"Claire is less cynical. ‘Fall in love, if you must. But do your research. And meet his people early on. They’ll give you a sense of who he is.’ Solid advice. And ultimately, this is how I found myself on a flight to Bloemfontein one Friday afternoon."

An instant classic, the lies and betrayals of love and party politics are told in gorgeous prose with an ear for our time’s intimate and public language.

The Comrade’s Wife follows a turbulent marriage between a rising politician and an academic, told through her life and lens.

Part literary history, part feminist historiography And Wrote My Story Anyway critically examines influential novels in English by eminent black female writers.

Studying these writers' key engagements with nationalism, race and gender during apartheid and the transition to democracy, Barbara Boswell traces the ways in which black women's fiction critically interrogates narrow ideas of nationalism. She examines who is included and excluded, while producing alternative visions for a more just South African society.

This is an erudite analysis of ten well-known South African writers, spanning the apartheid and post-apartheid era: Miriam Tlali, Lauretta Ngcobo, Farida Karodia, Agnes Sam, Sindiwe Magona, Zoe Wicomb, Rayda Jacobs, Yvette Christianse, Kagiso Lesego Molope and Zukiswa Wanner. Boswell argues that black women's fiction could and should be read as a subversive site of knowledge production in a setting, which, for centuries, denied black women's voices and intellects.

Reading their fiction as theory, for the first time these writers' works are placed in sustained conversation with each other, producing an arc of feminist criticism that speaks forcefully back to the abuse of a racist, white-dominated, patriarchal power.

Postcolonial African Anthropologies showcases some postcolonial ethnographies and aims to figure out how and why anthropology has engaged with conversations on decolonisation and postcolonialism.

The postcolonial ethnographies in this book show that Africans may not necessarily interpret and communicate their experiences in the ways that anthropologists trained in Western institutions and disciplines do, but they are multi-vocal and are ever present to speak with authority on their experience. This book then, deepens and diversifies conversations on Africa and in particular, a 'postcolonial' Africa to understand the position of anthropologists, the position of Africans and the positioning of the discipline of anthropology in Africa.

The highly anticipated second volume to the widely acclaimed and celebrated self-portrait series, Somnyama Ngonyama, Hail the Dark Lioness

In Somnyama Ngonyama, Hail the Dark Lioness, Volume II, Zanele Muholi explores and expands upon new personas and poetic interpretations of personhood, queerness, Blackness, and the possibilities of self. Since the publication of the first volume in 2018, Muholi has continued to photograph themself in a range of new international locations. Drawing on material props found in each environment, Muholi boldly explores their own image and innate possibilities as a Black individual in today’s global society, and—most important—speaks emphatically in response to contemporary and historical racisms. Renée Mussai, curator and historian, brings together written contributions from more than ten curators, poets, and authors, building a poetic and experimental framework that extends the idea of speculative futures and the potentiality of multivalent selves. Powerfully arresting, this collection further amplifies Muholi’s expressive and radical manifesto. As they state in the first volume, “My practice as a visual activist looks at Black resistance—existence as well as insistence.”