People also search for
Bayard examines the art of the "non-journey,” a tradition that a succession of writers and thinkers, unconcerned with moving away from their home turf, have employed in order to encounter the foreign cultures they wish to know and talk about. He describes concrete situations in which the reader might find himself having to speak about places he's never been, and he chronicles some of his own experiences and offers practical advice.
How to Talk About Places You Haven't Been is a compelling and delightful book that will expand any travel enthusiast's horizon well beyond the places it's even possible to visit in a single lifetime.
Ranging ambitiously across four continents and four hundred years, Worlds Elsewhere is an eye-opening account of how Shakespeare went global. Seizing inspiration from the playwright’s own fascination with travel, foreignness, and distant worlds—worlds Shakespeare never himself explored—Andrew Dickson takes us on an extraordinary journey: from Hamlet performed by English actors tramping through the Baltic states in the early sixteen hundreds to the skyscrapers of twenty-first-century Beijing and Shanghai, where “Shashibiya” survived Mao’s Cultural Revolution to become a revered Chinese author.
En route, Dickson traces Nazi Germany’s strange love affair with, and attempted nationalization of, the Bard, and delves deep into the history of Bollywood, where Shakespearean stories helped give birth to Indian cinema. In Johannesburg, we discover how Shakespeare was enlisted in the fight to end apartheid. In nineteenth-century California, we encounter shoestring performances of Richard III and Othello in the dusty mining camps and saloon bars of the Gold Rush.
No other writer’s work has been performed, translated, adapted, and altered in such a remarkable variety of cultures and languages. Both a cultural history and a literary travelogue, Worlds Elsewhere is an attempt to understand how Shakespeare has become the international phenomenon he is—and why.
More than twenty years ago, the NPR correspondent Anne Garrels first visited Chelyabinsk, a gritty military-industrial center a thousand miles east of Moscow. The longtime home of the Soviet nuclear program, the Chelyabinsk region contained beautiful lakes, shuttered factories, mysterious closed cities, and some of the most polluted places on earth. Garrels’s goal was to chart the aftershocks of the U.S.S.R.’s collapse by traveling to Russia’s heartland.
Returning again and again, Garrels found that the area’s new freedoms and opportunities were exciting but also traumatic. As the economic collapse of the early 1990s abated, the city of Chelyabinsk became richer and more cosmopolitan, even as official corruption and intolerance for minorities grew more entrenched. Sushi restaurants proliferated; so did shakedowns. In the neighboring countryside, villages crumbled into the ground. Far from the glitz of Moscow, the people of Chelyabinsk were working out their country’s destiny, person by person.
In Putin Country, Garrels crafts an intimate portrait of Middle Russia. We meet upwardly mobile professionals, impassioned activists who champion the rights of orphans and disabled children, and ostentatious mafiosi. We discover surprising subcultures, such as a vibrant underground gay community and a circle of determined Protestant evangelicals. And we watch doctors and teachers trying to cope with inescapable payoffs and institutionalized negligence. As Vladimir Putin tightens his grip on power and war in Ukraine leads to Western sanctions and a lower standard of living, the local population mingles belligerent nationalism with a deep ambivalence about their country’s direction. Through it all, Garrels sympathetically charts an ongoing identity crisis. In the aftermath of the Soviet Union, what is Russia? What kind of pride and cohesion can it offer? Drawing on close friendships sustained over many years, Garrels explains why Putin commands the loyalty of so many Russians, even those who decry the abuses of power they regularly encounter.
Correcting the misconceptions of Putin’s supporters and critics alike, Garrels’s portrait of Russia’s silent majority is both essential and engaging reading at a time when cold war tensions are resurgent.
Over 2 million copies of his books in print. The first and only author to win back-to-back Edgars for Best Novel. Every book a New York Times bestseller.
Since his debut bestseller, The King of Lies, reviewers across the country have heaped praise on John Hart. Each novel has taken Hart higher on the New York Times Bestseller list as his masterful writing and assured evocation of place have won readers around the world and earned history's only consecutive Edgar Awards for Best Novel with Down River and The Last Child. Now, Hart delivers his most powerful story yet.
A boy with a gun waits for the man who killed his mother.
A troubled detective confronts her past in the aftermath of a brutal shooting.
After thirteen years in prison, a good cop walks free as deep in the forest, on the altar of an abandoned church, a body cools in pale linen...
This is a town on the brink.
This is Redemption Road.
Brimming with tension, secrets, and betrayal, Redemption Road proves again that John Hart is a master of the literary thriller.
Now with an excerpt from John Hart's next book The Hush, available in February 2018.
In the summer of 2009, the leader of the dreaded Tamil Tiger guerrillas was killed, bringing to an end the civil war in Sri Lanka. For nearly thirty years, the war's fingers had reached everywhere, leaving few places, and fewer people, untouched. What happens to the texture of life in a country that endures such bitter conflict? What happens to the country's soul? Subramanian gives us an extraordinary account of the Sri Lankan war and the lives it changed. Taking us to the ghosts of summers past, he tells the story of Sri Lanka today. Through travels and conversations, he examines how people reconcile themselves to violence, how the powerful become cruel, and how victory can be put to the task of reshaping memory and burying histories.