I Write What I Like features the writing of the famous activist and Black Consciousness leader, Steve Biko. Before his untimely death in detention at age 30, he was instrumental in uniting Black Africans in the struggle against the apartheid government in South Africa.

This 40th anniversary edition includes a foreword by Njabulo S. Ndebele, personal reflections on Steve Biko and Black Consciousness, as well as Biko’s first known published piece of writing. In addition, it features all the material of the original Picador Africa edition: a collection of Biko’s columns entitled I Write What I Like published in the journal of the South Africa Student Organisation under the pseudonym of ‘Frank Talk’; other journal articles, interviews and letters written by Steve Biko at the time; an Introduction by Nkosinathi Biko; a preface by Archbishop Desmond Tutu; and a moving memoir by Father Aelred Stubbs, which pays tribute to the courage and power of this young leader, who was to become one of Africa’s heroes.

Fools, the title story in this collection, is a tale of generations in the struggle against oppression. Zamani is a middle-aged teacher who was once respected by the community as a leader of the future. Then he disgrac­ed himself, and now he's haunted by the impotence of his present life. A chance meeting brings him up against Zani, a young student activist whose attempts to kindle the flames of resistance in Charterston Location are ludicrously impractical. Both affection and hostility bind Zamani and Zani together in an intense and unpredictable relationship. Finding each other means finding the common ground of their struggle. It also means reexamining their lives - and, notably, their relationship s with women.'The Test', 'The Prophetess', and 'The Music of the Violin' all deal with formative experiences in a township childhood: an act of courage and en­durance; a close encounter with an awe-inspiring old woman; a choice which must be made between the narrow ambitions of middle-class parents and the challenge of the township streets, at once more inviting and more dangerous.'Uncle' celebrates the gift of one generation to another: a gift that mingles music with other adventures of the spirit, recklessness with resourcefulness, and laughter with wisdom.

A panorama of the career of South African photographer David Goldblatt, elucidating his artistic commitments, networks, and influence.

David Goldblatt: No Ulterior Motive coincides with a major traveling retrospective of the renowned South African photographer’s work. From vintage handprints of the artist’s black-and-white photography, taken between the 1950s and the 1990s, to his post-apartheid, large-format, color work, photographs in the volume are approached thematically—under headers such as “Assembly,” “Disbelief,” “Dialogues,” and “Extraction”—to draw out the artist’s core interests in working-class people, the landscape, and the built environment. Objects from Goldblatt’s (1930–2018) personal archive are also included.

In an effort to create a more inclusive dialogue around Goldblatt’s work, the catalogue features images and texts by contemporary photographers and scholars, many of whom were mentored by Goldblatt, including Zanele Muholi and Sabelo Mlangeni. Some write on Goldblatt’s photographs, while others discuss his influence on their own work. Goldblatt devoted his life to documenting his country and its people. Known for his nuanced portrayals of life under apartheid, he covered a wide range of subjects, all of them intimately connected to South African history and politics.

The wide-ranging voices in this catalogue foster a broad frame of reference for his work, thus countering a frequent misunderstanding of apartheid as a situation peculiar to South Africa.

The life story of Winnie Mandela remains one of the great dramas of our times, an ongoing tale of triumphs and tragedies that is still unfolding. In the Cry of Winnie Mandela, a highly acclaimed novel first released in 2003, Njabulo S. Ndebele focuses on four women at a specific period in the history of southern Africa who have spent time waiting for their men to return. Their ordinary, 'private' stories are anchored to the more powerful public stories of Penelope, of ancient Greek mythology, who waited eighteen years while her husband Odysseus was away, and Winnie Mandela, who waited for twenty-seven years. The women question themselves and each other about why they waited and what this waiting did to them, leading to a series of extraordinary and haunting 'conversations' with one another as well as with Penelope and Winnie.