You have to go back to the 1980s and Granta's bestselling travel issue to find a book that compares to OxTravels. Introduced by Michael Palin, OxTravels features original stories from twenty-five top travel writers, including Michael Palin, Paul Theroux, Sara Wheeler, William Dalrymple, Patrick Leigh Fermor, Lloyd Jones, Rory Stewart, Jan Morris, Dervla Murphy, Rory MacLean, and others. Each of the stories takes as its theme a meeting - life-changing, affecting, amusing by turn - and together they transport readers into a brilliant, vivid atlas of encounters. This extraordinary collection is published in aid of Oxfam and all royalties from the book will support Oxfam's work.

Fact and fiction meet at the boundaries, the betwixt and between where transformations occur. This is the area of ambiguity where fiction and fact become endowed with meaning, and this is the area—where ambiguity, irony, and metaphor join forces—that Harold Scheub exposes in all its nuanced and evocative complexity in The Poem in the Story. In a career devoted to exploring the art of the African storyteller, Scheub has conducted some of the most interesting and provocative investigations into nonverbal aspects of storytelling, the complex relationship between artist and audience, and, most dramatically, the role played by poetry in storytelling. This book is his most daring effort yet, an unconventional work that searches out what makes a story artistically engaging and emotionally evocative, the metaphorical center that Scheub calls "the poem in the story." Drawing on extensive fieldwork in southern Africa and decades of experience as a researcher and teacher, Scheub develops an original approach—a blend of field notes, diary entries, photographs, and texts of stories and poems—that guides readers into a new way of viewing, even experiencing, meaning in a story. Though this work is largely focused on African storytelling, its universal applications emerge when Scheub brings the work of storytellers as different as Shakespeare and Faulkner into the discussion.

For 2014, Oxfam and Profile have turned to crime in order to raise a further £200,000 for Oxfam's work. OxCrimes is introduced by Ian Rankin and has been curated by Peter Florence, director of Hay Festival, where it will be launched in May. The stellar cast of contributors will include Mark Billingham, Alexander McCall Smith, Anthony Horowitz, Val McDermid, Peter James, Adrian McKinty, Denise Mina, Louise Welsh and a host of other compelling suspects. Profile have raised more than a quarter of a million pounds for Oxfam by publishing OxTales (2009)and OxTravels (9781846684968) (2011).

"The Xhosa ntsomi (sing. intsomi; pl. iintsomi) is a performing art which has, as its dynamic mainspring, a core-cliché (a song, chant, or saying) which is, during a performance, developed, expanded, detailed, and dramatized before an audience which is itself composed of performers, everyone in a Xhosa society being a potential performer."--Introduction.

Russia is dying from within. Oligarchs and oil barons may still dominate international news coverage, but their prosperity masks a deep-rooted demographic tragedy. Faced with staggering population decline—and near-certain economic collapse—driven by toxic levels of alcohol abuse, Russia is also battling a deeper sickness: a spiritual one, born out of the country’s long totalitarian experiment. In The Last Man in Russia, award-winning journalist Oliver Bullough uses the tale of a lone priest to give life to this national crisis. Father Dmitry Dudko, a dissident Orthodox Christian, was thrown into a Stalinist labor camp for writing poetry. Undaunted, on his release in the mid-1950s he began to preach to congregations across Russia with little concern for his own safety. At a time when the Soviet government denied its subjects the prospect of advancement, and turned friend against friend and brother against brother, Dudko urged his followers to cling to hope. He maintained a circle of sacred trust at the heart of one of history’s most deceitful systems. But as Bullough reveals, this courageous group of believers was eventually shattered by a terrible act of betrayal—one that exposes the full extent of the Communist tragedy. Still, Dudko’s dream endures. Although most Russians have forgotten the man himself, the embers of hope that survived the darkness are once more beginning to burn. Leading readers from a churchyard in Moscow to the snow-blanketed ghost towns of rural Russia, and from the forgotten graves of Stalin’s victims to a rock festival in an old gulag camp, The Last Man in Russia is at once a travelogue, a sociological study, a biography, and a cri de coeur for a dying nation—one that, Bullough shows, might yet be saved.