This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa.

Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising.

Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence.

I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues.

Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions.

Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country.

Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by.

Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family.

Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

I heard you laughing from time to time and you stayed lying there on the flattened hay, and after you left, your body's imprint was left behind, and I rested my hand on the dry blades of grass that were still slightly warm and I wanted to carry on feeling you forever, really I did, but everything changed when you began to speak to me, on 7 July to be precise. In the tempestuous summer of 2005, on a day that is as hot as the inside of a bovine, a 14-year-old farmer's daughter makes friends with the local veterinarian who looks after her father's cows. He has reached 'the biblical age of seven times seven' and is trying to escape trauma, while she is trying to escape into a world of fantasy. Their obsessive reliance on each other's stories builds into a terrifying trap, with a confession at the heart of it that threatens to rip their small Dutch community apart. Indelible, audacious and impossible-to-put-down, this novel is powered by the paradoxical beauty of its prose. With its literary sleight and magnifying glass on human instinct, My Heavenly Favourite establishes Rijneveld as one of the bravest and brilliant writers on the world stage. Praise for The Discomfort of Evening: 'Exceptional.' Financial Times / 'Exhilarating.' Independent / 'Luminous.' Observer / 'Beautifully wild.' Guardian

Isobel Wylie Hutchison was many things: a botanist, traveller, poet and artist. She travelled solo throughout the arctic collecting plant samples, wrote and published extensive volumes of essays and poetry, and was - in short - one of the most remarkable Scottish figures of her time. However, since her death in 1982 her legacy has been forgotten compared with her male counterparts. Now Isobel can speak for herself again. While better known for her solo journeys across the Arctic, these essays detail Isobel's journeys across Scotland, including visits to Skye, John O' Groats and the various literary shrines across the country. Written with characteristic wit and a keen interest in both science and myth and folklore, the essays serve as important cultural markers not just of Scotland as it was and has developed, but of a woman's experience of travelling alone and a testament to the importance of cultural connection, exploration and communication.

This Handbook provides readers with an expert overview of the key theoretical approaches to governance and development, covering a broad range of policy areas and domains. Utilising a critical approach to assess issues from a multidisciplinary perspective, the contributions in this Handbook review different social contexts and policy areas, governance arrangements, and processes relating to issues of development. Chapters illustrate at global, regional and national levels how the specific forms of governance impact development and how ongoing trends of development can influence governance concerns. Further insights are also offered regarding the functioning of the state and the transformation of the role of the state in modern society, illustrating the place for governance in future development policies. Researchers in governance and development will find this comprehensive Handbook an excellent resource for their area of specialisation, and scholars in governance, political science, social sciences and economics will be provided with a useful entry point into the literature. Practitioners will also welcome this as an informative read for updating their knowledge and accessing the latest research findings.

This comprehensive Research Handbook examines the continuum between private ordering and state regulation in the lex mercatoria. It highlights constancy and change in this dynamic and evolving system in order to offer an in-depth discussion of international commercial contract law. International scholars, from a range of jurisdictions and legal cultures across Africa, North America and Europe, dissect a plethora of contract types, including sale, insurance, shipping, credit, negotiable instruments and agency, against the backdrop of key legal regimes commonly chosen in international agreements. These include: the UN CISG, Unidroit PICC, European DCFR and English law. The Research Handbook examines key general principles in commercial contract law, such as interpretation, good faith, remedies for breach and choice of law clauses from an international perspective. It also engages with various emerging aspects of internet contracting, including smart contracts. Scholars and researchers working in the field of contract law, and international commercial contracts more specifically, will find this Research Handbook to be an indispensable guide. Practitioners seeking clear guidance will also benefit from its detailed coverage of specific research questions.

The fifth instalment of Prototype's annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between. With contributions by Alex Aspden, Ed Atkins & Steven Zultanski, Mau Baiocco, Claire Carroll, Hal Coase, James M. Creed, Iulia David, Nia Davies, Fiona Glen, Olivia Heal, Emma Hellyer, Hannah Hutchings-Georgiou, Rowe Irvin, Sasja Janssen (trans. Michele Hutchison), Bhanu Kapil, Sharon Kivland, Jeff Ko, Prerana Kumar, Grace Connolly Linden, Dasha Loyko, Nasim Luczaj, Ian Macartney, So Mayer, Catrin Morgan, Ghazal Mosadeq, Kashif Sharma-Patel, Helen Quah, Dipanjali Roy, Leonie Rushforth, Stanley Schtinter, Lutz Seiler (trans. Stefan Tobler), Madeleine Stack, Malin Stahl, Corin Sworn, Olly Todd, Yasmin Vardi, Kate Wakeling, Nathan Walker, Ahren Warner, Stephen Watts & Rojbin Arjen Yigit

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Virgula is an award-winning collection by acclaimed Dutch poet Sasja Janssen, and her second collection to be published in English. Taking as its title the latin word for ’comma’, the poems in Virgula reveal the stories hidden in the spaces in-between: the unending and the unresolved; memories that refuse to be contained. In Janssen’s poetry, the comma becomes much more than a punctuation mark, and is invoked as a muse and companion; she calls on her in every poem, as if she were a goddess, a friend or lover, someone who offers space when the emptiness becomes too heavy. In Janssen’s poetry, painful stories often unfold, events that never came to pass, but which leave traces and scars. Virgula strikes a balance between mystery and razor-sharp intent, through constant shifts and contrasts in perspective. The comma stops the stillness, and allows thoughts and language to move forward. Virgula was awarded the Awater Poetry Prize and was nominated for the Ida Gerhardt Poetry Prize and the Herman de Coninck Prize and De Grote Poëzieprijs (Grand Poetry Prize) for best poetry collection of the year.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.