Where once there were twenty-nine San Bushman languages and/or dialects in Southern Africa, few now remain. The loss of these languages results in the loss of their stored oral culture and indigenous knowledge. All that remains are archaeological evidence and rock art, or slim archives recorded by individuals, such as Wilhelm Bleek, Lucy Lloyd and GR von Wielligh, who heard the encroaching language and cultural death knell before it was too late. The contents of this study hang together as in a "e;necklace of springbok ears"e;. The last dancing rattle and necklace has long since crumbled to dust. Yet the binding string serves as a useful metaphor for the literary texts discussed here and their relation to the culture of the First People. The cosmology embedded in the /Xam myths as recorded by Von Wielligh between the Cederberg and the Gariep (or Orange) River seems to share much with contemporary consciousness: in order to survive, humankind needs to recognise the interdependence of all life.

?Where once there were twenty-nine San Bushman languages (and/or dialects) in Southern Africa...few now remain.The loss of these languages results in the loss of their stored oral culture and indigenous knowledge. All that remains are archaeological evidence and rock art, or archives recorded by individuals, such as Wilhelm Bleek, Lucy Lloyd and GR von Wielligh, who heard the encroaching language and cultural death knell before it was too late.?

Issues for Nov. 1957- include section: Accessions. Aanwinste, Sept. 1957-

Many of our moments arrive as gifts wrapped by the creative forces of the world and by the hands of other beings. Reinfred Dziedzorm Addo finds that some of his poetry flourishes in this wrapped-gift realm. He affectionately calls such writings 'dedicadas', things written in dedication or in recognition of another. Serving as Addo's debut publication, The Dedicadas is a chapbook collection of special poems that are dedicated to the forces and beings that inspired them. The offerings here include a euphoric affirmation of the spirit's (re)awakening, a lonely lament about captivity, a celebratory contemplation on letters and words (with a possibly misleading title), and a selection of other dedicadas with their own moods.

Briscoe's grandmother remembered stories about the first white men coming to the Northern Territory. This extraordinary memoir shows us the history of an Aboriginal family who lived under the race laws, practices and policies of Australia in the twentieth century. It tells the story of a people trapped in ideological folly spawned to solve 'the half-caste problem'. It gives life to those generations of Aboriginal people assumed to have no history and whose past labels them only as shadowy figures. Briscoe's enthralling narrative combines his, and his contemporaries, institutional and family life with a high-level career at the heart of the Aboriginal political movement at its most dynamic time. It also documents the road he travelled as a seventeen year old fireman on the South Australia Railways to becoming the first Aboriginal person to achieve a PhD in history.

South Africa has been divided into 16 geographical regions, each with its own succulent gems highlighted and illustrated. Aside from proffering a wealth of information on the plants themselves, this book offers the reader useful advice on places to visit and which routes to follow throughout each region, in order to fully appreciate each area's succulent diversity. The 20 hand-painted plates and the photographs beautifully illustrate this complex and interesting ecological grouping of plants, and the regions in which they grow.

Wild Dogs Under My Skirt (2004), Tusiata Avia's first collection of poetry, draws on two different cultures and charts the sometimes painful points of their intersection. These poems are both confrontational and entertaining, raw and lyrical, they occupy legend and history - yet break through into an urban landscape that is just as arresting and richly patterned. Avia's poetry is alive with the energy and rhythm of performance poetry and an oral tradition, but it also stakes out a unique physical life on the page, reshaping our language and our understanding of New Zealand culture.~~'Tusiata's poetry is quite revolutionary in the sense that, not only does it define the face of Pacific literature in New Zealand, but it redefines the face of New Zealand literature itself.' - Sia Figiel~--Book Cover.

Rome, too, wants the sound of roaring as evening falls ... The Rome Zoo: a place born of fantasy and driven by a nation’s aspirations. It has witnessed – and reflected in its tarnished mirror – the great follies of the twentieth century. Now, in an ongoing battle that has seen it survive world wars and epidemics, the zoo must once again reinvent itself, and assert its relevance in the Eternal City. Caught up in these machinations is a cast of characters worthy of this baroque backdrop: a man desperate to find meaning in his own life, a woman tasked with halting the zoo’s decline and a rare animal, the last of its species, who bewitches the world. Drifting between past and present, The Rome Zoo weaves together these and many other stories, forming a colourful and evocative tapestry of life at this strange place. It is both a love story and a poignant juxtaposition of the human need to classify, to subdue, with the untameable nature of our dramas and anxieties. Spellbinding and disturbing, precise and dreamy, this award-winning novel, translated by Stephanie Smee, is unlike any other. Winner of the Swiss Literature Award, the Prix Michel-Dentan and the Prix du public de la RTS “Like all truly great literary allegories, The Rome Zoo is both innocent and wise, filled equally with tenderness and darkness. A gorgeous, dream-like fable of Italy's past and present.” —Ceridwen Dovey