Editor Lauren Mc Diarmid Designer Sean Robertson Sub Editor Frieda Le Roux
Contributors Jackie Phamotse, Nicky Greenwall, Kurt Ellis, David Lambkin, Leon van Nierop, Greg Mills
As we celebrate our fourth birthday, we are thrilled to bring you another fantastic issue dedicated to the captivating world of books.
This edition features a collection of stories that delve into the essence of storytelling, from enchanting landscapes to thrilling narratives, and the personal journeys of authors who have inspired us all.
We’re fortunate to have Nicky Greenwall as our cover star. Nicky shares her transition from journalism to fiction with her debut novel, A Short Life. Her journey of creativity and discovery offers a glimpse into her writing process, revealing the inspirations behind her compelling thriller.
We spend five minutes with Jackie Phamotse, whose new novel, The Tea Merchant, transports us to the mesmerising Cederberg mountains. Discover the cultural significance of rooibos tea intertwined with a tale of romance and intrigue.
Kurt Ellis invites us into his world of suspense with Deadly Benefits, where a simple Google search can lead to unexpected dangers, and for aspiring authors, Dave Lambkin provides invaluable advice on how to start and finish your book. This issue also celebrates women, with a collection of feminist retellings of legendary women.
From the artistic intuition of Patrick Watson to the culinary creativity of The Great Marula Menu, this edition is a testament to the diverse voices and stories that enrich our lives. As we embark on another year, we invite you to savour these literary journeys with us.
Happy reading!
Lauren Mc Diarmid
ThePost@penguinrandomhouse.co.za
Celebrating Four Years of PageTurning Moments
Dear Readers,
As we celebrate the fourth birthday of our beloved magazine dedicated to books and all things literary, I find myself reflecting on the journey that has brought us here. It has been a privilege to serve a community of passionate book lovers who, like us, cherish the written word as a gateway to imagination, knowledge, and endless discovery.
Over the past four years, our magazine has evolved into a haven for bibliophiles, a place where stories come alive, ideas flourish, and voices resonate. We have embarked on literary adventures spanning genres, from timeless classics to contemporary gems, from thoughtprovoking non-fiction to the immersive realms of fiction.
Our pages have been graced by the wisdom of esteemed authors, the insights of literary critics, and the creativity of emerging writers. Together, we have explored the depths of literary landscapes, celebrated the power of storytelling, and championed the beauty of diverse voices and narratives.
As we commemorate this milestone, I am reminded of the countless books that have inspired us, challenged us, and left an indelible mark on our hearts and minds. From the exhilarating thrill of a new release to the comforting embrace of a well-worn favourite, each book holds the power to transport us, teach us, and connect us across time and space.
In this special edition, we invite you to join us in celebrating the magic of books. To our dedicated readers, contributors, and partners who have journeyed with us thus far, thank you for your unwavering support and enthusiasm. Your passion fuels our commitment to continue delivering engaging content that celebrates the art of storytelling and fosters a community bound by our love for books.
As we look ahead to the future, we remain steadfast in our mission to inspire, inform, and entertain. Here’s to many more chapters filled with literary adventures, meaningful discussions, and shared discoveries.
To many more years of happy reading.
IN NUMBERS
31 free issues
130 bookstores stock us nationwide
808 pages printed
2240 books featured R122 188 in prizes given away
MILLIONS of readers reached
Visit www.penguinrandomhouse.co.za/penguin-post and sign up to receive each new edition directly to your inbox.
Four hampers valued at R2 500 each are up for grabs! The hamper includes six books, amongst which will be signed copies from authors such as Marian Keyes, Robin Sharma or Jamie Oliver, as well as a large canvas tote bag to put them all into, and a mug for you to enjoy a cuppa while you get to reading! To enter, count the balloons hidden in this edition, then scan the code using your phone camera, or visit www.penguinrandomhouse.co.za/competitions to give us your answer! Ts & Cs apply. Entries close 15 September 2024.
Five minutes with … JACKIE PHAMOTSE
Explore the enchanting Cederberg mountains, the cultural significance of rooibos tea, and thrilling romance in Jackie Phamotse’s new novel, The Tea Merchant.
The rugged Cederberg mountains make for a dramatic backdrop! What drew you to this location?
The Cederberg is where rooibos has been farmed for over 200 years, and the town of Clanwilliam is even known as the ‘Rooibos Capital’ of South Africa. Really, there’s no better place to set a story about a family trying desperately to save their rooibos farm. The Cederberg is a hidden gem. It’s rich with history and natural beauty. It’s one of my favourite areas, but on the whole, it’s underrated in terms of what South Africa has to offer. With The Tea Merchant, I’m giving it the platform it deserves.
Rooibos tea is practically a South African celebrity. Why did you choose it as the heart of the story?
Rooibos tea is a staple in households across South Africa. I mean, it’s even the country’s unofficial national drink! It’s flavour is nostalgic. One sip, and we can be transported back decades to that one chilly winter’s day at home, huddled around
the sitting room with the family, the sweet, nutty aroma of rooibos filling the air, clutching our mugs for warmth. It’s also been used for centuries for its medicinal properties, starting with the indigenous Khoisan people of the region. I wanted to honour that heritage and use the novel as a reminder of the tea’s cultural significance.
Family secrets can be juicy! How did you create the intricate dynamics between Cameron, his dad John, and his secretive brother Sole? Cameron and John’s relationship reflects the struggle many young men face with their fathers, shaped by a history of emotional coldness. John’s secrets cause immense pain, as he tries to protect one son while hoping the other will be okay. Cameron helps his father, showing that unconditional love can be painful, full of grudges and resentment, but also forgiveness. The family’s journey to reconnect and save their tea farm is both heartbreaking and hopeful.
Thrillers and romance, oh my! How did you masterfully blend these genres? Blending thrillers and romance was challenging but exciting. I wanted to create a complex love story against a dramatic backdrop, filled with plot twists and suspense. I enjoy crime thrillers, so incorporating those elements into a love story was natural for me. The goal was to test how love can prevail amidst the chaos, making the story both thrilling and heartwarming. It’s my signature to keep readers in suspense while providing moments of warmth and love.
We’re on the edge of our seats for part two! Can you give us a sneak peek into what’s brewing in the next instalment? Part two is just as suspenseful! It’s titled The Advocate, and delves deeper into the life of Sole, Cameron Coal’s twin. We also focus on the Fletchers, revealing their real business, lifestyle, and actions.
The Tea Merchant hits shelves in August.
Ages 9-12
NICKY GREENWALL
PHOTOGRAPH: Danielle Klopper
FROM JOURNALISM TO THRILLERS
For Nicky Greenwall, publishing her very first novel was a journey of creativity and discovery. Transitioning from journalism to fiction, the former TV-presenter, entertainment journalist and producer navigated the challenges and joys of crafting her compelling thriller, and finding her voice as a novelist.
Here’s a glimpse into Nicky’s writing process, her inspirations, and the story behind her debut novel, A Short Life.
GREENWALL
etting A Short Life published was an incredible experience. I wrote the book while participating in a series of online creative writing courses from UK-based literary agency, Curtis Brown, including ‘Starting to Write Your Novel’, ‘Write to the End of Your Novel’, and ‘Edit and Pitch Your Novel’. The courses provide a structured environment where seasoned writers share teaching videos, and students complete modules while critiquing each other’s work. Although working with a group of international strangers was initially nerve-wracking, it quickly became motivating and clarifying. This supportive community offered structure and helped me avoid the pitfalls of a solitary writing journey.
My background as a TV presenter and entertainment journalist definitely influenced my writing style. I strive to get to the point and distil messages to their essence, keeping the narrative moving and entertaining. Shifting from non-fiction to writing fiction was quite the transition, though. Entertainment journalism is driven by sales and soundbites, with a constant focus on extracting revealing statements from celebrities. Fiction, on the other hand, allowed me to let go of those constraints and concentrate solely on entertaining the reader. The challenge lay in crafting a compelling story and telling it well.
The inspiration for A Short Life had been brewing for a while. I’m drawn to allegoric stories with philosophical conundrums at their core – stories that make readers ponder their actions in hypothetical scenarios. Reading Rumaan Alam’s Leave the World Behind in 2020 was a turning point for me. His use of style and pace to convey a deeper message had a great influence on my approach. Developing the plot took time and many notebooks, as I experimented with different iterations of the core message I wanted to communicate.
The book’s narrative unfolds through the thoughts of its characters, a mechanism that
I aim to give readers a sense of piecing the story together themselves.
felt like acting on the page. I’ve always enjoyed mimicry and accents, often acting out stories in person. I’m also a great fan of ‘not closing the circle’ in novels. By jumping between characters in the first person, I aim to give readers a sense of piecing the story together themselves – a kind of literary work I enjoy.
Writing the suspense and tension surrounding the two car accidents involved careful pacing and avoiding excessive backstory. I enjoy reading suspense, so perhaps other tropes filter in without me being conscious of them. I aimed to keep chapters short and impactful, making each one feel like a standalone piece. This instinctual approach during initial drafts was refined through conscious editing.
In my characters, you’ll find glimpses of myself and those around me. Writing is a form of ventriloquism, and while I try to hide my voice, those who know me well will undoubtedly recognise it. One of my first readers (who is also a close friend) said, ‘I feel like I know you better after reading this,’ and that would definitely be true. The story, though fictional, is deeply personal, reflecting my experiences with loss, anxiety about death, and the fear of losing loved ones – universal themes that I hope resonate with readers.
While I can’t single out a favourite character, some felt particularly séance-like in their creation. So, turns out I’m a medium and a ventriloquist. Who knew?
Research for the book involved consulting detectives and armed response units to ensure accuracy in criminal procedures. Interestingly, one critical plot element, which I initially fabricated, turned out to be true upon last-minute research. Sometimes the universe conspires with you.
Balancing a career, motherhood, and writing a novel was challenging, but my determination and support system, including
In my characters, you’ll find glimpses of myself and those around me.
A Short Life is out now.
my husband and my mom, made it possible.
The process of writing this book taught me that not writing or thinking about writing is as important as writing. Overcoming writer’s block involved understanding the importance of taking breaks and letting ideas surface naturally, rather than forcing them. As such, my writing routine is fluid; some days are highly productive, while others yield just a good sentence. I follow my instincts and seize moments of inspiration whenever they arise, driven by a fear of forgetting ideas.
I hope readers take away a sense of memento mori from A Short Life – a reminder that life is short, after all.
As for future projects, I’m excited about a new novel I’ve just finished – an autofiction murder mystery set at The Cannes Film Festival. I’m currently in the daunting querying process, hoping for positive outcomes, which is part of the game, right? Wish me luck!”
IN A NUTSHELL
MY FAVOURITE BOOK OF ALL TIME Midnight in the Garden of Good and Evil by John Berendt.
THE FIRST BOOK I REMEMBER READING Sweet Valley Twins by Francine Pascal.
WHAT I DO TO HELP ME WRITE Read.
MY BIGGEST INFLUENCES Rumaan Alam, Harriet Lane, and Lisa Jewell.
BEST WRITING ADVICE I’VE RECEIVED
Delete the words: really, very, just, that, totally, completely, then, next, get, got, suddenly and literally.
AT MY DESK
It was while searching for ideas for his new book Deadly Benefits, that Kurt Ellis realised his Google history could get him into some serious trouble.
“One glance at my search history by the police would immediately put me at the top of their suspect list. But that’s the reality of being a crime thriller writer – we delve into the darker aspects of human nature and explore the evil of humanity. With Deadly Benefits, I aimed to do this by creating a gritty crime thriller, but with a sprinkling of dark humour because of how personal the story is to me.
I wrote Deadly Benefits as part of my MA in Creative Writing at Wits University because the lead character was heavily inspired by my own history. Like my protagonist Gabriel, I come from a poor background and found modest success in the corporate world. Like Gabriel, I attempted to start my own business, which ultimately failed, leading to bankruptcy and relentless harassment from banks. I, too, faced the repossession of my home and car and felt abandoned by those I considered friends and mentors.
In Deadly Benefits, we follow Gabriel, a desperate man who assembles a team of equally desperate individuals to defraud an insurance company of millions. Their botched venture into crime unwittingly attracts the attention of a psychopathic assassin, a murderous drug lord, a Ukrainian mob boss, and a relentless investigator. At its core, the novel is a critique of how the financial industry reduces people to mere numbers on a screen. This perspective comes from my two decades of experience in the industry.
A gritty crime thriller, but with a sprinkling of dark humour
Deadly Benefits is out now.
However, the theme is wrapped in a fast-paced, sometimes terrifying, sometimes hilarious white-collar heist thriller that will, hopefully, captivate readers from the first page.
I draw story ideas from various sources. For example, the plot was inspired by a random conversation with a fraud investigator. The idea for my previous novel, In the Midst of Wolves came after watching a documentary on muti-murders in Tanzania. Once I have an idea, I imagine the characters and decide on how the story will end before I begin outlining the plot in minute details. Interestingly, once I start writing, my characters often take on a life of their own, diverging from the paths I set for them. Some minor characters for example demand more attention, as seen with Skellie in Deadly Benefits who has become a reader’s favourite. For me, that’s the best part of writing – ‘watching and allowing’ my characters to choose their own paths.”
ABOUT THE BOOK
Gabriel Laucus, desperate after losing his job and facing the repossession of his parent’s home, devises a risky insurance scam. This triggers catastrophic events, putting him and his friends against a psychopathic hitman, a ruthless drug lord, and a relentless investigator. Deadly Benefits is a heart-pounding journey through fraud and dangerous alliances, where one wrong move can mean life or death.
TOP FICTION
How to Age Disgracefully by
Clare Pooley
From the author of The Authenticity Project, this uplifting novel follows Daphne, who exploits her invisibility due to age to hide a chequered past. Alone on her 70th birthday, she joins a Senior Citizen’s Social Club. With quirky members, they defy stereotypes and face down the local council’s closure threat, aided by a teenage dad and an orphaned dog. They must overcome their pasts to succeed. A feel-good read.
The Murder Inn by
James Patterson and Candice Fox
In the thrilling sequel to The Inn, past mistakes return to haunt residents of The Inn by the Sea. Bill Robinson, former cop turned innkeeper, provides sanctuary to his guests. However, tranquility shatters when two murderers arrive, one seeking refuge, the other intent on killing to hide the truth. Residents must confront the danger, knowing not all will survive. James Patterson is the master of thrills on the water.
Nero by Conn Iggulden
Set in ancient Rome, Conn’s new series follows empress Agrippina’s fight to secure Nero’s succession amidst a web of danger and intrigue. Born into a dynasty teetering on the edge, Agrippina battles soldiers, senators, and rivals. With imperial blood offering no protection, she must navigate treacherous power struggles to shape Nero into a ruler. Survival is paramount for both mother and son.
Breaking the Dark by Lisa Jewell
Prepare for intrigue as Lisa Jewell debuts her Marvel Crime series with a tale featuring Jessica Jones—a gritty PI and former superhero. Hired by a worried mother, Jessica uncovers a sinister plot involving her client’s altered twins. As she delves deeper, Jessica confronts evil forces manipulating technology for their twisted agenda. Jewell promises an electrifying read in this inaugural novel, heralding a new, street-level dimension to the Marvel Universe.
A Thousand Broken Pieces by Tillie Cole
The heartbreaking new novel from TikTok sensation and USA Today bestselling author of A Thousand Boy Kisses. Savanna, grieving her sister’s death, joins a trip for bereaved teens with her sister’s journal. Cael, a former hockey star, is struggling after his brother’s death. Forced on the same trip, they find solace in each other. As they heal, they wonder if love is possible again.
TOP FICTION
What Have You Done? by Shari Lapena
In the new thriller by the ‘queen of the one sit read’, a small community is shaken by a gruesome crime. When Diana Brewer is found dead, suspicion grips sleepy Fairhill, Vermont. Trust fades as secrets emerge, turning neighbours into suspects. With eerie parallels to their ghost stories, the town faces fear and paranoia. A must-read suspense.
The Negotiator by Brooke Robinson
Tia, a police officer who failed her negotiator exam, is taken hostage during a museum protest. Years later, as Asher is released from prison, survivors are threatened and one commits suicide. Tia, suspecting Asher, investigates while grappling with her own trauma, realising she’s become a target herself. A heartwrenching thriller questioning if one can escape their past.
The
Lost Coast by Jonathan and Jesse Kellerman
The bestselling duo return with a new thriller featuring Deputy Coroner Clay Edison. Now a private investigator, Clay is hired for a fraud case but discovers a decadesold scheme targeting the vulnerable. His investigation takes him to a remote California town where residents are hostile to outsiders and determined to silence Clay, by any means necessary. An unputdownable thriller.
8 Months Left by James Patterson and Mike Lupica
Back in action, Jane Smith defends Rob Jacobson, accused of another triple homicide. Racing against time, she confronts mounting challenges, including Jacobson’s repeated claims of being framed. With her own health declining, Smith tackles her toughest case yet, balancing the intricate investigation with her terminal illness. As the defense persists, the truth hangs in the balance.
There
Are Rivers in the Sky by Elif Shafak
The forthcoming novel by the acclaimed author of The Island of Missing Trees and 10 Minutes 38 Seconds in this Strange World sets a scene in Nineveh, a storm brewing over the grand city. A lone raindrop, insignificant yet holding a world within, hangs from a dark cloud, poised to fall. Despite its smallness, it carries a tale of its own, a reminder of the universe’s vastness and the insignificance of human distinctions.
The
Book of
Elsewhere
by
Keanu Reeves and China Miéville
She said, We needed a tool. So I asked the gods. Legends tell of an immortal warrior known today as ‘B,’ who desires to die. A U.S. blackops group promises to help if he assists them. When a mortal soldier returns to life, it points to a mysterious, powerful force. Combining Miéville’s style and Reeves’s narrative, this collaboration creates a unique work sure to delight fans.
Confessions of the Dead
by James Patterson and J.D. Barker
The smallest towns hide the darkest secrets. This eerie suspense thriller, perfect for Stephen King fans, follows Sheriff Ellie Pritchett in Hollows Bend. With a crime rate of zero, trouble begins when a mysterious teenage girl arrives. Unable to identify her, Ellie investigates. As crimes escalate, they’re drawn to a lake outside town that isn’t on any map, uncovering chilling secrets. The dead tell no tales.
This Motherless Land by Nikki
May
After her mother’s death, Funke moves from Lagos to England, striving to fit into her maternal family despite neglect. Her free-spirited cousin Liv, eager to escape her joyless family, finds an ally in Funke. The two cousins support each other with love, but their mothers’ past choices cast long shadows over their lives. A witty, warm story of love, race, culture, and belonging, spanning three decades and two continents.
Fire
Strike by
Clive Cussler and Mike Maden
On a mission in Kenya, Juan Cabrillo uncovers a Saudi Prince’s plot to attack U.S. forces with bio-hacked soldiers. Cabrillo’s crew faces these formidable foes from the Amazon rainforest to Eritrea and finally in Yemen. The Oregon team must muster all their courage and cunning to disable the missile before the Arabian Sea becomes a mass grave.
Eddie Winston is Looking for Love by Marianne Cronin
Eddie Winston, a 90-year-old romantic who has never been kissed, volunteers at a charity shop where he meets Bella, a troubled young woman grieving her lost love. When Bella learns of Eddie’s unfulfilled wish, she resolves to help him find love, sparking an unexpected adventure. Their journey unfolds into a heartwarming tale of friendship and kindness, showing that it’s never too late to try again and cherish those we love.
ECHOES OF HISTORY
Stirred by stories like Sigrid Paul’s, whose separation from her son during the Berlin Wall’s division deeply resonated, Josie Ferguson embarked on a journey to explore themes of separation, resilience, and the untold struggles of women through fiction intertwined with historical realities in her stunning historical debut.
“Iwas initially inspired to write The Silence in Between during Covid when I was pregnant and separated from my family (my family are based in Sweden and Scotland and I was living in Singapore at the time, where the borders were closed). Our separation lasted two years. They saw me when I was pregnant and the next time was when my son was almost two years old. During this difficult time, I was thankful that I at least had my children, and I began to imagine what circumstances in the past (and present) have led parents to be separated from theirs.
I was six when the Berlin Wall fell but I clearly remember watching the news –seeing the cheering, dancing crowds, and the people standing on top of the wall. Once I started researching the Berlin Wall, I couldn’t stop. I uncovered countless stories of families separated by the border, but it was Sigrid Paul’s story (printed in The Guardian in 2009) that stuck with me. Sigrid’s son Torsten was a very sick eightmonth-old baby when the border was closed. The hospitals in East Berlin were unequipped to care for him and, fearing he would die, one doctor organised for his transfer over to the West (transfers were only allowed for heart patients and so the doctor falsified Torsten’s medical records). It was four years before mother and son were reunited. Though Lisette’s story is fictional and very
It was four years before mother and son were reunited.
different from Sigrid’s experience, Sigrid’s story struck a chord with me and it sparked the initial inspiration for this book.
During the research phase, I also stumbled upon BBC Radio 4’s podcast Tunnel 29. I had already created the character of Elly and I knew it was her, not Lisette, who would be the one to plan an escape. I now knew a tunnel would be one of her attempts.
The WW2 part of this book was inspired by the memoir A Woman in Berlin by Marta Hillers (translated by Philip Boehm). I had read the book many years earlier and I still thought about it. The victims of the Rape of Berlin –German female civilians – were both shamed and ignored for the crimes committed against them, and there was a prevailing sense at the time that being German, they deserved it. I in no way wanted to diminish the experiences of those who suffered during the Holocaust (not least because my grandfather was Jewish), but I did want to uncover a story that is not often discussed: rape being used as a weapon of war.
I knew I wanted to write a book about women – their grit and resilience, the hardships that so many women have overcome. I wanted the book to be about one woman’s story (a mother separated from her child) but I also wanted it to be something more – a book that reflected the struggles of many women, especially those who have been forgotten in history. My desire was to tell a well-known story, but from a different angle.”
The Silence in Between is out now.
HOW TO START YOUR BOOK … AND FINISH IT
The best way to write a book, says author Dave Lambkin, is to build it grain by grain, the way termites create their towering mounds.
“The great benefit of this analogy is the humble realisation that building a life, a love, a curry or a perfumed garden comes from the painstaking accumulation of small perfections. There’s no short cut. I am wary of inspiration; but I’m a great believer in grit and endurance. Then moments of brilliance will come.
But if you dispense with inspiration, how then do you start writing your book?
The best advice comes from Ernest Hemingway. You’ll find it in A Moveable Feast, his memoir of Paris in the 1920s. It’s simple but profound. He said, ‘All you have to do is write one true sentence.’
By one true sentence Hemingway meant something very precise. He meant honesty and knowledge. Honesty and knowledge matter. Not just because they’re better than lying and ignorance but because having genuine knowledge of your subject makes your writing authentic, and authenticity is deeply convincing. It is also a measure of your integrity as a writer.
All good writers write about things they know. Tolstoy wrote about war and love; Pushkin about arrogance, fidelity and sexual obsession; Jane Austen about society and nuanced manners; Lawrence Durrell about the Aegean and Alexandria and erotic passion; Karen Blixen about Africa, its beauty, and her disappointed longings; Emily Brontë about searing interpersonal romantic bonds; Joseph Conrad about sailing ships, eastern seas and
All good writers write about things they know.
Whisper of Death is out now.
tropical accidie. Learn from them.
How do you keep your writing going? This brings us to the horror of ‘writer’s block’ – an empty brain confronting a vacant screen. Again, Hemingway is your guide.
His advice? ‘The best way is to stop when you are going good, and when you know what’s going to happen next. If you do that … you will never be stuck.’ This advice helped me write five novels. It works.
Telling you how I deal with plot and characterisation seems silly – my way might not be your way. But I can share hard-won insights into word choice and rhythm.
Write with verbs and nouns: they make writing powerful and lucid – but beware of adjectives and adverbs. Adverbs are toxic. They get in the way, slow down sentences and tire the reader’s eye. And using flabby adjectives will blur the vivid picture you’re trying to make the reader see. Avoid fancy words. They turn every writer into a bore. Never mimic the pompous polysyllabic clatter of academic speech.
Finally. Develop an ear for rhythm so your sentences come to an end naturally at the full stop. If you don’t do that your writing will be clumsy and inept. Rhythm is also essential for descriptive passages and dialogue. Listen to people talking, store away their verbal habits and mimic them when your characters speak.
Writing is a talent, and talent is a precious genetic gift; the alchemical magic that transforms lead into gold. Find your talent, honour it and guard it fiercely.”
DIE SKRYF VAN EROTIEK IN AFRIKAANS
’n Blote ‘gewoepsery’? Wat wou! Leon van Nierop gee ons ’n kykie in die skryf van warm tonele.
“Erotiese literatuur word verkeerdelik geklassifiseer as die blote resepmatige aaneenskakel van erotiese tonele wat aan sagte pornografie grens. Bring vernuwing na ’n genre en stel emosionele en romantiese, persoonlike ervarings bokant blote erotiese beskrywings vir effek omdat dit op bladsy 45 benodig word.
Verras jouself as skrywer met die onverwagte. Moenie karakters dwing om seksueel te verkeer as hulle nog nie gereed is nie.
Meng die gewone met die ongewone. In Droomjagter was die uitdaging om ’n doodgewone visvangtoneel eroties te maak sonder dat daar fisieke kontak was. Dit het (hopelik) ’n nuwe dimensie na die karakters se ervaring van hulleself en mekaar gebring. Soms kan onbenullighede eroties wees, soos beskuitkrummels. Vergelyk ’n toneel waarin die heldin se begeerte na ’n gespierde man uitgebeeld word deur haar ervaring van sy sespak uit te beeld, teenoor: Hulle gesels oor die held se ma se tuisgemaakte beskuit. Die oggend drink hy koffie sonder dat hy weet sy sien hom en hy gaan draf. Sy gaan sit by die tafel en vee die beskuitkrummels op terwyl sy dink aan die hande wat die beskuit in die koffie gedoop het, aangevul deur haar fantasie as sy die halfgedrinkte koffiebeker sien wat hy daar gelos het. Dis treffender as ’n glansbeskrywing van spiere.
Beveg die erotiese cliché. Die emosies van karakters met botsende persoonlikhede wat nie wil toegee nie en romantiese kragte met mekaar meet, is meer eroties as ’n formele beskrywing van ’n daad. Ook: ’n meisie soen ’n man en proe die mango’s aan sy lippe waaraan hy gepeusel het.
Herskryf daarna en beitel tot die erotiek gemaklik ontvou en nie meganies voorkom nie.
Droomjagter is nou beskikbaar.
Dit gaan om wat ’n man en ’n vrou na mekaar toe aantrek sonder om dit te forseer. Moenie altyd vir die leser gee wat hulle verwag nie. Klits hulle om met ’n gebeurtenis wat normaal begin maar verrassend eroties eindig, soos die soen in ’n mangoboord.
Jacuzzi’s is ’n cliché wat gewoonlik ’n voorspelbare einde het. Gee ’n nuwe kinkel hieraan. En vermy die slaapkamer. Laat die romantiese interlude op ’n onverwagse plek afspeel soos ’n gevaarlike krans.
Karakters moenie te veel praat waar seks betrokke is nie. Hoe minder woorde, hoe sterker word op romanse gekonsentreer. Humor is dikwels ook meer eroties as ’n blote gewoepsery.
Neem jouself as skrywer na onverwagse plekke toe. Plaas die karakters in ’n nuwe situasie soos ’n aantrekhokkie in ’n winkelsentrum teenoor ’n bed. Skiet die versigtigheid en selfopgelegde sensor van jou skouer af en gee jouself oor. Herskryf daarna en beitel tot die erotiek gemaklik ontvou en nie meganies voorkom nie.
Neem karakters verby hul selfopgelegde grense sonder om vulgêr te raak of oorboord te gaan. Laat hulle dinge doen wat hulle nooit van hulleself verwag het nie, maar behou steeds goeie smaak. Byvoorbeeld. Hy trek haar brabandjie geleidelik met sy tande af, liewer as om dit bloot uit te trek.
Onthou. Dit is wat ná die liefdesdaad gebeur wat tel. Die seks moet die storie vorentoe dryf en nie tot stilstand bring nie. Dit moet wys hoe die karakters verander en ontwikkel.
Gee jouself oor, maar behou skrywersbeheer met die herskryf.
KOUE RILLINGS . . . WARM HARTE
’n Bietjie liefde maak die winter meer draaglik. Maar drama en selfs ’n moord of twee maak dinge opwindend!
Breekpunt deur Marie Lotz
Twee jong kinders verdwyn spoorloos uit die veiligheid van hul ouerhuise in Johannesburg. Albei is meisies, albei word in die middel van die nag weggelok ... Kaptein Alek Strauss ondersoek die saak en kom agter die ontvoerder se modus operandi stem grootliks ooreen met dié van ’n misdadiger wat al jare agter tralies sit nadat hy twee ander meisies ontvoer het. Hoekom dink een van die slagoffers se ma dan hierdie man is onskuldig? Dan kom ’n jong paartjie op ’n gruvonds in die Drakensberg af en dit dompel almal in ’n nuwe maalkolk van raaisels.
As klippe kon praat deur Connie Luyt
Ná ’n storm spoel ’n kleutermeisie op die Olifantsrivier se oewer uit. Wie is klein Ellie, hoe het sy in die rivier beland, en waarom soek ’n Romeense bendebaas na haar? Op die plaas Spoelklippe rou Annie nog oor die dood van haar seuntjie en die verbrokkeling van haar huwelik. Ellie kruip gou in Annie se hart in, maar gevaarlike mense is op die kind se spoor. Gou word Annie ook bedreig. Gaan sy uit dié maalkolk kan ontsnap of gaan sy weer alles verloor?
Wegkruiper
deur Christelle
Wessels
Iemand speel ’n grusame speletjie op Onrus. ’n Oudonderwyseres word in haar dansateljee vermoor en twee vroue word ontvoer en gemartel. Kaptein Werner de Wege en adjudant Lisamore Talakase moet ’n legkaart bou om die raaisel op te los, maar die belangrikste stukke speel wegkruipertjie met hulle. Sal die speurders die moordenaar betyds kan vastrek voor die volgende slagoffer val?
Anoniem deur Chanette Paul
Lula Prins wil oor begin op Heydendal. ’n Nuwe lewe, ’n nuwe dorp, ’n nuwe naam. Anoniem. Dan stap ’n nuwe man ongenooid by haar lewe in en haar verlede begin haar inhaal. Kriek Kruger wil uitvind wat met sy laatlambroer, Dian, gebeur het. Het hy werklik na sy dood gespring of wil iemand dit na selfdood laat lyk? Terwyl Kriek na antwoorde soek en Lula van die spoke in haar verlede vlug, gooi die noodlot hulle saam in ’n opwindende, gevaarlike wentelbaan.
Die beweging van bloed deur Pieter Stoffberg
Professor Nino Everhard word op sy kombuisvloer wakker met bloed oral. Iemand het ingebreek en hom en sy vrou, Willemien, aangeval, maar niks gesteel nie. Wat wou die aanvaller hê? Nino weet dit was nie toeval nie. Hy is uitgekies. Op sy speurtog na antwoorde lei die leidrade hom op ’n kronkelpad deur sy verlede na die skadukant van die samelewing. Elke tree nader aan die waarheid is ook ’n tree nader aan lewensgevaar.
Feminist Retellings of Legendary Women
From Medusa’s misunderstood tale to Pandora’s mysterious quest, these books offer fresh, feminist perspectives that challenge the traditional narratives and give voice to the women who were often silenced.
Pandora by Susan Stokes-Chapman
Set in Georgian London, the story follows Dora Blake, living with her uncle in her parents’ old antiquities shop. When a mysterious Greek vase arrives, Dora enlists the help of antiquarian scholar, Edward Lawrence. For Edward, the vase promises professional success; for Dora, it’s a path to restoring the shop and escaping her uncle. A pure pleasure of a novel.
Girl, Goddess, Queen by Bea Fitzgerald Persephone wasn’t kidnapped by Hades — she jumped, refusing to be married off to a smug god. Now, she must convince the Underworld’s sexy, arrogant ruler, Hades, to follow her plan, one that will shake Mount Olympus to its core. The real story is much more interesting than the gods’ lie, but consequences can be deadly, especially in hell.
Medea by Rosie Hewlett
Babylonia by Costanza Casati
In ancient Assyria, Semiramis dreams of power. Meanwhile, Prince Ninus prefers books to conquest until he meets Onnes, a beautiful warrior, sparking a fierce bond. Their lives intertwine when Semiramis arrives, igniting a savage love triangle amid a looming threat to the kingdom. In Babylonia, they learn the gods’ harsh lesson: bend the world or break it.
A dark, epic feminist retelling reclaims the myth of Medea, the formidable witch of Ancient Greece. Separated from her sister, shunned by her mother, and tormented by her brother and father due to her dangerous gift, Medea seizes her chance to escape when Jason arrives for the Golden Fleece. Their journey tests her strength, magic, and loyalty, culminating in a desperate, brutal act of betrayal.
Athena’s Child by Hannah Lynn Medusa, Greek mythology’s most infamous monster, was once loved and gifted with stunning beauty. Seeking sanctuary with Athena, she caught Poseidon’s eye, leading to her downfall. Fleeing Athena’s wrath, Medusa struggled against becoming the monster they claimed she was. History often silences women who defy expectations.
DISCOVERING YOUR MONEY MINDSET
A journey into our relationship with money begins with understanding our motivations, expectations, and obstacles, says financial wellbeing expert, Johan Gouws, who explores how our beliefs shape our financial paradigms and influence our approach to wealth accumulation and life satisfaction.
“When starting out on a journey, it is vital to review a few fundamental questions: Why am I on this journey, and where does it fit into my life? What do I expect from this journey? What obstacles will I have to overcome on this journey? What should my approach be? What resources will I need to reach my destination? Where am I now? Where do I need to get to, and by when? How much progress have I made? How far do I still have to go?
Answering these questions truthfully requires real conviction, a deep understanding of yourself, honest reflection, self-discipline and introspection. While these questions are very personal, a few universal truths apply to all. Not everyone is at a stage where they have complete clarity on the answers to these questions, but this is fine, as this is precisely why it is called a journey. A process of exploration, new revelations, growth in knowledge, wisdom, more self-awareness and clarity are the rewards for the time and effort we put in with each step on the way.
Money is an integral part of our everyday lives, and our beliefs and attitudes towards money are fundamental to how we choose to live life. Our beliefs create our money paradigm – a set of truths, images, concepts and structures that govern the story we tell ourselves about money. Essentially, we end up having to choose between two diverging streams of thought about how we view and act around money. We might believe that the
Your greatest freedom lies in being able to change the way you think.
Your Ultimate Personal Finance Guide is on shelves now.
purpose of life is for individuals to accumulate as many possessions as possible and experience maximum pleasure and satisfaction from our material gains. This paradigm can create a scarcity mindset and make us believe that we must constantly compete with others. It may damage valuable relationships, as it becomes hard to discipline ourselves to responsibly and consciously acquire and consume what our money can buy.
Alternatively, we might believe that money is a valuable and abundant resource that could be used to live our purpose. This approach helps us to pursue virtue, collaboration, peace and mutual care for one another, which allow us to reach a destination at the end of a journey paved with profound meaning and satisfaction. The two divergent paths therefore lead us to very different destinations. One that might be filled with shame and regret about lost time or opportunities, and one that offers peace and fulfilment; one a place where we have detracted from, and another where we have contributed to the best that society can offer.
Your beliefs and experiences can either make you apathetic towards money or more intentional in managing your finances. Fortunately, you are not a victim of your circumstances, and your greatest freedom lies in being able to change the way you think and the stories you tell yourself about money. No one will find perfect answers to all their money questions; instead, the challenge is to take control of your financial destiny as best you can.”
HOPE, FAITH AND REALITY
In 1999, as Eskom’s chairman, Reuel J Khoza wrote a hopeful letter predicting a bright future for South Africa, to be opened in 2023. Unfortunately, the country’s reality starkly contrasted his optimistic vision. The Spirit of Leadership is an extension of all Khoza’s thinking on the subject of transformational leadership – this time within the overarching context of religious faith, which to his mind is the most important shaper of morality and the common good.
“Faith in man is often thwarted, but faith in God, never.
In 1999 I wrote a set of predictions – or rather, best hopes – for South Africa, to be opened on the 100th anniversary of the establishment of Eskom, the country’s electricity utility. At that time I was the corporation’s chairman. Eskom had been established in 1923 as the Electricity Supply Commission, and by the late 1990s it was widely regarded as one of the world’s
top electricity suppliers. My letter, along with another letter by Allen Morgan, the Eskom CEO, was sealed inside a time capsule – a metal box at the foot of a statue known as the ‘rock man’ energy statue, at the entrance to Eskom’s headquarters in Megawatt Park, Johannesburg.
When the fateful date came for the contents of the time capsule to be disclosed, on 1 March 2023, we were in for a bitter reality check. I had written:
20 May 1999
People of 2023, I salute you! You are the recipients of our hopes and dreams for the future of our beloved country, South Africa. As we write this message before the turn of the century, we look forward with anticipation to the Africa of the future …
This [2023] should be a time when all the exemplary qualities embodied in our philosophy of Ubuntu reach their fulfilment. Qualities such as honesty, caring, compassion, integrity, hard work, respect for human dignity and the worth of the human personality, hospitality and generosity.
The challenges facing us must surely have been met and overcome by the time you read this – challenges such as crime, poverty, unemployment, illiteracy and disease. It is our fond hope that the time needed to eradicate the fundamental causes of these painful conditions has worked its healing, and you have put them behind you. May it be so!
Sadly, frustratingly, maddeningly, it was not so. Instead, the country had plunged into near failed-state status as a result of corruption, maladministration and failures of leadership. South Africa now exhibited almost the exact opposite of what I had hopefully forecast. Life for many had become a worse hell now than it was, for some, under apartheid. What had gone so badly wrong?
This book is about faith – faith in humanity despite all disappointments, and above all, faith in God who restores our belief in the divine order of things, even where life on earth seems meaningless. It is about being an African and a Christian, a devotee of the
Africa can lead the world in a revolution of values.
The
Spirit of Leadership is out now.
Nazarene Church and a strong believer in the virtues of ubuntu, Africa’s philosophy of humanness. It is about ancestral wisdom and modern leadership. It is about progress through ethical behaviour and good governance in business. Finally, it is about innovations of the spirit that are needed to save South Africa – and indeed the world – from a spiral of despair. Throughout the book, the themes of religion, ubuntu and leadership run hand in hand, and the scope of the argument is both personal and social, domestic and global. I continue to believe, as I wrote in 2006 in Let Africa Lead, that Africa can lead the world in a revolution of values.
When I wrote my letter in 1999, I gave voice to the optimism arising from the progressive policies followed since the African National Congress (ANC) majority government had led us into democracy in 1994. I was proud of what was being achieved by Eskom in the context of the new democratic South Africa. We had come through heroic times. The struggle against apartheid had finally yielded a constitutional settlement giving all South Africans legal equality and basic human rights. The 1990s was a decade of wonderful progress and optimism as the ANC government rolled out social and economic programmes to redress the injustices of the past. Not surprisingly, the upbeat tone of the nineties found its way into my idealised picture of the future.
An official overview of the 1999 budget expressed this optimism. Despite slow growth (against the background of a world economic slowdown), the overview said government’s key priorities were investing in people, schools and health care; building homes and extending infrastructure for a better quality of life for all; creating jobs and relieving poverty; and supporting industrial development and entrepreneurship. How bullish that all seemed now, with our schools judged almost the worst in the world, our unemployment rate reportedly the highest in the world, and economic inequality the most extreme in the world. It was cruelly disheartening, to say the least.
Why has South Africa strayed off the path of progress?”
In a 1977 interview with the Canadian Broadcasting Corporation, Viktor E. Frankl explored the profound relationship between suffering and meaning. He emphasised that while suffering is not essential for finding meaning, enduring unavoidable hardships can reveal a deeper purpose. This is an extract from that interview, as it appears in a new collection of Frankl’s interviews and essays, Embracing Hope.
The following excerpt comes from the transcript of an interview that the Canadian Broadcasting Corporation conducted with Viktor E. Frankl in 1977 on the television show Man Alive. In it, Frankl vividly explores the question of meaning, and what role suffering can play, in relation to his concentration camp experiences, although suffering does not necessarily need to play such a role, since it is not a pre-condition for meaning.
“To shoulder one’s cross unnecessarily, to endure suffering which is unnecessary – this doesn’t yield any meaning. If you can change a situation, you will have to. If a cancer can be treated with surgery, you have to undergo or perform surgery. But after all, man is a mortal being. We have to die, and before dying, we have ineluctably to suffer sometimes – as a medical doctor, I must confess this.
So, there is certainly no one who is spared unchangeable situations. It could be, perhaps for a couple of months, unemployment – and still, life retains a meaning. In the thirties, at the time of the worldwide economic crisis, I dealt extensively with youngsters caught in unemployment situations, and I found out that unemployment itself is not what was weighing heavily on their souls, but it was the mistake they had fallen prey to: the mistake that having no job means having no meaning, means being useless! And the moment I had these youngsters turn to some organisations –such as Father Tom’s Youth Corps and so forth [in order to work as volunteers, for example] – they had a meaning to fulfil, even without getting one cent, and the depression was gone! In other words, what we need, you see, is not bread alone. And what the unemployed need is not welfare alone, they need a meaning – and a meaning can be found everywhere, in the smallest hut.
On the other hand, you find people who are millionaires and billionaires, and they have no meaning – they kill themselves. My former assistant during a teaching period at Harvard, Rolf von Eckartsberg, showed in
Meaning can be found everywhere, in the smallest hut.
his dissertation that people, 20 years after graduation from Harvard, having made wonderful careers, being very successful, didn’t find a meaning in their lives. And on the other hand, I can present to you heaps of letters which, due to unknown reasons, I always get from American prisons, letters to the effect: ‘Only here in prison, a few hundred yards from the electric chair, I have found, at last, found meaning in my life, only here!’ And even more, people say, ‘I am happy, I have made peace with myself and my life, right here in prison, under these conditions!’, so that now we might understand how I was justified in saying that meaning can be found irrespective of the environmental situation, of a given situation; it depends on yourself.
And it depends on whether or not you are exposed to an indoctrination – on American campuses or on analysts’ couches – an indoctrination to the effect that man is nothing but a mechanism, that man is nothing but the outcome of conditioning or psychodynamic processes, that man is nothing but a computer. If you indoctrinate people along these lines, small wonder if they are purged of any enthusiasm or idealism. I recently had to address, as guest speaker, the annual meeting of the international PEN club – the international club of writers, novelists, playwrights and poets. And I implored these authors of novels and dramas and so forth, I implored them, ‘If you are not capable of immunising your readers against nihilism and despair, please at least refrain from inoculating them with your own cynicism.’
ALSO BY THIS AUTHOR
Embracing Hope is on sale now.
ART AND ECOLOGY
In this touching tribute, Environmental Historian Jane Carruthers describes Patrick Watson, her friend of over 50 years, as a man with an extremely rare combination of talents. Watson is South Africa’s leading landscape designer, renowned for his innovative and unique projects. His work spans mega-sites like Sun City to intimate gardens, combining artistic intuition, botanical knowledge, and environmental conservation.
“Patrick Watson is currently South Africa’s most innovative and versatile landscape designer. Both his personality and his work defy simple categorisation because each project is utterly unique. To many, he is best known for designing extensive mega-sites such as Sun City or entire Indian Ocean islands, but he is also the creator of exquisite small gardens at private homes, quirky witticisms like 27 Boxes Park in Melville, or quiet spaces for reflection and contemplation, such as at the Apartheid Museum in Johannesburg or the Garden of Hope at St George’s Anglican Church in Parktown. Across this broad spectrum of diversity, he combines artistic intuition with extensive botanical knowledge and a deep concern for the conservation and restoration of nature. Into every project, large or small, he weaves together the potential of the natural environment, the purpose of the garden, the clients’ aspirations (sometimes not fully articulated, even to themselves) and his own, often unconventional, perspective. Each project receives its own distinctive interpretation so that his gardens and landscapes are not identifiable by any recognisable ‘Watson style’ or template, but rather by their absolute individuality. Professionally, Patrick is a self-taught
He is a truly original South African artist
ecologist with an extensive knowledge of plants, horticulture and ecosystems. Encouraged by his supportive parents, for they too were gardeners, architects and naturalists, he has always been interested in the natural environment around him. He explains elsewhere in this book that he cannot recall a time when he was not absorbed by plants, their names, shapes, colours, growth forms and habitats. From his teenage years, he has familiarised himself with a variety of environments in many places, identifying plants, studying their growth habits, noting their ecological niches and plant communities. Remarkably, he can recall almost every one of the countless species he has encountered in his life. He is familiar with every region of South Africa – its geology, botany, climate, hydrology, soil types – and even applied a sound knowledge of palaeobotany when designing the unusual garden for the Origins Centre at the University of the Witwatersrand. Incessantly travelling, in South Africa and elsewhere, he has pioneered the propagation and cultivation of many rare species previously known only in their natural habitats. In addition, with ‘green fingers’, he has established viable nurseries from seed and transplanted tens of thousands of large trees into the landscapes that he has created.
Nevertheless, he remains enthralled by an unspoilt landscape. The floral abundance of the Northern Cape, the majesty of ancient baobabs, the renosterveld, and the forests of Central Africa, all command his constant admiration. He believes his obsession with nature is subconscious and inborn, perhaps even genetic, inherited from an ancestral lineage that includes many men and women who were plant collectors, horticulturalists, naturalists and nurserymen.
Patrick entered his profession on the cusp of the Green Revolution of the late 1960s and early 1970s and was influenced by the ideas of Ian McHarg, the Scottish-born head of the Department of Landscape Design at the University of Pennsylvania and the author of Design with Nature (1969). At the time, the first photographs of Earth taken from space were appearing and Patrick was influenced by the planetary consequences of environmental change. In his work, he has a unique ability to understand the broader environment within the confines of a garden, and is able to combine these insights with his extraordinary knowledge of natural ecosystems and apply them philosophically. In every project that he tackles, there is both a strong environmental ethic and an ecological approach, and these are combined with a love of South Africa’s natural beauty. Many of his more recent projects tend to include ecological restoration, creating and rebuilding lost or degraded biodiversity. His work at Steyn City is one example, and projects in Mauritius and the Seychelles are others. In the future, he may be most celebrated and esteemed for those of his plantings and designs that have re-established ecological systems and networks. He refers to these as his ‘legacy projects’.
As we move further into the Anthropocene (the current epoch, in which humanity’s impact on the planet includes global warming, mass extinctions, countless species relocations and the rapid global transmission of diseases), Patrick’s ‘legacy projects’ herald an innovation in landscape design in which we think in planetary terms and in which local plants, natural resilience and ecosystems are appropriate and sustainable. Such projects signal a unity of humans with nature, raise levels of awareness, nurture the biosphere,
Veld is on shelves now.
and promote a conservation ethic. Those who are aware of his considerable botanical knowledge and ecological sensitivity regard these qualities as an important reason for his success.
My husband, Vincent, and I have known Patrick for more than five decades and have been fortunate to be exposed to his enormous creativity, wide knowledge, generosity and kindness. He is extraordinarily well read, thoughtful and highly observant. It has been a pleasure for us, and for many of his friends, to have watched the unfolding of his remarkable career, the execution of his ideas, the impact they have had and the acclaim he has received.
Despite his lack of formal qualification, Patrick has been recognised by his peers. His career began at a time when the landscape design community in South Africa was professionalising and he attended early conferences and meetings of the Institute for Landscape Architecture in South Africa and worked with some of its founders. He is currently an honorary member and, in 2017, was the recipient of the Institute’s Lifetime Award.
Patrick Watson’s combination of talents is extremely rare. He is a free spirit whose work is always fresh, inspiring and interesting. He is a truly original South African artist, whose lasting legacy will be in his having united humanity and the natural world in a deeper understanding through the variety and power of his landscape art.
The publication of Veld: The Gardens and Landscapes of Patrick Watson is a superb tribute to an extraordinary person. It is a recognition of the remarkable combination of knowledge, skill and instinct that is the complex Patrick Watson, and the radical influence that he has had on his profession.”
FOR THE GREEN THUMBS
THE WAYS AND WONDERS OF SOUTH AFRICAN TREES
by Willem Frost
This book celebrates the diversity and beauty of South African trees, exploring their physiology and behaviour, including growth, competition, defence, and symbiotic relationships. It features record-breaking trees and showcases 160 species like the baobab and sausage tree, highlighting their unique traits, ecological roles, and uses by animals, birds, and humans, supported by rich photographs.
INDIGENOUS GARDEN PLANTS OF SOUTHERN AFRICA
by Glenice Ebedes
This handy pocket guide introduces local gardening enthusiasts to southern Africa’s beautiful, beneficial, and easy-to-care-for indigenous plants, offering guidance on their use and care. It features 145 low-maintenance trees, shrubs, and bedding plants, fullcolour photographs, and icons indicating key characteristics such as evergreen or deciduous, frost-hardiness, and suitability for sun or shade. An essential handbook for gardening.
SAUNDERS FIELD GUIDE TO GLADIOLI OF SOUTHERN AFRICA
by Rod and Rachel Saunders
The genus Gladiolus, known for their spectacular flowers, has fascinated plant enthusiasts for centuries.
South Africa hosts over half of the world’s Gladiolus species, with the Western Cape as the diversity hub. Saunders’ Field Guide to Gladioli of South Africa offers a complete photographic record of the region’s 166 species. The book includes detailed species descriptions, field notes, photographs, distribution maps, and a glossary.
FIELD GUIDE TO THE AMARYLLIS FAMILY OF SOUTHERN AFRICA AND SURROUNDING TERRITORIES
by
Graham Duncan, Barbara Jeppe and Leigh Voigt
The Amaryllidaceae family thrives in warm and tropical regions. Southern Africa, with 18 genera and 265 taxa, is a key diversity centre. This guide covers all regional species, organised by biome, with a key to genera and species. It includes species accounts, distribution maps, and colour photographs, making it invaluable for anyone interested in plants and nature.
KIRSTENBOSCH: THE MOST BEAUTIFUL GARDEN IN AFRICA
by Brian J. Huntley
Kirstenbosch is a name that resonates round the world as the home of a uniquely rich flora in a setting of unsurpassed beauty, and this yea, Kirstenbosch celebrates its 111th anniversary. This revised publication details its history, scientific achievements, and attractions. With text by ecologist Brian Huntley and rich illustrations, it serves as a memento for visitors and locals. Presented in a colourful dust jacket, this book is a cherished keepsake and an ideal gift.
SAVOUR THE SPIRIT
The Great Marula Menu showcases Amarula-inspired recipes from South African home cooks, and culinary figures, The Lazy Makoti and J’Something. It’s a book that celebrates community, creativity, and the rich flavours of South African cuisine.
“South African foodies are built differently. A meal is never just a meal – it’s an opportunity to share. When we dream up something tasty and invite you to the party, you’d better believe you’ll take your seat with a full plate and leave with a full heart.
Created in community, this cookbook is a demonstration of South African generosity. These dishes and cocktails all contain Amarula – an easy pour here, a generous splash there – but they also contain a nation’s vivid imagination and profound desire to share, unconditionally and wholeheartedly. We wanted to capture this spirit, of boundless generosity, in a tribute to our country’s avid home chefs. And that’s what we created. An invitation. Our warmest welcome. A place at a table where there’s always space for one more.
At its core, the Amarula story is a story of generosity. While it is loved around the world, our cream liqueur is made with real, sun-ripened marula fruit that grows wild only in one place on Earth. The community of Phalaborwa, found in the South African province of Limpopo, receives the summertime marula fruit harvest. Then they share it with us. Every year, this incredible act builds and spills over, a glass perpetually topped up. It spreads out into the world because that’s what it was always meant for. Around bottles of Amarula, people come together in conversation and harmony, and the sharing we sparked goes on.
It didn’t take Amarula fans long to realise that their favourite cream liqueur was also a useful ingredient in the kitchen. On instinct, our fans have been sharing their recipes with us for years. In time, the classic soaked malva pud made way for unexpected savoury inventions and crafty cocktails. A tribute to that curiosity and creativity is long overdue.
In South Africa, we know food like we know how to find home. From Ouma’s sugar cookies to a thick cut of salted meat on the braai, we
In South Africa, we know food like we know how to find home
understand flavours and the magic that is spun when they collide and coalesce. Our foodies know the depth of flavour in a Durban curry and the comforting embrace of a tamatiebredie. We know how much spice to throw into a chakalaka and how to get soft dombolo right and ready for the stew. It’s culture and passion and instinct, passed down from generation to generation.
This land, where the marula trees grow, is no stranger to difficulty. Still, we diligently lay the table. Food surpasses sustenance and brings us together. While we stack our plates, we tell stories and make plans, even in the midst of uncertainty. When the electricity is on, we heat our ovens and throw butter in the pan. When the lights go out, we spice up our cold cuts and stack bread on sharing plates by candlelight. We make it work – and then we make it delicious.
We could have thrown a few recipes onto our social media feeds and been done with it. But that’s just not the Amarula way. A handful of words wouldn’t have been even nearly enough to hold the heart and soul that streamed in when we asked our community to share with us. And so we created this book, dedicated entirely to a uniquely South African taste and our shared spirit.
There’s nothing else quite like The Great Marula Menu. You’ll find recipes to make your next dinner party one for the books. You’ll find recipes that your grandchildren will make for their grandchildren one day. You’ll find something that takes you completely by surprise.
Here you’ll hit that sweet spot where generosity comes naturally and the Amarula flows. It’s in the hope we all keep burning strong in our kitchens. In keeping and gifting this book, we honour each other as we cook and celebrate what it means to be South African – and what it means to dream together.
We know there’s always space at your table. Now, we invite you to join ours. Pull up a chair. Make yourself at home. Here’s your glass – we’re about to get started.”
Cajun Chicken Pasta
Sinethemba Mbatha, Gauteng
3 chicken breast fillets
1 Tbsp (15ml) olive oil
1 Tbsp (15ml) Cajun spice
½ Tbsp (7.5ml) milled black pepper
½ Tbsp (7.5ml) garlic powder
½ Tbsp (7.5ml) dried parsley
1 tsp (5ml) salt
1 Tbsp (15ml) chopped fresh parsley
400g pasta (penne or similar), cooked
2 red/yellow peppers, roasted ¼ cup (60ml) chopped sundried tomatoes salt and milled black pepper, to taste
SAUCE
3 Tbsp (45ml) butter
1 onion, peeled and chopped
1 Tbsp (15ml) Cajun spice
1 Tbsp (15ml) smoked paprika
1 cup (250ml) fresh cream
½ cup (125ml) milk
½ cup (125ml) Amarula Cream
1 Tbsp (15ml) cornflour, slaked in 2 Tbsp (30ml) milk cup (80ml) grated Parmesan cheese
TO SERVE
1 tsp (5ml) dried red chilli flakes or sliced fresh chilli fresh coriander leaves Parmesan cheese lime or lemon wedges
Coat the chicken breasts with the olive oil, Cajun spice, black pepper, garlic powder, dried parsley and salt. Cover and place in the refrigerator for at least 30 minutes, allowing the flavours to infuse.
For the sauce, melt the butter in a large pan over a medium heat, then add the onion and cook for 3 minutes. Add the Cajun spice and smoked paprika and cook for 1 minute.
Stir in the fresh cream, milk, Amarula Cream and slaked cornflour mixture. Cook, stirring continuously for 4–5 minutes, until the sauce is smooth and creamy. Remove from the heat and stir in the Parmesan cheese.
Heat a griddle or frying pan on the stove and cook the chicken fillets for 5–8 minutes per side, depending on thickness, until cooked through. Set aside to rest for a few minutes.
Reheat the sauce and add the fresh parsley, cooked pasta, roasted peppers and sundried tomatoes. Season with salt and pepper. Once heated through, divide the pasta among serving bowls and top with the sliced, grilled chicken.
Garnish with chilli, coriander, additional Parmesan cheese and lemon or lime wedges if desired.
Marula Milk Tart
Elizabeth Ramekoa, Gauteng
SPECIAL EQUIPMENT
23cm pie pan
PASTRY
1 cup (250ml) cake flour
1 tsp (5ml) baking powder
1 tsp (5ml) salt
¼ cup (60ml) castor sugar
115g butter or margarine, cubed
1 large egg, beaten
FILLING
1½ cups (375ml) milk
½ cup (125ml) Amarula Cream
75g butter or margarine
1 cinnamon stick
¼ cup (60ml) cake flour
¼ tsp (1.25ml) salt
3 large eggs, separated
¼ cup (60ml) white sugar
1 tsp (5ml) vanilla essence
1–2 tsp (5–10ml) ground cinnamon, for sprinkling
TO SERVE
whipped cream fresh berries edible flowers
For the pastry, sift the flour, baking powder and salt together into a mixing bowl, and add the sugar.
Rub in the butter or margarine using your fingertips until the mixture resembles coarse breadcrumbs.
Add the beaten egg and bring the dough together. Press the dough into a greased 23cm round pie pan. Refrigerate until needed.
For the filling, place the milk, Amarula Cream, butter or margarine, and cinnamon stick in a pot and bring to a simmer.
Combine the flour, salt, egg yolks and sugar together in a separate
bowl and mix well. Reserve the egg whites to use later.
Remove the cinnamon stick from the warmed milk mixture and slowly pour the heated milk over the egg mixture, whisking together.
Pour the mixture back into the pot and simmer for 4–5 minutes until thick, stirring continuously to form a custard.
Remove from the heat and stir in the vanilla essence, then cover the custard with plastic wrap to prevent a skin from forming. Allow to cool in the fridge for 15 minutes.
Preheat the oven to 170°C.
In a separate, spotlessly clean bowl, whisk the egg whites until soft peak stage (tripled in size, but still soft). Gently fold the egg-white mixture into the cooled custard and pour into the prepared pastry base. Bake for 25–30 minutes, until light
brown and the centre is just set.
Allow to cool and sift a thin layer of ground cinnamon over the top of the tart.
Serve sliced, topped with a little whipped cream, some fresh berries and edible flowers if desired.
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ON MY MIND
GLOBAL STRATEGIES AND POLICIES NEED TO BE RE-EVALUATED
Thirty-five years since the ‘end of history’ was pronounced with the culmination of the Cold War and the apparent victory of democratic capitalism, history is back and moving fast, says Greg Mills, co-author of The Art of War and Peace
“The fall of the Berlin Wall in November 1989 seemed to herald a new era of unity, freedom, and peace in Europe, as envisioned by President George HW Bush. The countries of the Warsaw Pact quickly moved toward liberalisation and democratisation, breaking free from Soviet oppression. The Soviet Union collapsed in 1991, leading to a more democratic Russia open to the West. East and West Germany unified, and globalisation promised to transcend the divisions of Marxism and socialism. Even China, despite the Tiananmen Square massacre, was on a path to economic liberalisation. In the Middle East, the coalition against Saddam Hussein’s invasion of Kuwait hinted at a nascent new world order.
However, this transition was incomplete. Many states were left behind due to Western failures, unable to fully integrate into the new security architecture. Consequently, the world did not completely transition from Cold War tensions to a peaceful, prosperous era.
Thirty-five years later, the democratic world faces new crises, from Russia’s war in Ukraine to turmoil in the Middle East and the Sahel. The struggle now is between populism and authoritarianism on one side and democracy and openness on the other. With increasingly porous borders, empowered non-state actors, and the collapse of traditional media filters, hybrid warfare has become prevalent. This includes hacker groups and the strategic use of foodand news to win over populations.
Many once believed in the triumph of democracy at the Cold War’s end, including
The world did not completely transition from Cold War tensions.
The Art of War and Peace is out now.
most Africans who still prefer this system. However, some now advocate for new barriers to protect against authoritarian threats and preserve their relative freedoms and privileges.
Addressing these challenges requires unity and rethinking defence strategies, integrating technology, systems, and people, and reexamining how defence relates to society and international relations. Lessons from recent conflicts in Africa, Afghanistan, and Ukraine are crucial for future strategies. Despite trillions of dollars spent, security has worsened in parts of Central Asia, particularly Afghanistan, and in Africa. Doubling down on policies that foster greater authoritarianism is not the solution; it contributes to the problem, as evidenced by the rise of military governments.
Militaries and governments must manage past underinvestment while tackling current and future challenges. Peacemakers need to return to basics, developing approaches that achieve international consensus and push parties to negotiate. This requires leadership, method, and timing. A reassessment of Western aid policies is necessary, as failures in Africa highlight. Coups in the Sahel and African receptiveness to Russia and China indicate that aid ignoring local politics or favouring elites worsens security and encourages corruption.
Increasingly militarised foreign policies, whether by Russian non-state actors or others, may protect illegitimate governments at great cost. The Art of War and Peace examines how to preserve post-Cold War gains, avoiding naive reliance on ungrounded peace or the folly of war.”
