During embalming an arm jerks and strikes a mortician, leaving him unmoored. A pastor’s wife encounters a young congregant in her kitchen wearing her apron and preparing breakfast. A man’s attempt to make sense of why a tornado picked him up leads to a showdown with a cult leader. A daydreaming, gawky kid is appointed guardian of a watermelon that the ocean could snatch away. Love comes slowly, like water heating over a low fi re or extra sugar being stirred into tea. In another story, the love of a father cannot save his musician son. A young woman living in a recognisable future contemplates the end of memory as her body transforms into the silver promise of a carapace. Another young woman feels she should be smiling but nothing stirs in her when her father wakes from death aft er 15 minutes. Battling portentous pre-dawn heat and still air, a bystander abandons removing caterpillars from a Ficus because the idea of touching them makes her squeamish. Elsewhere in the suburbs, in a fi xerupper from hell, crickets screech and squeal, their ringing like that of a demented alarm clock.

When Water Wants To presents the fi nalists of the DALRO Can Themba short story award. Celebrating the legacy of master storyteller Can Themba, this collection provokes, inspires, challenges and entertains with bold storytelling and keen social commentary. The stories range from the deeply personal to the wildly allegorical, playing with genre conventions and inhabiting a multitude of perspectives and unruly voices. These exciting new authors confi rm the pre-eminence of the short story, and its oral antecedents, by delving into the national psyche in the conversations they have, the connections they make, and the themes, concerns and water-soaked imagery they share.

An electrifying one-woman play inspired by the true story of a woman who served as a political assassin during South Africa’s transition to democracy. As the protagonist confronts her past, she becomes a powerful symbol of defiance and compassion in a story of resistance and survival in a conflict-torn country.

Isidlamlilo/ The Fire Eater is an electrifying one-woman play inspired by the true story of a woman who served as a political assassin in the build-up to South Africa’s first democratic elections. Zenzile Maseko, the protagonist, is a 60-year-old Zulu grandmother living in a women’s hostel in Durban. Falsely declared dead by the Department of Home Affairs, she finds herself cast into a Kafkaesque nightmare that forces her to confront her past.

Flown in on the wings of the Impundulu (the lightning bird), Zenzile’s story weaves a magical and terrifying tapestry. She draws on myth, religious symbolism and traditional beliefs as she shares the realities – at times brutal, at times forgiving – of survival in South Africa. Her story touches on what it means to live through political violence, the transition to democracy, the brutality of inequality, health epidemics like HIV/AIDS, patriarchy, and the apathetic bureaucracy of government departments.

Ultimately, Isidlamlilo / The Fire Eater offers a critical and unflinching look at the eddying cycles of violence and revenge that play out across generations. Yet it is most of all a story about regeneration and redemption that speaks to both the country’s haunted past and its present-day complexities.

Isidlamlilo / The Fire Eater will appeal to teachers, high school learners, and tertiary students in theatre, drama and English studies.

On a 'cold and starless night' a young pregnant widow, Nandi, arrives in Tin Town, a bleak, drought-stricken place ruled by silence and fear. Little do the inhabitants know that Nandi is carrying the baby who will, in time, change that. Taken in by Mkhulu (grandfather), whose father established the tin bucket factory that gave the town its name, Nandi gives birth to Nomvula, the Little Drummer Girl. Mkhulu remembers a past when 'people were free to sing and dance', when the rain came and the townsfolk held up their tin buckets to catch the precious, life-giving drops. And then came the Silent Sir and his spokesman, the Censor, and the town went silent. As the singing and dancing and drumming dried up, so did the rain. The tin bucket factory closed, taking with it the life and purpose of Tin Town's inhabitants. Only the Little Drummer Girl can bring back that life, but at enormous personal cost. In Tin Bucket Drum, Neil Coppen achieves a small miracle. Through his lyrical script and the creative use of lighting and sound, one woman, the Narrator, succeeds in evoking a host of characters as this allegorical tale of oppression and liberation plays itself out. It is a story that offers a host of lessons for many places and many times.