In the Namibian harbour town of Lüdertiz, a liminal space where desert meets ocean, a terrible history is made intimate and personal when filmmaker Henry van Wyk must confront a childhood tragedy that has moulded his life.

Having returned to his birthplace in an attempt to get his career back on track, Henry struggles to complete a documentary he is working on. He whiles away his mornings swimming in a nearby tidal pool on Shark Island, and finds himself increasingly drawn to the small town and its romantic possibilities. But the tranquil land hides a bloody history: Shark Island was once the site of a concentration camp, and a law firm is suing the German government for their role in the genocide of Namibia’s indigenous people.

When Henry begins to interview the survivors’ descendants, their testimonies compel him to search the desert for a mass grave.

At the Edge of the Desert is a meditation on loss, isolation and love, which asks us to consider the implications of telling someone else’s story.

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Basil du Toit draws on his childhood years in Botswana (the Bechuanaland Protectorate, as it was in those days) to examine questions of language identity and entitlement. He recalls confiding the secret of a magic trick to an itinerant Tswana man who in exchange taught him how to say a few words of the / Xam language; this proximity of language to the magical fashioning of reality still haunts him and has led to poems questioning our sense of belonging to social structures, sexual groupings and even to humanity itself.

Paradoxically, a diverse ethnic background (with Dutch, French, German and Scottish forebears) works against Du Toit’s sense of being welcomed into any single national group. Two directions of trans-national entitlement remain open – movement into an inner landscape of spiritual and artistic values, and an allegiance to the planet as an ecologically neutral, valued and threatened space of dwelling. Both of these manifestations of “home” feature prominently in Du Toit’s work. A visionary linguistics binds these worlds together – foregrounding of the inner life as a source of values and home encourages a Kantian vision of a natural world created by the necessary structures of human consciousness, language being the force and locus of this creation.

Du Toit’s longed-for release from paid employment in 2011 allowed him to spend his mornings in Edinburgh University’s Main Library; there, over the next ten years, basing himself on the Third Floor of the library (where the University’s literature collections are housed), he composed a large body of poems, mainly free-verse sonnets, from which the poems of “Studies in Khoisan Verbs” are drawn.

We experience elasticity everywhere in daily life: in the straightening or curling of hairs, the irreversible deformations of car bodies after a crash, or the bouncing of elastic balls in ping-pong or soccer. The theory of elasticity is essential to the recent developments of applied and fundamental science, such as the bio-mechanics of DNA filaments and other macro-molecules, and the animation of virtual characters in computer graphics and materials science. In this book, the emphasis is on the elasticity of thin bodies (plates, shells, rods) in connection with geometry. It covers such topics as the mechanics of hairs (curled and straight), the buckling instabilities of stressed plates, including folds and conical points appearing at larger stresses, the geometric rigidity of elastic shells, and the delamination of thin compressed films. It applies general methods of classical analysis, including advanced nonlinear aspects (bifurcation theory, boundary layer analysis), to derive detailed, fully explicit solutions to specific problems. These theoretical concepts are discussed in connection with experiments. The book is self-contained. Mathematical prerequisites are vector analysis and differential equations. The book can serve as a concrete introduction to nonlinear methods in analysis.