"In this unique collection of folk stories, the voices of long-dead "Bushmen," or San people, of southern Africa speak to us about their lives and beliefs. We are given glimpses into their thought-world. We listen to them recounting their poignant myths and beliefs".--BOOKJACKET.

" . . . a first-rate piece of scholarship . . . an invaluable summary and commentary on the multilingual literature on [Bushman] people." —Choice The trickster and trance dancer are the guides through Bushman (or San) religion, a world of ambiguity and contradiction, and of enchantment. The two figures, who in Bushman belief are symbolically equivalent and mystically linked, embody these antistructural traits.

What is the essence of story? How does the storyteller convey meaning? Leading scholar Harold Scheub tackles these questions and more, demonstrating that the power of story lies in emotion. While others have focused on the importance of structure in the art of story, Scheub emphasizes emotion. He shows how an expert storyteller uses structural elements—image, rhythm, and narrative—to shape a story's fundamental emotional content. The storyteller uses traditional images, repetition, and linear narrative to move the audience past the story’s surface of morals and ideas, and make connections to their past, present, and future. To guide the audience on this emotional journey is the storyteller’s art. The traditional stories from South African, Xhosa, and San cultures included in the book lend persuasive support to Scheub’s. These stories speak for themselves, demonstrating that a skilled performer can stir emotions despite the obstacles of space, time, and culture.

This new edition of the long-out-of print classic collection of Bushman tales provides a fascinating look into the life of these little-known people. As Megan Biesele writes in her Foreword: The fact that a family of trained linguists and their associates sat down between 1870 and 1884 with a group of /Xam people who had been temporarily sprung free of imprisonment in Cape Town's Breakwater Prison has immense potential consequences. San people today, like indigenous peoples all over the world, are quietly organizing educational futures for themselves which will make fine use of this record of the intellectual history of their culture. This edition reproduces the English text of the 1911 edition and is richly illustrated with photographs.

A companion to The Archaeology of Rock-Art (Cambridge 1998), this new collection edited by Christopher Chippindale and George Nash addresses the most important component around the rock-art panel - its landscape. The Figured Landscapes of Rock-Art draws together the work of many well-known scholars from key regions of the world for rock-art and for rock-art research. It provides a unique, broad and varied insight into the arrangement, location, and structure of rock-art and its place within the landscapes of ancient worlds as ancient people experienced them. Packed with illustrations, as befits a book about images, The Figured Landscapes of Rock-Art offers a visual as well as a literary key to the understanding of this most lovely and alluring of archaeological traces.

Told in their separate voices, sixteen-year-old Prince Oliver, who wants to break free of his fairy-tale existence, and fifteen-year-old Delilah, a loner obsessed with Prince Oliver and the book in which he exists, work together to seek his freedom.