The Botsotso literary journal started in 1996 as a monthly 4 page insert in the New Nation, an independent anti-apartheid South African weekly and reached over 80,000 people at a time – largely politisized black workers and youth – with a selection of poems, short stories and short essays that reflected the deep changes taking place in the country at that time. Since the closure of the New Nation in 1999, the journal has evolved into a stand-alone compilation featuring the same mix of genres, and with the addition of photo essays and reviews. The Botsotso editorial policy remains committed to creating a mix of voices which highlight the diverse spectrum of South African identities and languages, particularly those that are dedicated to radical expression and examinations of South Africa's complex society.

In her newest collection, Salimah Valiani traces the meaning of love in 29 different ways. Two themes thread the poetic work: the exploration of love via loss, movement, stillness and surrender; and the attempt to understand historically the socio-ecological dismantling we are living throughout the world today. This book is about love in a large sense, of a sort/sorts needed to heal ourselves and our world ravaged today with division, fascism, ecocide, inequality, and violence. It reaches to define this larger love, avoiding the more pervasive love poems that focus on romance and individual healing, and ultimately proffering that love is the means to transformative change in the twenty-first century.

No Time to Mourn is a collection of short stories, poems, artwork and photography penned, produced and presented by South Sudanese women. It reflects the lives of the women writers and artists, and at the same time gives voice to the very real lived experiences and lives of every woman of South Sudanese heritage. The ideas and experiences in this book span decades they straddle borders, they cross continents and describe events that are hard to imagine, even with some knowledge of South Sudan's history. It is hard not to be moved as you read what many of these authors have lived through as they strive to achieve those basic of human rights: life, liberty and security. Through this book, we learn more about the cost of war and the value of peace, and how they affect women's abilities to found a home, bear and raise children, stay healthy and safe, secure education for themselves and their children, seek professional fulfilment and even fall in love, all while navigating society's often narrowly defined gender roles.

Sprawling to the south east of the revered Hararethere is a place millions call home, Chitungwiza as in that olden track, mushamukuru, wakaenda kupiko, Chitungwiza. It is Zimbabwes biggest village, that became a town, that became a city, that became our own Soweto Zimbabwes biggest suburb yet also Zimbabwes Hollywood. It has produced or groomed Zimbabwes creatives and creative industry from film, by the book, poets, musicians, entertainers, academia, media practitioners, sculptors and those involved in other visual arts. In this anthology, Chitungwiza Mushamukuru: An Anthology from Zimbabwes Biggest Ghetto Town, we have work from 1 artist and 11 writers who have called this Chitungwiza, Zimbabwe home, or have wrote home about this place, or have created artworks which highlight the culture, identity, lives, and position Chitungwiza in these matrixes or beyond those highlighted above.

The High Flier and Other Stories is a collection of twelve exciting short stories from across Africa. The collection focuses on pertinent issues which touch on social, economic and political aspects of life such as the place of the African girl child, personal relationships in a changing cultural universe, female exploitation and choice, interracial relationships, HIV and AIDS, political disillusionment and betrayal, prison life, and disability. The stories provide insight into the issues that dominate contemporary debates in Africa from some the continents most well-known writers such as Chimamanda Ngozi Adichie, Ngugi wa Thiong’o, Grace Ogot, Chiedza Musengezi, Seam O’Toole, Chika Unigwe, Mildred Kiconco Barya, Mzana Mthimkhulu, Leila Aboulela, Alex la Guma, Vivienne Ndlovu and Leteipa ole Sunkuli.

The Botsotso literary journal started in 1996 as a monthly 4 page insert in the New Nation, an independent anti-apartheid South African weekly and reached over 80,000 people at a time largely politisized black workers and youth with a selection of poems, short stories and short essays that reflected the deep changes taking place in the country at that time. Since the closure of the New Nation in 1999, the journal has evolved into a stand-alone compilation featuring the same mix of genres, and with the addition of photo essays and reviews. The Botsotso editorial policy remains committed to creating a mix of voices which highlight the diverse spectrum of South African identities and languages, particularly those that are dedicated to radical expression and examinations of South Africa's complex society. Botsotso 19: Fiction. True, False and Fantastical includes thirty-one pieces by a wide range of southern African writers accompanied with photographs by Moshe Sekete Potswana. The edition focuses on fiction that covers a wide range of themes and situations: Thabisani Ndlovus Making a Woman is about patriarchy and rising feminism in a Zimbabwean village, Mpumelelo Cilibes Keep the Ship Moving! is set during the emergence of the first trade union at a Ford motor plant in the late 1970s in Port Elizabeth, South Africa, and Muthal Naidoos anthropomorphic satire Stone Walls is about exploitative friendships. Botsotso 19 displays the art of storytelling in many forms and styles and moves the reader through a wide range of emotions.