Группа авторов
Список книг автора Группа авторовCome Again?
How do you get a snapshot of a nation? What’s made us cry, laugh and nearly tear out our hair in frustration in the past year? The news comes thick, fast and more ridiculous every day and it’s all too easy to forget the headlines that had us nearly crash our cars just a few months ago. And it’s even easier to have missed that truly outrageous quote on the inside letters page. This collection of more than 450 quotes tells a story of South Africa right now, in an extensive collection from the anonymous to the contemptuous (“What did YOU do in the war, Jimmy?”). It documents the hopes, fears and funnies of our nation captured through Twitter, Facebook, and good old-fashioned reporting. Put your feet up and get ready to sigh, “Only in South Africa”.
Rugbymal
Gesonde belangstelling of totale verslawing? Wat is dit wat maak dat soveel Afrikaanse mans (én vroue) heeltemal rugbymal is? In dié boek verduidelik oud-Springbokke, rugbyjoernaliste en gewone ondersteuners waarom hulle so versot is op die spel. Sommige vertel van waardevolle lewenslesse wat hulle op én van die veld af geleer het, terwyl ander nostalgies raak oor onvergeetlike momente in Springbok-rugby. Alles word gedek: van raserige ma’s langs hoërskoolrugbyvelde tot die uitwerking op ’n man se selfbeeld as sy span alwéér verloor.
Boereoorlogstories 2
Die Anglo-Boereoorlog van 1899–1902 is helderder as ooit in die Afrikaanse leser se geheue. Verkope van die eerste bundel, getitel Boereoorlogstories, het alle verwagting oorskry en het reeds ’n tweede druk van die tweede uitgawe daarvan genoodsaak. In Boereoorlogstories 2 tree ook jonger skrywers tot die gesprek toe, onder andere Christine Barkhuizen Le Roux, Jaco Fouché en Gerda Taljaard. Die verhale van lyding en opoffering wat die eerste bundel gekenmerk het, word in die tweede bundel verbreed met ’n skerper blik op verraad. Die joiner en hensopper kom as uitgeworpene onder die soeklig (“Die groot gemis”, Dolf van Coller) maar ook as feilbare mens in vertwyfeling (“Was Oupa dapper?”, Lappe Laubscher; “Groete daar op Voorstevlei”, Jaco Fouché.) Die verkwikking van humor oor ernstige sake bly nie uit nie. Ook is daar erkenning vir die feit dat alle soldate van die Britse Ryk nie demone was nie (“Eenmaal was daar ’n goeie man”, Marita van Aswegen). En die Boer Gideon Scheepers – vir die Britse Ryk ’n rebel wat teregstelling verdien het vir sy verraad jeens sy regering – word geteken in sy barmhartigheid jeens ’n Engelse vrou op die platteland. Só belig hierdie tweede bundel ’n nog wyer spektrum as die eerste in sterk verhale en ’n idioom wat die tydperk van die Anglo-Boereoorlog lewend hou: vir lesers met ’n voorkeur vir historiese verhale, maar ook vir enige leser wat die kortverhaalkuns waardeer.
Bloots
Die woordeboek sê die erotiek gaan oor al die verskynsels en gevoelens van “sinlike” liefde, en oor die kuns “om lief te hê”. Die erotiek was nog altyd met ons en sal altyd met ons wees – nie net in die slaapkamer nie, maar ook in vele mooi dinge in die wêreld om ons: ’n Rodin-beeldhouwerk, ’n Picasso-skildery, ’n Dvorák-simfonie, ’n Zeferelli-rolprent, ’n Ferrari-ontwerp of Alexander McQueen-tabberd … Maar erotiek het nie altyd met die liefde te make nie. Soms is dit sinloos, sedeloos, waansinnig en onsinnig … Erotiek hoef nie noodwendig sag, pienk en romanties te wees nie. In Afrikaans het ons al bundels gehad wat dié onderwerp aanraak – dink maar aan Lyfspel/Body Play (1994), Rachelle Greeff se versameling erotiese verhale deur vroue; Johann de Lange en Antjie Krog se bundel Die dye trek die dye aan (1998), en meer onlangs was daar Maanvrug en Slavin deur Annelise. Maar die tyd is ryp vir ’n vars blik op die erotiek in Afrikaans. Tafelberg het die omvangrykste bundel oor die erotiek bedink: Bloots bevat verhale van ou hande en nuwe stemme; digters, joernaliste, skrywers, sangers, sakemense, sosiale vlinders, sekskatjies, tuiniers, politici, komediante, kosmense, kerkmense, kunstenaars, kommentators, ekonome, en regisseurs. Daar’s ma’s en pa’s, oumas en oupas, weduwees en wewenaars, ougetroudes, geskeides, alleenlopers. Van hulle is bekend, ander minder bekend. Bloots is lyfliteratuur uit die boonste rakke.
Blou Maandag
’n Wetenskaplike van Cardiff-Universiteit het 'n formule gevind om te bereken wanneer 'n blou Maandag mens gaan tref. Hy sê dit is die weer minus jou skuld, vermenigvuldig met die dae wat verby is sedert Kersfees, wat dan gedeel moet word die som van jou lae motiveringsvlakke en jou behoefte om aksie te neem. Daarvolgens was 25 Januarie vanjaar die amptelike, wetenskaplik bewese Blou Maandag. Die dag waarop mense regtig lelik depressief geraak het. Tafelberg-Uitgewers het 'n klompie interessante persoonlikhede gevra om lekker onderhoudend te vertel van hul ondervindings. Kom verkneukel jou in die ergste Blou Maandag wat al beleef is deur mense soos Elma Postma, Peter Veldsman, Toast Coetzer, Anton Goosen, Lien Botha, Ollie Viljoen, Kerneels Breytenbach en Schalk Joubert.
Poetry Book Society Summer 2020 Bulletin
The Poetry Book Society's quarterly poetry magazine featuring sneak preview poems, exclusive interviews with major worldwide poets, reviews and extensive listings.
The Summer 2020 Bulletin features Bhanu Kapil, Natalie Diaz, Ella Frears, Seán Hewitt, Ranjit Hoskote, Grace Nichols, Loretta Collins Klobah, Maria Grau Perejoan, Alycia Pirmohamed and Wayne Holloway-Smith.
You may like to consider our membership options to get your Bulletin and books every quarter. To subscribe please visit https: //www.poetrybooks.co.uk/collections/memberships/products/full-membership
The Grouch (A Modern Version of The Misanthrope)
“How I deplore the bogus waysOf society these days -A sort of national contestTo find out who can a*se-lick best!”In this witty cutting version of Le Misanthrope Molière’s angry hero Alceste becomes Alan – journalist, intellectual and free spirit- who finds himself adrift in a social whirl of false flattery and schmooze. In a world where nobody calls a spade a spade (or even knows what a spade is for), how can the cantankerous but high-minded Alan secure the affections of Celia – a spoiled, feckless, fickle socialite, who happens to be the love of his life?The Grouch was first performed at West Yorkshire Playhouse in February 2008
The Live Art Almanac: Volume 3
The Live Art Almanac Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about. Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise and rise of activist practices. The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings. The Live Art Almanac Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).
Hidden Gems Volume II: Contemporary Black British Plays
‘A terrific collection of work by writers I admire hugely. Each of them prove that there is no such thing as the black experience, but only black experiences.’ Roy WilliamsThis second and sister volume to Hidden Gems showcases a further range of plays by Black British writers whose work reaches beyond themes too-often perceived by mainstream theatre commissioning as defining Black people’s experiences. The plays, monodrama and libretto represent subject-matter from woman-centred history, revolutionary politics, trans-racial adoption and African-diasporic familial heritage, as contoured by the writers’ boundary-crossing profiles as poets, playwrights, performers and directors. The accompanying critical introductions are provided by people committed to recognising the aesthetic and political significance of the work, and its necessary inclusion in British theatre and literary history.includes the plays A BITTER HERB KWAME KWEI-ARMAH THE FAR SIDE COURTTIA NEWLAND IDENTITY PAUL ANTHONY MORRIS,i>URBAN AFRO SAXONS[/i] KOFI AGYEMANG & PATRICIA ELCOCK MARY SEACOLE SUANDI ABSOLUTION MALIKA BOOKER
The Oberon Anthology of Contemporary Irish Plays: 'This is just this. This isn't real. It’s money.’
HEROIN by Grace Dyas, Trade by Mark O’Halloran, The Art of Swimming by Lynda Radley, Pineapple by Phillip McMahon, I ? Alice ? I by Amy Conroy, The Big Deal edited by Una McKevitt, Oedipus Loves You by Simon Doyle & Gavin Quinn, The Year of Magical Wanking by Neil WatkinsEdited and introduced by Thomas Conway.This anthology comprises eight new plays by Irish playwrights premièred between the years 2006 and 2011.These playwrights ride, however, in no slipstream of the identifiably Irish play. Here, the enterprise of playwriting itself is being re-imagined. Here, above all else, is a commitment to becoming in the theatre.For all that, each play is concerned with what is unfinished business in Ireland. How astonishing, then, that these plays should revolve for the most part around identity and, in particular, sexual identity. How identity comes into play, how we open up the field of play, how we raise into collective experience the exercise of that play – the urgency in the playwriting would appear to lie precisely here.We can read from the historical moment – from a narrative emphasizing an economic bubble and its hangover – into these plays. Or we can take these playwrights at their word and observe lives lived at the contour of identities in the making. It is for us as readers, just as we have as theatre-goers – frequently scandalized, enthralled, shamed, appalled, unburdened, tickled pink – to decide.