Peter Meyer grew up on an African game reserve. His idyllic childhood was spent running wild in the bush with Zulu friends and other free spirits. His adventures in the wilderness honed his character, nurtured by an inspirational father who taught him to believe that everything is possible. Before he had turned eight he had survived Rhino attacks, close encounters with Buffalo and Wildebeest — and the terror of twice being bitten by snakes. His pets were a baby Elephant, Warthogs and an Ostrich that frequented his backyard. He lived in a world where beauty was tempered by daily struggles for survival. He discovered that the reality of the bush is often heart-breaking, such as when an Nyala doe that he had hand-reared was taken by predators. He learned through first-hand experience that the cycle of life on Africa’s feral outbacks can be as unforgiving as it is magnificent. These were the key lessons from the wilds of Africa that he took with him when his family left the continent; from school days in England where his tough upbringing resulted in being a top sportsman, to studying at an exclusive Swiss hotel school and becoming one of the youngest directors in the Hilton group, managing exotic resorts in Jamaica and the Middle East. He was on top of the world when everything came crashing down due to tragedy. Drawing on resilience learned in the African bush, he started to rebuild his life, becoming an actor and model, clawing his way up in one of the most critically demanding industries in the world. This is an inspiring true story of living the dream — a dream nurtured by the freedom and self-reliance of growing up wild in Africa.

    Angus is involved in a romantic liaison, which takes the edge off his customary cynicism, and for the first time in their adult lives, a positive fraternal bond exists between them.Inevitably, reality comes calling. Angus’s love affair ends and he copes poorly, Hugh becomes stratospherically arrogant on the back of a promotion and Julia, the MacNaughtons’ sister, starts dating Angus’s nemesis – Alistair ‘The Legend’ Jones. Then there are a series of further ‘hiccups’, from demanding lodge guests and marauding monkeys, to a labour protest, a run-in with a blind-drunk head chef, a winter drought, a rogue elephant that puts staff and guests in danger and the resignation of the sterling head ranger.You are guaranteed to be entertained by the hilarious antics and hard knocks as well as the fierce beauty of the African landscape in Back to the Bush: Another Year in the Wild. ‘A Year in the Wild is a delight to read [and a] hugely entertaining novel. Don’t miss it. If there’s a sequel, and I hope there is, I will be first in line to read it.’ – BRIAN JOSS, Bolander

    The embarrassment is palatable, but perseverance is the most touching part of these stories. These awful things that happened don't interrupt the dream. The dream of performing and stardom. The dream of connecting with an audience. No Encore! is a glimpse into the analog past; a trip to a distant world when artists made albums and suites of songs you listened in order." —Bret Easton Ellis   “They hated us and started throwing cups, bottles, change, chairs, and anything that wasn’t nailed down.” —Dean Ween This hilarious, sometimes horrifying, collection spans four decades and chronicles the craziest, druggiest, and most embarrassing concert moments in music history—direct from the artists who survived them.  “In the midst of my insanity, I thought it would be a very romantic gesture to go into Fiona Apple’s dressing room and write a message on her wall in my own blood.” —Dave Navarro From wardrobe malfunctions to equipment failures, from bad decisions to even worse choices, this is a riveting look into what happens when things go wrong onstage and off. “Ozzy had a sixty-inch teleprompter with the song lyrics, and that got stolen, along with microphones, snare drums and cymbals. Our drummer at the time was stabbing people in the neck with his drumstick.” —Zakk Wylde No Encore! is an unflinchingly honest account of the shows that tested the dedication to a dream—from Alice Cooper’s python having a violent, gastric malfunction on stage to Lou Barlow’s disastrous attempt to sober up at Glastonbury, from Shirley Manson’s desperate search for a bathroom to the extraordinary effort made to awaken Al Jourgenson as Ministry was taking the stage. As Hunter S. Thompson famously wrote, “Buy the ticket, take the ride.”  “I go to exit the venue, and there’s 25 people marching towards us. It’s about 3:00 AM, and they weren’t there to be nice. They were carrying bats, boards, chains, hammers, and they were coming for us.” —Dee Snider

    It delves into the essence of black family life and the secret anguish of family members who often battle to cope.’ – Niq MhlongoA secret torment for some, a proud responsibility for others, ‘black tax’ is a daily reality for thousands of black South Africans. In this thought-provoking and moving anthology, a provocative range of voices share their deeply personal stories.With the majority of black South Africans still living in poverty today, many black middle-class households are connected to working-class or jobless homes. Some believe supporting family members is an undeniable part of African culture and question whether it should even be labelled as a kind of tax.Others point to the financial pressure it places on black students and professionals, who, as a consequence, struggle to build their own wealth. Many feel they are taking over what is essentially a government responsibility.The contributions also investigate the historical roots of black tax, the concept of the black family and the black middle class.In giving voice to so many different perspectives, Black Tax hopes to start a dialogue on this widespread social phenomenon.

    The longest serving captain in Springbok rugby history gives a revealing account of the simultaneous joys and travails of one of the most challenging - and rewarding - jobs in sport in this much anticipated autobiography.

    We were colored girls in a white world that didn’t want us."  Born on the wrong side of a racial divide in apartheid-torn Cape Town, young sisters Ruby and Rose exist in a world where they are not welcome. As part of the Cape Colored community, they are considered socially inferior, yet even within their own social group the sisters live in the poor end of town. Their father was killed when they were very small, so when their mother dies after a protracted illness, Ruby and Rose’s fate falls into the hands of Aunt Olive. Ruby knows without being told that their aunt’s home will not be opened up to them – charity does not extend to the poor relations who would cast a smudge on such a respectable house. Aunt Olive condemns her nieces to the local orphanage, relieving her conscience with monthly invitations to Sunday lunch. In the orphanage the girls grow up sheltered from a divided world that they do not yet fully understand, but the day approaches when Ruby and Rose must forge their own paths in life and confront the lessons that apartheid enforces. Like the award-winning Dance with a Poor Man’s Daughter, this beautifully observed novel of sisterly love once again displays Pamela Jooste’s poignant understanding of human nature.

    Told in eloquent, honest prose, Art’s Cello is a story about coming to terms with the past and letting go of the failures we allow to define us — and, in the process, honoring the lives of those we’ve lost. Jim McKean is an international award-winning violinmaker, author, and corresponding editor of Strings Magazine. He is a graduate of the first violinmaking school in America and the former president of the American Federation of Violin and Bow Makers. His novel, Quattrocento, was published in 2002. Cover design by Evan Twohy.

    Coming from the all-mod-cons society of Britain at the beginning of the 1980’s, the author is literally transplanted to a farm in the foothills of the Drakensberg mountains in what is now Kwazulu Natal.Once there, she finds her feet in the ways of Africawith the help of a charming, elderly Dutch couple, an appealing but wily African farm hand, his practical and motherly daughter and a wise and fascinating neighbour who has a fund of local knowledge.These are tales of a different kind of life, whichinclude living without electricity, hand-milking cows, drought, veld fires and mad-cap adventures into the unknown.They are stories told with deep affection and respect, and above all a liberal dose of tongue-in-cheek humour.

    The McRaes, like so many white people, seemed oblivious to the violent injustices of apartheid. As the author grew up, the political differences between father and son widened and when Don refused to join up for National Service, risking imprisonment or exile overseas, the two were torn apart. It wasn't until years later that the author discovered that the father with whom he had fought so bitterly had later in his life transformed himself into a political hero. Risking everything one dark and rainy night Ian McRae travelled secretly into the black township of Soweto to meet members of Nelson Mandela's then banned African National Congress to discuss ways to bring power to black South Africa. He had no political ambitions; he was just a man trying to replace the worst in himself with something better.Under Our Skin is a memoir of these tumultuous years in South Africa's history, as told through the author's family story. It offers an intimate and penetrating perspective on life under apartheid, and tells a story of courage and fear, hope and desolation and love and pain, especially between a father and his son.

    She documents her early days in the Democratic Party and the Democratic Alliance, at a time when the party was locked in a no-holds-barred factional conflict. And she chronicles the intense political battles to become mayor of Cape Town, leader of the DA and premier of the Western Cape, in the face of dirty tricks from the ANC and infighting within her own party.This is a story about political intrigue and treachery, floor-crossing and unlikely coalitions, phone tapping and intimidation, false criminal charges and judicial commissions. It documents Zille’s courageous fight against corruption and state capture and her efforts to realign politics and entrench accountability. And it describes a mother’s battle to raise children in the pressured world of South African politics.This book is as frank, honest and unflinching as Helen Zille herself, and will appeal to anyone interested in the story of South African politics over the past fifty years.

     Includes Overdue Account, Walter's Cargo Shorts, Simon's Piecharts, Missing Missy, Obviously a Foggot, Formal Complaints, Justin’s Floodlight, Matthew’s Party, Permission Slip and many more.

    Over a decade later, when Bouch finally retired with a plethora of records under his belt and to huge acclaim from the public, he took grim satisfaction in relating this piece of history. Through my Eyes is the story of a man with remarkable sporting prowess. Born into a sports-mad family in East London, he excelled in squash, tennis and rugby before choosing cricket as his preferred sport. His extraordinary achievements on the field are well known – he was voted SA player of the year in 1998, 2000 and 2006. What is not so well known, and makes up much of this book, are the behind-the-scenes stories and anecdotes. Stories of staring down the barrel of defeat and of celebrating victory; of developing strong bonds with teammates Graeme Smith, Jacques Kallis and others that go way beyond mere friendship. What emerges is the image of a man who always fought for the underdog, whose never-say-die attitude inspires those around him. Bouch’s career was brought to a dramatic end on a cricket pitch in England when the bail of a stump punctured his left eye. But, in his own words, ‘I lost sight but gained vision.’ True to his character of gritty determination, Bouch has rededicated his life to a new cause, that of the environment and particularly the critically endangered rhino.

    Even though apartheid itself had no virtue, the author, himself a young black man who spent his childhood under apartheid, insists that it was not a vast moral desert in the lives of those living in townships. In this deep meditation on the experiences of those who lived through apartheid, it points out that despite the poverty and crime, there was still art, literature, music, and morals that, when combined, determined the shape of black life during that era of repression.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.