South Africa is recognized as a site of both political turmoil and natural beauty, and yet little work has been done in connecting these defining national characteristics. Washed with Sun achieves this conjunction in its multidisciplinary study of South Africa as a space at once natural and constructed. Weaving together practical, aesthetic, and ideological analyses, Jeremy Foster examines the role of landscape in forming the cultural iconographies and spatialities that shaped the imaginary geography of emerging nationhood. Looking in particular at the years following the British victory in the second Boer War, from 1902 to 1930, Foster discusses the influence of painting, writing, architecture, and photography on the construction of a shared, romanticized landscape subjectivity that was perceived as inseparable from "being South African," and thus helped forge the imagined community of white South Africa. In its innovative approach to South Africa's history, Washed with Sun breaks important new ground, combining the persuasive theory of cultural geography with the material specificity of landscape history.

An action-packed thriller by global sensation, Wilbur Smith. 'A master storyteller' - Sunday Times 'Wilbur Smith is one of those benchmarks against whom others are compared' - The Times 'No one does adventure quite like Smith' - Daily Mirror The highest prize comes at the highest price... Captain Bruce Curry has a simple enough mission: to lead his mercenary soldiers to rescue a town cut off by rebel fighting in the Belgian Congo. But events quickly take a turn for the worse as it becomes clear that the town's diamond supplies are the real focus of the mission. And where there is treasure, danger always seems to follow. It isn't long before Curry finds something even more valuable than diamonds in the town. Something he'll do anything to protect. And soon he discovers that his most deadly enemies might be those closest to him . . .

Viviano travels to his family's ancestral home in western Sicily to investigate the murder of his great-great grandfather more than a hundred years before. He uncovered a web of family loyalty, blood feuds and codes of silence.

Looking mainly at the years following the British victory in the second Boer War, from 1902 to 1930, Foster examines the influence of painting, writing, architecture, and photography on the construction of a shared, romanticized landscape subjectivity that was perceived as inseparable from “being South African”, and thus helped forge the imagined community of white South Africa.

This compelling narrative pits the legacies of two men in the village of Nwemba. Winjala the Crude, yardman to the English surveyor Pete Harrington, kills the latter's favourite animal, the big monkey called Stirrup, and runs to his village. Sama Gakoh, washerman to Harrington, also returns home when his services are terminated for age reasons. Both hold clashing views of the white man. They die shortly after their return but their sons pick up and sustain their conflicting philosophies. The drama culminates in the fishing contest where the village chief, Ndelu, takes an unprecedented decision charged with meaning and wisdom. The action is given piquancy by a strong undercurrent of human passion that flies in the face, so to speak, of artifices that divide and alienate. We are dealing here with a profound allegory that brings the classical stereotypes into pointed - and hopefully final - disrepute.

Tomi was born in Hawaii. His grandfather and parents were born in Japan, and came to America to escape poverty. World War II seems far away from Tomi and his friends, who are too busy playing ball on their eighth-grade team, the Rats. But then Pearl Harbor is attacked by the Japanese, and the United States declares war on Japan. Japanese men are rounded up, and Tomi’s father and grandfather are arrested. It’s a terrifying time to be Japanese in America. But one thing doesn’t change: the loyalty of Tomi’s buddies, the Rats.

This omnibus of "Nightside of the Long Sun" and "Lake of the Long Sun" is this "modern-day Homer" ("Washington Post Book World") at his best.