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This ambitious work has two novel goals: to overcome the extreme fragmentation of early Southeast Asian historiography, and to connect Southeast Asian to world history. Combining careful local research with wide-ranging theory Lieberman argues that over a thousand years, each of mainland Southeast Asia's great lowland corridors experienced a pattern of accelerating integration punctuated by recurrent collapse. These trajectories were synchronized not only between corridors, but most curiously, between the mainland as a whole, much of Europe, and other sectors of Eurasia. He describes in detail the nature of mainland consolidation - which was simultaneously territorial, religious, ethnic, and commercial - and dissects the mix of endogenous and external factors responsible. Here, then, is a fundamentally original analysis not only of Southeast Asia, but of the pre-modern world.
This ambitious work has two novel goals: to overcome the extreme fragmentation of early Southeast Asian historiography, and to connect Southeast Asian to world history. Combining careful local research with wide-ranging theory Lieberman argues that over a thousand years, each of mainland Southeast Asia's great lowland corridors experienced a pattern of accelerating integration punctuated by recurrent collapse. These trajectories were synchronized not only between corridors, but most curiously, between the mainland as a whole, much of Europe, and other sectors of Eurasia. He describes in detail the nature of mainland consolidation - which was simultaneously territorial, religious, ethnic, and commercial - and dissects the mix of endogenous and external factors responsible. Here, then, is a fundamentally original analysis not only of Southeast Asia, but of the pre-modern world.--Publisher description.
Blending fine-grained case studies with overarching theory, this book seeks both to integrate Southeast Asia into world history and to rethink much of Eurasia's premodern past. It argues that Southeast Asia, Europe, Japan, China, and South Asia all embodied idiosyncratic versions of a Eurasian-wide pattern whereby local isolates cohered to form ever larger, more stable, more complex political and cultural systems. With accelerating force, climatic, commercial, and military stimuli joined to produce patterns of linear-cum-cyclic construction that became remarkably synchronized even between regions that had no contact with one another. Yet this study also distinguishes between two zones of integration, one where indigenous groups remained in control and a second where agency gravitated to external conquest elites. Here, then, is a fundamentally original view of Eurasia during a 1,000-year period that speaks to both historians of individual regions and those interested in global trends.
A blazingly intelligent first book of essays from the award-winning author of Open City and Every Day Is for the Thief NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Time • The Guardian • Harper's Bazaar • San Francisco Chronicle • The Atlantic • Financial Times • Kirkus Finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay and PEN/Jean Stein Book Award With this collection of more than fifty pieces on politics, photography, travel, history, and literature, Teju Cole solidifies his place as one of today’s most powerful and original voices. On page after page, deploying prose dense with beauty and ideas, he finds fresh and potent ways to interpret art, people, and historical moments, taking in subjects from Virginia Woolf, Shakespeare, and W. G. Sebald to Instagram, Barack Obama, and Boko Haram. Cole brings us new considerations of James Baldwin in the age of Black Lives Matter; the African American photographer Roy DeCarava, who, forced to shoot with film calibrated exclusively for white skin tones, found his way to a startling and true depiction of black subjects; and (in an essay that inspired both praise and pushback when it first appeared) the White Savior Industrial Complex, the system by which African nations are sentimentally aided by an America “developed on pillage.” Persuasive and provocative, erudite yet accessible, Known and Strange Things is an opportunity to live within Teju Cole’s wide-ranging enthusiasms, curiosities, and passions, and a chance to see the world in surprising and affecting new frames. Praise for Known and Strange Things “On every level of engagement and critique, Known and Strange Things is an essential and scintillating journey.”—Claudia Rankine, The New York Times Book Review (Editors’ Choice) “A heady mix of wit, nostalgia, pathos, and a genuine desire to untangle the world, or at the least, to bask in its unending riddles.”—The Atlantic “Brilliant . . . [Known and Strange Things] reveals Cole’s extraordinary talent and his capacious mind.”—Time “[Known and Strange Things] showcases the magnificent breadth of subjects [Cole] is able to plumb with . . . passion and eloquence.”—Harper’s Bazaar “[Cole is] one of the most vibrant voices in contemporary writing.”—LA Times “Cole has fulfilled the dazzling promise of his novels Every Day Is for the Thief and Open City. He ranges over his interests with voracious keenness, laser-sharp prose, an open heart and a clear eye.”—The Guardian “Remarkably probing essays . . . Cole is one of only a very few lavishing his focused attention on that most approachable (and perhaps therefore most overlooked) art form, photography.”—Chicago Tribune “There’s almost no subject Cole can’t come at from a startling angle. . . . His [is a] prickly, eclectic, roaming mind.”—The Boston Globe “[Cole] brings a subtle, layered perspective to all he encounters.”—Vanity Fair “In page after page, Cole upholds the sterling virtue of good writing combined with emotional and intellectual engagement.”—The New Statesman “[Known and Strange Things possesses] a passion for justice, a deep sympathy for the poor and the powerless around the world, and a fiery moral outrage.”—Poets and Writers
The Strange follows an unnamed, undocumented immigrant who tries to forge a new life in a Western country where he doesn’t speak the language. Jérôme Ruillier’s story is deftly told through myriad viewpoints, as each narrator recounts a situation in which they crossed paths with the newly-arrived foreigner. Many of the people he meets are suspicious of his unfamiliar background, or of the unusual language they do not understand. By employing this third-person narrative structure, Ruillier masterfully portrays the complex plight of immigrants and the vulnerability of being undocumented. The Strange shows one person’s struggle to adapt while dealing with the often brutal and unforgiving attitudes of the employers, neighbors, and strangers who populate this new land. Ruillier employs a bold visual approach of colored pencil drawings complemented by a stark, limited palette of red, orange and green backgrounds. Its beautiful simplicity represents the almost child-like hope and promise that is often associated with new beginnings. But as Ruillier implicitly suggests, it’s a promise that can shatter at a moment’s notice when the threat of being deported is a daily and terrifying reality. The Strange has been translated from the French by Helge Dascher. Dascher has been translating graphic novels from French and German to English for over twenty years. A contributor to Drawn & Quarterly since the early days, her translations include acclaimed titles such as the Aya series by Marguerite Abouet and Clément Oubrerie, Hostage by Guy Delisle, and Beautiful Darkness by Fabien Vehlmann and Kerascoët. With a background in art history and history, she also translates books and exhibitions for museums in North America and Europe. She lives in Montreal.
A philosopher makes the case for thinking of works of art as tools for investigating ourselves In his new book, Strange Tools: Art and Human Nature, the philosopher and cognitive scientist Alva Noë raises a number of profound questions: What is art? Why do we value art as we do? What does art reveal about our nature? Drawing on philosophy, art history, and cognitive science, and making provocative use of examples from all three of these fields, Noë offers new answers to such questions. He also shows why recent efforts to frame questions about art in terms of neuroscience and evolutionary biology alone have been and will continue to be unsuccessful.
A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • From the widely acclaimed, bestselling author of American War—a beautifully written, unrelentingly dramatic, and profoundly moving novel that looks at the global refugee crisis through the eyes of a child. "Told from the point of view of two children, on the ground and at sea, the story so astutely unpacks the us-versus-them dynamics of our divided world that it deserves to be an instant classic." —The New York Times Book Review More bodies have washed up on the shores of a small island. Another overfilled, ill-equipped, dilapidated ship has sunk under the weight of its too many passengers: Syrians, Ethiopians, Egyptians, Lebanese, Palestinians, all of them desperate to escape untenable lives back in their homelands. But miraculously, someone has survived the passage: nine-year-old Amir, a Syrian boy who is soon rescued by Vänna. Vänna is a teenage girl, who, despite being native to the island, experiences her own sense of homelessness in a place and among people she has come to disdain. And though Vänna and Amir are complete strangers, though they don’t speak a common language, Vänna is determined to do whatever it takes to save the boy. In alternating chapters, we learn about Amir’s life and how he came to be on the boat, and we follow him and the girl as they make their way toward safety. What Strange Paradise is the story of two children finding their way through a hostile world. But it is also a story of empathy and indifference, of hope and despair—and about the way each of those things can blind us to reality.
What could the supernatural world of Stranger Things have in common with the Bible? The paranormal television series Stranger Things taps into the mysterious elements that have fueled spiritual questions for millennia. The otherworldly manifestations in Hawkins, Indiana offer compelling portrayals of important spiritual truths--and many of these truths are echoed in the supernatural worldview of the Bible. For Michael Heiser, Stranger Things is the perfect marriage of his interest in popular culture and the paranormal. In The Unseen Realm, he opened the eyes of thousands, helping readers understand the supernatural worldview of the Bible. Now he turns his attention to the worldwide television phenomenon, exploring how Stranger Things relates to Christian theology and the Christian life. In The World Turned Upside Down, Heiser draws on this supernatural worldview to help us think about the story of Jesus and discover glimpses of the gospel in the Upside Down. He argues that this celebrated series helps us understand the gospel in unique and overlooked ways. The spiritual questions and crises raised by Stranger Things are addressed the same way they are in the gospel, with mystery and transcendent power.