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.

It is January, 1978. Groups of nervous, dutiful white conscripts begin their National Service with Rhodesia's security forces. Ian Smith's minority regime is in its dying days and negotiations towards majority rule are already under way. For these inexperienced eighteen-year-olds, there is nothing to do but go on fighting, and hold the line while the transition happens around them. Dead Leaves is a richly textured memoir in which an ordinary troopie grapples with the unique dilemmas presented by an extraordinary period in history - the specters of inner violence and death; the pressurized arrival of manhood; and the place of conscience, friendship and beauty in the pervasive atmosphere of futile warfare.

In this, the fifth of the Africa! anthologies, Dan Wylie and Patricia Schonstein collaborated to bring together a selection of poems to reveal the beauty, grandeur and exploitation of wild and urban landscapes.

Poems are 'touched' by Africa, in the broadest sense. They focus on the environment while still engaging with emotions of love, loss and longing.

These poems will make your heart both sing and sigh.

Where are the dogs in southern African literature? The short answer is: everywhere, if you keep looking. Few texts centralise them, but they appear everywhere in the corners of people's lives: pets walking alongside, strays in the alleys, accompanying policemen, at the dog shows, outhunting, guarding gates. There are also the related canids- jackals, hyenas, wolves-making real and symbolic appearances. Dogs have always been with us, friends and foes in equal measure. This is the first collection of studies on dogs in southern African literatures. The essays range across many dogs' roles: as guides and guards, as victims and threats. They appear in thrillers and short stories. Their complex relations with colonialism and indigeneity are explored, in novels and poetry, in English as well as Shona and Afrikaans. Comparative perspectives are opened up in articles treating French and Russian parallels. This volume aims to start a serious conversation about, and acknowledgement of, the important place dogs have in our society.

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.