"John, I’m exhausted. I barely have energy to change my socks, never mind reimagine a new life for me or my family. I’ve been working around the clock – for less money – to keep my job . . . Everyone wants something from me, and you know what, pal, I’m depleted. I have nothing left to give."

This is what John Sanei has been hearing over the past year as we come to terms with our bewildering, ever-shifting post-Covid world. In Who Do We Become?, John maps out our strange, new world and lays down a path to reframe our thinking, to recognise our discomfort, to survive and thrive.

Infused with empathy and personal anecdote, the book is divided into three sections. In Part 1: ANGUISH, John explores how to courageously mourn the loss of our ‘normal’ preCovid world. Part 2: ABNORMAL, shows us how to understand this new environment and recognise that uncertainty is the new normal. And in Part 3: ADVENTURE, John provides a toolkit for us to forge out into the new world, to succeed and recognise the signs of rebirth and renewal.

The Khoesan were the first people in Africa to undergo the full rigours of European colonisation. By the early nineteenth century, they had largely been brought under colonial rule, dispossessed of their land and stock, and forced to work as labourers for farmers of European descent. Nevertheless, a portion of them were able to regain a degree of freedom and maintain their independence by taking refuge in the mission stations of the Western and Eastern Cape, most notably in the Kat River valley. For much of the nineteenth century, these Khoesan people kept up a steady commentary on, and intervention in, the course of politics in the Cape Colony. Through petitions, speeches at meetings, letters to the newspapers and correspondence between themselves, the Cape Khoesan articulated a continuous critique of the oppressions of colonialism, always stressing the need for equality before the law, as well as their opposition to attempts to limit their freedom of movement through vagrancy legislation and related measures. This was accompanied by a well-grounded distrust, in particular, of the British settlers of the Eastern Cape and a concomitant hope, rarely realised, in the benevolence of the British government in London. Comprising 98 of these texts, These Oppressions Won't Cease - an utterance expressed by Willem Uithaalder, commander of Khoe rebel forces in the war of 1850-3 - contains the essential documents of Khoesan political thought in the nineteenth century. These texts of the Khoesan provide a history of resistance to colonial oppression which has largely faded from view. Robert Ross, the eminent historian of precolonial South Africa, brings back their voices from the annals of the archive, voices which were formative in the establishment of black nationalism in South Africa, but which have long been silenced.

So lyk ’n vrou, Ilse Verster se hartroerende verhaal oor Esli se lewe van mishandeling deur ’n gewelddadige eggenoot, het lesers in 2022 geskok en aangegryp. ’n Vrou staan op is die vervolg op die blitsverkoper en vertel van die nuwe hoofstuk in Esli se lewe.

Ná ’n uitmergelende egskeiding wat haar finansieel byna ruïneer, reis Esli Kaap toe om perspektief te kry op ’n lewe waar sy nie meer ’n slagoffer is nie. Dan gebeur daar ’n wonderwerk. Sy ontmoet iemand en hulle besluit om te trou. Uiteindelik is die geluk, vrede en veiligheid waarna sy haar lewe lank gehunker het, vir Esli beskore.

Máár haar stryd is nog lank nie verby nie. Post-traumatiese stres, ’n vreemde omgewing en nuwe verhoudings bring onverwagse uitdagings. Ook baie vrae, soos: Hoe kan ’n mens gelukkig wees, maar steeds huil? Die ongekende blootstelling wat tydens boekbekendstellings, praatjies en mediaonderhoude volg op die sukses van So lyk ’n vrou, maak dinge ook nie makliker nie. Esli kan haar nie volledig losmaak van die verlede nie, want almal stel moeilike vrae. Terselfdertyd moet sy ander slagoffers van narsisme moed inpraat.

In ’n Vrou staan op deel die skrywer haar ervarings van die moets en moenies in die proses na heelwording. Want om ’n oorwinnaar te wees, verg ook moed, deursettingsvermoë en ’n sekure instink vir oplossings wat wérk.

The perfect match. Or so she thinks. Her warmth and empathy. His charisma and ambition. Yet, Cathy feels safer teaching battle-scarred gangsters in a prison classroom than at home with her own partner.

By day she walks on eggshells. At night she sleeps on the backseat of her car. Her safe place is an all-night roadhouse; her best friend, her journal. The slow boil intensifies until, one day, Cathy finds her grandmother’s armoire smashed to pieces in her bedroom, a hammer on the floor, her life in splinters beside it.

Part memoir, part inspiration, Boiling A Frog Slowly is unflinching in its confrontation of abuse and utterly courageous in its portrayal of redemption.

First people communities are the groups of huntergatherers and herders, representing the oldest human lineages in Africa, who migrated from as far as East Africa to settle across southern Africa, in what is now Namibia, Botswana and South Africa. These groups, known today as the Khoisan, are represented by the Bushmen (or San) and the Khoe (plural Khoekhoen).

In First People, archaeologist Andrew Smith examines what we know about southern Africa’s earliest inhabitants, drawing on evidence from excavations, rock art, the observations of colonial-era travellers, linguistics, the study of the human genome and the latest academic research.

Richly illustrated, First People is an invaluable and accessible work that reaches from the Middle and Late Stone Age to recent times, and explores how the Khoisan were pushed to the margins of history and society. Smith, who is an expert on the history and prehistory of the Khoisan, paints a knowledgeable and fascinating portrait of their land occupation, migration, survival strategies and cultural practices.

By the time Shana Fife is 25 she has two kids from different fathers. To the coloured people she grew up around, she is a jintoe, a jezebel, jas, a woman with mileage on the p*ssy. She is alone, she has no job and, as she is constantly reminded by her family, she is pretty much worthless and unloveable. How did she become this woman, the epitome of everything she was conditioned to strive not to be?

Unsettlingly honest and brutally blunt, Ougat is Shana Fife’s story of survival: of surviving the social conditioning of her Cape Flats community, of surviving sexual violence and depression, and of ultimately escaping a cycle of abuse. Exploring themes of sexuality, marriage and motherhood, rape, drugs and depression and cultural identity, Shana describes – with the self-deprecating humour her followers love so much – what it means to be a coloured woman, who gives coloured womanhood meaning and, ultimately, how surviving life as a coloured woman means being OK with giving a giant ‘f*ck you’ to the norm.

A powerful, fresh and disarming new voice – Shana’s writing is like nothing you’ve read before.

At the very dawn of the country’s brave new democracy, Cape Town was at war. Pagad, which started as a community protest action against crime, had mutated into a sinister vigilante group wreaking death and destruction across the city. Between 1996 and 2001, there were more than 400 bombs – most famously at the popular Planet Hollywood restaurant at the V&A Waterfront – and there were countless targeted hits on drug lords and gang bosses.

The police were at their wits end. The new ANC government was alarmed. The citizens of Cape Town were living in fear.

Mark Shaw tells the incredible tale of how the police’s response pulled together former foes – struggle cadres and the apartheid security apparatus – to break the Pagad death squads. It is a story that has never been told in full and was not possible until recently, when many were released from prison or had retired and were finally willing to talk openly about this revealing chapter in South Africa’s recent history.

Every South African knows of a person who has emigrated or who is planning to emigrate.

This thoughtful book takes you on a hilarious and insightful journey through the world of emigration and entrepreneurship. It offers an honest and candid account of Johan’s ups and downs and how to navigate them. He draws the link between successful emigration and entrepreneurship. It provides practical tips and advice on overcoming homesickness and cultural differences, and the mindset needed to thrive as both an emigrant and entrepreneur.

Drawing from his own successful experiences, Johan unveils the secrets behind his triumph as an immigrant and entrepreneur. This book is not only a must-read for anyone considering emigration but also for those seeking a better understanding of immigrant life. With a mix of humour and practical wisdom, this book is an indispensable companion for every reader.

For those who could read between the lines, the censored news out of China was terrifying. But the president insisted there was nothing to worry about. Fortunately, we are still a nation of skeptics. Fortunately, there are those among us who study pandemics and are willing to look unflinchingly at worst-case scenarios.

Michael Lewis’s taut and brilliant nonfiction thriller pits a band of medical visionaries against the wall of ignorance that was the official response of the Trump administration to the outbreak of COVID-19. The characters you will meet in these pages are as fascinating as they are unexpected.

A thirteen-year-old girl’s science project on transmission of an airborne pathogen develops into a very grown-up model of disease control. A local public-health officer uses her worm’s-eye view to see what the CDC misses, and reveals great truths about American society. A secret team of dissenting doctors, nicknamed the Wolverines, has everything necessary to fight the pandemic: brilliant backgrounds, world-class labs, prior experience with the pandemic scares of bird flu and swine flu…everything, that is, except official permission to implement their work.

Michael Lewis is not shy about calling these people heroes for their refusal to follow directives that they know to be based on misinformation and bad science. Even the internet, as crucial as it is to their exchange of ideas, poses a risk to them. They never know for sure who else might be listening in.

Hot Water is an intimate and daring look into the life of a young African woman from the Cape Flats with a chronic illness. The book investigates how endometriosis affects the way young woman function and navigate the world, and how this becomes especially complicated for those who are underprivileged and reliant on the public sector’s healthcare system.

In Hot Water Nadine Dirks reveals the unique issues of racism, sexism, classism, fatphobia and slut-shaming that African women experience within the context of healthcare facilities, and how especially jarring it is when the stigma comes from medical staff who one expects to have the patient’s care as their primary concern. All of this has enraged Dirks and catapulted her into becoming a sexual reproductive health and rights advocate.

Hot Water tells the story of how people with chronic illness are treated daily, at school, university and socially for being differently abled; how people are regarded as lazy, aggressive, disappointing, lacking, among multiple other things for being unwell in comparison to their healthy counterparts.

One cannot look at seeking adequate healthcare as a young, black, underprivileged woman on the Cape Flats without experiencing racism in the most blatant of ways. Even with guidelines in place, the book shows that it is next to impossible to invoke those rights even if you are aware of them for fear of being victimised and excluded from the system.

After matriculating from a top Jewish school, Nikki Munitz finds herself in the clutches of a heroin addiction. She's sent to a remote rehab, run by a pastor who brandishes a tattoo of Satan. There she meets the handsome son of a wealthy Afrikaans family. Lured by the illusion of her ‘happy-ever-after’ she marries him. But the facade soon crumbles.

Money is in short supply. Nikki takes on a job at a reputable law firm. Encrypted passwords are entrusted to her. She begins to siphon small, undetectable amounts from trust funds of loyal clients. The amounts increase. Caught red-handed, she's fired. By the time the law catches up with her, Nikki is clean and sober. On the advice of her lawyer who reassures her she will never go to jail, she pleads guilty to all 37 counts of fraud. After a gruelling 2-year court battle, she's found guilty.

Fraud is a powerful memoir about a young woman who is forced to face her life of deceit in a prison cell where she ultimately finds her freedom to fly.

Poetic Inquiry for the Social and Human Sciences: Voices from the South and North enriches human and social science research by introducing new voices, insights, and epistemologies.

Poetic inquiry, or poetry as research, is a literary and performance arts-based approach. It combines the arts and humanities with scientific inquiry to enhance social research. By challenging conventional epistemological traditions that assert a detached stance of the known from the knower, poetic inquiry proposes a method of decolonising knowledge production. This book expands on ground-breaking work done in the Global North on transdisciplinary poetic inquiry scholarship by bringing it into conversation with knowledge from the Global South. It allows for South-North leadership and places unique scholarly contributions from the South at the centre of transnational discussions.

In exploring and advancing poetic inquiry in the Global South, part of the book’s decolonising agenda is to challenge and expand the definition of poetic inquiry and recognise the contributions from diverse traditions and social practices. The peer-reviewed chapters are written by new and established scholars in various knowledge fields worldwide. The chapters’ scholarly contributions are complemented by an original poetry sequence interwoven through the book. Critically, Voices and Silences shows how poetry can engender innovative research that addresses pressing social justice issues, such as inclusion and decolonisation.

Poetic Inquiry will interest researchers and academics who seek to advance social research by adopting new epistemologies and approaches that integrate the value of the Global South’s contributions and foster expanded South-North collaborations.

In some parts of South Africa, more than one in three people are HIV positive. Love in the Time of AIDS explores transformations in notions of gender and intimacy to try to understand the roots of this virulent epidemic. By living in an informal settlement and collecting love letters, cell phone text messages, oral histories, and archival materials, Mark Hunter details the everyday social inequalities that have resulted in untimely deaths. Hunter shows how first apartheid and then chronic unemployment have become entangled with ideas about femininity, masculinity, love, and sex and have created an economy of exchange that perpetuates the transmission of HIV/AIDS. This sobering ethnography challenges conventional understandings of HIV/AIDS in South Africa.

At a watershed meeting in 2000 the ANC committed itself to "the new cadre" project. A project with the aim to recruit and develop ANC members who are dedicated, selfless people with integrity. Yet twenty years later the ANC is consumed by corrupt cadres with the party clearly losing the battle against corruption and state capture.

How did this happen, and what exactly went wrong?

Political analyst Mpumelelo Mkhabela tells a fascinating story starting with Mandela, the Scorpions and Tony Yengeni all the way to Zuma and the Guptas to explain how we got here.

Never have seven people been so hunted. By assassins. By journalists and lawyers in search of the truth and then TRC investigators wanting justice for the victims’ families.

In 1986, seven young men were shot and killed by police in Gugulethu in Cape Town. The nation was told they were a ‘terrorist’ MK cell. An inquest followed, then a dramatic trial in 1987 and another inquest in 1989. Finally, the fact that Eugene de Kock’s Vlakplaas unit plotted and drove the operation was revealed at the Truth and Reconciliation ten years after the murders but Vlakplaas’s real agenda remained shrouded in mystery.

Hunting the Seven tells the story of the hunt for the truth of the Gugulethu Seven in cinematic style. It took a decade to get to the bottom of the killings.

Sifting through the evidence and original interviews with those involved, Roos-Muller reveals that it was Vlakplaas’s only operation in the Western Cape and an elaborate state-sanctioned snuff movie designed to keep the money rolling into the death squad’s slush fund.

Morris Isaacson High School (MIHS) is widely known as the epicentre of the 1976 Soweto uprising. However, its legacy extends far beyond this event. This insightful book explores the rich, untold story of the school, revealing its profound impact on secondary education in Soweto.

While the 1976 uprising cemented MIHS’s place in history, Clive Glaser argues that its true significance lies in its unwavering commitment to quality education during a tumultuous period. Located in the heart of Soweto, MIHS faced immense challenges – poverty, a repressive education system (Bantu Education) and political unrest. Yet, it defied the odds, nurturing generations of successful professionals throughout the 1960s and 1970s. How did MIHS flourish under Bantu Education, and why did its performance not reach its full potential in the democratic era? By examining the interplay between dedicated leadership, a strong alumni network and shifting socio-economic realities, the book provides some compelling answers.

This book is not just about MIHS; it is a testament to the enduring power of education in the fight for social justice. MIHS’s story serves as an inspiration, demonstrating the transformative potential of education, even under the most challenging circumstances.

Yusuf Daniels brings this book to life with some epic stories from falling in love for the first time, parading in his orange Speedo on Clifton Beach to travelling the world as a flight attendant, experiencing life like you have never seen before.

"We are all different and we all have been through many experiences in life. Some good and some not so good. What I have discovered is that this journey which is filled with laughter, tears, regrets, mistakes, and multiple chapters in our life, prepares us for later in life. If all of this didn’t happen to me, I would not have finished my second book. If you told me this just over a year ago, that I would be releasing my second book, I would have told you that you are crazy. It is our legacy and we need to leave it behind so it can be told by our great grandchildren one day. Don’t be scared to tell your story, don’t be scared to write it the way you feel it should be written. You don’t need a degree to be able to write your stories. Just look at me. There is no ONE way of writing, as we are all individuals and all unique. Don’t listen to the naysayers as they are just there to stall your growth and take you with them on their negative path. Stay positive, be true to yourself and just be you, because there’s only one of you. So, make the best of you and keep on LIVING LEKKA."

Once in a while a publisher receives a book submission that makes them sit back in their chair, read out loud what is in front of them and laugh at the pure joy the writing and imagery evoke. This was the case with the first three short stories author Yusuf Daniels submitted to Jacana Media.

They were instantly recognisable. They were funny as hell. The nostalgia, triggered by the mere mention of a sight, sound or smell, instantly transported the reader to a time and place that spoke to Coloured culture and lived experiences on the Cape Flats and surrounding townships. There was something magical about the way Daniels recollected his memories from his childhood in those first three stories, which he had also posted on Facebook, eliciting a slew of likes, shared experiences and feedback from his followers to “write more” and “do you remember, Yussie …”.

Living Coloured (because Black and White were Already Taken) is a compilation of short stories that is an ode to an era all Cape Coloured people will instantly recognise – from the nightclubbing at Space Odyssey and the shenanigans at the Mitchells Plain public swimming pool, to the traditions of delectable food exchanges during Ramadan among Muslims and Christians, alike. This book truly is a tribute to all that the Coloured community holds dear and sings of the spirit which helped them eek out an existence on the dusty flat plains of the Cape.

But as you read story after story, you will also be confronted with the blatant racism that was the Group Areas Act, the legacy of a people removed and dumped in this windswept place that wasn’t of their own making, and the constant forging ahead to make life worthwhile under very harsh political and economic circumstances. The stories will also leave you seething with anger at the sheer brutality of what this community had to endure (and still do), while their black counterparts in the township next door lived even harsher realities.

There has been a lot of furore in the United States about Critical Race Theory (CRT). Opponents to it claim that it has saturated society at different levels, including the alleged indoctrination of school children and the poisoning of the media and public life. The assertion is that it is divisive and racist towards white people. It is sometimes referred to derisively in the shorthand ‘woke’. This panic has now reached our shores. Critical whiteness studies is an offshoot of CRT that Thandiwe Ntshinga believes is desperately needed in South Africa.

She pokes holes in the belief that leaving whiteness undisturbed for analysis creates justice and normalcy. Instead, she says perpetually studying every other identity can only create the assumption that they are perpetually the problem. By design.

The title of this book comes from one of the first comments she received on Tiktok when discussing her findings and research.

The Covid-19 pandemic threw into stark relief the multi-dimensional threats created by neoliberal capitalism. Government measures to alleviate the crisis were largely inadequate, leaving women – in particular working-class women – to carry the increased burden of care work while at the same time placing themselves in direct risk as frontline workers.

Emancipatory Feminism in the Time of Covid-19, the seventh volume in the Democratic Marxism series, explores how many subaltern women – working class, peasant and indigenous – responded to challenges of increased labour precarity and additional care-work. The book critiques neoliberal feminism, which has overshadowed the experiences of feminist grassroots resistance. Instead, the academics and activists in this volume call to action a new wave feminism that is responsive to socio-ecological and economic exploitation, and the oppression of both women and the environment within the patriarchal capitalist system.

Offering a diverse range of approaches to this topic, contributions range from women leading the defence of Rojava – the Kurdish region of Syria, anticapitalist ecology and building food secure pathways in communities across Africa, championing climate justice in mining-affected communities and transforming gender divisions in mining labour practices in South Africa, to contesting macro-economic policies affecting the working conditions of nurses.

These practices demonstrate a feminist understanding of the current systemic crises of capitalism and patriarchal oppression. What is offered here is a subaltern women’s grassroots resistance focused on advancing and enabling solidarity-based political projects, deepening democracy, building capacities and alliances to advance new feminist alternatives.

This riveting study shows how the intersection of technology and politics has shaped South African history since the 1960s.

It is impossible to understand South Africa’s energy crisis without knowing this history. Faeeza Ballim’s deeply researched book challenges many prevailing assumptions and beliefs made regarding the crisis.

The book highlights the importance of technology to our understanding of South African history and challenges the idea that the technological state corporations were proxies for the apartheid government. While a part of the broader national modernization project under apartheid, these corporations also set the stage for worker solidarity and trade union organization in the Waterberg and elsewhere in the country.

Faeeza Ballim argues that the state corporations, their technology, and their engineers enjoyed ambivalent relationships with the governments of their time. And in the democratic era, while Eskom has been caught up in the scourge of government corruption, it has retained a degree of organizational autonomy and offered a degree of resistance to those who were attempting further corrupt practices.

A ground-breaking and deeply moving report from the front lines of the battle to protect a woman's right to abortion.

On Friday 24 June 2022, women's rights suffered an extraordinary and unprecedented blow. Five US Supreme Court justices made a decision that will impact millions of lives for years to come. In this gripping blend of reportage and history, journalist Becca Andrews tells the story how we have arrived at this devastating turning point.

NO CHOICE introduces the origin of abortion and its practice in global cultures, before focusing its gaze on the battle that has been waged for the past century across America, shining a light on the eerie ways in which life before Roe will be mirrored in life after. The wealthy and privileged will still have access, low-income people will suffer disproportionately, and pregnancy will be heavily policed.

Taking us to the frontlines - to clinics, courtrooms, local communities, charities - Andrews tells the deeply moving stories of those who have had abortions, and those who have fought - and are fighting - for the right to abortion. There is a glimmer of faint hope, though. As the battle moves to state legislatures around the country, the book profiles the people who are doing ground-breaking, inspiring work to ensure safe, legal access to this fundamental part of healthcare.

Tracy Going‘s powerful memoir, Brutal Legacy (originally published in 2018), was first adapted for stage by the award-winning theatre maker, Lesedi Job, with a cast including Natasha Sutherland, Charlie Bougenon and Jessica Wolhuter, and it has now inspired a documentary, That’s What She Said – A social inquiry: in it, Tracy offers up her story to be scrutinised by a random group of men in the present. They watch her account as it is displayed in a theatre production adaptation of her book. The film documents this process and the frank discussions that follow the performance. Offering a unique social dialogue, to bring an important message across as a relatable film without diminishing the abused, or men / women in general.

When South Africa’s golden girl of broadcasting, Tracy Going’s battered face was splashed across the media back in the late 1990s, the nation was shocked. South Africans had become accustomed to seeing Going, glamorous and groomed on television or hearing her resonant voice on Radio Metro and Kaya FM. Sensational headlines of a whirlwind love relationship turned horrendously violent threw the “perfect” life of the household star into disarray. What had started off as a fairy-tale romance with a man who appeared to be everything that Going was looking for – charming, handsome and successful – had quickly descended into a violent, abusive relationship.

“As I stood before him all I could see were the lies, the disappearing for days without warning, the screaming, the threats, the terror, the hostage-holding, the keeping me up all night, the dragging me through the house by my hair, the choking, the doors locked around me, the phones disconnected, the isolation, the fear and the uncertainty.”

The rosy love cloud burst just five months after meeting her “Prince Charming” when she staggered into the local police station, bruised and battered. A short relationship became a two-and-a-half-year legal ordeal played out in the public eye. In mesmerising detail, Going takes us through the harrowing court process – a system seeped in injustice – her decline into depression, the immediate collapse of her career due to the highly public nature of her assault and the decades-long journey to undo the psychological damages in the search for safety and the reclaiming of self. The roots of violence form the backdrop of the book, tracing Going’s childhood on a plot in Brits, laced with the unpredictable violence of an alcoholic father who regularly terrorised the family with his fists of rage.

“I was ashamed of my father, the drunk. If he wasn’t throwing back the liquid in the lounge then he’d be finding comfort and consort in his cans at the golf club. With that came the uncertainty as I lay in my bed and waited for him to return. I would lie there holding my curtain tight in my small hand. I would pull the fabric down, almost straight, forming a strained sliver and I would peer into the blackness, unblinking. It seemed I was always watching and waiting. Sometimes I searched for satellites between the twinkles of light, but mostly the fear in my tummy distracted me.”

Brilliantly penned, this highly skilled debut memoir, is ultimately uplifting in the realisation that healing is a lengthy and often arduous process and that self-forgiveness and acceptance is essential in order to fully embrace life.

Yusuf brings another epic book to life with some hard-hitting stories with his usual craziness added. From gold deals at KFC to hustling in China, not forgetting his near-death experiences. Stories that you feel like you were there. Following on his previous best selling books Living Coloured: (because Black and White Were Already Taken) and Living Lekka: (from Mitchells Plain to Aeroplane).

Over the past decade, migration has become a central theme in relations between Africa and Europe. It constitutes a political and diplomatic issue that seems to have imposed itself on a range of policy agendas, from development cooperation to peacebuilding and counterterrorism, and from climate change mitigation to conversations around Africa’s demographic transition.

This book reflects on the diverse perspectives of African and European actors on migration and engages the securitisation of migration and exposure of migrants of colour to unsafe and undignified migration, including outright persecution.

The book proffers a more just and sustainable migration governance agenda, against the backdrop of the more detailed reflections on the key policy priorities, drivers, regional dynamics, and actors influencing African-EU migration.