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MADONNA. ANDY WARHOL. KEITH HARING. FAB 5 FREDDIE. DEBBIE HARRY. JULIAN SCHNABEL. Jean-Michel Basquiat's transition from the subways to the chic gallery spaces of Manhattan brought the artist into the company of many of New York's established and aspiring stars. Unable to deal with the demands that his new fame brought, in 1988, at the age of twenty-seven Basquiat, the most successful black visual artist in history, died from a heroin overdose. Widow Basquiat is an exploration of the artist as seen through the eyes of his muse, Suzanne. It is a love story like no other.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratin's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratin's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

The intelligence and passion that brought independence to colonial countries in Eastern and Southern Africa was greeted with enthusiasm by many progressive Whites. Michael Holman was one of them. A Rhodesian student activist whose support for black independence frightened his own minority white government, he was inspired by the black unionists and political leaders he interviewed, and whose message he took to Western readers, notably through the London Financial Times. But as the years passed, their early ideals became increasingly corrupted, internally and by what Holman still sees as the misguided policies of outside donors. Now brought together into a single volume, Holman’s 50 years of reporting vividly conveys the hopes and disappointments of the post-colonial era.