar is liriese beskrywings van die natuur en die vanselfsprekende intergrasie tussen die mens, die tasbare leefwereld en die magiese sfeer. Wanneer die sanger uit nood besluit om sy brood om die myne to gaan verdien, lei dit tot 'n ontwortelde swerwerbestaan gekenmerk deur vervreemding en identiteitsverlies. Die werker-sanger is iemand wat tussen twee werelde leef en nie werklik aan een van die twee behoort nie. Die sekerste van die twee, maar ook die ontredderendste, is die van die mynwerker. Hier word hy in werklikheid gereduseer tot 'n implement of 'n stuk gereedskap: "Ek is die kruiptrekker van die myn, manne"; en "My identiteit het aan my skopgraaf vasgegroei." Die nuwe realiteit is die van die ontsetting van mynongelukke, die verbrokkeling van die huislike sfeer, die verlies van 'n geliefde weens ontrou.

Where did the unicorn come from and how was it accepted for so long as a part of the animal kingdom? Chris Lavers argues that although the unicorn of our imagination isn't real, traces of its character can be found in existing species. In this lively and vivid exploration of the natural world, Lavers follows the beast's trail to the plateaus of India and into the jungles of Africa to unearth the flesh and blood ancestors of our iconic unicorn--and, along the way, he introduces the peoples, historians, explorers, traders, and scientists who steadfastly believed.

In Frankenstein Was a Vegetarian: Essays on Food Choice, Identity, and Symbolism, Michael Owen Jones tackles topics often overlooked in foodways. At the outset he notes it was Victor Frankenstein's "daemon" in Mary Shelley's novel that advocated vegetarianism, not the scientist whose name has long been attributed to his creature. Jones explains how we communicate through what we eat, the connection between food choice and who we are or want to appear to be, the ways that many of us self-medicate moods with foods, and the nature of disgust. He presents fascinating case studies of religious bigotry and political machinations triggered by rumored bans on pork, the last meal requests of prisoners about to be executed, and the Utopian vision of Percy Bysshe Shelley, one of England's greatest poets, that was based on a vegetable diet like the creature's meals in Frankenstein. Jones also scrutinizes how food is used and abused on the campaign trail, how gender issues arise when food meets politics, and how eating preferences reflect the personalities and values of politicians, one of whom was elected president and then impeached twice. Throughout the book, Jones deals with food as symbol as well as analyzes the link between food choice and multiple identities. Aesthetics, morality, and politics likewise loom large in his inquiries. In the final two chapters, Jones applies these concepts to overhauling penal policies and practices that make food part of the pains of imprisonment, and looks at transforming the counseling of diabetes patients, who number in the millions.