There is a storyteller in almost every village in Africa. Telling stories is not her offi cial job. By day she may be a Gogo, a teacher, a farmer or a seamstress. But at night, round the fi re, she will sit surrounded by young children, old friends, neighbours and travellers. She will tell of how it was in the olden days, when the earth was young, when man was a hunter-gatherer, and when the animals roamed wild throughout the continent. The author spent several months hiking around the villages, towns, farms and deserts of Zimbabwe, Zambia, Botswana and South Africa, asking people who can’t read or write to tell her their favourite stories. The result is this children’s treasury of legends and fables, of witchdoctors and kingdoms of strange creatures and talking animals, which celebrates Africa and its ancient storytelling culture.

Sometimes gentrification brings with it unexpected, sinister results, or your neighbours harbour secrets. Social media has a darker side or maybe it’s your kitchen appliances that are plotting against you. Who knows? The South African HorrorFest Bloody Parchment anthology, Beachfront Starter Home, Good Bones and Other Stories, offers you a selection of tales that will take you from the comfort of your home to deeper, disturbing destinations drawn from its 2013 competition finalists. Step inside, draw up a chair near the fire, and discover the dark visions of these authors.

The practice and theory of science communication can take many forms. One of them, which this volume represents, explores what forms of knowledge might be constructed when creative writing encounters science. Working outwards from a theoretical framework that sees the sciences as discourses constructed by human endeavour through forms of language and practices of authority, this collection offers writing that emerged from a scientific encounter. It explores the relationship between creativity and scientific experiment, between the languages deployed by scientists in their experiments and analyses and the languages forged by creatives in their ongoing efforts to understand the human condition. Fic Sci 01 brought eleven creative writers together with a biomechanical engineer. The presented science invited creative enquiry into different aspects of flow, that physical property that is so central to research in fluid mechanics. This anthology collects the results of that encounter.

Illustrated in rich pastels, this child's-eye view of an important milestone in South African history allows young readers to experience every detail of this eventful day.

Our Story Magic is a collection of enchanting and compelling tales written by Gcina Mhlophe, South Africa’s most popular performance storyteller. The illustrations are by artists from Mhlophe’s home province of Kwa-Zulu Natal. Read and share these eleven stories with the love that went into creating them.

"The inspiring journey of a girl from Africa whose near-death experience sparked a dream that changed the world"--

Go-go is the conga drum–inflected black popular music that emerged in Washington, D.C., during the 1970s. The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses that sold tickets to shows and recordings of live go-gos. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, backyards, and city parks. Go-Go Live is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.