A play set in contemporary London where the Feigel family harbours an asylum-seeker and grapples with the morality of the law and protecting ones’ family.

Rosa and Ben Feigel are a cosmopolitan progressive, dynamic, inter-racial North London couple. Rosa is the daughter of black South African exiles, Ben is of Jewish decent - the son of a man who escaped to the UK on Kindertransport. Their adored teenage son Oliver - full of political conviction, which his parents have encouraged - has hidden his closest friend, Imran, an asylum-seeking teenager from an unnamed country, in their home. When Ben and Rosa find out, they realise they are faced with just two options: turn the child over to the authorities knowing that he will be sent back to a dangerous country, or help him to hide and endanger themselves.

A bitter argument erupts between the Feigels about the morality of the law, the limits of empathy, what we will do to protect those we love, and what we might sacrifice for strangers. Hold Still is a vivid, deeply aff ecting portrait of a long-term marriage, and a family shaped by intergenerational trauma.

On a still, cool day in the east of a city by the sea, three sounds only: a bulldozer’s engine, a forgotten song, a canon that tells the time. Behind the bulldozer, a sign: Luxury Mall Coming Soon. As the vehicle moves in to the clear ground, it strikes at something unexpected…

What Remains is a fusion of text, dance and movement to tell a story about the unexpected uncovering of a slave burial ground in Cape Town, the archaeological dig that follows and a city haunted by the memory of slavery. When the bones emerge from the ground, everyone in the city – slave descendants, archaeologists, citizens, property developers – is forced to reckon with a history sometimes remembered, sometimes forgotten.

Loosely based on the events at Prestwich Place, What Remains is a path between memory and magic, the uncanny and the known, waking and dreaming. Four figures – The Archaeologist, The Healer, The Dancer and The Student – move between bones and books, archives and madness, paintings and protest, as they struggle to reconcile the past with the now.

Consent, Stealthing and Desire-Based Contracting in the Criminal Law examines the inconsistencies in the definitions of consent in sexual encounters by examining emerging sex crimes alongside changing community values and the changing legal definitions of consent in sexual offending, focusing on common law and civil law countries. This book distinguishes itself through the use of empirically validated research strategies and an in-depth analysis of current legislative regimes. It argues that desire and pleasure are largely ignored by legal consent definitions, despite its importance in sexuality more broadly. Using two case studies of emerging forms of sexual offending, the criminalisation of sadomasochistic sexual practices and the offence of ‘stealthing’, it examines how the law is both a blunt and under-utilised instrument in the policing of people’s sexual relationships. The presence or absence of consent can change a lawful sexual act between two people into a serious crime with potentially devastating consequences to both survivor and offender. Yet there remains no consistent definition of consent applied within and between legal jurisdictions across the world. A comparative analysis reveals parallels between common law countries and civil law countries. The book also provides a brief history of the use of term consent in relation to sexual offending and examines definitional and sociological requirements of conceptual consent across history. Covering jurisdictions in the US, UK, and Australia, providing an innovative resource on issues relating to consent presented in an accessible way, this book will appeal to students and researchers of criminal justice, criminal law, criminology, sociology and gender studies.

Nadia Davids's moving play Cissie evokes the life of an extraordinary woman Cape Town activist, Cissie Gool.

From the early days of her girlhood to her death in 1963, the play allows us to glimpse into her world: the dynamic social and political home of her childhood, the heady years of her public speaking and marriage, and her difficulty in trying to live a free life under the traumatic shadow of colonialism and apartheid. Through monologue, shadow theatre and poetry, the lost world of Cissie's home, District Six, is recreated.

This edition includes an introduction by the playwright, vocabulary help on the page, exam-style questions for learners, and information on the play's historical background.

Consent, Stealthing and Desire-Based Contracting in the Criminal Law examines the inconsistencies in the definitions of consent in sexual encounters by examining emerging sex crimes alongside changing community values and the changing legal definitions of consent in sexual offending, focusing on common law and civil law countries. This book distinguishes itself through the use of empirically validated research strategies and an in-depth analysis of current legislative regimes. It argues that desire and pleasure are largely ignored by legal consent definitions, despite its importance in sexuality more broadly. Using two case studies of emerging forms of sexual offending, the criminalisation of sadomasochistic sexual practices and the offence of 'stealthing', it examines how the law is both a blunt and under-utilised instrument in the policing of people's sexual relationships. The presence or absence of consent can change a lawful sexual act between two people into a serious crime with potentially devastating consequences to both survivor and offender. Yet there remains no consistent definition of consent applied within and between legal jurisdictions across the world. A comparative analysis reveals parallels between common law countries and civil law countries. The book also provides a brief history of the use of term consent in relation to sexual offending and examines definitional and sociological requirements of conceptual consent across history. Covering jurisdictions in the US, UK, and Australia, providing an innovative resource on issues relating to consent presented in an accessible way, this book will appeal to students and researchers of criminal justice, criminal law, criminology, sociology and gender studies.

It is 1993. South Africa is on the brink of total transformation and in Walmer Estate, a busy suburb on the slopes of Devil’s Peak, fourteen-year-old Alia Dawood is about to undergo a transformation of her own.

She watches with fascination and fear as the national drama unfolds, longing to be a part of what she knows to be history in the making. As her revolutionary aspirations strengthen in the months before the elections, her intense, radical Uncle Waleed reappears, forcing her parents and sister Nasreen to confront his subversive and dangerous past.

Nadia David’s first novel moves across generations and communities, through the suburbs to the city centre, from the lush gardens of private schools to the dingy bars of Observatory, from landmark mosques and churches to the manic procession of the Cape Carnival, through evictions, rebellions, political assassinations and first loves. The book places one family’s story at the heart of a country’s rebirth and interrogates issues of faith, race, belonging and freedom.

An Imperfect Blessing is a vibrant, funny and moving debut.