You may have read GG Alcock's books about the kasi economy; now follow his journey to the dynamic world of KasiNomics and learn about the tribal forces that shaped him. Born White Zulu Bred is the story of a white child and his brother raised in poverty in a Zulu community in rural South Africa during the apartheid era. His extraordinary parents, Creina and Neil Alcock, gave up lives of comfort and privilege to live and work among the destitute people of Msinga, whose material and social well-being became their mission. But more than that, this is a story about life in South Africa today which, through GG's unique perspective, explores the huge diversity of the country's people – from tribal Zulu warriors to sophisticated urban black township entrepreneurs. A journey from the arid wastes of Msinga into the thriving informal economies of urban townships. GG's view is that we do not live in a black and white world but in a world of contrast and diversity, one which he wants South Africans, and a world audience, to see for what it is without descending into racial and historical clichés. He takes us through the mazes of township marketplaces, shacks and crowded streets to reveal the proud and dignified world of township entrepreneurs who are transforming South Africa's economy. This is the world that he moves in today as a successful businessman, still walking those spaces and celebrating the vibrant informal economies that are taking part in the KasiNomic Revolution. GG's story is about being truly African, even as a white person, and it draws on the adventures, the cultural challenges, the informal spaces and the future possibilities of South Africa.

"Why are you learning Zulu?" When Mark Sanders began studying the language, he was often asked this question. In Learning Zulu, Sanders places his own endeavors within a wider context to uncover how, in the past 150 years of South African history, Zulu became a battleground for issues of property, possession, and deprivation. Sanders combines elements of analysis and memoir to explore a complex cultural history. Perceiving that colonial learners of Zulu saw themselves as repairing harm done to Africans by Europeans, Sanders reveals deeper motives at work in the development of Zulu-language learning—from the emergence of the pidgin Fanagalo among missionaries and traders in the nineteenth century to widespread efforts, in the twentieth and twenty-first centuries, to teach a correct form of Zulu. Sanders looks at the white appropriation of Zulu language, music, and dance in South African culture, and at the association of Zulu with a martial masculinity. In exploring how Zulu has come to represent what is most properly and powerfully African, Sanders examines differences in English- and Zulu-language press coverage of an important trial, as well as the role of linguistic purism in xenophobic violence in South Africa. Through one person's efforts to learn the Zulu language, Learning Zulu explores how a language's history and politics influence all individuals in a multilingual society.

Being a Memoir of Isandlwana and Rorke’s Drift, including Hints on Piano Theft, Theatrical Costumery and Acts of Arson, in the Service of Queen Victoria, God Bless Her. Being a Memoir of Isandlwana and Rorke’s Drift, including Hints on Piano Theft, Theatrical Costumery and Acts of Arson, in the Service of Queen Victoria, God Bless Her.A historical farce in the same vein as the Flashman books, White Zulu describes adventures and misadventures of Colonel Bagshot, late of her Majesty’s Hussars in the battles of Isandlwana and Rourke’s Drift. Solidly based in historical events, it plays on the “unseen events” of war to tell a tale in his retirement

Some of my best friends are white is a collection of sharp, satirical essays on contemporary South African issues from the point of view of a successful corporate professional - who just happens to be Zulu. Crossing various controversial, amusing and downright confusing racial divides, the title delivers a healthy dose of black - and white - humour as it explores some of the rainbow nation's defining characteristics, its many colourful characters and its myriad mysterious idiosyncrasies.

An essay collection that offers “a fascinating glimpse of post-apartheid South Africa” from the bestselling author of My Traitor’s Heart (The Sunday Times). The Lion Sleeps Tonight is Rian Malan’s remarkable chronicle of South Africa’s halting steps and missteps, taken as blacks and whites try to build a new country. In the title story, Malan investigates the provenance of the world-famous song, recorded by Pete Seeger and REM among many others, which Malan traces back to a Zulu singer named Solomon Linda. He follows the trial of Winnie Mandela; he writes about the last Afrikaner, an old Boer woman who settled on the slopes of Mount Meru; he plunges into President Mbeki’s AIDS policies of the 1990s; and finally he tells the story of the Alcock brothers (sons of Neil and Creina whose heartbreaking story was told in My Traitor’s Heart), two white South Africans raised among the Zulu and fluent in their language and customs. The twenty-one essays collected here, combined with Malan’s sardonic interstitial commentary, offer a brilliantly observed portrait of contemporary South Africa; “a grimly realistic picture of a nation clinging desperately to hope” (The Guardian).

As indelible components of the history of the United States, race and racism have permeated nearly all aspects of life: cultural, economic, political, and social. In this first anthology on race in early cinema, fourteen scholars examine the origins, dynamics, and ramifications of racism and Eurocentrism and the resistance to both during the early years of American motion pictures. Any discussion of racial themes and practices in any arena inevitably begins with the definition of race. Is race an innate and biologically determined "essence" or is it a culturally constructed category? Is the question irrelevant? Perhaps race exists as an ever-changing historical and social formation that, regardless of any standard definition, involves exploitation, degradation, and struggle. In his introduction, Daniel Bernardi writes that "early cinema has been a clear partner in the hegemonic struggle over the meaning of race" and that it was steadfastly aligned with a Eurocentric world view at the expense of those who didn't count as white. The contributors to this work tackle these problems and address such subjects as biological determinism, miscegenation, Manifest Destiny, assimilation, and nativism and their impact on early cinema. Analyses of The Birth of a Nation, Romona, Nanook of the North and Madame Butterfly and the directorial styles of D. W. Griffith, Oscar Micheaux, and Edwin Porter are included in the volume.