A revised and updated edition of this much-loved poetry anthology which was first published in 2002. This new edition of The New Century of South African Poetry now includes 125 new poems, with the addition of a fifth section covering works produced by poets who have made their mark since the early 2000s. New Century includes pieces in divergent styles by a wide range of authors - from traditional songs by Khoisan poets to poems by established figures such as Roy Campbell, N.P. van Wyk Louw, Mazisi Kunene, Douglas Livingstone, Mongane Wally Serote and Antjie Krog. Popular poetic forms like maskanda, kiba, praises and rap share the pages with current poets such as Gabeba Baderoon, Rustum Kozain, Danie Marais, Nick Mulgrew and Koleka Putuma…

Lewis Nkosi's insights into South African literature, culture and society first appeared in the 1950s, when the `new' urban African in Sophiatown and on Drum magazine mockingly opposed then Prime Minister H.F. Verwoerd's Bantu retribalisation policies. Before his death in 2010, Nkosi focused on the literary-cultural challenges of post-Mandela times. Having lived for 40 years in exile, he returned to South Africa, intermittently, after the unbannings of 1990. His critical eye, however, never for long left the home scene. Hence, the title of this selection of his articles, essays and reviews, Writing Home. Writing home with wit, irony and moral toughness Nkosi assesses a range of leading writers, including Herman Charles Bosman, Breyten Breytenbach, J.M. Coetzee, Athol Fugard, Nadine Gordimer, Bessie Head, Alex La Guma, Bloke Modisane, Es'kia Mphahlele, Nat Nakasa, Njabulo S. Ndebele, Alan Paton and Can Themba. Combining the journalist's penchant for the human-interest story with astute analysis, Nkosi's ideas, observations and insights are as fresh today as when he began his 60-year career as a writer and critic. Selected from his out-of-print collections, Home and Exile, The Transplanted Heart and Tasks and Masks, as well as from journals and magazines, Lewis Nkosi's punchy commentaries will appeal to a wide readership.

Africa Inside Out is an anthology of stories, tales, and testimonies that challenges the daily global newscast of an Africa of dictatorships, starvation, and disease. Writers from both within and outside the continent were invited by the 'Time of the Writer Festival' (an annual festival held in Durban, South Africa) to respond to an Africa of the now: an Africa inescapably part of contemporary world culture. In seeking to portray an Africa that goes against the stereotype, these writers pushed boldly against literary expectation. Responses range from quirky interpretations of oral tradition, to explorations of digital possibility, to experiential testimony and humorous renditions of old - and new - conundrums. Africa Inside Out - as its title suggests - does not present the politicized version of Africa. It portrays an Africa in flux, still grappling with familiar problems, but caught up in the global drive towards reinvention and the possibilities of an unpredictable, yet interconnected, future.

These `interventions’ are spurred by what in South Africa today is a buzz-phrase: social cohesion. The term, or concept, is bandied about with little reflection by leaders or spokespeople in politics, business, labour, education, sport, entertainment and the media. Yet, who would not wish to live in a socially cohesive society? How, then, do we apply the ideal in the daily round when diversity of language, religion, culture, race and the economy too often supersedes our commitment to a common citizenry? How do we live together rather than live apart? Such questions provoke the purpose of these interventions. The interventions – essays, which are short, incisive, at times provocative – tackle issues that are pertinent to both living together and living apart: equality/inequality, public pronouncement, xenophobia, safety, chieftaincy in modernity, gender-based abuse, healing, the law, education, identity, sport, new `national’ projects, the role of the arts, South Africa in the world. In focusing on such issues, the essays point towards the making of a future, in which a critical citizenry is key to a healthy society. Contributors include leading academics and public figures in South Africa today: Christopher Ballantine, Ahmed Bawa, Michael Chapman, Jacob Dlamini, Jackie Dugard, Kira Erwin, Nicole Fritz, Michael Gardiner, Gerhard Maré, Monique Marks, Rajend Mesthrie, Bonita Meyersfeld, Leigh-Ann Naidoo, Njabulo S. Ndebele, Kathryn Pillay, Faye Reagon, Brenda Schmahmann, Himla Soodyall, David Spurrett and Thuto Thipe.

Drum was launched as a popular magazine in the 1950s and quickly came to reflect the image and interests of the urban African. Its reports of the Defiance Campaign, the Congress of the People and the Treason Trial shared column-space with stories of soccer, sex and sin. This combination of yellow-press sensation and social concern gave rise to the short story by black South African writers, and several of Drum's writers established themselves as important figures in South African literature: Es'kia Mphahlele, Can Themba, Richard Rive, James Matthews, Nat Nakasa and Casey Motsisi. This anthology presents a selection of more than 90 stories that appeared in Drum. They depict the danger, the poverty and the spurious glamour of Sophiatown, where the New African - the tsotsi, the jazz musician, the journalist and the writer - affirmed identity and style and refused to submit to the government's determination to 'retribalize'. This second edition (third reprint) contains a new foreword by John Matshikiza in addition to the essay by Michael Chapman, which addresses the significance of the magazine and puts it into historical perspective: 'Most of the writers were concerned with more than just telling a story. They were concerned with what was happening to their people and, in consequence, with moral and social questions.'

This title features the short stories written by South Africans from all walks of life over a period of a hundred years. From the oral traditions of the San and other African peoples, right through to the most modern writers of the twenty-first century, Chapman has selected the best of this interesting and much loved genre. Some of the old favourites and standards from A Century of South African Short Stories, which had three different editions, remain. Previously unpublished stories have been found and added, and have resulted in an unprecedented treasury of wonderful tales.

One of developmental psychology's central concerns is the identification of specific "milestones" which indicate what children are typically capable of doing at different ages. Work of this kind has a substantial impact on the way parents, educators, and service-oriented professionals deal with children; and, therefore one might expect that developmentalists would have come to some general agreement in regard to the ways they assess children's abilities. However, as this volume demonstrates, the field appears to suffer from a serious lack of consensus in this area.
Based on the premise that identifying relevant issues is a necessary step toward progress, this book addresses a number of vital topics, such as: How could research into fundamental areas (such as the age at which children first acquire a sense of self or learn to reason transitively) repeatedly yield wildly diverse results? Why do experts who hold to radically different views appear to be so unruffled by this same divergence of professional opinion? and, Are there grounds for hope that this divergence of professional opinion is on the wane?

Art Talk, Politics Talk looks at a deep issue, whether art should be in the service of political ends or be free to roam on its own and burgeon to the beat of the artist's perspective. Should art inform politics, or should it be the reverse? From the introductory thoughthow to talk about art in a politically demanding milieuto meditations on writers ranging from J.M. Coetzee to Nelson Mandela, Salman Rushdie to Nadine Gordimer, Art Talk, Politics Talk offers a continually surprising, consistently intellectual, and boldly original consideration of literary-cultural tradition and innovation that in many ways is a model for the world. The essays, self-contained yet cumulative in their argument and insight, locate ethical and aesthetic challenges in the postcolonial condition of our times, both in post-apartheid South Africa and globally. Teasing out the intricate value of literary culture in contemporary society, the author, in lucid prose, brings to this volume a new confidence and cri

This book reflects on the "literary" in literature. Less ideologically construed, more affirmative of literary attachment, the study adopts a style of intimacy – its "tough love" – in a correlation between the creative work and the critical act. Instead of configuring literary works to "state-of-the-nation" issues – the usual approach to literature from South Africa – the chapters keep alive a space for conversation, whether accented inwards to locality or outwards to the Anglophone world: the world to which literature in South Africa continues to belong, albeit as a "problem child".

A postcolony that is not quite a postcolony, South Africa is richly but frustratingly textured between Africa and the West, or the South and the North. Its literature – hovering on the cusp of its locality and its global reach – raises peculiar questions of reader reception, epistemological and aesthetic frame, and archival use. Are the Nobel laureates Nadine Gordimer and J.M. Coetzee local writers or global writers? Is the novel or the short story the more appropriate form at the edges of metropolitan cultures? Given language, race, and culture contestation, how do we recover Bushman expression for contemporary use? How to consider the aesthetic appeal of two contemporaneous works, one in English the other in isiXhosa, the one indebted to Bloomsbury modernism the other to African custom? How does Douglas Livingstone attach the Third World to the First World in both science and poetry? What has a "born free" novelist, Kopano Matlwa, got to do with the Bard of Avon? In a time of theorisation, is it permissible for Lewis Nkosi to embody literary criticism in an autobiographical journey? How to read the rupturing event – the statue of Rhodes must fall – through a literary sensibility?

Alert to the influence of critique, the study is equally alert to the "limits of critique". Reflecting on several writers, works, and events that do not feature in current publications, On Literary Attachment in South Africa releases literature to speak to us today, within the contours of its originating energy.

Table of Contents

Introduction

1. André Brink, Mevrou Sadie, and Me

Our Crooked-line Stories

2. Bushman Letters/Bushman Literature

Usable and Unusable Pasts

3. Schreiner’s Karoo, Blackburn’s Jo’burg

A Literary Journey, Then and Now

4. A School Person in a Red Blanket

The Case of S.E.K. Mqhayi

5. Lewis Nkosi

Ambiguities of Home and Exile

6. The Potential and Limitations of Symptomatic Criticism

Ruth Miller’s Poetry

7. Who Wins a Nobel Prize?

Nadine Gordimer and J.M. Coetzee

8. Who Doesn’t Win a Nobel Prize?

Gordimer, Coetzee, Bosman, Head

9. The Power of …

Nelson Mandela: A Literary Consideration

10. The Science of Poetry and the Poetry of Science

Douglas Livingstone’s Uncommon Humanity

11. To Be a Coconut

Kopano Matlwa to the Bard of Avon

12. #RhodesMustFall!

On Literary Attachment and the Rupturing Event/

One of developmental psychology's central concerns is the identification of specific "milestones" which indicate what children are typically capable of doing at different ages. Work of this kind has a substantial impact on the way parents, educators, and service-oriented professionals deal with children; and, therefore one might expect that developmentalists would have come to some general agreement in regard to the ways they assess children's abilities. However, as this volume demonstrates, the field appears to suffer from a serious lack of consensus in this area. Based on the premise that identifying relevant issues is a necessary step toward progress, this book addresses a number of vital topics, such as: How could research into fundamental areas (such as the age at which children first acquire a sense of self or learn to reason transitively) repeatedly yield wildly diverse results? Why do experts who hold to radically different views appear to be so unruffled by this same divergence of professional opinion? and, Are there grounds for hope that this divergence of professional opinion is on the wane?

Southern African Literatures is a major study of the work of writers from South Africa, Zimbabwe, Zambia, Malawi, Angola, Mozambique and Namibia, written at a time of crucial change in the subcontinent. It covers a wide range of work from the storytelling of stone-age Bushmen to modern writing by renowned figures such as Es'kia Mphahlele, Nadine Gordimer and Andr Brink, encompassing traditional, popular and elite writing; literature in translation; and case studies based on topical issues. Michael Chapman argues that literary history in the southern African region is best based on a comparative method which, while respecting differences of language, race and social circumstance, seeks cultural interchange including "translations" of experience across linguistic and ethnic borders. Instead of perpetuating division, the study examines points of common reference, as it asks what makes a literary culture. Who are to be regarded as major and minor authors? What are the strengths and limita

Triple bill of the vampire horror film series. In 'The Lost Boys' (1987), two brothers move to a new town and soon fall in with the wrong crowd - a gang of punks who also happen to be blood-swilling vampires. The older brother (Jason Patric) proves easy prey and is soon a fully paid-up member of the undead. But the younger brother (Corey Haim) is made of tougher stuff and, along with a couple of friends, decides to make a stand. Pretty soon the suburbs start swinging to the sound of teen vampire combat. In 'The Lost Boys - The Tribe' (2008), a young girl named Nicole (Autumn Reeser) falls in with a pack of vampire surfers after moving to California with her brother Chris (Tad Hilgenbrink). Seduced by the leader of the gang, Autumn soon realises that there are forces in nature that could destroy everything she has ever cared for. 'The Lost Boys - The Thirst' (2010), sees Corey Feldman reprise his role as Edgar Frog, a down and out vampire hunter who is asked by writer Gwen Lieber (Tanit Phoenix) to rescue her son from a newborn army. Gwen offers to pay Edgar a substantial fee for his services and he agrees to take on the dangerous mission. Realising the risks involved, Edgar asks his brother, Alan (Jamison Newlander), to assist him.

In the beginning it seemed to us that someone was missing and that something was amiss. He was often mentioned, occasionally discussed, but seldom cited or credited explicitly. And when he was acknowl edged, it was sometimes for reasons that seemed anachronistic and misleading. His influence could be felt in a number of areas of our dis cipline, but few scholars seemed to know just how, just where, and to what extent. We discovered, almost accidentally, that we shared an in terest in his legacy, in unravelling at least some portion of this riddle. Shortly thereafter, we began discussing ways in which, by pooling our resources with those of interested others, we could move closer to a res olution. Put simply, the protagonist of this riddle is Ludwig Wittgenstein (1889-1951), the son of a wealthy Viennese industrialist, the influential Cantabrigian philosopher, the rural Austrian schoolteacher. And the subject of our study is his largely unexplored legacy for developmental psychology. Although Wittgenstein's thought seemed to hold special promise for the study of human development, the philosopher and his work could walk virtually unrecognized through the landscape of con temporary developmental issues."

This new addition to Luster's successful, practical and attractive Hidden series, covering countries and regions, is the perfect book for those who wish to discover the most beautiful sides of Iceland. Hidden Iceland is an ode to the hidden attractions that are still to be found in Iceland, not just in nature, but in the towns and villages too, presenting them in inspiring lists such as: glittering glaciers cosy cottages and guesthouses glorious geothermal pools wild animal encounters great rooftop bars in Reykjavik and many more. 302 addresses and facts in total, presented in original lists. Maps and index included.

This title considers what, in South Africa, is being published and how we may value what is being published, now. 'Now' is not only post-apartheid, or after the Truth Commission – the familiar signposts – but beyond both Antjie Krog's Country of my Skull (1998), the TRC marker, and J.M. Coetzee's Disgrace (1999), a book that for many, including arguably its author, marks a point of no return in its Afro-pessimism. Looking beyond 2000, these surveys of fiction, drama, poetry and autobiographical writing include coverage of poetry in English and Afrikaans, South African Indian writing, Zulu literature, oral performance, 'queer' fiction and literature of diasporic and ecological concern. Coverage does not claim to constitute a history of the literature. Rather, the accent is on a younger generation of writers, several of whom, such as Phaswane Mpe, K. Sello Duiker, Brett Bailey, Gabeda Baderoon and Lebo Mashile, have received critical recognition. Recent winners of major literary awards like Anne Landsman, Imraan Coovadia and Sally-Ann Murray feature in commentary of what is different now to then. Many writers then, of course, continue to be writers now, and the book does not ignore the more recent work of, among others, Nadine Gordimer, J.M. Coetzee, Breyten Breytenbach, Antjie Krog, Athol Fugard, Zakes Mda, Njabulo S. Ndebele, Marlene van Niekerk, Zoё Wicomb and Ivan Vladislavic. SA Lit? The contraction points to a provocation: what is South African Literature beyond 2000?

In 1974, 22-year-old virgin sailor Mick escapes unemployment, family and 3-day-week London to become a deckhand on a small sailboat, Gay Gander, setting out to sail the Atlantic from England's West Country, via the Canaries, to Antigua in the Caribbean. Under the eye of an unfathomable skipper, John Francis Kearney, and his formidable sailing companion Carola (both escaping from a rain-sodden Ireland and broken marriages), Mick has to learn sailing, table manners, bridging the generation gap and getting along with Stryder, the Russian Blue ship's cat. The Long Lost Log should be fiction but is the true story of a voyage of discovery that Mick - against all odds - survived to tell this remarkable and hilarious tale. His inner and outer journey combines danger with the unexpected, the erotic and the comic, in a resonantly related rite of passage that leaps from the page like the curious whale that once disturbed the narrator's watch. The skipper involved happens to be the publisher's late father.

Triple bill of the vampire horror film series. In 'The Lost Boys' (1987), two brothers move to a new town and soon fall in with the wrong crowd - a gang of punks who also happen to be blood-swilling vampires. The older brother (Jason Patric) proves easy prey and is soon a fully paid-up member of the undead. But the younger brother (Corey Haim) is made of tougher stuff and, along with a couple of friends, decides to make a stand. Pretty soon the suburbs start swinging to the sound of teen vampire combat. In 'The Lost Boys - The Tribe' (2008), a young girl named Nicole (Autumn Reeser) falls in with a pack of vampire surfers after moving to California with her brother Chris (Tad Hilgenbrink). Seduced by the leader of the gang, Autumn soon realises that there are forces in nature that could destroy everything she has ever cared for. 'The Lost Boys - The Thirst' (2010), sees Corey Feldman reprise his role as Edgar Frog, a down and out vampire hunter who is asked by writer Gwen Lieber (Tanit Phoenix) to rescue her son from a newborn army. Gwen offers to pay Edgar a substantial fee for his services and he agrees to take on the dangerous mission. Realising the risks involved, Edgar asks his brother, Alan (Jamison Newlander), to assist him.

NBA star Michael Jordan teams up with Bugs Bunny and the rest of his pals in a basketball game that is more important than any that has ever come before - the fate of the Earth hangs on the result. The problem has arisen because an invading alien race, the Nerclucks, want to kidnap Bugs and the rest of the Looney Tunes and use them as a tourist attraction on Moron Mountain. Bill Murray also stars in this live action and animated mix.

Frantic (1988)
American doctor Richard Walker checks into a Paris hotel with his wife Sondra to attend a conference and celebrate their wedding anniversary. However, shortly after arriving at the hotel Sondra disappears and soon Richard is plunged into a nightmare kidnap scenario, roaming the streets of Paris trying to find a lead in the search for his missing wife. His only clue comes in the form of drugged-up young punk Michelle.

Presumed Innocent (1990)
Based on the bestseller by Scot Turow, Rusty Sabich is an attorney who finds himself charged with murder. The victim was a colleague of his with whom he had a brief but intense affair and Rusty finds himself in need of a defence lawyer.

The Fugitive (1993)
Based on the 1960s American television series, eminent Chicago surgeon Dr Richard Kimble, married to wealthy heiress Helen, arrives home one night to find his wife murdered and a one-armed man in his house. Due to incriminating evidence and prime motivation, Kimble is wrongly convicted for murder. However, on his way to death row he is involved in a spectacular train crash that precipitates his escape. Kimble then strives to prove his innocence whilst staying one step ahead of the dogged US Marshal Sam Gerard.

Firewall (2006)
Jack Stanfield is an average family man in Seattle who heads up the hi-tech security team at his local bank. But following a seemingly trivial case of identity theft, Jack's life is turned upside down when his wife and two children are kidnapped. The ransom is $100 million which the kidnappers, led by Bill Cox, want Jack to obtain for them via his expert computer skills. Initially compliant, Jack is soon irked by Cox and his cronies to the point where he decides to risk everything to get his family back and bring the bad guys to justice.

42 (2013)
A biographical drama about African-American baseball player Jackie Robinson, here portrayed by the late Chadwick Boseman. In 1945, having been spotted by a scout, Robinson is signed by Brooklyn Dodgers general manager Branch Rickey and becomes the first black man to play in the Major League. Despite his talent, Robinson is met with opposition, even from his fellow players, because of his race. As he tries to keep his own frustrations in check, he excels in his sport and gradually receives the recognition he deserves.