When Bridget Hilton-Barber got on a train to Grahamstown in 1982 to study journalism at Rhodes University, she had no idea of the brutal drama that would unfold. A rebellious young woman, she became politically involved in anti-apartheid organisations and was caught up in the massive resistance and repression sweeping the Eastern Cape at the time. She ended up spending three months in detention without trial, and after her release discovered she had been betrayed by one of her best friends, Olivia Forsyth, who was a spy for the South African security police. Thirty years later, a horrific flashback triggers Bridget’s journey back to the Eastern Cape to see if she can forgive her betrayer and finally let go of the extraordinary violence she encountered in the final days of apartheid. This is her powerful story.

In this timely, original and sophisticated collection, writers from the Global South demonstrate that forms of publicness are multiple, mobile and varied. The notion that societies mediate issues through certain kinds of engagement is at the heart of imaginings of democracy and often centers on the ideal of the public sphere. But this imagined foundation of how we live collectively appears to have suffered a dramatic collapse across the world, with many democracies apparently unable to solve problems through talk – or even to agree on who speaks, in what ways and where. In the 10 essays in this timely, original and sophisticated collection, writers from southern Africa combine theoretical analysis with the examination of historical cases and contemporary developments to demonstrate that forms of publicness are multiple, mobile and varied. They propose new concepts and methodologies to analyse how public engagements work in society. Babel Unbound examines charged examples from the Global South, such as the centuries old Timbuktu archive, Nelson Mandela as a powerful absent presence in 1960s public life, and the challenges to the terms of contemporary debate around the student activism of #rhodesmustfall and #feesmustfall. These show how issues of public discussion span both archive and media, verbal debates in formal spaces and visual performances that circulate in unpredictable ways.

1986 was a pivotal year in South African history. It was the year of the vigilante, the year of the necklace – but also the year the talking began. Drawing on newspaper articles, memoirs, and little-known histories, William Dicey presents a compelling diary of a very bad year. He focuses on ordinary people, showing what life was actually like under an authoritarian regime – from the six hours a day that black workers in KwaNdebele spent on buses to the rebel sporting tours that provided a distraction for white South Africans. Some stories foreshadow the miracle of 1990 – for instance, the deputy commander of Pollsmoor Prison takes Nelson Mandela on a scenic drive around Cape Town, years before his eventual release. Other stories shine a light on our current conflicts. Written in crisp prose, 1986 is a model of historical excavation, deftly evoking the spirit of the times.

An award-winning historian and journalist tells the very human story of apartheid’s afterlife, tracing the fates of South African insurgents, collaborators, and the security police through the tale of the clandestine photo album used to target apartheid’s enemies. From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination. All of the albums were ordered destroyed when apartheid’s violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid’s guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic. With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today’s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa’s newest export: “security consultants” serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid’s tragic caprice, ultimate failure, and grim legacy.

Skye is looking for normal. She grew up different and it rankles. Home isnt normal; her mom isnt normal. Her brother, beloved as he is, isnt quite normal, either. Her marriage was kind of normal (Cam is a wealthy, handsome man whos nice enough) and now its a dumpster fire. And look at South Africaentirely NOT normal. Shes got PTSD and shes in mourning. She doesnt know who she is or what she wants. She tries to anchor herself to tangible things: to her cooking, to her neighbours children, to sex. But as she relives her past and tries to plan her future, she feels increasingly dislocated. Skye escapes when things get overwhelming, and realises almost too late that shes about to make everything worse.

"I owe it to many people, and to myself, to set the record straight. There have been many versions of parts of the story in the press over the years, many lies overlaid with truths and truths overlaid with lies. Much of the truth is just a palimpsest, an echo that changes even in the act of repeating it, but this is my story." In the dying years of apartheid, a most extraordinary story hit the headlines. Agent Olivia Forsyth had escaped from ANC imprisonment in Angola. Upon her return home she was feted as a hero by the government. In a flurry of media appearances and press releases, Forsyth claimed to have infiltrated the ANC and passed on vital information. Is that what really happened? In the world of espionage, truth is the first victim and nothing is as it seems. Here, for the first time and in her own words, South Africa's most notorious female spy during apartheid lays bare the story of her life. Olivia Forsyth was also known as agent RS407, codename Lara, lieutenant in the Security Branch of the South Africa Police, ANC comrade Helen Bronson, prisoner Thandeka, alias Christine Smith.

The series Studies on Modern Orient provides an overview of religious, political and social phenomena in modern and contemporary Muslim societies. The volumes do not only take into account Near and Middle Eastern countries, but also explore Islam and Muslim culture in other regions of the world, for example, in Europe and the US. The series Studies on Modern Orient was founded in 2010 by Klaus Schwarz Verlag.