'For my part, I travel not to go anywhere, but to go. I travel for travel's sake. The great affair is to move.' - RLS In September 1878, Robert Louis Stevenson travelled by donkey through the Cevennes region of France. For personal memory - and, as it happens, for literary posterity - the young Stevenson recorded copious notes on his journey as he travelled. Some of these witty and incisive impressions were subsequently published in Travels With A Donkey. The remainder, however, didn't find its way into print until the first publication of The Cevennes Journal in 1978, one hundred years later. This travelogue, which also includes several of Stevenson's previously unpublished sketches of the region, provides both a unique socio-historical document and an important piece of literature.
On 23 September 1878 Stevenson set out from Le Monastier in the Haut Loire, to tramp through the wild region of the Cevennes. His only companion was a small donkey to carry basic necessities, and a commodious "sleeping sack". In the next 12 days, at a pace dictated by the donkey and carrying most of the supplies himself, he travelled 120 miles across rivers, mountains and forests. His stylish and witty account was published in 1879.
'For my part, I travel not to go anywhere, but to go. I travel for travel's sake. The great affair is to move.' - RLS In September 1878, Robert Louis Stevenson travelled by donkey through the Cevennes region of France. For personal memory - and, as it happens, for literary posterity - the young Stevenson recorded copious notes on his journey as he travelled. Some of these witty and incisive impressions were subsequently published in Travels With A Donkey. The remainder, however, didn't find its way into print until the first publication of The Cevennes Journal in 1978, one hundred years later. This travelogue, which also includes several of Stevenson's previously unpublished sketches of the region, provides both a unique socio-historical document and an important piece of literature.
Robert Louis Stevenson spent 12 days with a donkey walking in the Cevennes in France in 1878. His Travels with a Donkey in the Cevennes became an instant hit, and his route is now called the Stevenson Trail. Hilary Macaskill and Molly Wood negotiated the whole 212 kilometres of the trail with donkeys, tenacity and a little humour, and lived to write about their adventure, along with loads of local facts about cuisine, flora, fauna and donkey management.
Leaving London's cosmopolitanism in 1990 for a new life in rural south-west France, Adam Thorpe settled with his family in an ancient part of the Cévennes, a rugged landscape between the mountains and the sea. Here, amongst memories of religious conflict and Nazi savagery, alongside escapees of the 1968 Paris revolts and villagers deeply committed to their inheritance, Thorpe now makes his life as a writer. In his memoir Thorpe describes an author's existence embedded within an almost unrecognisably rustic setting and an impoverished yet proud local community. At the heart of his amusing yet profound account is a deep affection for the natural environment and the people that surround him, as well as a genuine fear for what the future may hold for them both.
When Christopher Rush's wife died suddenly of cancer, leaving him with two young children, his world fell apart. He not only stopped writing, he also lost faith in everything that had informed his existence: literature, the arts, his role as teacher, his love of nature, the society of friends. Nothing could cure his almost suicidal depression. At last he decided to try to reclaim his sanity in the least expected of ways. A confirmed non-traveller, he went to France, bought a donkey and disappeared into the mountains of the Cevennes. Like a fellow Scot, Robert Louis Stevenson, who had made the same journey over a century before, he hoped to find a new reason to live. To Travel Hopefully is a memoir of grief and recovery, expressed in an intensely private but universal language, which records a compelling journey of the spirit from defeat to victory. Anyone who has had to confront bereavement will find in these pages an understanding, experience and expression of the human predicament which go far beyond mere sympathy.
In 1878 Robert Louis Stevenson escaped from his numerous troubles—poor health, tormented love, inadequate funds—by embarking on a journey through the Cévennes in France, accompanied by Modestine, a rather single-minded donkey. The notebook Stevenson kept during this time became Travels with a Donkey in the Cévennes, a highly entertaining account of the French and their country. The Amateur Emigrant describes his travels to and around America: the crowded weeks in steerage, the cross-country train journey. Filled with sharp-eyed observations, it brilliantly conveys Stevenson's perceptions of America and the Americans. Together, these writings reveal as much about the traveler as the places he travels to.
"The book is like a dream you want to last forever" (Roberta Silman, The New York Times Book Review), now with a gorgeous new cover by the famed designer Peter Mendelsund A masterwork of W. G. Sebald, now with a gorgeous new cover by the famed designer Peter Mendelsund The Rings of Saturn—with its curious archive of photographs—records a walking tour of the eastern coast of England. A few of the things which cross the path and mind of its narrator (who both is and is not Sebald) are lonely eccentrics, Sir Thomas Browne’s skull, a matchstick model of the Temple of Jerusalem, recession-hit seaside towns, wooded hills, Joseph Conrad, Rembrandt’s "Anatomy Lesson," the natural history of the herring, the massive bombings of WWII, the dowager Empress Tzu Hsi, and the silk industry in Norwich. W.G. Sebald’s The Emigrants (New Directions, 1996) was hailed by Susan Sontag as an "astonishing masterpiece perfect while being unlike any book one has ever read." It was "one of the great books of the last few years," noted Michael Ondaatje, who now acclaims The Rings of Saturn "an even more inventive work than its predecessor, The Emigrants."
It must not be imagined that a walking tour, as some would have us fancy, is merely a better or worse way of seeing the country. There are many ways of seeing landscape quite as good; and none more vivid, in spite of canting dilettanti, than from a railway train. But landscape on a walking tour is quite accessory. He who is indeed of the brotherhood does not voyage in quest of the picturesque, but of certain jolly humours-of the hope and spirit with which the march begins at morning, and the peace and spiritual repletion of the evening's rest.
Winner of the French-American Foundation Translation Prize for Nonfiction Jean Gu?henno's Diary of the Dark Years, 1940-1945 is the most oft-quoted piece of testimony on life in occupied France. A sharply observed record of day-to-day life under Nazi rule in Paris and a bitter commentary on literary life in those years, it has also been called "a remarkable essay on courage and cowardice" (Caroline Moorehead, Wall Street Journal). Here, David Ball provides not only the first English-translation of this important historical document, but also the first ever annotated, corrected edition. Gu?henno was a well-known political and cultural critic, left-wing but not communist, and uncompromisingly anti-fascist. Unlike most French writers during the Occupation, he refused to pen a word for a publishing industry under Nazi control. He expressed his intellectual, moral, and emotional resistance in this diary: his shame at the Vichy government's collaboration with Nazi Germany, his contempt for its falsely patriotic reactionary ideology, his outrage at its anti-Semitism and its vilification of the Republic it had abolished, his horror at its increasingly savage repression and his disgust with his fellow intellectuals who kept on blithely writing about art and culture as if the Occupation did not exist - not to mention those who praised their new masters in prose and poetry. Also a teacher of French literature, he constantly observed the young people he taught, sometimes saddened by their conformism but always passionately trying to inspire them with the values of the French cultural tradition he loved. Gu?henno's diary often includes his own reflections on the great texts he is teaching, instilling them with special meaning in the context of the Occupation. Complete with meticulous notes and a biographical index, Ball's edition of Gu?henno's epic diary offers readers a deeper understanding not only of the diarist's cultural allusions, but also of the dramatic, historic events through which he lived.
