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Written in free verse and employing such cinematic techniques as flashbacks, pans, zooms, dissolves, and jump cuts, this stunning 17,000 line novel in verse traces the fortunes of men and women during Turkey's change from an Islamic empire to a secular republic and exemplifies his vision of life as a communal experiment in creating a world in the image of our dreams.
A contemporary international classic, available in English for the first time. Hikmet's final book--an autobiographical novel about a man who is imprisoned for being a Communist, his friends, and the women he loved. Considered to be a major work in his oeuvre. This is the first publication in English translation.
“Istanbul, Istanbul turns on the tension between the confines of a prison cell and the vastness of the imagination; between the vulnerable borders of the body and the unassailable depths of the mind. This is a harrowing, riveting novel, as unforgettable as it is inescapable.” —Dale Peck, author of Visions and Revisions “A wrenching love poem to Istanbul told between torture sessions by four prisoners in their cell beneath the city. An ode to pain in which Dostoevsky meets The Decameron.” —John Ralston Saul, author of On Equilibrium; former president, PEN International “Istanbul is a city of a million cells, and every cell is an Istanbul unto itself.” Below the ancient streets of Istanbul, four prisoners—Demirtay the student, the doctor, Kamo the barber, and Uncle Küheylan—sit, awaiting their turn at the hands of their wardens. When they are not subject to unimaginable violence, the condemned tell one another stories about the city, shaded with love and humor, to pass the time. Quiet laughter is the prisoners’ balm, delivered through parables and riddles. Gradually, the underground narrative turns into a narrative of the above-ground. Initially centered around people, the book comes to focus on the city itself. And we discover there is as much suffering and hope in the Istanbul above ground as there is in the cells underground. Despite its apparently bleak setting, this novel—translated into seventeen languages—is about creation, compassion, and the ultimate triumph of the imagination.
Human Landscapes in Classical Antiquity shows how today's environmental and ecological concerns can help illuminate our study of the ancient world. The contributors consider how the Greeks and Romans perceived their natural world, and how their perceptions affected society. The effects of human settlement and cultivation on the landscape are considered, as well as the representation of landscape in Attic drama. Various aspects of farming, such as the use of terraces and the significance of olive growing are examined. The uncultivated landscape was also important: hunting was a key social ritual for Greek and hellenistic elites, and 'wild' places were not wastelands but played an essential economic role. The Romans' attempts to control their environment are analyzed. This volume shows how Greeks and Romans worked hand in hand with their natural environment and not against it. It represents an outstanding collaboration between the disciplines of history and archaeology.
The revised edition of Southeast Asia provides a grounded account of how people in the region are responding to - and being affected by - the changes sweeping through the region.
In 1977 David Foster took to the woods of New England to build a cabin with his own hands. Along with a few tools he brought a copy of the journals of Henry David Thoreau. Foster was struck by how different the forested landscape around him was from the one Thoreau described more than a century earlier. The sights and sounds that Thoreau experienced on his daily walks through nineteenth-century Concord were those of rolling farmland, small woodlands, and farmers endlessly working the land. As Foster explored the New England landscape, he discovered ancient ruins of cellar holes, stone walls, and abandoned cartways--all remnants of this earlier land now largely covered by forest. How had Thoreau's open countryside, shaped by ax and plough, divided by fences and laneways, become a forested landscape? Part ecological and historical puzzle, this book brings a vanished countryside to life in all its dimensions, human and natural, offering a rich record of human imprint upon the land. Extensive excerpts from the journals show us, through the vividly recorded details of daily life, a Thoreau intimately acquainted with the ways in which he and his neighbors were changing and remaking the New England landscape. Foster adds the perspective of a modern forest ecologist and landscape historian, using the journals to trace themes of historical and social change. Thoreau's journals evoke not a wilderness retreat but the emotions and natural history that come from an old and humanized landscape. It is with a new understanding of the human role in shaping that landscape, Foster argues, that we can best prepare ourselves to appreciate and conserve it today. From the journal: "I have collected and split up now quite a pile of driftwood--rails and riders and stems and stumps of trees--perhaps half or three quarters of a tree...Each stick I deal with has a history, and I read it as I am handling it, and, last of all, I remember my adventures in getting it, while it is burning in the winter evening. That is the most interesting part of its history. It has made part of a fence or a bridge, perchance, or has been rooted out of a clearing and bears the marks of fire on it...Thus one half of the value of my wood is enjoyed before it is housed, and the other half is equal to the whole value of an equal quantity of the wood which I buy." --October 20, 1855
"A beautiful catalogue of 80 plants, revered by indigenous people for their nourishing, healing, and symbolic properties." —Gardens Illustrated The belief that all life-forms are interconnected and share the same breath—known in the Rarámuri tribe as iwígara—has resulted in a treasury of knowledge about the natural world, passed down for millennia by native cultures. Ethnobotanist Enrique Salmón builds on this concept of connection and highlights 80 plants revered by North America’s indigenous peoples. Salmón teaches us the ways plants are used as food and medicine, the details of their identification and harvest, their important health benefits, plus their role in traditional stories and myths. Discover in these pages how the timeless wisdom of iwígara can enhance your own kinship with the natural world.
Poetry. Winner of the 2007 Philip Levine Prize Prize for Poetry. "It's difficult to believe that Neil Aitken's THE LOST COUNTRY OF SIGHT is a first book, since there is mastery throughout the collection. His ear is finely tuned, and his capacity for lyricism seems almost boundless. What stands out everywhere in the poems is his imagery, which is not only visually precise but is also possessed of a pure depth. The poems never veer off into the sensational; they are built from pensiveness and quietude and an affection for the world. 'Traveling Through the Prairies, I Think of My Father's Voice' strikes me as a perfectly made poem, but poems of similar grace and power are to be found throughout the book. This is a debut to celebrate"--C.G. Hanzlicek, judge.
Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.
