'One of the most captivating books on Captain Cook I have yet read Horwitz's eye for detail and ear for dialogue are Brysonesque indeed the master had better look to his own laurels.' Tim Bowden, Good Reading 'There is an irresistible momentum to Horwitz's epic journey You will seldom encounter travel writing better than this, and it is no surprise that Into the Blue has rocketed up the best-seller lists.' The Sydney Morning Herald'What a ripping yarn is Into the Blue, all rum, sodomy and the lash. It's also a complex and comprehensive salute to a man who rose from humble origins to become leader of men Compelling, and still a relevant tale, Horwitz has done the good (and bad) captain proud.' The New Zealand HeraldCaptain James Cook's three epic journeys in the eighteenth century were the last great voyages of discovery. Tony Horwitz vividly recounts Cook's voyages and the exotic scenes he encountered: tropical orgies, taboo rituals, human sacrifice, hip-throbbing Tahitian dancers, New Zealand cannibals, Hawaiian surfers, and Australian Aborigines sealed off from the rest of the world for thousands of years. He also explores Cook the man: an impoverished farmboy who broke through the barriers of his class and time to become the greatest navigator in history.Tony Horwitz follows in Cook's footsteps to uncover his legacy, and along the way has many revealing and often amusing adventures of his own. By turns harrowing and hilarious, insightful and entertaining, Into the Blue brings to life a man whose voyages have left an indelible mark on the world as we know it.

A history of manuscripts, including discussions of early writing materials, preparation of scrolls and manuscripts, examples of surviving ancient literature, and the story of the Dead Sea Scrolls.

The Moment of Cubism is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather than a movement, one that came and went without the consent of its key figures – Picasso and Braque above all. He makes a case for Cubism’s revolutionary influence. As always, Berger helps us see the world in new ways

Originally published in 1980, this now classic work of literary theory explores the wilderness of positions that grew out of the collision between Anglo-American practical criticism and Continental philosophic criticism. This second edition includes a new preface by the author as well as a foreword by Hayden White. ?A key text for understanding ?the fate of reading' in the Anglophone world over the last fifty years.”?Hayden White, from the Foreword ? Criticism in the Wilderness may be the best, most brilliant, most broadly useful book yet written by an American about the sudden swerve from the safety of established decorum toward bravely theoretical, mainly European forms of literary criticism.”?Terrence Des Pres, Nation ?A polemical survey that reaffirms the value of the Continental tradition of philosophical literary criticism.”?Notable Books of the Year, New York Times Book Review

A New Yorker Best Book of 2024 A captivating journey of the expansive world of medieval travel, from London to Constantinople to the court of China and beyond. Europeans of the Middle Ages were the first to use travel guides to orient their wanderings, as they moved through a world punctuated with miraculous wonders and beguiling encounters. In this vivid and alluring history, medievalist Anthony Bale invites readers on an odyssey across the medieval world, recounting the advice that circulated among those venturing to the road for pilgrimage, trade, diplomacy, and war. Journeying alongside scholars, spies, and saints, from Western Europe to the Far East, the Antipodes and the ends of the earth, Bale provides indispensable information on the exchange rate between Bohemian ducats and Venetian groats, medieval cures for seasickness, and how to avoid extortionist tour guides and singing sirens. He takes us from the streets of Rome, more ruin than tourist spot, and tours of the Khan's court in Beijing to Mamluk-controlled Jerusalem, where we ride asses across the holy terrain, and bustling bazaars of Tabriz. We also learn of rumored fantastical places, like ones where lambs grow on trees and giant canes grow fruit made of gems. And we are offered a glimpse of what non-European travelers thought of the West on their own travels. Using previously untranslated contemporaneous documents from a colorful range of travelers, and from as far and wide as Turkey, Iceland, North Africa, and Russia, A Travel Guide to the Middle Ages is a witty and unforgettable exploration of how Europeans understood--and often misunderstood--the larger world.

Natalia Ginzburg, arguably the most important woman writer of postwar Italy, always spoke of herself with irrepressible modesty. Yet the woman who claimed she "never managed to climb up mountains" in fact wrote the history of twentieth-century Italy with her sparse and captivating prose, chronicling Fascism, war, and the Nazi occupation as well as the intimacies of family life. Ginzburg's marriage to Leone Ginzburg, who met his death at the hands of the Nazis for his anti-Fascists activities, and her work for the Einaudi publishing house placed her squarely in the center of Italian political and cultural life. But whether writing about the Turin of her childhood, the Abruzzi countryside, where her family was interned during World War II, or contemporary Rome, Ginzburg never shied away from the traumas of history-even if she approached them only indirectly, through the mundane details and catastrophes of personal life. Intensely reserved, Ginzburg said that she "crept toward autobiography stealthily like a wolf." But she did openly discuss her life and her work in an extraordinary series of interviews for Italian radio in 1990. Never before published in English, It's Hard to Talk about Yourself presents a vivid portrait of Ginzburg in her own words on the forces that shaped her remarkable life-politics, publishing, literature, and family. This fluid translation will join Ginzburg's autobiography, Family Sayings , as one of the most important records of her life and, as the editors write in their preface, "the last, unexpected, original book by Natalia Ginzburg."

Lyons surveys the changing relationships enjoyed by ordinary men and women with the written word, from early times to the present day.