Almost Sleeping My Way To Timbuktu

Travelling in West Africa by public transport, Sihle Khumalo turned a wish list into an itinerary. The plans for his trip were lean on practical detail, but grand in concept: Visit five World Heritage Sites listed by UNESCO for their historical and cultural significance. Having never set foot in Sénégal, Mali, Burkina Faso, Benin or Togo, Sihle planned to inform himself about Francophone Africa as he went along. Had he pondered the implications of not speaking French in a part of the world where it is the lingua franca, or what the public transport might be like there, he might have set off less bright-eyed and bushy-tailed. But Sihle is not one to be deterred by setbacks and deadends. His flexibility, irrepressible optimism and robust sense of humour, coupled with an unexpected sensitivity towards his host countries, see him reach all his goals – or almost.

As many places around the world confront issues of globalization, migration and postcoloniality, travel writing has become a serious genre of study, reflecting some of the greatest concerns of our time. Encompassing forms as diverse as field journals, investigative reports, guidebooks, memoirs, comic sketches and lyrical reveries; travel writing is now a crucial focus for discussion across many subjects within the humanities and social sciences. An ideal starting point for beginners, but also offering new perspectives for those familiar with the field, The Routledge Companion to Travel Writing examines: Key debates within the field, including postcolonial studies, gender, sexuality and visual culture Historical and cultural contexts, tracing the evolution of travel writing across time and over cultures Different styles, modes and themes of travel writing, from pilgrimage to tourism Imagined geographies, and the relationship between travel writing and the social, ideological and occasionally fictional constructs through which we view the different regions of the world. Covering all of the major topics and debates, this is an essential overview of the field, which will also encourage new and exciting directions for study. Contributors: Simon Bainbridge, Anthony Bale, Shobhana Bhattacharji, Dúnlaith Bird, Elizabeth A. Bohls, Wendy Bracewell, Kylie Cardell, Daniel Carey, Janice Cavell, Simon Cooke, Matthew Day, Kate Douglas, Justin D. Edwards, David Farley, Charles Forsdick, Corinne Fowler, Laura E. Franey, Rune Graulund, Justine Greenwood, James M. Hargett, Jennifer Hayward, Eva Johanna Holmberg, Graham Huggan, William Hutton, Robin Jarvis, Tabish Khair, Zoë Kinsley, Barbara Korte, Julia Kuehn, Scott Laderman, Claire Lindsay, Churnjeet Mahn, Nabil Matar, Steve Mentz, Laura Nenzi, Aedín Ní Loingsigh, Manfred Pfister, Susan L. Roberson, Paul Smethurst, Carl Thompson, C.W. Thompson, Margaret Topping, Richard White, Gregory Woods.

The beginning of the 21st century has seen important shifts in mobility cultures around the world, as the West’s media-driven car culture has contrasted with existing local mobilities, from rickshaws in India and minibuses in Africa to cycling in China. In this expansive volume, historian Gijs Mom explores how contemporary mobility has been impacted by social, political, and economic forces on a global scale, as in light of local mobility cultures, the car as an ‘adventure machine’ seems to lose cultural influence in favor of the car’s status character.

SHORTLISTED FOR THE ASAUK FAGE & OLIVER PRIZE 2020 'Honorable Mention' for the ALA FIRST BOOK AWARD - SCHOLARSHIP 2021 A path-breaking contribution to the critical literature on African travel writing.

In 2003 Sihle Khumalo decided to give up a lucrative job and a comfortable life style in Durban and to celebrate his 30th birthday by crossing the continent from south to north. Celebrating life with gusto and in inimitable style, he describes a journey fraught with discomfort, mishap, ecstasy, disillusionment, discovery and astonishing human encounters. A journey that would be acceptable madness in a white man is regarded by the author’s fellow Africans as an extraordinary and inexplicable expenditure of time and money. Newly conscious of language barriers and regional difference in a continent still unexplored by the majority of Africans, the author presents a strikingly original and highly enjoyable account of a unique adventure. Each chapter is prefaced by a description of the ‘father of the nation’ of the country in question and ends with a hilarious ‘important tip’.

Documents the author's journeys through Mali, Mauritania, and Niger, discussing the inspiration for her travels, the women who adopted her into their ranks, and her discoveries about the region's forgotten areas and future promise.

Colourful, imaginative, vibrant, delicate and dramatic – these are just some of the hallmarks of the artworks that have garnered international accolades for Ardmore Ceramic Art in rural KwaZulu-Natal. It is here, in South Africa’s most successful ceramics studio set in the verdant Midlands, that exquisitely handcrafted and highly detailed figurative works and functional ware are created by more than fifty artists who draw on Zulu traditions and folklore, history, the natural world, and their own lives for inspiration. In turn, it is the lives of the sculptors and painters of Ardmore that fire the vision of the woman behind it all: Fée Halsted is an artist whose love of teaching and determination to fight poverty and AIDS have set others on the path of creative self-discovery and ultimately worldwide acclaim. Ardmore – We are because of others tells the extraordinary story of this famous studio – from its humble beginnings in a poverty-stricken corner of South Africa to its fame as a producer of exceptional and irresistible objets d’art prized by collectors, galleries and museums throughout the world. It is also the story of the indomitable Fée Halsted who is the driving force behind the enterprise, and the artists whose inventive spirit and fearless creativity are at the heart of Ardmore. Fée Halsted graduated with a BA (Fine Art) from the University of Natal, Pietermaritzburg (now the University of KwaZulu-Natal), in 1981 and completed an Advanced Diploma in ceramics in 1983. She lectured at the former Durban Technikon before establishing Ardmore Ceramic Art along with Bonnie Ntshalintshali in 1985. In 1990 the duo was jointly awarded the prestigious Standard Bank Young Artist Award. In 2010, in recognition of her work at Ardmore and for her efforts to empower women and uplift the lives of their families, Fée was honoured by the Philadelphia-based international nongovernmental organisation, Women’s Campaign International. To date she has participated in more than 60 national and international exhibitions and biennales, and Ardmore ceramics can now be found in several major public collections and museums, including the Museum of Cultures in Basel, Switzerland, the Museum of Arts and Design in New York, USA, the Hetjens Museum in Düsseldorf, Germany, the South African National Gallery, the Johannesburg Art Gallery and the Standard Bank Collection, as well as in a number of private collections.