This was Ireland of the 1970s and 80s before the arrival of the short-lived economic riches of the Celtic Tiger.Dwyer's vivid and colorful prose describes his hard but happy life as part of a isolated but close-knit community:Early school days spent in a building with no running water or electricityAn encounter with a violent sheep that literally turned his world upside downThe days spent cutting the turf and saving the hay by handAn Irish Christmas where nearly everything on the table was sourced from the farmHis exciting family history that brought his relations to the Klondike Gold Rush in CanadaComplemented by a collection of evocative photographs, each story tells of a way of life that has now largely disappeared.Sprinkled with a selection of fitting works by some of Ireland's best-known poets such as Seamus Heaney and Patrick Kavanagh, this gem of a book is a chronicle of the simple but happy life of an Irish farmer boy.

    Along the way he reflects on the American character, racial hostility, the particular form of American loneliness he finds almost everywhere, and the unexpected kindness of strangers.

    Just days before they were to be married, his fiancée called off the wedding. Luckily, his large support network of family and friends wouldn't let him succumb to his misery. They decided Franz should have a wedding and a honeymoon anyway- there just wouldn't be a bride at the ceremony, and Franz' travel companion would be his brother, Kurt.During the "honeymoon," Franz reconnected with his brother and began to look at his life with newfound perspective. The brothers decided to leave their old lives behind them. They quit their jobs, sold all their possessions, and traveled around the world, visiting fifty-three countries for the next two years. In Honeymoon With My Brother, Franz recounts this remarkable journey, during which he turned his heartbreak into an opportunity to learn about himself, the world, and the brother he hardly knew.

    While trying to understand his dissatisfaction with the present, Seth discovers the life and work of Kalo, a forgotten New Yorker cartoonist from the 1940s. But his obsession blinds him to the needs of his lover and the quiet desperation of his family. Wry self-reflection and moody colours characterize Seth's style in this tale about learning lessons from nostalgia. His playful and sophisticated experiment with memoir provoked a furious debate among cartoon historians and archivists about the existence of Kalo, and prompted a Details feature about Seth's "hoax".

    He was restless and lacked direction, and the idea of dropping everything and moving to the ends of the Earth was irresistibly romantic. He should have known better. The Sex Lives of Cannibals tells the hilarious story of what happens when Troost discovers that Tarawa is not the island paradise he dreamed of. Falling into one amusing misadventure after another, Troost struggles through relentless, stifling heat, a variety of deadly bacteria, polluted seas, toxic fish, and worst of all, no television or coffee. And that's just the first day. Sunburned, emaciated, and stinging with sea lice, Troost spends the next two years battling incompetent government officials, alarmingly large critters, erratic electricity, and a paucity of food options. He contends with a cast of bizarre local characters, including "Half-Dead Fred" and the self-proclaimed Poet Laureate of Tarawa (a British drunkard who's never written a poem in his life), and eventually settles into the ebb and flow of island life, just before his return to the culture shock of civilization. With the rollicking wit of Bill Bryson, the brilliant travel exposition of Paul Theroux, and a hipster edge that is entirely Troost's own, The Sex Lives of Cannibals is the ultimate vicarious adventure. Readers may never long to set foot on Tarawa, but they'll want to travel with Troost time and time again.

    Their initial optimism is short-lived, however, as the ice field slowly thickens, encasing the ship Endurance in a death-grip, crushing their craft, and marooning 28 men on a polar ice floe.In an epic struggle of man versus the elements, Shackleton leads his team on a harrowing quest for survival over some of the most unforgiving terrain in the world. Icy, tempestuous seas full of gargantuan waves, mountainous glaciers and icebergs, unending brutal cold, and ever-looming starvation are their mortal foes as Shackleton and his men struggle to stay alive.What happened to those brave men forever stands as a testament to their strength of will and the power of human endurance.This is their story, as told by the man who led them.

    In Why We Suck, Dr. Denis Leary uses his common sense, and his biting and hilarious take on the world, to attack the politically correct, the hypocritical, the obese, the thin--basically everyone who takes themselves too seriously. He does so with the extra oomph of a doctorate bestowed upon him by his alma mater Emerson College. "Sure it's just a celebrity type of thing--they only gave it to me because I'm famous," Leary explains. "But it's legal and it means I get to say I'm a doctor--just like Dr. Phil." In Why We Suck, Leary's famously smart style and sardonic wit have found their fullest and fiercest expression yet. Zeroing in on the ridiculous wherever he finds it, Leary unravels his Irish Catholic upbringing, the folly of celebrity, the pressures of family life, and the great hypocrisy of politics with the same bright, savage, and profane insight he brought to his critically acclaimed one-man shows No Cure for Cancer and Lock 'n Load, and his platinum-selling song, "Asshole." Proudly Irish American, defiantly working class, with a reserve of compassion for the underdog and the overlooked, Leary delivers blistering diatribes that are penetrating social commentary with no holds barred. Leary's book will find wide appeal among people who want to laugh out loud or find a guide who matches their view of what's wrong in America and the world-at-large; and fans of his one-man shows, his many movies, and Rescue Me, Leary's Golden Globe and Emmy-nominated television show. Why We Suck is the latest salvo from one of America's most original and biting comic satirists.

    Upon retirement at the age of sixty-two, and grieving his deceased wife, renowned journalist Bernard Ollivier felt a sense of profound emptiness: What do I do now? While some see retirement as a chance to cash in their chips and settle into a comfy armchair, Ollivier still longed for more. Searching for inspiration, he strapped on his gear, donned his hat, and headed out the front door to hike the Way of St. James, a 1400-mile journey from Paris to Compostela, Spain. At the end of that road, with more questions than answers, he decided to spend the next few years hiking another of history’s great routes: the Silk Road.Out of Istanbul is Ollivier’s stunning account of the first part of that 7,200-mile journey. The longest and perhaps most mythical trade route of all time, the Silk Road is in fact a network of routes across Europe and Asia, some going back to prehistoric times. During the Middle Ages, the transcribed travelogue of one Silk Road explorer, Marco Polo, helped spread the fame of the Orient throughout Europe. Heading east out of Istanbul, Ollivier takes readers step by step across Anatolia and Kurdistan, bound for Tehran. Along the way, we meet a colorful array of real-life characters: Selim, the philosophical woodsman; old Behçet, elated to practice English after years of self-study; Krishna, manager of the Lora Pansiyon in Polonez, a village of Polish immigrants; the hospitable Kurdish women of Dogutepe, and many more. We accompany Ollivier as he explores bazaars, mosques, and caravansaries—true vestiges of the Silk Road itself—and through these encounters and experiences, gains insight into the complex political and social issues facing modern-day Turkey. Ollivier’s journey, far from bragging about some tremendous achievement, humbly takes the reader on a colossal adventure of human proportions, one in which walking itself, through a kind of alchemy, fosters friendships and fellowship.

    By day he passed through mountains covered in nine feet of snow, hamlets burned and emptied by the Taliban, and communities thriving amid the remains of medieval civilizations. By night he slept on villagers' floors, shared their meals, and listened to their stories of the recent and ancient past. Along the way Stewart met heroes and rogues, tribal elders and teenage soldiers, Taliban commanders and foreign-aid workers. He was also adopted by an unexpected companion-a retired fighting mastiff he named Babur in honor of Afghanistan's first Mughal emperor, in whose footsteps the pair was following. Through these encounters--by turns touching, confounding, surprising, and funny--Stewart makes tangible the forces of tradition, ideology, and allegiance that shape life in the map's countless places in between.

    This favorite of Percy fans continues to charm and beguile readers of all tastes and backgrounds. Lost in the Cosmos invites us to think about how we communicate with our world.

    has discovered what he and others believe may be the first novel written by an African-American woman -- a discovery made even more monumental by the fact that it was found in its original manuscript form, completely unedited. Extensive scientific testing has been completed to authenticate the manuscript and ascertain its origins, and experts agree that it was written between 1853 and 1859, by an African-American woman who had previously been enslaved. Gates has painstakingly sought to identify the author, Hannah Crafts, through historical research, and although he has been unsuccessful in determining her true identity, he has found that many of the places, dates, and characters in the novel can be linked reliably to real events and people.A riveting story about a young slave woman on a Southern plantation, The Bondwoman's Narrative follows the title character as she escapes and makes her way to freedom. As a novel, it possesses all the charms and devices of popular mid-19th-century fiction, and the influences of gothic and romantic writers popular in the day are apparent throughout the text. But Crafts accomplishes more than mere mimicry in her book, adding her own voice to established traditions to create a unique style.Throughout the 19th century, many slave narratives -- most notably The Narrative of the Life of Frederick Douglass -- detailed the daily horrors of slavery. In choosing to write a novel rather than an autobiographical narrative, however, Crafts expresses the complete psychological and emotional breadth of the experience, transcending personal, private tortures to illuminate the inhumanity of "the peculiar institution." Her characters reflect upon and feel the experience of enslavement -- and because they are wholly rounded and fully developed, they also express the intellect and insight present in the best writings of Dickens, Poe, or Thoreau.Discovered dallying in her master's portrait gallery by a white housekeeper, who comments that she is "[l]ooking at the pictures...as if such an ignorant thing as you would know any thing about them," the title character poignantly counters to herself, "Ignorance, forsooth. Can ignorance quench the immortal mind or prevent its feeling at times the indications of its heavenly origins? Can it destroy that deep abiding appreciation of the beautiful that seems inherent to the human soul? Can it seal up the fountains of truth and all intuitive perception of life, death, and eternity? I think not. Those to whom man teaches little, nature like a wise and prudent mother teaches much."Regardless of its historical importance -- and the unavoidable questions and controversies about its authenticity -- the literary merits of The Bondwoman's Narrative are clear. A deeply engaging novel told with the clarity of a woman who has endured slavery's sorrows and the creativity of one who, at her core, was a gifted artist, it is a powerful story that leaves the reader simultaneously bereft and exhilarated, one that bears witness to the transcendent power of art. (Ann Kashickey)

    “For years I’d made my own choices, paid my own bills, shoveled my own snow.” But somehow she had become dependent in quite another way. “I had fallen into the habit of defining myself in terms of who I was to other people and what they expected of me.” But who was she away from the people and things that defined her? In this exquisite book, Steinbach searches for the answer to this question in some of the most beautiful and exciting places in the world: Paris, where she finds a soul mate; Oxford, where she takes a course on the English village; and Milan, where she befriends a young woman about to be married. Beautifully illustrated with postcards from Steinbach’s journeys, this revealing and witty book transports you into a fascinating inner and outer journey, an unforgettable voyage of discovery.

    Drawing on photos, anecdotes, and, most important, the way he hears the music, Dyer imaginatively reconstructs scenes from the embattled lives of some of the world's greats: Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonius Monk creating his own private language on the piano. However, music is the driving force of But Beautiful, and Dyer brings it to life in luminescent and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician’s style.

    A native of Tehran, Shamlu has been publishing poetry and other writings since the mid-1940s. His poetry, like much great literature, appears simple on the surface but actually have many layers of meaning to appreciate. Shamlu has also written many plays.In addition to acclaim from critics and readers alike, Shamlu has also received honors from organizations such as Human Rights Watch for his emphasis on freedom of expression and social justice.This book is a collection of Shamlu's works, covering Persian years 1323-1378 (1944-1999 Common Era). Originally published as a two-volume set, this edition combines the two volumes into one.The text is written entirely in Persian (Farsi). It makes an excellent introduction to Shamlu's works as well as a comprehensive reference for scholars and fans.

    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.