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Archive for the ‘Feature’ Category

List or advertise in the new African Small Publishers’ catalogue

Small Publishers' Catalogue 2010 - AfricaSPC Africa 2013It’s time to put together a new “Small Publishers’ Catalogue: Africa”. We feature publishers and services, programmes and institutions that are useful to publishers in Africa and to those who are interested in Book Publishing in Africa. The distribution is via bookstores in South Africa, online from our website, and we take it to book fairs – the South African Book Fair and to Frankfurt and London. It gets to readers, librarians, booksellers, other publishers all over Africa and internationally to those who are interested in book development in Africa. The last edition in 2013 listed 50 publishers mostly from Anglophone Africa, but not exclusively, and included publishers from Ghana, Nigeria, Senegal, Algeria, Kenya, Uganda, Botswana, Namibia, Ethiopia, Zimbabwe and of course South Africa.

For more info about the previous catalogues click here

We plan to bring the catalogue out in March 2016, so no time to waste.

If you are interested in listing or advertising, contact Colleen Higgs for more details.

A listing costs R500. You get a free copy of the catalogue with your listing. The rate card for advertising or sponsoring will be sent to you on request.

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HUGE Modjaji WEBSITE SALE till the end of September only

Book MarkThe huge success of our discount boxes at the South African Book Fair in Jozi made us aware that South African readers are keen to buy books if the price is right. So we’re passing on similar discounts to you our readers who couldn’t be at the Fair. And at the same time clearing our warehouse of some of our older titles. But just till the 30th September there are HUGE discounts on older stock too. If you love a book bargain, you are going to love this sale. Check it out by clicking HERE

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Poetry in South Africa – New Coin 50th Anniversary issue

New Coin 50th Anniversary issueGary Cummiskey, the editor of New Coin asked several people to write about the state of SA poetry as they see it. One of the people he asked was me. So here’s my take, I urge those of you who are interested in poetry in South Africa or in the world at large to subscribe to New Coin and in particular to order this copy from the ISEA.

The other participants in The State of South African Poetry: A Symposium are Mxolisi Nyezwa, Kobus Moolman, Kelwyn Sole, Dashen Naicker; Raphael d’Abdon, Lesego Rampolokeng, Colleen Higgs, Denis Hirson, Haidee Kruger, and Allan Kolski Horwitz.

As the publisher of Modjaji Books I don’t want to discuss the state of South African poetry at a macro level. What I want to do is to invite you to look at the Modjaji Books and Hands-On Books poetry lists. As of the 30 June 2014 we have published 27 new collections of poetry. All of these titles can be seen on our website where you will see the range, depth and variety of voices that we have published since 2007. Our very first title was a poetry collection, Megan Hall’s Fourth Child; it went on to win the Ingrid Jonker prize in 2008. Since then Beverly Rycroft was also awarded the Ingrid Jonker prize in 2012 for her collection, missing. We have had our poets receive other prizes and honours. Phillippa Yaa de Villiers won the 2011 SALA poetry prize and she is the Commonwealth Poet for 2014.

However, what I’m most proud of is that Modjaji Books has continued to publish and sell collections of poetry in a tumultuous and uncertain period in publishing and in a time of economic downturn globally. The rewards that poets receive for writing their poems and publishing collections are not monetary, but rather the same rewards that poets have enjoyed for centuries, the sense that there are readers who are hungry for their words, their images, the articulation of something that speaks to others. The unexpected emails and letters, the selection of a poem to be studied in schools, the invitation to read, the look on the face of someone in an audience listening to the poet read – these are some of the small, rich rewards for poets, apart from the making of the poem itself.

One of the threads I’ve tried to pick up in publishing collections has been to push the publishing boundaries of language and identity. For example Life in Translation by Azila Talit Reisenberger, Bare & Breaking by Karin Schimke, and Beyond the Delivery Room by Khadija Heeger – all feature poems in more than one language and in different varieties of language.

Another thread has been to interrogate ‘what is poetry’, for example, in Malika Ndlovu’s book – Invisible Earthquake: a woman’s journey through stillbirth – a book of poems, journal entries, essays and resource lists.

Investing time and money into publishing poetry is a somewhat odd enterprise, it is not at all rewarding financially, but somehow it seems necessary for me to do this work. Part of why I started Modjaji Books in 2007 was to claim space for voices that would not otherwise be published, and the voices that particularly concerned me were the voices of women. I will not go into a long argument explaining what I mean, those who know what I mean, know already. Those who don’t can go and research this and read about the feminist politics of publishing argued by much more sophisticated and scholarly writers. I saw that something needed to be done, so I have tried to do it, and I will continue to do this as long as I am able.

It is strange to me that something like poetry is such a contested space, but it is. And so I find it important to enter that space and open doors which were firmly shut. And if it wasn’t for Modjaji I fear many of those doors would still be firmly shut.

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Melissa de Villiers flew in from Singapore to launch The Chameleon House

Melissa de Villiers was in South Africa for a week to launch her debut collection of short stories, The Chameleon House. Her book was launched at the NELM Eastern Star Museum on Friday 20th February in conversation with Anthea Garman of the Rhodes Journalism Department.
Melissa de Villiers

The Book Lounge launch was on Tuesday evening, 24th February 2015, where Melissa was in conversation with Liesl Jobson. Those who attended the launches would have been struck by Melissa’s grounded, thoughtful discussion of and engagement with her stories. She told us that one of her stories went through more than seventy drafts.


Nyana Kakoma who is on a six week internship with Modjaji Books wrote this about Tuesday’s launch at the Book Lounge.

Looking for and finding home: A conversation With Melissa de Villiers

Nothing starts off an evening of book loving better than a glass of wine and sumptuous bites. Except a surprise email from the author’s father and sister right before the author conversation.A priceless look of surprise on Melissa de Villiers face when the Louann from the Book Lounge read an email to Melissa from “Dad and Suzie” wishing her the very best at her book launch, and we were off to a great start of the launch of her collection of short stories, The Chameleon House.

Liesl Jobson (writer and musician), who sat down in conversation with Melissa kicked the evening off with a reading of “A Letter to Bianca” from The Chameleon House. She described the characters from the stories as resilient, emerging through the chaos and recognisable by everyone.

Although she started writing seriously much later, as a shy child who felt she could not express a lot of things, Melissa turned to writing as an escape. “When I had my first child I gave myself permission to write. I wanted my child to know these stories before the memories started to fade,” she explained. While some writers start their stories with a theme or character, it is images that endlessly bothered her that we have to thank for this collection. In trying to understand why they bothered her so much, she wrote a collection that has been described as, “a tough, sharp collection of stories offering unexpected glimpses of a changing country” by fellow writer, Romesh Gunesekera.

The question of looking for and finding home is a running theme in the stories that had to be discussed. Melissa, who is South African, has lived in London and now lives in Singapore, sometimes wonders what it would feel like if she had not left South Africa. “So this collection is almost like a love letter to this place that I left.” It made sense then, that when an audience member asked Melissa whether she tried getting published elsewhere, Melissa said, “I came first and only to Modjaji. It was important to me that my book gets published here.”

On the editing process, Melissa thanked her editor Andie Miller who at times had to cut the umbilical cord when Melissa could not let go of a story even after writing 70 drafts of it.

Before the question and answer session, Liesl pointed out that Melissa has perfected the art of ending stories. She compared it to an Eskom power cut while you are running on the treadmill and end up being flung forward. You would have to read Melissa’s collection to see what she means.

The Chameleon House

For more photos of the launches in Grahamstown and Cape Town click here

Book details

The Chameleon House

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Teaching writing – my backstory – chapter 1

Aerial magazineRobert Berold and I started a creative writing course run through the ISEA at Rhodes in 1997. I’m pleased to report the course is still running. And to some extent it was the precursor of the MA in Creative Writing now run at Rhodes. This year is the ISEA‘s 50th birthday and a couple of months ago Robert asked me to contribute a piece to a 50th birthday publication celebrating the work of the ISEA.

I’m also posting this now as a way of contributing to bringing back BooksLive as a Platform of Choice.

My history as a writer and a writing teacher is very long and deep and could form a central theme of a memoir, if I were to write one. But briefly – I wrote stories, poems, notes, ideas for novels, fragments, plays and many other things as a child and as a teenager. From about the age of 14 I kept journals faithfully, this practice continues, not quite as faithfully as when I was younger. I did a degree in English Literature – partly because of my love for reading and writing. They are threaded together very closely in my mind and experience. My desire to write was partly about wanting to join in the conversation.

I discovered the approach to teaching creative writing that we used in the ISEA course when I was invited by Bobby Marie of the National of Metalworkers of South Africa (NUMSA) to run a workshop with an American writer and activist named Louise Dunlap in about 1993. I worked with her on a 10 week workshop with NUMSA shop stewards and organisers; she was only there for the first 4 workshops or so. Louise also did some work at Wits (where I was working at the time) and in other contexts. I did a kind of shadow internship with her. She was the first person I’d met who was using Peter Elbow’s method of freewriting, which later influenced Natalie Goldberg.

Louise Dunlap gave me a book by Natalie Goldberg as a gift, called Writing Down the Bones, this book changed my life as a writer. At the time I was working in Academic Development and with tutors at Wits, and became very interested in teaching academic writing the way Elbow and Goldberg suggested – using freewriting, group feedback processes for example. I had already become familiar with some of the ways in which writing teachers in the US were working, and had ordered and read books published by the Teachers & Writers Collaborative, written by Ron Padgett, Alan Ziegler, and others. I taught a few six week courses at the Centre for Continuing Education at Wits in 1994 and 1995.

Even then, I was interested in publishing – I wanted to teach writing, but also to encourage writers to publish. I was the first person in my family to go to university, so I didn’t take intellectual capital for granted. For me because of my experience as a teacher and because of working in academic development, I was aware that you could learn how to do things – like write academic essays, and that you could learn to become more accomplished if you learnt approaches and practices in doing new things. I had also experienced the Paolo Freirean notion that you learn much more when you teach people something, than when you are taught, so my desire to teach writing was not completely altruistic – it was a way to learn how to be a writer and how to write in a more accomplished way myself. Louise Dunlap was very influenced by Paolo Freire and his approaches to teaching and learning. And I had also done some training in teaching Literacy, which used Freirean methods.

When I moved to Grahamstown at the end of 1995, I brought some freelance writing work with me, developing educational materials. I also wanted to do explore the idea of teaching creative writing, so Robert Berold and I approached the ISEA to set up a course. We ran the first course in 1997, and it took off immediately: I was surprised at how many people were interested in doing it. We got people started with freewriting, and then later we sat in groups and discussed our work in a non-judgmental way (in the way I had learned from Louise Dunlap).

Some of the principles of this approach to feedback and discussion are:

First the writer reads out their own piece of writing: it works best if everyone involved has a printed copy of the writing to refer to. Then the writer asks the readers/ listeners for the answers to some questions that s/he has about her/his own writing. For example: What worked? Where did I lose you? Is there anything that jarred or worried you? All responses are to be owned by those giving them, so that the writer doesn’t feel attacked, but feels rather that the writing has been listened to and attended to closely.

There were hardly any creative writing courses in the country then, and Robert and I had to make it up as we went along. The two of us would do all the exercises that the ‘students’ did, which got us writing, and helped us understand the impact and effectiveness of the exercises. It also shifted the dynamics in the sessions, and made them less teacher-centric. This practice is one that came from Louise Dunlap and Peter Elbow.

I think we held the space together quite well. We opened the course to everyone – you didn’t have to be a Rhodes student or connected to the university. From the beginning we had the idea that there should be a publication at the end of each course. Robert was good at one-on-one interactions with the other writers, and would read their writing with them and suggest edits and directions for the writing. I was better at holding the whole group, and making up exercises. My background as a teacher and a teacher educator meant I had experience in managing big groups.

I taught on the course for four years, from 1997 until I left Grahamstown at the end of 2000, which meant four issues of Aerial, the magazine we published. Some of the people I remember who came to the course were Arona Dison, Charlotte Jefferay, John Forbis, Louise Green, Nadine Botha, Crystal Warren, Sandile ‘Dudu’ Saki, Paulette Coetzee and Deborah Seddon. Robert and I also ran two week-long courses for writers from further afield, called Writing from Here – they included people like Mzwandile Matiwana, Mike Alfred, Mxolisi Nyezwa, Christina Coates, Colleen Crawford Cousins.

I loved it. It was a very exciting space for a lot of people, and it was inspiring for me. You get to know people differently when you meet them in their writing. And I think that for many of the writers we worked with, having work published in Aerial was their first time to be published.


A selected Bibliography of books that have influenced my work as a writer and a writing teacher

Brande, Dorothea. (1934 first published, republished 1996) Becoming a writer. London: Macmillan.
Cameron, Julia. (2000) The right to write. London: Macmillan.
Dunlap, Louise. (2007) Undoing the silence: Six tools for social change writing. New Village Press, Oakland, California.
Elbow, Peter. (1973) Writing without teachers. New York: Oxford University Press.
Goldberg, Natalie. (1986) Writing down the bones. Boston & London: Shambhala and (1990) Wild mind. New York: Bantam Books.
King, Stephen. (2000) On writing: a memoir. London: Hodder & Stoughton.
Lamott, Anne. (1994) Bird by bird – some instructions on writing and life. New York: Anchor Books, Doubleday.
Reeves, Judy. (1999) A writer’s book of days – a spirited companion and lively muse for the writing life. Novato, California: New World Library.

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Now I See You by Priscilla Holmes – standing room only launch at The Book Lounge

written by Isabel Ritchie

Now I see youThis past Tuesday evening, The Book Lounge was flooded by readers eager for the launch of Priscilla Holmes’ debut novel Now I See You, “a tough-cookie cop adventure”, as described by fellow South African crime writer Joanne Hichens.

Priscilla was in conversation with famed journalist and author, Tim Butcher. They are friends, and this lent a fun, easy, chatty air to the interview. It also gave Tim the elbow room to saucily suggest that the sex scenes in the book are too good to not be true. After praising the well-written erotic moments (there’s sex in a toilet cubicle, and even naked Twister), Butcher engaged Priscilla about how Now I See You has “layers like an onion” which unpeel as the book progresses.

Holmes revealed that she was inspired by the true story of a young, gifted girl from a remote valley in the Eastern Cape, who was the first child from the community to be educated. She walked 10km every day, through all weather, to reach the farm school, and later acquired a bursary for a prestigious Grahamstown high school. This is the point where fiction took over from fact. Holmes’ protagonist became feisty Detective Inspector Thabisa Tswane, who leaves the valley (she thinks for good) to pursue a high profile police career in Jozi. Fourteen years later, a violent crimes case takes her back to her roots, and we start to see glimpses of the hidden layers that Tswane is comprised of.

The metaphor of an onion unpeeling as the book progresses can apply to all the main characters – which includes the villains, as well as to the various places where the novel is set. As we learn more about their pasts, unexpected subtleties are unearthed.

The significance of place is a key aspect of this “racy, pacy crime thriller”. The red hilled Eastern Cape valley of DI Tswane’s childhood, the bustling metropolis of Johannesburg, the brown and red carpeted police safe house in Grahamstown, and the various environments the criminals inhabit in their pasts and present, are etched vividly into the reader’s imagination. Colours, smells, and personalities of local inhabitants are all used to enhance the value each setting holds for a character, and then we get to see another layer of the character unfold as they themselves are transformed by their locations.

Priscilla Holmes and Brigadier Mene1779901_10152917819187448_2662428328474449301_n

During the Q&A session with the audience, Priscilla predicted that her characters will outlive her. They are irrepressible, they occupy her dreams, and they take her writing to places she never expected or planned to go to. She actually set out to write an adventure story, a quest featuring the girl who leaves the valley, and it spontaneously turned into crime fiction. Luckily for us, the end of Now I See You is not the last we’ll see of DI Tswane – she and her fellow characters have insisted that they will be appearing again.

Standing didn’t dampen the mood (it was so well attended that half the crowd didn’t get seats) – afterwards, a long queue formed for book signing by Priscilla, all the copies of Now I See You at the venue sold out, and it was clear that everyone involved, including the Modjaji team, was buzzing with satisfaction.

To see more pictures go to the Modjaji Books Facebook page.

Book details
Now I See You

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Modjaji Books has a new partner!

Emily BWe are delighted to introduce Emily Buchanan, who joined us in August 2014. Emily brings enthusiasm, great ideas and experience in finance and publishing. She is a recent graduate of UCT’s Creative Writing masters programme.

Modjaji Books was founded in 2007 by Colleen Higgs, who has worked with freelance specialists and young interns to build the press. Modjaji has grown into an established small feminist press with a strong list of seventy titles including novels, memoirs, short stories and poetry.

Colleen acknowledges that she would not have been able to do what she has done without the help of a great many people, including independent bookstores and booksellers, Megadigital printers, Blue Weaver Marketing, the writers, many friends, editors, illustrators and designers, media people and of course readers, who have all assisted, supported and rooted for Modjaji.

Modjaji Books hopes to maintain her practice of mentoring and publishing southern African women’s voices, and to continue to expand her authors’ readership in South Africa and in the rest of the world.

To see more about our work check out the Modjaji Books website here

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“Petticoat protester’s long walk” for Whiplash in this week’s Mail and Guardian

Meg Rickards, director of the movie, Whiplash, is absolutely committed to the movie and ensuring that it gets made. Last Friday she walked 26kms to raise awareness around the issues that Whiplash raises. She wrote about the experience in this week’s Mail and Guardian, why she did it and what she learnt.

We decided on something in the spirit of performance art, to embody the film’s premise – about “breaking the silence” and “shedding the shame”. We would make people feel uncomfortable, make them talk.

The Thundafund campaign has been hugely successful in attracting fans to the Whiplash film page and in raising money, so far they have raised over R80,000.00 which is wonderful. But far from the target of R1 million. Making a movie is a costly business, but the Thundafund campaign has also drawn attention to the movie, and hopefully will have huge crowds of us going out to cinemas when it opens here in South Africa. Meg explains that her long walk was partly a publicity stunt, but also a way to draw attention to the issues raised in Whiplash.

Still, I can hear you cynically asking, why would I do it? And yes, there is another reason. I’m a filmmaker, struggling – along with my producer, Jacky Lourens – to raise the last 30% of the budget for a film called Whiplash, based on an astounding novel by Tracey Farren. My last film, 1994: the bloody miracle, was a documentary – cheaper to make. With fiction, if you’re not Leon Schuster or clutching the script for a romantic comedy or vicarious gore-fest, you’re screwed. With its themes of prostitution, domestic abuse and misplaced shame, Whiplash is gritty and hard-hitting.

Meg explains that for her it was “easy to display” the bruises she wore while walking

Of course my bruises were easy to display, precisely because they were fake. Unlike many, many women, I don’t carry that particular “whiplash”, or stored-up trauma. I am acutely aware that I had a team watching me all the way and that, on arriving in Muizenberg, I could step into the sea and wash the bruises away.

Read the rest of Meg’s piece from the Mail and Guardian here

WhiplashIf you have a few bucks to spare, please consider supporting the making of this important film along with the (at last count) 102 other suppoerters. Meg explains in a letter she wrote at the beginning of the fundraising campaign what she and the team hope to achieve by making and screening this film. It’s a much needed intervention in South Africa right now.

The Medical Research Council estimates that up to 3,600 rapes happen daily in South Africa: that’s 1.4 million rapes a year. These are committed in a climate of impunity: amongst the small proportion that get reported, no more than one in ten result in a conviction. A culture of abuse means that for many, rape – even that of minors – is not seen as a crime so much as a daily occurrence.

How do we change mind-sets? We believe Whiplash is an urgent intervention to stimulate dialogue about this scourge. However, Whiplash is not an explicit ‘messaging film’. The fact that it’s a riveting story makes it a far more powerful tool. Film has the ability to promote empathy and spark discussion. No one wants to be preached at.

For Whiplash to have a significant impact on popular cultural attitudes, it needs to reach everyone. So Whiplash will be launched as part of an extensive public awareness campaign – with Nozizwe Madlala-Routledge and NGO Embrace Dignity – and screenings and discussions will be held in schools, prisons, civic and religious organisations throughout the country.

I’ve been asked, ‘Is Whiplash a feel-good film?’ Well, No – but it’s certainly a feel-better film. This is not a Pretty Woman fairy tale; this is a chance to fall in love with someone intrinsically beautiful who believes she is ugly. Tess is so brutally honest your skin will itch, so bitingly funny you’ll laugh despite oneself. You won’t be able to help yourself rooting for her as she sheds her misplaced guilt to stop feeling like a whore. So Whiplash won’t leave you bleak, but rather with a sense of hope.

Sexual violence is a reality that we seek to challenge; but this is also a film about healing; about a woman coping with her horrific past and finding a way through to recovery…


Book details

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Till next year in Franschoek

Arja SalafrancaKhosi XabaYewande OmotosoFor someone who spends most of her time, quietly working away at her desk and laptop at her home office, the Franschoek Literary Festival is strong medicine. Those of you who have been will know what I mean. For three days it is all about books, writers, publishers, wine, booksellers, critics, wine, prizes, books, discussions about books, wine, beer, strong drink, books, arguments, wine, poetry, poems, writers. Laughter, hugging and kissing. Did I mention the wine?

Here’s what I especially loved this year’s Franschoek festival.

Dave Ferguson, played at the launch of Carapace 100, a tribute to his dad, Gus Ferguson, the generous, snail-loving, cyclist, poet, publisher, pharmacist.

Dave Ferguson, played at the launch of Carapace 100, a tribute to his dad, Gus Ferguson, the generous, snail-loving, cyclist, poet, publisher, pharmacist.

Franschoek highlights

The free Lindt balls.
Dave Ferguson playing at the 100 issues of Carapace gig – celebrating Gus Ferguson and all his amazing work. Did I mention Dave Ferguson?
Meeting people I’d only met online before.
The glorious Autumn days.
Seeing how Yewande Omotoso has become a literary celebrity.
Seeing writers from Joburg from Joburg, Mossel Bay and Amsterdam. And lots of other places too.
Lunch with the Bookslive bloggers from the early days.
Prominent piles and shelves of Modjaji titles at the Town Hall EB pop up bookstore.
An almost EXCLUSIVEly South African BOOKStore.
Lunch at La Quartier Francais.
Bumping into lots of writers, writer friends, being introduced to people’s friends and families as “this is my publisher”.
Finding out how old Sophy Kohler is. (Your secret is safe with me).
Sharing a Rugga Basket at The Elephant and Barrel pub.
All the huggings and kissings.
I’m not going to mention names of who I saw, as I will be sure to leave people out. But it was lovely to see all of you who were there. I hope you enjoyed it as much as I did.

I loved the session with Chris Nicholson (No Sacred Cows), Edwin Cameron, Richard Calland, and Andrew Brown – Literary Lawmen. For a bunch of white men, they were pretty impressive. They blushed, they made jokes, they were earnest and thoughtful and sensitive, they were funny (different from making jokes), they deferred to each other with humour. They were amazingly bright eyed and witty for the Sunday 10am session.

They were serious and dealt with some difficult questions and topics, like the Zuma rape trial judgement (Chris Nicholson), should sitting judges write about the law, their own personal lives and positions on different issues (Edwin Cameron and Chris Nicholson).

The friends and writers who weren’t there.
Missing a session I’d booked to attend. (poor time-keeping, wine, lunch, food, laughter, oh dear).
Feeling sad that none of my authors were shortlisted for the Sunday Times awards this year. But feeling sadder for them, than for me.
The piles of Modjaji books that were still on the Exclusive Books pop-up store shelves on Sunday at lunchtime.
Not having a camera, dropped my phone so often and broke the camera lens … so none of my own photos.

Thank you Jenny Hobbs for the festival and the robustness of it, and to Ann Donald, Finuala Dowling and all the others who work so hard behind the scenes to make it happen.

And personally, thank you to Megadigital for managing to do a very fast reprint of some titles to meet the orders for the festival.

Till next year in Franschoek.

No Sacred Cows

Book details

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Alert: Now the World Takes These Breaths, a new collection of poetry by Joan Metelerkamp

Now the World Takes These Breaths

Joan Metelerkamp

A new collection of poetry by Joan Metelerkamp is something to look forward to. Now the World Takes These Breaths is her eighth volume of poetry, and the second collection published by Modjaji Books. We also published Burnt Offering, back in 2009. I think it may have caused one of the biggest poetry debates ever on Bookslive. You also have to read this link if you want to follow the whole story.

Her earlier books include: Towing the Line (1992); Stone No More (1995); Into the Day Breaking (2000); Floating Islands (2001); Requieum (2003); and Carrying the Fire (2005).

Here is one poem from Now The World Takes These Breaths – just to give you a sense of the beauty and power of this new collection. But as with much of Metelerkamp’s previous work, the individual poems can be read as such, but they are also part of the whole work, so the reader only fully appreciates one poem if the whole collection is read and reread.

a poem by Joan Metelerkamp

a poem by Joan Metelerkamp

Watch this space for news of launches and readings. I’m very excited about this new collection. You couldn’t tell could you?

Now The World Takes These Breaths

Book details

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