Tuscany offers some of the most spectacular scenery in Europe. The unique combination of cypress trees and olive groves mingling with vineyards and woods on undulating hillsides is enchanting. With villages and villas at every turn, what better way to explore the countryside than on foot? Over fifteen months of changing seasons Rosemary George did just that, visiting wine producers along the way, observing and savouring the local colour and the idiosyncrasies of a myriad of winemakers.
Each chapter will feature a walk through a wine region and include advice on the key estates, places to visit and favourite restaurants. Chianti, which covers the heart of Tuscany, is the wine we all know and love, with vineyards in the magical hills around Florence and Siena, and the medieval cities of Arezzo and Pisa. However, the face of Tuscan viticulture has changed enormously in recent years with the development of the vineyards of the Maremma, bringing a host of new wines.
Treading Grapes charts this wonderful renaissance of Tuscan wines, not just of Chianti, but also of the newer prestigious names such as Sassicaia and Ornellaia in the rising area of Bolgheri. It also covers the old-established wines of Brunello di Montalcino and Vino Nobile di Montepulciano, and several others, not least the island of Elba. It will be enjoyed by wine enthusiasts and armchair travellers alike.
The eBook is illustrated with colourful photos.
Watch You Tube video Book Trailer A Year In TUSCANY: http://youtu.be/-y4QPBFu8QE
Summary of A Year in TUSCANY
"A tale of reality, history, landscape and art."
History, art, gastronomy, monuments, images: these are the elements that dominate the impressions of Barbara Athanassiadis in Tuscany, where she spends the four seasons of the year painting watercolours and discovering the hidden treasures of one of the most beautiful places in the world.
The excursions through the vineyards in autumn give her the opportunity to let her imagination roam free and to transport us to the unique landscapes that surround her.
The winter walks through Florence and Siena are an extraordinary exhibition dedicated to the world of Art.
The spring excursions in her Beetle to the medieval towns open her eyes, and ours, to the traditions of the place, which she critiques with her own Mediterranean influences as to how Tuscany was viewed by the English during the Grand Tour.
In the summer, she leaves for Maremma, virgin land within Tuscany, where she lives through the stories and legends of its people while at the same time taking a step back to look at the Etruscans. She makes quick stops to local restaurants to taste the delicious, traditional cuisine allowing us to share in her meal of sliced bread seasoned with olive oil, ravioli al pecorino, and pappardelle in rabbit stew, all flavored with herbs and cheese and washed down with a glass of the famous Vin Santo.
Her travel story, written from the heart, clearly shows that she is charmed not only by the peculiarities and traditions of the region, but also the hidden details of everyday life. It is these little details, an unknown aspect in the daily life of Tuscans, which surprise her and never fail to charm.
"Through the images, Barbara Athanassiadis writes a lyrical text, in which Tuscany, the noblest of the Italian lands, is celebrated in all its splendor. Centuries of human effort have changed the original natural fabric creating a landscape on a human scale that has no equal. I should add that I would like to read the text in its original language but it was not possible, since I do not know it. However, the translation, beautiful, with a fluid language, charming and persuasive, allows me to assume that the original text is of equal beauty: the cases in which the translations have been able to overcome the originals can be counted on the fingers of one hand, in more than three millennia of the civilization of writing."
Professor Fabrizio Lemme, Academy of San Luca - Rome
"The pages of your books are like paintings that a painter paints in real time, while living, capturing the moments - not just spatially but also through the sensory nuances that give color to life. The choice of Tuscany, over other colourful Italian regions, only reinforces the passion and the materiality of the feelings generating chapters, paragraphs, lines, words ... "
Roberto Castellucci, Painter
"With time and disposition as her allies and, above all, her thorough knowledge of Italian Renaissance Art, Barbara Athanassiadis offers a journey along which I came to learn exactly what to look at, not just to feel what she herself may have achieved, but mostly to attain a conciliation with style and culture, the two natural companions of any wanderer. The painter that she is allowed for certain strokes of her brushes to go astray, much to the benefit of the rest of us! Secret nuances and mixtures of colors so vivid that they transpire, despite everything, in the watercolors striving to surge from the pages of her book. The numerous references to Art and the reports of talks she had with several people she has met throughout her life, not just dwelling in Tuscany, have admittedly made me richer and definitely strengthened my resolve to revisit the region harboring the sources of elixir. For this is what Tuscany is all about."
Yiannis Spaveras, Greek Writer
All too often an incident or accident, such as the eruption in Crown Heights with its legacy of bitterness and recrimination, thrusts Black-Jewish relations into the news. A volley of discussion follows, but little in the way of progress or enlightenment results--and this is how things will remain until we radically revise the way we think about the complex interactions between African Americans and Jews. "A Right to Sing the Blues" offers just such a revision.
"Black-Jewish relations," Jeffrey Melnick argues, has mostly been a way for American Jews to talk about their ambivalent racial status, a narrative collectively constructed at critical moments, when particular conflicts demand an explanation. Remarkably flexible, this narrative can organize diffuse materials into a coherent story that has a powerful hold on our imagination. Melnick elaborates this idea through an in-depth look at Jewish songwriters, composers, and perfomers who made "Black" music in the first few decades of this century. He shows how Jews such as George Gershwin, Irving Berlin, Al Jolson, and others were able to portray their "natural" affinity for producing "Black" music as a product of their Jewishness while simultaneously depicting Jewishness as a stable white identity. Melnick also contends that this cultural activity competed directly with Harlem Renaissance attempts to define Blackness.
Moving beyond the narrow focus of advocacy group politics, this book complicates and enriches our understanding of the cultural terrain shared by African Americans and Jews.