Drawing on the true history of ‘Farini’s Friendly Zulus’, a group of men who were taken to Britain and then to America as performing curiosities, the novel opens in 1885 in wintry New York City.

The protagonist, Mpiyezintombi, simply called Em-Pee by the English-speakers, loses more than his name in this far-off foreign country; he is seen as little more than a freak-show act – though he is not kept in a cage like the beautiful Dinka Princess, with her gold-painted papier-mâché crown and fur cape. For EmPee, it is love at first sight, but the caged woman is not free to love anyone back: she is the property of Monsieur Duval, proprietor of Duval Ethnological Expositions.

And so begins one of Zakes Mda’s most striking stories, one that depicts terrible historical injustices and indignities, while at the same time celebrating the vigour and ingenuity of the creative spirit, and the transformative power of love.

In an already-great pantheon of Mda love stories and classic gems, this may be his most powerful work yet.

This novel is set in the Free State town of Excelsior from the 1970s to the time of political liberation in the 1990s. In the 1970s Excelsior was notorious for a series of across-the-colour-bar sex scandals involving white men - many of them pillars of the conservative Afrikaner establishment - and black women, some of whom bore mixed-race children as a result. Mda roots his story in this period and carries it through to the social and political revolution of the 1990s. Often lyrical and sensual, and sometimes bleak and shocking, the novel is always an acute and authentic reflector of small-town South Africa and its extraordinary mix of people in the years of high apartheid and in its untidy aftermath.

International scholars explore one of the most important postcolonial novels of African literature. Joint winner of Best Non-Fiction Biography, Humanities and Social Sciences Awards 2020 Sol Plaatje's Mhudi is the first full-length novel in English to have been written by a black South African and is widely regarded as one of Africa's most important literary works. Drawing upon both oral and literary traditions, Plaatje uses the form of the historical novel, and romance genre, to explore the 19th-century dispossession of his people, to provide a novel black perspective on their history. It is a book that speaks to present-day concerns, to do with land, language, history and decolonisation. Today the novel has iconic status, not only in South Africa, but worldwide - it has been translated into a number of languages - and its impact on other writers has been profound. The novelist Bessie Head described it as "more than a classic; there is just no other book on earth like it. All the stature and grandeur of the author are in it." A century after its writing in London in 1920 [it was published in South Africa in 1930, for reasons explained in the book], and at a time of intellectual ferment, with debates on decolonisation to the fore, in popular culture as much as in the academy, this book celebrates Mhudi's place in African literature, reviews its critical reception, and offers fresh perspectives. The contributors discuss Mhudis genesis, writing and publication; its reception by literary critics from the 1930s to thepresent; Mhudi as a feminist novel; Mhudis use of oral tradition; issues of translation; Mhudi in the context of African literature and history, and the decolonisation of the curriculum. An authoritative listing of all editions of Mhudi, translations as well as in English completes the book. SABATA MOKAE is a novelist and lecturer in creative writing at Sol Plaatje University, Kimberley, and the author of The Story of Sol T. Plaatje (2010). BRIAN WILLAN is Senior Research Fellow at Rhodes University, Extraordinary Professor at Sol Plaatje and North West Universities. He is the author of Sol Plaatje: a life of Solomon Tshekisho Plaatje,1876-1932 (2018), and co-editor (with Janet Remmington and Bheki Peterson) of Sol Plaatje's Native Life in South Africa: Past and Present (2016). Africa: Jacana

Camugu, recently returned to Johannesburg and disillusioned by the new democracy, moves to the remote Eastern Cape. There, in the nineteenth century, a teenage prophetess commanded the Xhosa people to kill their cattle and burn their crops, promising that the spirits of their ancestors would rise and drive the English into the ocean. The failed prophecy split the people in two, with devastating consequences. One hundred and fifty years later, the two groups’ decendants are at odds over plans to build a vast casino and tourist resort, and Camugu is soon drawn into their heritage and their future—and into a bizarre love triangle as well.

It is 1903. A lame and frail Malangana – 'Little Suns' – searches for his beloved Mthwakazi after many lonely years spent in Lesotho. Mthwakazi was the young woman he had fallen in love with twenty years earlier, before the assassination of Hamilton Hope ripped the two of them apart.

Intertwined with Malangana's story, is the account of Hope – a colonial magistrate who, in the late nineteenth century, was undermining the local kingdoms of the eastern Cape in order to bring them under the control of the British. It was he who wanted to coerce Malangana’s king and his people, the amaMpondomise, into joining his battle – a scheme Malangana’s conscience could not allow.

Zakes Mda's fine new novel Little Suns weaves the true events surrounding the death of Magistrate Hope into a touching story of love and perseverance that can transcend exile and strife.

This book is a collection of non-fiction by the prolific author Zakes Mda. It showcases his role as a public intellectual with the inclusion of public lectures, essays and media articles. Mda focuses on South Africa's history and the present, identity and belonging, literary themes, human rights, global warming and why he is unable to keep silent on abuses of power.

Kristin Uys is a tough Roodepoort magistrate who lives alone with her cat. She is on a one-woman crusade to wipe out prostitution in the town for reasons that have personal significance for her. Although she is unable to convict the Visagie Brothers, Stevo and Shortie, on charges of running a brothel, she manages to nail Stevo for contempt of court and gives him a summary six-month sentence.

From Diepkloof Prison, the outraged Stevo orchestrates his revenge against the magistrate, aided and abetted by his rather inept brother Shortie and his erstwhile nanny, Aunt Magda, who believes mass action will force the powers that be to release Stevo.

Kristin receives menacing phone calls and her home is invaded and vandalised. Even her cat is threatened. The chief magistrate insists on assigning a bodyguard to protect her. To Kristin’s consternation, security guard Don Mateza moves into her home and trails her everywhere. Nor does this suit Don’s long-time girlfriend Tumi, former model and successful businesswoman, who is intent on turning Don into a Black Diamond sooner rather than later. And Don soon finds that his new assignment has unexpected complications which Tumi simply does not understand.

In Black Diamond, Zakes Mda tackles every conceivable South African stereotype, skilfully (and with the lightest touch) turning them upside down and exposing their ironies, often hilariously. This is a clever, quirky novel that captures the essence of contemporary life in Gauteng and will resonate with all South Africans.

The setting for this play is a Boer potato farm during the apartheid regime. The labourers, including prison workers, rise up against the “Baas” and his induna, an older black man who is in charge of the workforce. The old man’s life changes through what happens as does that of his wife and daughter. The story is told through the conversation of the induna’s wife and the young man who was to have married the daughter. The rebellion on the farm hints at a far larger con flict looming “up north”, as the young man leaves the farm to go and fight for the freedom and dignity of his people. Zakes Mda wrote the play in 1979 when he was in his early twenties.

Zakes Mda's satire is a kaleidoscopic display of the extremes to which men (and by implication women) are prepared to go in terms of valuing what is 'virginal'. Mda presents us with the consequences of transgression: that which is seen as polluted and judged to be dangerous to the good health and purity of a group, a society, a culture. Taboos, superstition, customs and moral ethics become the subjects of inquiry and are, at times, subjected to ribald satire. This play cuts into a virtuoso style of theatre that can in no way be confused with the objectives and methods of conventional realism. Mda establishes a unique style and tone that is innovative, entertaining and challenging. It fuses satirical elements derived from classical poetry with a modernist sensibility that synthesises Brechtian and Absurdist features of theatricality, using characters as types and montage. Above all, in this work there is a profound exploration of what it means to operate in the politically charged landscape that defines post-apartheid South Africa with its cultural pluralities and differentials in access to resources and agency. Stylistically adventurous and unafraid to deviate from conventionally accepted norms, Mda is iconoclastic in his handling of the ways in which attitudes to power, superstition, ethics and sex are constructed. The cultural discourse of patriarchy and the 'regime of truths' regarding ideals and taboos defining female sexuality, its obligations, and its custodianship are the focus of this play.

Two very different women meet during a long wait to buy subsidized rice and discover they have more in common than their poverty; an old man and a child share a last loving waltz; a cynical, disabled gangster learns humanity from a committed social worker, and a young girl finds her missing father and her role in the political struggle. This collection of stage plays, one radio play and a cinepoem, captures the essence of Zakes Mda’s method as a dramatist- a slow but intimate process of revelation (on the part of the characters). It is an artistic cooperation of the most pleasurable kind.

Novelist Zakes Mda has made a name for himself as a key chronicler of the new, post-apartheid South Africa, casting a satirical eye on its claims of political unity, its rising black middle class, and other aspects of its complicated, multiracial society. In this novel, however, he turns his lens elsewhere: to a college town in Ohio. Here he finds human relations and the battle between the community and the individual no less compelling, or ridiculous. In Athens, Ohio, old high school friends Rachel Boucher and Jason de Klerk reconnect and rekindle a relationship that quickly becomes passionate. Initially, all seems well. Not only the couple, but their friends and family, are happy at this unexpected conjunction. But then Rachel meets someone else. Jason's anger boils over into violence--violence that turns the community on its head, pitting friends and neighbors against one another. And all this happens before Rachel realizes she's pregnant. A powerful, piercing satire of contemporary life, love, and society, Rachel's Blue is a wonderful example of the social novel, surprising us with undeniable revelations about everyday life.

It is 1903. A lame and frail Malangana - 'Little Suns' - searches for his beloved Mthwakazi after many lonely years spent in Lesotho. Mthwakazi was the young woman he had fallen in love with twenty years earlier, before the assassination of Hamilton Hope ripped the two of them apart. Intertwined with Malangana's story, is the account of Hope - a colonial magistrate who, in the late nineteenth century, was undermining the local kingdoms of the eastern Cape in order to bring them under the control of the British. It was he who wanted to coerce Malangana's king and his people, the amaMpondomise, into joining his battle - a scheme Malangana's conscience could not allow. Zakes Mda's fine novel Little Suns weaves the true events surrounding the death of Magistrate Hope into a touching story of love and perseverance that can transcend exile and strife.

A "New York Times" Notable Book of the Year
"Moving, funny... Here is a man looking back on his life and country with joy and sorrow."
--John Freeman, "The Boston Globe

"The most acclaimed South African writer of his generation, Zakes Mda eight novels venture far beyond the conventional narratives of a people's struggle against apartheid. In this memoir, he tells of a life that intersects with the politics of his country--a story that is, at its heart, the classic adventure of an artist, lover, and bon vivant. Living in exile with his father in Basutoland (now Lesotho) during the first pangs of his country's independence, a series of brutal and poignant initiations ushered him toward the life of a writer--and that of a perpetual outsider. Through the indignity of Boer racism, the turmoil of the Soweto uprisings, not to mention three marriages and his eventual immigration to America, Mda struggled to remain his own man. With "Sometimes There Is a Void," he shows that independence opened the way for the stories of individual South Africans in all their variety.

A Picador Paperback Original
The hero of Zakes Mda's beloved "Ways of Dying, " Toloki, sets down with a family in Middle America and uncovers the story of the runaway slaves who were their ancestors.
Toloki, the professional mourner, has come to live in America. Lured to Athens, Ohio, by an academic at the local university, Toloki makes friends with an angry young man he meets at a Halloween parade and soon falls in love with the young man's sister. Toloki endears himself to a local quilting group and his quilting provides a portal to the past, a story of two escaped slaves seeking freedom in Ohio.
Making their way north from Virginia with nothing but their mother's quilts for a map, the boys hope to find a promised land where blacks can live as free men. Their story alternates with Toloki's, as the two narratives cast a new light on America in the twenty-first century and on an undiscovered legacy of the Underground Railroad.

The background is the notorious 1971 case in which nineteen citizens of Excelsior in the Free State were charged with breaking apartheid's Immorality Act, which forbade sex between black and white. In an extraordinary alchemy of words into art, Mda tells the story of a family at the heart of the scandal ? of Niki, the fallen madonna, Popi, her daughter by an eminent white citizen of the town, and Viliki, the betrayed son, and of how they come to terms with the repercussions and find resolution in surprising ways.

By turns earthy, witty and tragic, this energetic novel deftly handles issues of racial identity, rape and revenge. It is also a brilliantly observed study of the inner workings of small-town South Africa, and the changes rural communities have undergone.

In a remote mountain village in Lesotho, the beautiful Dikosha lives for dancing and for song, setting herself apart from her fellow villagers. Her twin brother, Radisene, works in the lowland capital of Maseru, struggling amid political upheaval to find a life for himself away from the hills. As the years pass, Radisene's fortunes rise and fall in the city, while Dikosha remains in the village, never leaving and never aging. And through it all, the community watches, comments, and passes judgment.

Winner of the M-Net Book Prize
Shortlisted for the CNA and Noma Awards

In Ways of Dying, Zakes Mda's acclaimed first novel, Toloki is a "professional mourner" in a vast and violent city of the new South Africa. Day after day he attends funerals in the townships, dressed with dignity in a threadbare suit, cape, and battered top hat, to comfort the grieving families of the victims of the city's crime, racial hatred, and crippling poverty. At a Christmas day funeral for a young boy Toloki is reunited with Noria, a woman from his village. Together they help each other to heal the past, and as their story interweaves with those of their acquaintances this elegant short novel provides a magical and painful picture of South Africa today.

Ways of Dying was awarded South Africa's prestigious M-Net Book Prize, awarded by the TV channel M-Net to books written in one of South Africa's official languages, and was shortlisted for the Central News Agency (CNA) Award and the Noma Award, an Africa-wide prize founded by Shoichi Noma, onetime president of Kodansha International.

The whale caller in his tuxedo, spends his days on the cliffs of the small coastal town of Hermanus blowing his kelp horn to the whales that visit in the summer months. In particular, he blows for Sharisha, a Southern right whale who always responds to his call. With each surfacing of her giant head and each thrashing of her tail, the whale caller's connection to Sharisha deepens. Then Saluni enters his life. Saluni - the feisty village drunk, a passionate but self destructive woman who frequents the tarvens and consorts with passing sailors. She cannot understand nor tolerate his fixation with the whales, and as the relationship between her and the whale caller grows, she finds herself vying with Sharisha for his attention. The tension builds in a devastating climax that has terrible and lasting consequences. With inimitable style and great lyricism, Zakes Mda tells a story that is at once a haunting, love story and a lament for a lost wilderness.

As Zakes Mda's fifth novel opens, the seaside village of Hermanus is overrun with whale-watchers--foreign tourists determined to see whales in their natural habitat. But when the tourists have gone home, the whale caller lingers at the shoreline, wooing a whale he has named Sharisha with cries from a kelp horn. When Sharisha fails to appear for weeks on end, the whale caller frets like a jealous lover--oblivious to the fact that the town drunk, Saluni, a woman who wears a silk dress and red stiletto heels, is infatuated with him.
The two misfits eventually fall in love. But each of them is ill equipped for romance, and their relationship suggests, in the words of "The Washington Post, " that "the deeper, darker concern here is not so much the fragility of love, but the fragility of life itself when one surrenders wholly to the foolish heart."