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Vols. for 1889- contain the almanac for the United States and also almanacs in various languages for various parts of the world.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa. Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising. Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence. I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues. Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions. Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country. Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by. Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family. Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

In 'Wild Life at the Land's End,' J.C. Tregarthen offers readers a vivid portrayal of the pastoral and natural landscape of Penwith, at the westernmost tip of Cornwall, England. Through the nocturnal exploits of an Earthstopper and his intrepid terrier, the book finely interlaces the beauty of rustic life with the primal subtleties of hunting. Tregarthen's prose, rich in detail and evocative in its descriptive power, rises above mere narration to become a character itself, suffused with the intimacy and folklore of his setting. This literary piece, situated within the canon of early 20th-century nature writing, invites comparison to the works of similar contemporaries, echoing the detailed observation and deep appreciation for the natural world that defines the genre. J.C. Tregarthen, a native of the land he so eloquently describes, pens this work with the authenticity of lived experience. Drawing upon his upbringing and intimate knowledge of Cornish wildlife and rural lifestyle, Tregarthen crafts a narrative that serves as a testament to his profound connection with the land. His background likely emboldens his descriptions, rendering them more akin to lived memories than constructed scenes, which envelopes readers into the heart of the countryside's untamed beauty. 'Recommended for both nature lovers and aficionados of classic English literature, 'Wild Life at the Land's End' beckons its audience into the enchanting world of the Cornish landscape. Tregarthen's immersive storytelling makes it an insightful read for those interested in the interplay between humans and the environment, the narrative offering not merely a tale, but a journey through the deep traditions and serene wildness of this rugged corner of Britain. As the lantern's glow pierces the night, so does this book illuminate the profound yet simple harmonies of life at land's end.

Reprint of the original, first published in 1869.