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Design details: made of porcelain Designer: Revised by Arnold Krog in 1880's Collection Year: 1775 Imported Your account will be credited within 48 hours after this item ships. The Account Credit is not valid for prior purchases or balances and must be used within sixty (60) calendar days after the Account Credit is deposited into your account (the "Account Credit Period"). Upon expiration of the applicable Account Credit Period any unused Account Credit will automatically expire.

Design details: made of porcelain Designer: Revised by Arnold Krog in 1880's Collection Year: 1775 Imported Your account will be credited within 48 hours after this item ships. The Account Credit is not valid for prior purchases or balances and must be used within sixty (60) calendar days after the Account Credit is deposited into your account (the "Account Credit Period"). Upon expiration of the applicable Account Credit Period any unused Account Credit will automatically expire.

Design details: made of porcelain Designer: Revised by Arnold Krog in 1880's Collection Year: 1775 Imported Your account will be credited within 48 hours after this item ships. The Account Credit is not valid for prior purchases or balances and must be used within sixty (60) calendar days after the Account Credit is deposited into your account (the "Account Credit Period"). Upon expiration of the applicable Account Credit Period any unused Account Credit will automatically expire.

Design details: made of porcelain Designer: Revised by Arnold Krog in 1880's Collection Year: 1775 Imported Your account will be credited within 48 hours after this item ships. The Account Credit is not valid for prior purchases or balances and must be used within sixty (60) calendar days after the Account Credit is deposited into your account (the "Account Credit Period"). Upon expiration of the applicable Account Credit Period any unused Account Credit will automatically expire.

On April 23, 1996, Notrose Nobomvu Konile lifted her hand and swore to tell the truth to the South African Truth and Reconciliation Commission. She was the mother of Zabonke Konile, a young man killed in what has become known as the Gugulethu Seven incident. Antjie Krog, reporting as a journalist at the time, was struck by the seeming incoherence of the testimony. In 2004, colleagues Nosisi Mpolweni and Kopano Ratele joined Krog in a closer investigation of Mrs. Konile's words. The resulting three-year collaboration, drawing on different disciplinary and social backgrounds, has produced a fascinating account that leaves no detail of Mrs. Konile's narrative unexplored and poses questions about the unacknowledged assumptions that underpin research in this country. In addition, the book sheds light on the larger and highly relevant issues of how black and white South Africans can build bridges towards understanding one another across the cultural, social, and economic divides that threaten the country's democracy.

The earlier edition of translations from Ingrid's work, Selected Poems by Jack Cope and William Plomer, is now out of print, so a new translation will be welcomed by readers. But that this new translation is by two of South Africa's most illustrious authors, André Brink and Antjie Krog, is indeed a special event. What is more, they did the translations with the help of one of the finest English poets in South Africa, Ingrid de Kok. Of their process, André writes the following in the Introduction: "In most cases, Antjie and I would each do our own translations of a poem, after which we would meet to discuss and hammer out a second draft; this would then be passed on to Ingrid de Kock for comment and recommendations, before all three of us would meet for prolonged sessions of mixing and matching, of trial and error, before arriving at something like consensus."

The taboos within the tidal moods of the menopause are described with an anger and a verbal intensity that are uniquely Krog’s. Close relationships are searingly explored, occasionally in a confrontational way, more often searching for resolution. In the final meditative section, Table Mountain, a looming, symbolic and androgynous godhead is contemplated as an abiding presence and witness to the transience of human life. These dramatic, even reckless poems, reaffirm Antjie Krog’s status and bring an altogether new and unique energy to South African English-language poetry.Antjie Krog’s iconic status as one of South Africa’s most popular and critically acclaimed poets began when she was eighteen, with her first collection, Dogter van Jefta (1970). Almost four decades later, this very different collection will confirm her reputation with poems that blur and ravage the boundaries between the lyrical and confessional, the private and public. From Body Bereft, p.62fossil alphabetthe found fossil does not describehow my blue eyes look past your eyeshow your black eyes look away from my eyeshow my white forearm does not simply rest next to your black forearmhow my sleek hair sleeps next to your frizzy hairthe fossil does however describe in the finest vertebraehow the coast blindingly kept on shouting after the continent that once was part of herhow the fynbos undisputedly sniffed for her torn-away friendshow the rusted rock along the coast longed for the drifted bloodbrotherbut the fossil knows that once everything was linkedthat we broached our hearts for one anotheronly we don’t know why we now sit with this stoney one-nessand so much furious aversion

Physical description; viii, 286 pages ; 24 cm. Subjects; Krog, Antjie. South Africa. Truth and Reconciliation Commission.