Colourful, imaginative, vibrant, delicate and dramatic – these are just some of the hallmarks of the artworks that have garnered international accolades for Ardmore Ceramic Art in rural KwaZulu-Natal. It is here, in South Africa’s most successful ceramics studio set in the verdant Midlands, that exquisitely handcrafted and highly detailed figurative works and functional ware are created by more than fifty artists who draw on Zulu traditions and folklore, history, the natural world, and their own lives for inspiration. In turn, it is the lives of the sculptors and painters of Ardmore that fire the vision of the woman behind it all: Fée Halsted is an artist whose love of teaching and determination to fight poverty and AIDS have set others on the path of creative self-discovery and ultimately worldwide acclaim. Ardmore – We are because of others tells the extraordinary story of this famous studio – from its humble beginnings in a poverty-stricken corner of South Africa to its fame as a producer of exceptional and irresistible objets d’art prized by collectors, galleries and museums throughout the world. It is also the story of the indomitable Fée Halsted who is the driving force behind the enterprise, and the artists whose inventive spirit and fearless creativity are at the heart of Ardmore. Fée Halsted graduated with a BA (Fine Art) from the University of Natal, Pietermaritzburg (now the University of KwaZulu-Natal), in 1981 and completed an Advanced Diploma in ceramics in 1983. She lectured at the former Durban Technikon before establishing Ardmore Ceramic Art along with Bonnie Ntshalintshali in 1985. In 1990 the duo was jointly awarded the prestigious Standard Bank Young Artist Award. In 2010, in recognition of her work at Ardmore and for her efforts to empower women and uplift the lives of their families, Fée was honoured by the Philadelphia-based international nongovernmental organisation, Women’s Campaign International. To date she has participated in more than 60 national and international exhibitions and biennales, and Ardmore ceramics can now be found in several major public collections and museums, including the Museum of Cultures in Basel, Switzerland, the Museum of Arts and Design in New York, USA, the Hetjens Museum in Düsseldorf, Germany, the South African National Gallery, the Johannesburg Art Gallery and the Standard Bank Collection, as well as in a number of private collections.

Animated by a singularly subversive spirit, the fiendishly intelligent works of Stuart Gordon (1947–2020) are distinguished by their arrant boldness and scab-picking wit. Provocative gems such as Re-Animator, From Beyond, Dolls, The Pit and the Pendulum, and Dagon consolidated his fearsome reputation as one of the masters of the contemporary horror film, bringing an unfamiliar archness, political complexity, and critical respect to a genre so often bereft of these virtues. A versatile filmmaker, one who resolutely refused to mellow with age, Gordon proved equally adept at crafting pointed science fiction (Robot Jox, Fortress, Space Truckers), sweet-tempered fantasy (The Wonderful Ice Cream Suit), and nihilistic thrillers (King of the Ants, Edmond, Stuck), customarily scrubbing the sharply drawn lines between exploitation and arthouse cinema. The first collection of interviews ever to be published on the director, Stuart Gordon: Interviews contains thirty-six articles spanning a period of fifty years. Bountiful in anecdote and information, these candid conversations chronicle the trajectory of a fascinating career—one that courted controversy from its very beginning. Among the topics Gordon discusses are his youth and early influences, his founding of Chicago’s legendary Organic Theatre (where he collaborated with such luminaries as Ray Bradbury, Kurt Vonnegut, and David Mamet), and his transition into filmmaking where he created a body of work that injected fresh blood into several ailing staples of American cinema. He also reveals details of his working methods, his steadfast relationships with frequent collaborators, his great love for the works of Lovecraft and Poe, and how horror stories can masquerade as sociopolitical commentaries.

“My father’s life represented many layers of the human experience—freedman and Native American, farmer and rancher, rural educator and urban professional.”—John Hope Franklin Buck Colbert Franklin (1879–1960) led an extraordinary life; from his youth in what was then the Indian Territory to his practice of law in twentieth-century Tulsa, he was an observant witness to the changes in politics, law, daily existence, and race relations that transformed the wide-open Southwest. Fascinating in its depiction of an intelligent young man's coming of age in the days of the Land Rush and the closing of the frontier, My Life and an Era is equally important for its reporting of the triracial culture of early Oklahoma. Recalling his boyhood spent in the Chickasaw Nation, Franklin suggests that blacks fared better in Oklahoma in the days of the Indians than they did later with the white population. In addition to his insights about the social milieu, he offers youthful reminiscences of mustangs and mountain lions, of farming and ranch life, that might appear in a Western novel. After returning from college in Nashville and Atlanta, Franklin married a college classmate, studied law by mail, passed the bar, and struggled to build a practice in Springer and Ardmore in the first years of Oklahoma statehood. Eventually a successful attorney in Tulsa, he was an eyewitness to a number of important events in the Southwest, including the Tulsa race riot of 1921, which left more than 100 dead. His account clearly shows the growing racial tensions as more and more people moved into the state in the period leading up to World War II. Rounded out by an older man’s reflections on race, religion, culture, and law, My Life and an Era presents a true, firsthand account of a unique yet defining place and time in the nation's history, as told by an eloquent and impassioned writer.