But behind a dazzling career, Polela’s troubled past haunts him. When he was a child, both his parents disappeared, leaving him and his sister Zinhle to suffer years of abuse. The story of Polela’s journey to uncover the truth, this candid autobiography shares the journalist’s turmoil as he confronts his father about his mother’s brutal death and faces the worst dilemma a son can ever confront: How can he possibly forgive when his father remains a remorseless, cruel, and heartless murderer?

    Now available in paperback, this collection of three long stories, three short ones, and a theoretical postface by one of North Africa's leading writers depicts the plight of urban Algerian women who have thrown off the shackles of colonialism only to face a postcolonial regime that denies and subjugates them even as it celebrates the liberation of men. Denounced in Algeria for its political criticism, Djebar's book quickly sold out its first printing of 15,000 copies in France and was hugely popular in Italy. Her stylistically innovative, lyrical stories address the cloistering of women, the implications of reticence, the connection of language to oppression, and the impact of war on both women and men. The Afterword by Clarisse Zimra includes an illuminating interview with Djebar.

    Long regarded Africa's preeminent Francophone novelist, Laye (1928-80) herein marvels over his mother's supernatural powers, his father's distinction as the village goldsmith, and his own passage into manhood, which is marked by animistic beliefs and bloody rituals of primeval origin. Eventually, he must choose between this unique place and the academic success that lures him to distant cities. More than autobiography of one boy, this is the universal story of sacred traditions struggling against the encroachment of a modern world. A passionate and deeply affecting record, The Dark Child is a classic of African literature.

    As the years passed, the two grew closer, swapping stories about coloureds and zulus, life in Riverlea and Soweto, pass laws, politics and falling in love.

    As the main characters convert their library center into a practical street initiative, the novel invokes the squalor, health risks, and vicious cycles of poverty and violence that drive children to the streets and women to prostitution; and, from which, ultimately, no one in the society is free.

    Rounded up in a group of other anti-apartheid activists under Section 6 of the Terrorism Act, designed for the security police to hold and interrogate people for as long as they wanted, she was taken away. She had no idea where they were taking her or what would happen to her children. For Winnie Mandela this was the start of a 491-day period of detention and two trials. Forty-one years after Winnie’s release on 14 September 1970, Greta Soggot, the widow of David Soggot, one of Winnie Mandela’s advocates during the 1969–70 trials, handed her a stack of papers that included a journal and notes that she had written in detention. Their arrival brought back vivid and horrifying memories and uncovered a unique and personal slice of South Africa’s history. 491 Days: Prisoner Number 1323/69 shares with the world Winnie Mandela’s moving and compelling journal as well as some of the letters written between affected parties at the time, including Winnie and Nelson Mandela, who by then had been in prison for nearly seven years. Readers gain insight into the brutality she experienced, her depths of despair as well as her resilience and defiance under extreme pressure. This young wife and mother emerged after 491 days in detention unbowed and determined to continue the struggle for freedom.

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    

    But coming from a family of bakers, Hans is discouraged from ever becoming a rider. That is, until the day he is invited to watch the extraordinary Ballet of Lipizzaners -- from the Imperial Box! -- and his life is changed forever.Marguerite Henry artfully weaves authentic details about the skillful training of both horse and rider, as she unfolds the story of Hans and his beloved Lipizzan stallion, Borina.The brilliance of Hans's dazzling public performances and his devotion to the art of classical riding make this story uniquely rich in history and horsemanship -- a story to be treasured by horse lovers of all ages.

    Apprenticed to a sorcerer, Mickey Mouse tries to save himself work by making some magic.

    . . London was good. Is good. I love London. But . . .” 1994 The world is about to change. The first truly democratic election in South Africa’s history is about to unite Nelson Mandela’s rainbow nation at the ballot box. And, across the world, those in exile, those who could not return home, those who would not return home, wait. Watch and wait . . . London Martin O’Malley isn’t one of those watching and waiting. He is too busy trying to figure out if Germaine Spencer really is the girl for him and why his best friend is intent on ruining every relationship he gets involved in. And then . . . And then Germaine is pregnant and suddenly the world really has changed for Martin O’Malley. South Africa A land of opportunity. A place where a young black man with an MSc from the London School of Economics could have it all, would have it all. But what does Martin O’Malley, London born and bred with an Irish surname, really know about his mother’s country? His motherland. A land he has never seen.

    Phiona has been out of school most of her life because her mother cannot afford it, so she is only now learning to read and write. Phiona Mutesi is also one of the best chess players in the world.One day in 2005, while searching for food, nine-year-old Phiona followed her brother to a dusty veranda where she met Robert Katende, who had also grown up in the Kampala slums. Katende, a war refugee turned missionary, had an improbable dream: to empower kids through chess—a game so foreign there is no word for it in their native language. Laying a chessboard in the dirt of the Katwe slum, Robert painstakingly taught the game each day. When he left at night, slum kids played on with bottlecaps on scraps of cardboard. At first they came for a free bowl of porridge, but many grew to love chess, a game that—like their daily lives—means persevering against great obstacles. Of these kids, one stood out as an immense talent: Phiona.By the age of eleven Phiona was her country’s junior champion and at fifteen, the national champion. In September 2010, she traveled to Siberia, a rare journey out of Katwe, to compete in the Chess Olympiad, the world’s most prestigious team-chess event. Phiona’s dream is to one day become a Grandmaster, the most elite title in chess. But to reach that goal, she must grapple with everyday life in one of the world’s most unstable countries, a place where girls are taught to be mothers, not dreamers, and the threats of AIDS, kidnapping, and starvation loom over the people.Like Katherine Boo’s Behind the Beautiful Forevers and Gayle Tzemach Lemmon’s The Dressmaker of Khair Khana, The Queen of Katwe is an intimate and heartrending portrait of human life on the poor fringes of the twenty-first century.

    But when his embittered spinster daughter Magda feels shamed, this lurch across the racial divide marks the end of a tenuous feudal peace. As she dreams madly of bloody revenge, Magda's consciousness starts to drift and the line between fact and the workings of her excited imagination becomes blurred. What follows is the fable of a woman's passionate, obsessed and violent response to an Africa that will not heed her.

    “The Dillons magnificently capture the drama with powerful full-page illustrations that resemble stage sets. . . . Ideal for reading aloud during an Egyptian unit, in music classes, to children attending the opera, or for the pure aesthetic experience.”--Booklist

    She will change her identity if it means winning health and freedom for her brother.Mosis, however, does not feel completely free. His identity has been changed against his will, and he longs to find himself. And when he does, he will do anything in his power to see that justice is served.