The Son Of Umbele

An extraordinary tale of two teenagers who were never meant to be friends, this page-turner transports readers to a bustling market in Ghana's capital city where one friendship transforms two lives. When Faiza, a migrant girl from northern Ghana, and Abena, a wealthy doctor's daughter from the south meet by chance in Accra's largest market where Faiza works as a porter, or kaya girl, they strike up an unlikely and powerful friendship that transcends their social inequities and opens up new worlds to them both. Set against a backdrop of class disparity in Ghana, The Kaya Girl explores how two teenage lives are indelibly impacted by a barrier-defying friendship. This gorgeously transporting work offers vivid insight into two strikingly diverse young lives in Ghana.

Unlike the other Birthmothers in her utopian community, teenaged Claire forms an attachment to her baby, feeling a great loss when he is taken to the Nurturing Center to be adopted by a family unit.

South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still fi nds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.