In hypnotic prose and sensual detail, Anna Sherman describes searching for the great bells by which the inhabitants of Edo, later called Tokyo, kept the hours in the shoguns' city.An exploration of Tokyo becomes a meditation not just on time, but on history, memory, and impermanence. Through Sherman's journeys around the city and her friendship with the owner of a small, exquisite cafe, who elevates the making and drinking of coffee to an art-form, The Bells of Old Tokyo follows haunting voices through the labyrinth that is the Japanese capital: an old woman remembers escaping from the American firebombs of World War II. A scientist builds the most accurate clock in the world, a clock that will not lose a second in five billion years. The head of the Tokugawa shogunal house reflects on the destruction of his grandfathers' city: "A lost thing is lost. To chase it leads to darkness."The Bells of Old Tokyo marks the arrival of a dazzling new writer who presents an absorbing and alluring meditation on life in the guise of a tour through a city and its people.

    Her new preface considers the geisha today as a vestige of tradition as Japan heads into the 21st century.

    The unthinkable had happened, a major urban transit system had become the target of a terrorist attack. In an attempt to discover why, Haruki Murakami, internationally acclaimed author of The Wind-Up Bird Chronicle and arguably Japan’s most important contemporary novelist, talked to the people who lived through the catastrophe—from a Subway Authority employee with survivor guilt, to a fashion salesman with more venom for the media than for the perpetrators, to a young cult member who vehemently condemns the attack though he has not quit Aum. Through these and many other voices, Murakami exposes intriguing aspects of the Japanese psyche. And as he discerns the fundamental issues leading to the attack, we achieve a clear vision of an event that could occur anytime, anywhere. Hauntingly compelling and inescapably important, Underground is a powerful work of journalistic literature from one of the world’s most perceptive writers.

    So with little more than a change of clothes and two bars of soap, Ma takes off to immerse himself in the remotest parts of China. His journey would last three years and take him through smog-choked cities and mountain villages, from scenes of barbarity to havens of tranquility. Remarkably written and subtly moving, the result is an insight into the teeming contradictions of China that only a man who was both insider and outsider in his own country could have written.

    Twain's abundant humor waxes as freely as ever; this time, however, his amusement bears a more cynical cast, as he regards the grand tourist sights of 'Innocents' through older and more experienced eyes.

    But Burma's connection to George Orwell is not merely metaphorical; it is much deeper and more real. Orwell's mother was born in Burma, at the height of the British raj, and Orwell was fundamentally shaped by his experiences in Burma as a young man working for the British Imperial Police. When Orwell died, the novel-in-progress on his desk was set in Burma. It is the place George Orwell's work holds in Burma today, however, that most struck Emma Larkin. She was frequently told by Burmese acquaintances that Orwell did not write one book about their country - his first novel, Burmese Days - but in fact he wrote three, the "trilogy" that included Animal Farm and Nineteen Eighty-Four. When Larkin quietly asked one Burmese intellectual if he knew the work of George Orwell, he stared blankly for a moment and then said, "Ah, you mean the prophet!"In one of the most intrepid political travelogues in recent memory, Emma Larkin tells of the year she spent traveling through Burma using the life and work of George Orwell as her compass. Going from Mandalay and Rangoon to poor delta backwaters and up to the old hill-station towns in the mountains of Burma's far north, Larkin visits the places where Orwell worked and lived, and the places his books live still. She brings to vivid life a country and a people cut off from the rest of the world, and from one another, by the ruling military junta and its vast network of spies and informers. Using Orwell enables her to show, effortlessly, the weight of the colonial experience on Burma today, the ghosts of which are invisible and everywhere. More important, she finds that the path she charts leads her to the people who have found ways to somehow resist the soul-crushing effects of life in this most cruel police state. And George Orwell's moral clarity, hatred of injustice, and keen powers of observation serve as the author's compass in another sense too: they are qualities she shares and they suffuse her book - the keenest and finest reckoning with life in this police state that has yet been written.

    The Travels recounts Polo's journey to the eastern court of Kublai Khan, the chieftain of the Mongol empire which covered the Asian continent, but which was almost unknown to Polo's contemporaries. Encompassing a twenty-four year period from 1271, Polo's account details his travels in the service of the empire, from Beijing to northern India and ends with the remarkable story of Polo's return voyage from the Chinese port of Amoy to the Persian Gulf. Alternately factual and fantastic, Polo's prose at once reveals the medieval imagination's limits, and captures the wonder of subsequent travel writers when faced with the unfamiliar, the exotic or the unknown.

    He would have succeeded except for three American friends who refused to give in to fear.On August 21, 2015, Ayoub El-Khazzani boarded train #9364 in Brussels, bound for Paris. There could be no doubt about his mission: he had an AK-47, a pistol, a box cutter, and enough ammunition to obliterate every passenger on board. Slipping into the bathroom in secret, he armed his weapons. Another major ISIS attack was about to begin.Khazzani wasn't expecting Anthony Sadler, Alek Skarlatos, and Spencer Stone. Stone was a martial arts enthusiast and airman first class in the US Air Force, Skarlatos was a member of the Oregon National Guard, and all three were fearless. But their decision-to charge the gunman, then overpower him even as he turned first his gun, then his knife, on Stone-depended on a lifetime of loyalty, support, and faith.Their friendship was forged as they came of age together in California: going to church, playing paintball, teaching each other to swear, and sticking together when they got in trouble at school. Years later, that friendship would give all of them the courage to stand in the path of one of the world's deadliest terrorist organizations.The 15:17 to Paris is an amazing true story of friendship and bravery, of near tragedy averted by three young men who found the heroic unity and strength inside themselves at the moment when they, and 500 other innocent travelers, needed it most.

    Samurai. Legend.The life of history’s first foreign-born samurai, and his journey from Northeast Africa to the heights of Japanese society.When Yasuke arrived in Japan in the late 1500s, he had already traveled much of the known world. Kidnapped as a child, he had ended up a servant and bodyguard to the head of the Jesuits in Asia, with whom he traversed India and China learning multiple languages as he went. His arrival in Kyoto, however, literally caused a riot. Most Japanese people had never seen an African man before, and many of them saw him as the embodiment of the black-skinned (in local tradition) Buddha. Among those who were drawn to his presence was Lord Nobunaga, head of the most powerful clan in Japan, who made Yasuke a samurai in his court. Soon, he was learning the traditions of Japan’s martial arts and ascending the upper echelons of Japanese society.

    Dreaming no farther than Czechoslovakia, the young reporter found himself sent to India. Wide-eyed and captivated, he would discover in those days his life’s work—to understand and describe the world in its remotest reaches, in all its multiplicity. From the rituals of sunrise at Persepolis to the incongruity of Louis Armstrong performing before a stone-faced crowd in Khartoum, Kapuscinski gives us the non-Western world as he first saw it, through still-virginal Western eyes.The companion on his travels: a volume of Herodotus, a gift from his first boss. Whether in China, Poland, Iran, or the Congo, it was the “father of history”—and, as Kapuscinski would realize, of globalism—who helped the young correspondent to make sense of events, to find the story where it did not obviously exist. It is this great forerunner’s spirit—both supremely worldly and innately Occidental—that would continue to whet Kapuscinski’s ravenous appetite for discovering the broader world and that has made him our own indispensable companion on any leg of that perpetual journey.

    Mandeville claims to have served in the Great Khan's army, and to have travelled in 'the lands beyond' - countries populated by dog-headed men, cannibals, Amazons and Pygmies. Although Marco Polo's slightly earlier narrative ultimately proved more factually accurate, Mandeville's was widely known, used by Columbus, Leonardo da Vinci and Martin Frobisher, and inspiring writers as diverse as Swift, Defoe and Coleridge. This intriguing blend of fact, exaggeration and absurdity offers both fascinating insight into and subtle criticism of fourteenth-century conceptions of the world.

    Cut off from the rest of the country by the towering range of the Taygetus and hemmed in by the Aegean and Ionian seas, it is a land where the past is still very much a part of its people's daily lives.Patrick Leigh Fermor, who has been described as "a cross between Indiana Jones, James Bond, and Graham Greene," bridges the genres of adventure story, travel writing, and memoir to reveal an ancient world living alongside the twentieth century. Here, in the book that confirmed his reputation as one of the English language's finest writers of prose, Patrick Leigh Fermor carries the reader with him on his journeys among the Greeks of the mountains, exploring their history and time-honored lore.Mani is a companion volume to Patrick Leigh Fermor's celebrated Roumeli: Travels in Northern Greece.

    The sketches are written in the "haibun" style--a linking of verse and prose. The title piece, in particular, reveals Basho striving to discover a vision of eternity in the transient world around him and his personal evocation of the mysteries of the universe.

    Out of the heart of China into the mountains of Central Asia, across northern Afghanistan and the plains of Iran and into Kurdish Turkey, Colin Thubron covers some seven thousand miles in eight months. Making his way by local bus, truck, car, donkey cart and camel, he travels from the tomb of the Yellow Emperor, the mythic progenitor of the Chinese people, to the ancient port of Antioch—in perhaps the most difficult and ambitious journey he has undertaken in forty years of travel.The Silk Road is a huge network of arteries splitting and converging across the breadth of Asia. To travel it is to trace the passage not only of trade and armies but also of ideas, religions and inventions. But alongside this rich and astonishing past, Shadow of the Silk Road is also about Asia today: a continent of upheaval.One of the trademarks of Colin Thubron's travel writing is the beauty of his prose; another is his gift for talking to people and getting them to talk to him. Shadow of the Silk Road encounters Islamic countries in many forms. It is about changes in China, transformed since the Cultural Revolution. It is about false nationalisms and the world's discontented margins, where the true boundaries are not political borders but the frontiers of tribe, ethnicity, language and religion. It is a magnificent and important account of an ancient world in modern ferment.

    As an impoverished writer in need of rejuvenation, Miller travelled to Greece at the invitation of his friend, the writer Lawrence Durrell. The text is inspired by the events that occurred. The text is ostensibly a portrait of the Greek writer George Katsimbalis, although some critics have opined that is more of a self-portrait of Miller himself.[1] Miller considered it to be his greatest work.