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This collection brims with the imaginative, informative and comic personal narratives of Hedley Twidle. Twidle brings a sense of lightness, play and comedy to subjects that are often dealt with in predictable or self-righteous ways.
It chronicles South Africa during the ‘second transition’ – one in which the foundations of the post-apartheid settlement are being shaken and questioned in all kinds of ways.
We live in an age of perfectionism.
Every day, we’re bombarded with the beautiful, successful, slim, socially-conscious and extroverted individual that our culture has decided is the perfect self. We see this person constantly in shop windows, in newspapers, on the television, at the movies and all over our social media. We berate ourselves when we don’t match up to them – when we’re too fat, too old, too poor or too sad. This cycle can be extremely bad for us. In recent years, psychologists have even begun to think that many people take their own lives because of the impossible standards that are set for who they ought to be.
Will Storr began to wonder about this perfect self that torments so many of us. Who, actually, is this person? Why does it hold such power over us? Could it be humanity’s deadliest idea? And, if so, is there any way we can break its spell? To find out, Storr takes us on a journey from the shores of Ancient Greece, through the Christian Middle Ages, the encounter groups of 1960s California and self-esteem evangelists of the late twentieth century to modern-day America, where research suggests today’s young people are in the grip of an epidemic of narcissism. He’ll tell the strange story of the individualist Western self from its birth on the Aegean to the era of hyper-individualistic neoliberalism in which we find ourselves today.
Selfie reveals, for the first time, the epic tale of the person we all know so intimately . . . because it’s us.
What happened to Generation X? Millenials dominate our Facebook feeds and people bang on about the baby boomers - but what about us? The lost generation, the middle youth, the middle child of today. Are we still cool?
Generation X? Remember them? The kids who believed they'd never grow up. The generation Douglas Coupland immortalised in his novel of the same name. The wry, knowing navel-gazers obsessed with cool and being cool who today are sandwiched between the boomers of the 60s and the millennials. Gen X'ers came of age against a backdrop of Britpop and the Spice Girls, Tarantino and Pulp Fiction, Madchester and the Stone Roses, acid house and rave, super clubs, Ministry and Cream. They holidayed in Ibiza high on hooch and E and never ever believed there'd be a comedown. So whatever happened to them? We turned 40. And as Tiffanie Darke points out in this witty exploration of the generation who defied generalisation, we're not handling it all that well...
Where once we wore floaty skirts and Doc Martins, now we're sporting Scandi fashion and 'interesting' trainers. We still party in Ibiza but now bodyboard in Cornwall. Where once mixtapes were the ultimate mating call, now we take selfies and swap Spotify playlists - all the while conspicuously wearing large Dr Beats headphones and casually leaving old packets of Kingsize Rizla lying round our open plan kitchens. More to the point, Gen X are now in charge. In government, in business and the creative industries. The most anti-establishment of generations has now become the establishment. But as tech overtakes the arts as society's great shaping force, Tiffanie ponders - does cool and its pursuit still matter?
If Gen X had it sorted, gave us Barack Obama and downward facing dogs, why is stress the new flu? Why are we working not for love anymore - or cool - but to avoid negative equity and depleting pension pots? In Now We Are 40, Tiffanie interviews some of the most iconic Gen X'ers such as Pearl Lowe, Richard Reed and Blur's bassist Alex James to look at how Gen X live their life in between being young and old, and how it feels to want to burn down the establishment only to realise that now you are the establishment.
Unless there is significant change, the world is heading for an explosion. The growing gap between rich and poor is dangerous and unsustainable. The plundering of resources is damaging our planet. Something has to be done.
In this book, Jay Naidoo harnesses his experience as a labour union organiser, government minister, social entrepreneur and global thought leader, and explores ways of solving some of the world’s biggest problems. Drawing from his experiences in South Africa, Nigeria, Brazil, Bangladesh and other countries, he presents a variety of options for ending poverty and global warming, with a focus on organising in our communities and building change from below and beyond borders.
Naidoo’s message is unequivocal: significant action must be taken immediately if we want future generations to live in a world that we take for granted today.
In his celebrated oil painting 'The black Christ', artist Ronald Harrison chose Chief Albert Luthuli as a model for the face of the Christ. He modeled the two centurions on John Vorster and Hendrik Verwoerd, the arch-exponents of apartheid. For this bold act of worship and defiance and his subsequent refusal to divulge the whereabouts of the painting, Ronald Harrison was incarcerated, tortured and harassed. The Black Christ tells the story of these events and, beyond that, the story of man's inhumanity to man.
The painting, which was unveiled in 1962 at St Luke's Anglican Church in Salt River, Cape Town, with the permission of Archbishop Joost De Blank, caused a stir when featured in local newspapers. The Minister of the Interior instructed that it be taken down, and the young artist was ordered to appear before the Censor Board. In the ordinary course of events, the painting would have been destroyed. Instead – in what the author sees as divine intervention – it was not confiscated, but was successfully hidden and smuggled abroad, where it played a key role in raising funds for victims of apartheid, including the Rivonia treason trialists. The miraculous recovery of the painting and its return to South Africa after more than 30 years - it is now held at the South African National Gallery in Cape Town - are part of the dramatic story of 'The Black Christ'.
Harrison's painting is an example of the use of art for political resistance. The use of popular or controversial figures was common in Renaissance art, as Harrison was quick to understand and appreciate. His symbolic representation of Luthuli, Vorster and Verwoerd (with an Asiatic St John in the background and Mary Magdalene modeled on the artist's mother) reflected 'a young man's anger, an older man's belief in divine providence, a nation's painful history and still raises political and theological issues'.
The inspiration for this book was a Summer School on State, Governance and Development presented by distinguished academics from the School of Oriental and African Studies, London. Written by young African scholars, the chapters here focus on state, governance and development in Africa as seen from the authors’ vantage points and positions in different sectors of society.
The book opens with three forewords by eminent African scholars including Ben Turok, Johan Burger and Mohamed Halfani. The chapters that follow examine rent-seeking, patronage, neopatrimonialism and bad governance. They engage with statehood, state-building and statecraft and challenge the mainstream opinions of donors, funders, development banks, international non-governmental organisations and development organisations. They include the role of China in Africa, Kenya’s changing demographics, state accountability in South Africa’s dominant party system, Somalia’s prospects for state-building, urban development and routine violence, and resource mobilisation.
At a time in which core institutions are being tested -- the market, the rule of law, democracy, civil society and representative democracy – this book offers a much-needed multi- and inter-disciplinary perspective, and a different narrative on what is unfolding, while also exposing dynamics that are often overlooked.
67 of South Africa's finest cooks, chefs, gardeners, bakers, farmers, foragers and local food heroes let us into their homes - and their hearts - as they share the recipes they make for the people they love.
Each recipe is accompanied by stunning original photography that captures the essence of our beautiful country.
Featuring over 130 recipes, from tried and true classics to contemporary fare, The Great South African Cookbook showcases the diversity and creativity of South Africa's vibrant, unique food culture.
In this beautifully illustrated handbook, food expert Mark Price shines the spotlight on 40 of the most popular foods - from everyday items like tea, coffee and cheese, to luxury products like caviar and chocolate. A timely and topical guide for foodies and everyday shoppers, this book dispels unhelpful food myths and provides fact-based, unbiased accounts of where food comes from, the morals behind different production methods, and why prices and taste vary.
This book will equip readers and shoppers with the tools they need to be able to make informed decisions about what to buy and how much to spend. Standing apart from subjective discussions about taste, and debates around health and nutrition, this book clearly and concisely explains why the cheapest to the most expensive foods cost what they do.
Peppered throughout with first-hand experience and anecdotes, Mark Price goes back to the origins of these items, their historical significance and perceived value in today's society, and advice on the products you should 'try before you die'!
South Africa is undeniably a continental powerhouse.
Local corporates like MTN, Standard Bank and Shoprite are African business giants; South Africa is the only African member of BRICS; and a South African heads the African Union Commission. Yet the country is often perceived by other African states as a bully that punches above its weight. Does South Africa have the moral standing, and economic and military capacity to call itself a superpower?
In twenty years of reporting on Africa, Liesl Louw-Vaudran has travelled with South African heads of state and met business leaders from across Africa. In this book, she tries to answer accusations that South Africa behaves like a neocolonial power by examining key events – from Thabo Mbeki’s reforms of the African Union to the disastrous peace-keeping mission in the Central African Republic in 2013 under President Jacob Zuma.
The End Of Whiteness aims to reveal the pathological, paranoid and bizarre consequences that the looming end of apartheid had on white culture in South Africa, and overall to show that whiteness is a deeply problematic category that needs to be deconstructed and thoughtfully considered.
This book uses contemporary media material to investigate two symptoms of this late apartheid cultural hysteria that appeared throughout the contemporary media and in popular literature during the 1980s and 1990s, showing their relation to white anxieties about social change, the potential loss of privilege and the destabilisation of the country that were imagined to be an inevitable consequence of majority rule.
The ‘Satanic panic’ revolved around the apparent threat posed by a cult of white Satanists that was never proven to exist but was nonetheless repeatedly accused of conspiracy, murder, rape, drug-dealing, cannibalism and bestiality, and blamed for the imminent destruction of white Christian civilisation in South Africa.
During the same period an unusually high number of domestic murder-suicides occurred, with parents killing themselves and their children or other family members by gunshot, fire, poison, gas, even crossbows and drownings. This so-called epidemic of family murder was treated by police, press and social scientists as a plague that specifically affected white Afrikaans families. These double monsters, both fantastic and real, helped to disembowel the clarities of whiteness even as they were born out of threats to it. Deep within its self-regarding modernity and renegotiation of identity, contemporary white South Africa still wears those scars of cultural pathology.
"We still dream, but the innocence of the promise of freedom is lost."
From the serious to the lighthearted, this book presents a snapshot of what smart young South Africans think about living in South Africa today. From black tax and whitesplaining, all the way to hip hop and kinky sex, it is provocative, fearlessly honest, and often very funny. Shaka Sisulu tackles being black and privileged, Simphiwe Dana pleads for mother tongue education, Yolisa Qunta shares lessons learnt from taking the taxi, while David Kau, Loyiso Gola and Sivuyile Ngesi provide comic relief.
Writing What We Like will spark debates in workplaces, in bars, and around the dinner table both in ekasi and in the suburbs for some time to come.
Despite the fact that the ‘rise of the black middle class’ is one of the most visible aspects of post-apartheid society and a major actor in the reshaping of South African society, analysis of it has been lacking. Rather, the image presented by the media has been of ‘black diamonds’, that is, above all, as consumers of the products of advanced industrial society, and of corrupt ‘tenderpreneurs’ who use their political connections to obtain contracts which they would otherwise be denied. At the same time, the restrictions upon black professional and entrepreneurial activity in the apartheid era stunted the development of black capitalism and the black middle class, while the growth of a substantial black working class which became the class vanguard of the political liberation of South Africa, pushed the role of the middle class into the shadows.
This book presents a new way of looking at the Black middle class which seeks to complicate that picture, an analysis that reveals its impactful role in the recent history of South Africa. It provides a careful account of its historical development in colonial society prior to 1994 before examining the size, shape and structure of the middle class in contemporary South Africa, class formation under the ANC, education and black upward social mobility, the black middle class at work, the social life of the black middle class, and its political role in the shaping of a democratic society in the post-apartheid era. The trajectory of the black middle class in South Africa is related to that of its counterparts in the global south.
While the book offers the most comprehensive account of the black middle class since Leo Kuper wrote on the subject in the early 1960s, it also seeks to make a major contribution to the burgeoning debate about the middle class globally.
Ngugi describes this book as 'a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature.' East Africa (Kenya, Tanzania, Uganda and Rwanda): EAEP
How do Muslims fit into South Africa's well-known narrative of colonialism, apartheid and postapartheid? South Africa is infamous for apartheid, but the country's foundation was laid by 176 years of slavery from 1658 to 1834, which formed a crucible of war, genocide and systemic sexual violence that continues to haunt the country today. Enslaved people from East Africa, India and South East Asia, many of whom were Muslim, would eventually constitute the majority of the population of the Cape Colony, the first of the colonial territories that would eventually form South Africa. Drawing on an extensive popular and official archive, Regarding Muslims analyses the role of Muslims from South Africa's founding moments to the contemporary period and points to the resonance of these discussions beyond South Africa. It argues that the 350-year archive of images documenting the presence of Muslims in South Africa is central to understanding the formation of concepts of race, sexuality and belonging. In contrast to the themes of extremism and alienation that dominate Western portrayals of Muslims, Regarding Muslims explores an extensive repertoire of picturesque Muslim figures in South African popular culture, which oscillates with more disquieting images that occasionally burst into prominence during moments of crisis. This pattern is illustrated through analyses of etymology, popular culture, visual art, jokes, bodily practices, oral narratives and literature. The book ends with the complex vision of Islam conveyed in the postapartheid period.
Community development both a collective effort and an achievement driven by individual facilitators with the aim of lifting a community out of poverty. The sixth edition of Community Development: Breaking the cycle of poverty continues to be a definitive guide for community development workers, students and practitioners alike. The book contextualises poverty and explains the process of community development. It pays attention to the development environment and explains concepts such as asset-based community development and the social enterprise sector. In addition to context and process, the book details the skills required by a community development worker to function in the field. It also explains how to empower the development worker to train others in order to build capacity in the community and work towards breaking the cycle of poverty. This edition of Community Development: Breaking the cycle of poverty is strengthened by the inclusion of extensive support material. More practical case studies, specifically relevant to the South African environment, have been added and questions on the case studies are included in the book.
In South Africa, two unmistakable features describe post-Apartheid politics. The first is the formal framework of liberal democracy, including regular elections, multiple political parties and a range of progressive social rights. The second is the politics of the ‘extraordinary’, which includes a political discourse that relies on threats and the use of violence, the crude re-racialization of numerous conflicts, and protests over various popular grievances. In this highly original work, Thiven Reddy shows how conventional approaches to understanding democratization have failed to capture the complexities of South Africa’s post-Apartheid transition. Rather, as a product of imperial expansion, the South African state, capitalism and citizen identities have been uniquely shaped by a particular mode of domination, namely settler colonialism. South Africa, Settler Colonialism and the Failures of Liberal Democracy is an important work that sheds light on the nature of modernity, democracy and the complex politics of contemporary South Africa.
What does friendship have to do with racial difference, settler colonialism and post-apartheid South Africa? While histories of apartheid and colonialism in South Africa have often focused on the ideologies of segregation and white supremacy, Ties that Bind explores how the intimacies of friendship create vital spaces for practices of power and resistance. Combining interviews, history, poetry, visual arts, memoir and academic essay, the collection keeps alive the promise of friendship and its possibilities while investigating how affective relations are essential to the social reproduction of power. From the intimacy of personal relationships to the organising ideology of liberal colonial governance, the contributors explore the intersection of race and friendship from a kaleidoscope of viewpoints and scales. Insisting on a timeline that originates in settler colonialism, Ties that Bind uncovers the implication of anti-Blackness within nonracialism, and powerfully challenges a simple reading of the Mandela moment and the rainbow nation. In the wake of countrywide student protests calling for decolonization of the university, and reignited debates around racial inequality, this timely volume insists that the history of South African politics has always already been about friendship. Written in an accessible and engaging style, Ties that Bind will interest a wide audience of scholars, students, and activists, as well as general readers curious about contemporary South African debates around race and intimacy.
Why do most people know what an Ewok is, even if they haven't seen Return of the Jedi? How have Star Wars action figures come to outnumber human beings? How did 'Jedi' become an officially recognised religion? When did the films' merchandising revenue manage to rival the GDP of a small country?
Tracing the birth, death and rebirth of the epic universe built by George Lucas and hundreds of writers, artists, producers, and marketers, Chris Taylor jousts with modern-day Jedi, tinkers with droid builders, and gets inside Boba Fett's helmet, all to find out how Star Wars has attracted and inspired so many fans for so long.
Why don't flight attendants get tipped? If you were a terrorist, how would you attack? And why does KFC always run out of fried chicken? Over the past decade, Steven D. Levitt and Stephen J. Dubner have published more than 8,000 blog posts on Freakonomics.com. Now the very best of this writing has been carefully curated into one volume, the perfect solution for the millions of readers who love all things Freakonomics. Discover why taller people tend to make more money; why it's so hard to predict the Kentucky Derby winner; and why it might be time for a sex tax (if not a fat tax). You'll also learn a great deal about Levitt and Dubner's own quirks and passions. Surprising and erudite, eloquent and witty, When to Rob a Bank demonstrates the brilliance that has made their books an international sensation.
Believing not only that conflict is inevitable in human life but that it is essential and can be quite constructive, Augsburger proposes a shift to an "international" approach in resolving conflict. Augsburger focuses on interpersonal and group conflicts and provides a comparison of conflict patterns within and among various cultures.
In Another Country: Everyday Social Restitution, author Sharlene Swartz introduces the concept of `social restitution' - understood as the actions and attitudes that everyday people can undertake in dialogue with each other to `make things good' since `making things right' is impossible. In setting out an understanding of and an agenda for social restitution, she offers four ideas based on engaged reflection with sixty ordinary South Africans of all ages, colours and classes. First, injustice damages all our humanity and continues over time, and must be understood before we can simply move forward. Second, that a broad understanding of restitution is a helpful tool to bring about change, and that we need new language beyond the labels of victim and perpetrator to talk about our role in the past (such as beneficiary, resister, ostrich, architect or implementer). Third, that restitution should aim at restoring dignity, opportunity, belonging and memory, and so should include not only symbolic but also practical and financial acts. Fourth, that there is something for everyone to do - individuals and communities, alongside government and institutional efforts, and the best way to decide on what action should be taken is to decide together, in dialogue, across previous divides. This book offers stories, ideas and strong theories for how South Africa can be Another Country in our lifetime.
Across Africa the narrative of "Africa rising" has taken root in a burgeoning middle class. Ambitious and increasingly affluent, this group symbolizes the values and hopes of the new Africa, and they are regarded as important agents of both economic development and democratic change. This narrative, however, obscures the complex and often ambiguous role that this group actually plays in African societies.
The Rise Of Africa's Middle Class brings together a diverse range of economists, political scientists, and development experts to provide a much needed corrective, overturning the received wisdom within development circles and providing a fresh new perspective on social transformations in contemporary Africa. Featuring a wide array of case studies from across sub-Saharan Africa and covering highly topical issues, including black middle-class support for the ANC in South Africa and anti-government activism in Nigeria, this collection of essays is a timely, on-the-ground look at the realities behind the idea of Africa rising.
Skreeusnaaks en uittartend soos net Deon Maas kan.
In hierdie boek ontsien Maas niks of niemand nie. Hy skryf onbeskaamd en doodeerlik oor allerlei eg Suid-Afrikaanse heilige koeie. Afrikaans op kampusse, selfies, baarde, banting, die Guptas en die sogenaamde Stellenbosch Mafia loop deur onder die uitgesproke skrywer se skerp pen. Sy blatante eerlikheid oor alles van mans se “menere” tot Julius Malema, gay huwelike en NG-dominees is verfrissend.
Dit is vlymskerp, omstrede en onvergeetlik.
Bolder, even, than the ambitious books for which Stephen Greenblatt is already renowned, The Rise and Fall of Adam and Eve explores the enduring story of humanity's first parents. Comprising only a few ancient verses, the story of Adam and Eve has served as a mirror in which we seem to glimpse the whole, long history of our fears and desires, as both a hymn to human responsibility and a dark fable about human wretchedness. Tracking the tale into the deep past, Greenblatt uncovers the tremendous theological, artistic, and cultural investment over centuries that made these fictional figures so profoundly resonant in the Jewish, Christian, and Muslim worlds and, finally, so very "real" to millions of people even in the present. With the uncanny brilliance he previously brought to his depictions of William Shakespeare and Poggio Bracciolini (the humanist monk who is the protagonist of The Swerve), Greenblatt explores the intensely personal engagement of Augustine, Durer, and Milton in this mammoth project of collective creation, while he also limns the diversity of the story's offspring: rich allegory, vicious misogyny, deep moral insight, and some of the greatest triumphs of art and literature. The biblical origin story, Greenblatt argues, is a model for what the humanities still have to offer: not the scientific nature of things, but rather a deep encounter with problems that have gripped our species for as long as we can recall and that continue to fascinate and trouble us today.
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