In Ploeg die wolke moet Brenda Rabie onverwags na Johannesburg gaan om haar pas geskeide suster te ondersteun. Daar begewe Brenda haar op ’n pad van persoonlike intrige wat sy nie vooraf kon voorsien nie.

Ansje Korber word eensklaps haar gewese skoonsuster, Joan, se vertroueling in Sirkelbaan. Hoe gemaak wanneer ’n man en vrou elkeen op hul beurt gebroke op Ansje se drumpel staan? Boonop wonder sy of die teenwoordigheid van Joan se nuwe swaer nie juis die probleem is nie.

In Die stille roep maak die leser op boeiende wyse kennis met die lief en leed van die Defórs-gesin. Regina Defórs moet as weduwee die fort hou. Haar drie kinders – wat elk met hul eie liefdeslewe worstel – is egter gekant teen die man by wie sy veel steun vind.

We like Jeff Goldblum. You like Jeff Goldblum. Helen McClory really likes Jeff Goldblum. The Goldblum Variations is a collection of flash fiction, stories and games on the one and only Jeff Goldblum as he, and alternate versions of himself, travels through the known (and unknown) universe in a mighty celebration of weird and wonderful Goldbluminess. Maybe he's cooking, maybe he's wearing a nice jumper, maybe he's reading this very book. The possibilities are endless. Treat yourself, because all that glitters is Goldblum.

The second book from the "exact and poetic" (New York Times) author of critical smash Young Skins, winner of the Rooney Prize for Irish Literature and a National Book Foundation 5 Under 35, Homesickness is an emotionally resonant and wonderfully wry collection that follows the lives of outcasts, misfits, and malcontents from County Mayo to Canada.When Colin Barrett's debut Young Skins published, it swept up several major literary awards, and, in both its linguistic originality and sharply drawn portraits of working-class Ireland, earned Barrett comparisons to Faulkner, Hardy, and Musil. Now, in a blistering follow-up collection, Barrett brings together eight character-driven stories, each showcasing his inimitably observant eye and darkly funny style. A quiet night in a local pub is shattered by the arrival of a sword-wielding fugitive; a funeral party teeters on the edge of this world and the next, as ghosts simply won't lay in wake; a shooting sees a veteran policewoman confront the banality of her own existence; and an aspiring writer grapples with his father's cancer diagnosis and in his despair wreaks havoc on his mentor's life. The second piece of fiction from a "lyrical and tough and smart" (Anne Enright) voice in contemporary Irish literature, Homesickness marks Colin Barrett out as our most brilliantly original and captivating storyteller.

When Ann Beattie began publishing short stories in "The New Yorker "in the mid-seventies, she emerged with a voice so original, and so uncannily precise and prescient in its assessment of her characters' drift and narcissism, that she was instantly celebrated as a voice of her generation. Her name became an adjective: "Beattiesque." Subtle, wry, and unnerving, she is a master observer of the unraveling of the American family, and also of the myriad small occurrences and affinities that unite us. Her characters, over nearly four decades, have moved from lives of fickle desire to the burdens and inhibitions of adulthood and on to failed aspirations, sloppy divorces, and sometimes enlightenment, even grace.
Each Beattie story, says Margaret Atwood, is "like a fresh bulletin from the front: we snatch it up, eager to know what's happening out there on the edge of that shifting and dubious no-man's-land known as interpersonal relations." With an unparalleled gift for dialogue and laser wit, she delivers flash reports on the cultural landscape of her time. "Ann Beattie: The New Yorker Stories "is the perfect initiation for readers new to this iconic American writer and a glorious return for those who have known and loved her work for decades.