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In Dispatches from Pluto, adventure writer Richard Grant takes on “the most American place on Earth”—the enigmatic, beautiful, often derided Mississippi Delta. Richard Grant and his girlfriend were living in a shoebox apartment in New York City when they decided on a whim to buy an old plantation house in the Mississippi Delta. Dispatches from Pluto—winner of the Pat Conroy Southern Book Prize—is their journey of discovery into this strange and wonderful American place. Imagine A Year In Provence with alligators and assassins, or Midnight in the Garden of Good and Evil with hunting scenes and swamp-to-table dining. On a remote, isolated strip of land, three miles beyond the tiny community of Pluto, Richard and his girlfriend, Mariah, embark on a new life. They learn to hunt, grow their own food, and fend off alligators, snakes, and varmints galore. They befriend an array of unforgettable local characters—blues legend T-Model Ford, cookbook maven Martha Foose, catfish farmers, eccentric millionaires, and the actor Morgan Freeman. Grant brings an adept, empathetic eye to the fascinating people he meets, capturing the rich, extraordinary culture of the Delta, while tracking its utterly bizarre and criminal extremes. Reporting from all angles as only an outsider can, Grant also delves deeply into the Delta’s lingering racial tensions. He finds that de facto segregation continues. Yet even as he observes major structural problems, he encounters many close, loving, and interdependent relationships between black and white families—and good reasons for hope. Dispatches from Pluto is a book as unique as the Delta itself. It’s lively, entertaining, and funny, containing a travel writer’s flair for in-depth reporting alongside insightful reflections on poverty, community, and race. It’s also a love story, as the nomadic Grant learns to settle down. He falls not just for his girlfriend but for the beguiling place they now call home. Mississippi, Grant concludes, is the best-kept secret in America.
An award-winning science writer presents a captivating collection of cosmological essays for the armchair astronomer The galaxy, the multiverse, and the history of astronomy are explored in this engaging compilation of cosmological “tales” by multiple award†‘winning science writer Marcia Bartusiak. In thirty†‘two concise and engrossing essays, the author provides a deeper understanding of the nature of the universe and those who strive to uncover its mysteries. Bartusiak shares the back stories for many momentous astronomical discoveries, including the contributions of such pioneers as Beatrice Tinsley and her groundbreaking research in galactic evolution, and Jocelyn Bell Burnell, the scientist who first discovered radio pulsars. An endlessly fascinating collection that you can dip into in any order, these pieces will transport you to ancient Mars, when water flowed freely across its surface; to the collision of two black holes, a cosmological event that released fifty times more energy than was radiating from every star in the universe; and to the beginning of time itself.
'An extraordinarily valuable compilation' Eric Hobsbawm'A man with an instinctive feel for politics' Jonathan Steele, The GuardianAs special correspondent for the Manchester Guardian, Price was one of the few Englishmen to witness all phases of the Revolution. His remarkable writings provide a first-hand account of the momentous events, and include his meetings with Lenin and the Bolshevik leaders.
Bestselling travel writer Richard Grant offers an entertaining and profound look at a city like no other. Natchez, Mississippi, once had more millionaires per capita than anywhere else in America, and its wealth was built on slavery and cotton. Today it has the greatest concentration of antebellum mansions in the South, and a culture full of unexpected contradictions. Prominent white families dress up in hoopskirts and Confederate uniforms for ritual celebrations of the Old South, yet Natchez is also progressive enough to elect a gay black man for mayor with 91% of the vote. Much as John Berendt did for Savannah in Midnight in the Garden of Good and Evil and the hit podcast S-Town did for Woodstock, Alabama, so Richard Grant does for Natchez in The Deepest South of All. With humor and insight, he depicts a strange, eccentric town with an unforgettable cast of characters. There’s Buzz Harper, a six-foot-five gay antique dealer famous for swanning around in a mink coat with a uniformed manservant and a very short German bodybuilder. There’s Ginger Hyland, “The Lioness,” who owns 500 antique eyewash cups and decorates 168 Christmas trees with her jewelry collection. And there’s Nellie Jackson, a Cadillac-driving brothel madam who became an FBI informant about the KKK before being burned alive by one of her customers. Interwoven through these stories is the more somber and largely forgotten account of Abd al Rahman Ibrahima, a West African prince who was enslaved in Natchez and became a cause célèbre in the 1820s, eventually gaining his freedom and returning to Africa. Part history and part travelogue, The Deepest South of All offers a gripping portrait of a complex American place, as it struggles to break free from the past and confront the legacy of slavery.
This is a controversial overview of the contemporary Middle East which charts the failure of the Oslo Agreement. It analyses the key processes that structure the Oslo process: economic, military, political and cultural.
'This is a superb text which is relevant for anyone who has an interest in the turbulent post war years of Germany and the Weimar period ... It is very accessible ad easy to read, bolstered by the clarity of its language and organisation.' History Teaching ReviewThe period immediately following the First World War was one of great turbulence in Germany. The widespread dislocation throughout the country left morale crushed, and the economy crippled by Allied demands for reparations. Russia was in the hands of the Bolsheviks and Germany seemed on the brink of falling to working-class revolutionaries. Writing between 1919 and 1923 as special correspondent for the Manchester Guardian, Price was one of the very few British journalists in Weimar Germany during these important years. His unique position as an outsider allowed him to record what he saw with an objective eye, and his sympathy with the Bolsheviks gave him an understanding of the deeper implications behind the unfolding of events. These remarkable writings, reprinted for the first time in 80 years, cover the key events in postwar Germany. Price witnesses the establishment of the Weimar Republic, the emergence of Hitler and the Nazi Party, the inflammatory violence in the south of the country, which threatened civil war, and the signing of the Versailles Treaty.
From the acclaimed author of Dispatches From Pluto and Deepest South of All comes a rollicking travelogue from East Africa. NO ONE TRAVELS QUITE LIKE RICHARD GRANT and, really, no one should. In his last book, the adventure classic God’s Middle Finger, he narrowly escaped death in Mexico’s lawless Sierra Madre. Now, Grant has plunged with his trademark recklessness, wit, and curiosity into East Africa. Setting out to make the first descent of an unexplored river in Tanzania, he gets waylaid in Zanzibar by thieves, whores, and a charismatic former golf pro before crossing the Indian Ocean in a rickety cargo boat. And then the real adventure begins. Known to local tribes as “the river of bad spirits,” the Malagarasi River is a daunting adversary even with a heavily armed Tanzanian crew as travel companions. Dodging bullets, hippos, and crocodiles, Grant finally emerges in war-torn Burundi, where he befriends some ethnic street gangsters and trails a notorious man-eating crocodile known as Gustave. He concludes his journey by interviewing the dictatorial president of Rwanda and visiting the true source of the Nile. Gripping, illuminating, sometimes harrowing, often hilarious, Crazy River is a brilliantly rendered account of a modern-day exploration of Africa, and the unraveling of Grant’s peeled, battered mind as he tries to take it all in.
Twenty miles south of the Arizona-Mexico border, the rugged, beautiful Sierra Madre mountains begin their dramatic ascent. Almost 900 miles long, the range climbs to nearly 11,000 feet and boasts several canyons deeper than the Grand Canyon. The rules of law and society have never taken hold in the Sierra Madre, which is home to bandits, drug smugglers, Mormons, cave-dwelling Tarahumara Indians, opium farmers, cowboys, and other assorted outcasts. Outsiders are not welcome; drugs are the primary source of income; murder is all but a regional pastime. The Mexican army occasionally goes in to burn marijuana and opium crops -- the modern treasure of the Sierra Madre -- but otherwise the government stays away. In its stead are the drug lords, who have made it one of the biggest drug-producing areas in the world. Fifteen years ago, journalist Richard Grant developed what he calls "an unfortunate fascination" with this lawless place. Locals warned that he would meet his death there, but he didn't believe them -- until his last trip. During his travels Grant visited a folk healer for his insomnia and was prescribed rattlesnake pills, attended bizarre religious rituals, consorted with cocaine-snorting policemen, taught English to Guarijio Indians, and dug for buried treasure. On his last visit, his reckless adventure spiraled into his own personal heart of darkness when cocaine-fueled Mexican hillbillies hunted him through the woods all night, bent on killing him for sport. With gorgeous detail, fascinating insight, and an undercurrent of dark humor, God's Middle Finger brings to vivid life a truly unique and uncharted world.
In her introduction, Amanda Hopkinson discusses the historical roots of Kennard's work, examining Constructivism, the development of photography and photomontage, and the close relationship between art, politics and propaganda. Kennard himself writes about the possibilities of undertaking an aesthetic practice in relation to social change, and considers how his art has interacted with the politics of actual events. The narrative is thematic rather than chronological, showing how a visual motif can be re-used in different contexts. Kennard's original artwork is often reproduced alongside the newspaper or poster in which it appeared.