This guide offers spectacular and diverse diving in South Africa and Mozambique.

Dive with sharks, squid and sardines, exploring cold-water kelp forests, pristine tropical reefs and poignant shipwrecks. This guide features 180 of the best dives, with first-hand descriptions and site maps. Key dive information and contact details and a comprehensive marine species identification guide.

Book chapters include

• Cape Peninsula and False Bay
• Southern Cape Coast – Gansbaai & the Garden Route
• Port Elizabeth, Port Alfred & East London
• South Coast – Aliwal Shoal, Landers & Protea Banks
• Durban & North Coast
• Sodwana Bay
• Northern Maputaland – Mabibi & Kosi Bay
• Southern Mozambique
• The Manta Coast
• Vilanculos & the Bazaruto Archipelago
• Nampula – Nacala Bay, Baixo do Pinda, Memba Bay and Ilha de Mozambique
• Northern Mozambique – Pemba & the Quirmbas Archipelago
• Inland dive sites
• Marine species Identification Guide
• Contacts

This guide will give you the information you need to be a responsible diver. Learn to care for the marine environment as well diving culture and gear you would need. This book is a must-have for any diving enthusiast.

The second book in the breathtaking epic fantasy of heritage, vengeance, and destiny

A decade has passed since the barbarian Loethar brutally conquered the last remaining, most powerful realm in the Denova Set--though the coveted Valisar Enchantment, the irresistible ability to coerce and control, eludes him still. Ten years since the warlord butchered the Set's royals and feasted on their blood.

But he did not kill them all.

Having secretly escaped Loethar's wrath, the young Valisar prince Leonel has grown to manhood under the protection of the notorious highwayman Kilt Faris. Now the boy king wants more than his rightful throne of Penraven--he wants revenge. But not all of enslaved Penraven wishes for Leonel's rule; indeed, Loethar has spent the past ten years uniting the Set's realms into a peaceful, prosperous empire. And unbeknownst to all, the true inheritor of the Valisar Enchantment is awakening--and a dark threat, far more sinister than even the invasion of the barbarian horde a decade earlier, is poised to threaten the Crown and reveal the most shocking Valisar secret of all.

Shortlisted for the International Booker Prize 2020 1872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina's richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building. This subversive retelling of Argentina's foundational gaucho epic Martin Fierro is a celebration of the colour and movement of the living world, the open road, love and sex, and the dream of lasting freedom. With humour and sophistication, Gabriela Cabezon Camara has created a joyful, hallucinatory novel that is also an incisive critique of national myths.

The thrilling conclusion to the breathtaking saga of power, blood, birthright, and enchantment.

The barbarian King Loethar may have gained his throne through brutality and bloodshed, but he has ruled Penraven with unexpected wisdom. Now his innumerable past sins threaten his reign--as Valisars who escaped slaughter prepare to rise up. Loyalties shift and new alliances are formed as the truth of history begins to emerge.

King-in-exile Leonel hungers for revenge against the man he considers the usurper of his throne. Yet Leo is unaware of another who wields the enchantment he covets--the once-charming "halfwit" brother Piven, now a powerful youth whose exceptional cunning is matched only by his ruthless desire for the throne.

But the efforts of all three to hold or gain control of Penraven may well be in vain, for the true inheritor of the Valisar Legacy is being called home . . . to claim her crown.

The late-eighteenth century witnessed multiple Medeas take to the stages of Europe, in the Americas, and across the Russian empire. Performances took place in Moscow and São Paulo, in London and Lisbon, in Gotha, Stuttgart, and Venice. This lively collection of essays examines the various reasons why Medea, the ancient mother who killed her own children, attracted the attention of authors, audiences, actors, and rulers in Europe and its dominions during the pivotal period 1750 to 1800, and to what effects. As a migrant and iconoclast, Medea crosses a number of eighteenth-century borders: linguistic, cultural, national, temporal, spatial, aesthetic, ethical, and generic. Moreover, the fact that late-eighteenth-century playwrights, poets, composers, and choreographers all turned to one of the most problematic characters of Greco-Roman antiquity offers a unique opportunity to examine the remarkable flexibility of the reception process itself. Medea therefore functions as an intriguing case study, reflecting a wider context of cultural and political change within Europe and its colonies in the late-eighteenth century. By drawing together eighteenth-century specialists working across multiple languages and disciplines with the reception perspective of classical scholars, this volume brings much rare material from a range of archives across continental Europe to critical attention for the first time. Mapping Medea shows how the eighteenth century made Medea modern, and Medea helped to shape modern performance.

Gabe Figaret, an ex-psychologist turned writer, now works in a bookshop in Paris. He lives a quiet life as he attempts to rehabilitate his psyche from the ravages of his past. While he'd prefer to probe his own mind rather than a stranger's, he cannot refuse when Reynard, a doctor and one of his regular customers, asks Gabe to mentor a patient, a mysterious young woman named Angelina.

Angelina is shy. She is mute and delusional. At first, she appears to be terrified of Reynard. But Gabe quickly discovers that Angelina is not quite what she seems. As his relationship with the enigmatic Angelina deepens, Gabe's life in Paris becomes increasingly unstable. He senses a presence watching, lurking, following his every move.

When Angelina tells Gabe that he must kill her, and then flee to a fantastical realm she calls Morgravia, he is aghast. But Angelina gives him proof that Morgravia is not a delusion; it is real. Soon, Gabe's world will be turned upside down, and he will learn shocking truths about his past, and the perilous trials in his future.

Sophocles' Oedipus Tyrannus (or Oedipus Rex) has exerted more influence than any other drama, ancient or modern, on the history of theatre, and this influence has extended far beyond the boundaries of the western theatrical tradition to include African and Oriental theatre histories as well. This volume traces Sophocles' paradigmatic ancient tragedy from its first appearance on the stage in the fifth century BC to present day productions. The afterlife of Oedipus has played a key role in the history of ideas, and this volume examines its centrality to the history of stage censorship and political and cultural upheaval across the centuries. More recently, the protagonist has come under close scrutiny in his association with the Oedipus of psychoanalytical theory. Macintosh demonstrates how, by following the fortunes of Sophocles' Oedipus on the world stage, one witnesses its intersection with and impact upon the history of theatre and the history of ideas.

The first instalment of a thrilling new epic fantasy trilogy from the rising star of the genre. From out of the East they spread like a merciless plague - destroying kingdom after kingdom and the sovereigns who had previously mocked the warlord Loethar and his barbarian horde. Now only one land remains unconquered - the largest, richest, and most powerful realm of the Denova Set... Penraven. The Valisar royals of Penraven face certain death, for the savage tyrant Loethar covets what they alone possess: the fabled Valisar Enchantment, an irresistible power to coerce, which will belong to Loethar once every Valisar has been slain. But the last hope of the besieged kingdom is being sent in secret from his doomed home, in the company of a single warrior. The future of Penraven now rests on the shoulders of the young Crown Prince Leonel who, though untried and untested in the ways of war, must survive brutality and treachery in order to claim the Valisar throne.

Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This book is the first to address the fundamental question, why has there been so much Greek tragedy in the theatres, opera houses and cinemas of the last three decades? A detailed chronological appendix of production information and lavish illustrations supplement the fourteen essays by an interdisciplinary team of specialists from the worlds of classics, theatre studies, and the professional theatre. They relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades, especially multiculturalism, post-colonialism, feminism, post-structuralism, revisions of psychoanalytical models, and secularization.

Choruses, Ancient and Modern examines the ancient Greek chorus and its afterlives in western culture. Choruses, though absolutely central to the social, political, and religious life of classical Greece, no longer hold the same broad importance in modernity, yet the attraction of the Greek chorus has proved a strong impetus to reimagining. Artists and thinkers have continually appropriated Greek choruses to their own ends, and the body of these engagements constitutes a rich and hitherto-unexplored area of the reception of classical antiquity. Exploring the choral tradition from archaic Greece to the present across a variety of different media, the volume thematically juxtaposes perspectives on choruses to create a dialogue between ancient and modern contexts. Following a substantial introduction, the four sections of the book discuss the place of the chorus within scholarship, aesthetic and philosophical perspectives on the chorus, reflections on absences of the chorus, and the social and communal potential of the chorus. Each section considers antiquity and modernity in counterpoint, at once de-familiarizing ancient contexts of the chorus and defining crucial moments in modern choral traditions.

When the eighteenth-century choreographer Jean-Georges Noverre sought to develop what is now known as modern ballet, he turned to ancient pantomime as his source of inspiration; and when Isadora Duncan and her contemporaries looked for alternatives to the strictures of classical ballet, they looked to ancient Greek vases for models for what they termed 'natural' movement. This is the first book to examine systematically the long history of the impact of ideas about ancient Greek and Roman dance on modern theatrical and choreographic practices. With contributions from eminent classical scholars, dance historians, theatre specialists, modern literary critics, and art historians, as well as from contemporary practitioners, it offers a very wide conspectus on an under-explored but central aspect of classical reception, dance and theatre history, and the history of ideas.

When the eighteenth-century choreographer Jean-Georges Noverre sought to develop what is now known as modern ballet, he turned to ancient pantomime as his source of inspiration; and when Isadora Duncan and her contemporaries looked for alternatives to the strictures of classical ballet, they looked to ancient Greek vases for models for what they termed 'natural' movement. This is the first book to examine systematically the long history of the impact of ideas about ancient Greek and Roman dance on modern theatrical and choreographic practices. With contributions from eminent classical scholars, dance historians, theatre specialists, modern literary critics, and art historians, as well as from contemporary practitioners, it offers a very wide conspectus on an under-explored but central aspect of classical reception, dance and theatre history, and the history of ideas.

This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic avant-garde. All Greek has been translated, and the book will be essential reading for anyone interested in Greek tragedy, the reception of ancient Greece and Rome, theatre history, British social history, English studies, or comparative literature.

Sophocles' Oedipus Tyrannus (or Oedipus Rex) has exerted more influence than any other drama, ancient or modern, on the history of theatre, and this influence has extended far beyond the boundaries of the western theatrical tradition to include African and Oriental theatre histories as well. This volume traces Sophocles' paradigmatic ancient tragedy from its first appearance on the stage in the fifth century BC to present day productions. The afterlife of Oedipus has played a key role in the history of ideas, and this volume examines its centrality to the history of stage censorship and political and cultural upheaval across the centuries. More recently, the protagonist has come under close scrutiny in his association with the Oedipus of psychoanalytical theory. Macintosh demonstrates how, by following the fortunes of Sophocles' Oedipus on the world stage, one witnesses its intersection with and impact upon the history of theatre and the history of ideas.

Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from the Renaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and to feminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classical scholars, theatre historians, and experts in English and comparative literature. All Greek and Latin has been translated; the book is generously illustrated, and supplemented with the useful research aid of a chronological appendix of performances.

Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This book is the first to address the fundamental question, why has there been so much Greek tragedy in the theatres, opera houses, and cinemas of the last three decades? A detailed chronological appendix of production information and lavish illustrations supplement the fourteen essays by an interdisciplinary team of specialists from the worlds of classics, theatre studies, and the professional theatre. They relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades, especially multiculturalism, post-colonialism, feminism, post-structuralism, revisions of psychoanalytical models, and secularization.

A sweeping, epic story of love and betrayal from international bestselling author Fiona McIntosh, perfect for fans of Dinah Jefferies's The Missing Sister and Kristin Hannah's The Great Alone.

She can never forget her past, or forgive...

When Severine Kassel is asked to authenticate some exquisite Byzantine pearls loaned to the British Museum, she shocks everyone by claiming they belong to her family. Her revelation sets off a frenzied pursuit of former Nazi, Ruda Mayek, with an ex-Mossad agent coming out of retirement to join the search.

But the one person Severine was counting on to help, the solicitor handling the sale of the pearls, is bound by client confidentiality. As Severine follows Mayek's trail, the tightly controlled life she's built around herself is shattered. Will her own carefully guarded secrets be revealed?

The Oxford Handbook of Greek Drama in the Americas is the first edited collection to discuss the performance of Greek drama across the continents and archipelagos of the Americas from the beginning of the nineteenth century to the present. The study and interpretation of the classics have never been restricted by geographical or linguistic boundaries but, in the case of the Americas, long colonial histories have often imposed such boundaries arbitrarily. This volume tracks networks across continents and oceans and uncovers the ways in which the shared histories and practices in the performance arts in the Americas have routinely defied national boundaries. With contributions from classicists, Latin American specialists, theatre and performance theorists, and historians, the Handbook also includes interviews with key writers, including Nobel Laureate Derek Walcott, Charles Mee, and Anne Carson, and leading theatre directors such as Peter Sellars, Carey Perloff, Hector Daniel-Levy, and Heron Coelho. This richly illustrated volume seeks to define the complex contours of the reception of Greek drama in the Americas, and to articulate how these different engagements - at local, national, or trans-continental levels, as well as across borders - have been distinct both from each other, and from those of Europe and Asia.

Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.

Seamus Heaney, the great Irish poet, made a significant contribution to classical reception in modern poetry; though occasional essays have appeared in the past, this volume is the first to be wholly dedicated to this perspective on his work. Comprising literary criticism by scholars of both classical reception and contemporary literature in English, it includes contributions from critics who are also poets, as well as from theatre practitioners on their interpretations and productions of Heaney's versions of Greek drama; well-known names are joined by early-career contributors, and friends and collaborators of Heaney sit alongside those who admired him from afar. The papers focus on two main areas: Heaney's fascination with Greek drama and myth - shown primarily in his two Sophoclean versions, but also in his engagement in other poems with Hesiod, with Aeschylus' Agamemnon, and with myths such as that of Antaeus - and his interest in Latin poetry, primarily that of Virgil but also that of Horace; a version of an Horatian ode was famously the vehicle for Heaney's comment on the events of 11 September 2001 in 'Anything Can Happen' (District and Circle, 2006). Although a number of the contributions cover similar material, they do so from distinctively different angles: for example, Heaney's interest in Virgil is linked with the traditions of Irish poetry, his capacity as a translator, and his annotations in his own text of a standard translation, as well as being investigated in its long development over his poetic career, while his Greek dramas are considered as verbal poetry, as comments on Irish politics, and as stage-plays with concomitant issues of production and interpretation. Heaney's posthumous translation of Virgil's Aeneid VI (2016) comes in for considerable attention, and this will be the first volume to study this major work from several angles.

The Paladin are reunited in the Heartwood and the Trinity is revealed at last. But what is the key to the secret that will unlock their power? The Land is in peril and they are helpless to save it. Tor and Alyssa are surrounded by danger. Their old enemy Goth is still free and causing pain and suffering wherever he goes. Alyssa's nemesis, Xantia, returns to haunt her. And the ruthless god Orlac has installed himself on the throne of Cipres and now turns his attention to hunting down Tor, determined to kill him and those he loves. The battle lines are set for the final confrontation between the two most powerful sentients ever to walk the Land.

A gift of life ...or a curse beyond death? The machinations of King Celimus have robbed Wyl Thirsk of almost everyone he held dear, and those few who have survived will bear the scars forever. Myrren's gift offers Wyl the opportunity to strike back, but at what price? His best friend is murdered, mercenaries pillage the land in the name of his beloved Legion, and now the mad king threatens the two women who are more precious to him than life itself. He cannot save both. The old seer's advice comes back to him: find the Manwitch. Only Myrren's natural father can help break the hold of the Quickening. But Wyl's heart pleads otherwise: Protect your loved ones. Once again, it seems, Wyl Thirsk faces an impossible choice. The path ahead diverges. Left and right. Head and heart. Blood and memory. A misstep here could cost him everything ...

Love comes out of nowhere for most of us, when we least expect it.' Amidst the carnage of Gallipoli, British nurse Claire Nightingale meets Australian Light Horseman Jamie Wren. Despite all odds, they fall deeply in love. Their flame burns bright and carries them through their darkest hours, even when war tears them apart. When Jamie encounters Turkish soldier Acar Shahin on the bloodstained battlefield, the men forge an unforgettable bond. Their chance meeting also leaves a precious clue to Jamie's whereabouts for Claire to follow. Come peacetime, Claire's desperate search to find Jamie takes her all the way to Istanbul, and deep into the heart of Acar's family, where she attracts the unexpected attention of a charismatic and brooding scholar. In the name of forgiveness, cultures come together, enemies embrace and forbidden passions ignite - but by the nail - biting conclusion, who will be left standing to capture Nurse Nightingale's heart? A breathtaking novel of heartbreak and heroism, love and longing by a powerhouse Australian storyteller.

A sweeping, epic love story which follows one woman's journey from the cobbled streets of Brighton to the foothills of the Himalayan mountains, for fans of Dinah Jefferies and Lucinda Riley. __________________________________ A passionate love affair. An impossible choice. England, 1932. Dr Isla Fenwick has little interest in marriage, until a reunion with an old friend blossoms into to something more. But Isla is determined to fulfil a long-held promise to practice medicine in India. With her fiance's blessing she sails to Calcutta to set up a midwifery clinic - promising to return within the year. There, Isla does her best to navigate a complex new world, and forms a deep connection with one of her colleagues - against all better instincts. When a desperate rescue mission to save the one person who needs her the most takes her into the foothills of the Himalayas, Isla will be asked to pay the ultimate price for her passions.

The city-state of Percheron is in crisis. Zaradine Ana has been captured by the mysterious Arafanz and his desert warriors and is being held in their isolated fort. It is also suspected that she is pregnant with Zar Boaz's son, the heir to the throne . . .

Though Lazar has made it out of the desert, his heroics in bringing the Valide and Grand Vizier to safety have cost him. Afflicted with the drezden illness that befalls him when he is weak, he is too sick to move from his bed, when help comes from an unexpected source . . .

Zar Boaz finds himself trapped by both his heart and his head. Though he can think of nothing but Ana, imprisoned in the desert, his country is on the brink of war and his Spur is helpless. Hatching a daring plan, he calls for Percheron's strongest to make one more pilgrimage into the desert, even as warships threaten Percheron's harbor, and the Goddess reaches the crest of her ascent, throwing all parties--mortal and divine--into a perilous battle for their hearts, their lives, and their souls.