Growing up in Mthatha, light-skinned Karabo is called ‘yellowbone’. She often hears her parents argue, not realising her complexion, and questions surrounding her paternity, is the cause. People expect ‘exotic’ Karabo to coast through life on her looks. But she has high aspirations and goes to London to study architecture.

When Karabo is invited to a private recital, a priceless antique violin binds her fate to that of virtuoso André Potgieter who came to London to hide his secret – though no saint, he sees angels when he plays a beautiful piece of music. Whether it is synaesthesia or something otherworldly, he cannot say. All he knows is that he would do anything to keep seeing the engele, but these days they rarely come to him.

Events on the night of the recital cause Karabo to run away to Ghana to the refuge of her father, but her plans go horribly wrong. And André soon follows for his own selfish reasons.

Enthralling and powerfully written, Yellowbone is a tour de force.

Behind the closed doors of their suburban Johannesburg home, Themba and Ayanda Hlatshwayo, both legal professionals, are beset by deep tensions that claw with relentless intensity at the polished facade of their lives. Ayanda seeks solace in dance classes, while Themba is increasingly drawn to the male companionship he finds at a book club. With wit and sympathy, The God Who Made Mistakes explores the origins of Themba's unease and confused sense of identity.

It takes us back to a river bank in Alex, the township where he grew up, and to a boy he once knew who met a violent death there. As the story peels back the painful layers of recollection, Themba’s domineering mother, Differentia, has a major decision to make. When developers set their sights on buying the family home and building a supermarket in its place, tendrils of envy and greed begin to curl out of unexpected quarters, as the unscrupulous seek to grab a share of the spoils. Back yard tenant, Tinyiko, with her short skirts and questionable morality, and Themba’s disgraced, unemployed elder brother, Bongani, begin to plot and scheme, while across town Themba’s fragile marriage faces its biggest challenge. When his past walks unexpectedly into his present, it threatens to blow apart his carefully constructed world.

The God Who Made Mistakes is a powerful, poignant story of unexpressed longings which, when finally uttered, can no longer be contained.

Dying in New York is the haunting story of Lerato Malema, a young and irrepressible South African whose wit and resilience shine through despite the abuse she has endured from before the age of twelve at the hands of her father, Thabo. The narrative opens in a psychiatrist’s office overlooking the Hudson River. Against a backdrop of the magnificent Manhattan skyline, Lerato paints an absorbing picture of her decade-long journey from Johannesburg to the United States. Her story transitions seamlessly from the sessions with Dr Evelyn Webber, her psychiatrist, to her escape from an abusive home and her experiences of the underbelly of modern South Africa. At its heart, Dying in New York is a story of hope and deep longing, made all the more poignant by Lerato’s startling candour from the first page until the book’s surprising conclusion.

Cash Tshabalala is a notoriously brutal money-lender and snazzy dresser who operates in Scottsville, Soweto, from a kiosk he calls, ‘The Last Best Hope Financial Service’. Unashamedly violent when the need arises, Cash’s willingness to lend where reputable banks fear to tread has earned him a reluctant but steady clientele. A chance meeting between Cash and Alasdair Nicholson, a closet drug user and only son of a fabulously wealthy white family, changes both their lives forever. Desperate for a fix, Alasdair drives to Scottsville to buy drugs, only to discover he doesn’t have enough money on him and he has to borrow what he needs from Cash. When Alasdair fails to keep his side of the transaction, Cash declares war on the Nicholson family and events spin dangerously out of control, eventually becoming a matter of national importance when populist activists step in, intent on realising their own agendas. The conflict between Cash and the Nicholson family cleverly exposes the seeping wounds that still bedevil South African interactions two decades after the end of apartheid, forcing both communities to recognise the harsh realities of their past.