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An energetic and irreverent essay on the forgotten art of the lecture, part of Transit's new Undelivered Lectures series.
Alienation, belonging, and a woman's 1,000-mile journey across the Andes to visit her dying uncle in Argentina.
Anna Seghers’s Transit is an existential, political, literary thriller that explores the agonies of boredom, the vitality of storytelling, and the plight of the exile with extraordinary compassion and insight. Having escaped from a Nazi concentration camp in Germany in 1937, and later a camp in Rouen, the nameless twenty-seven-year-old German narrator of Seghers’s multilayered masterpiece ends up in the dusty seaport of Marseille. Along the way he is asked to deliver a letter to a man named Weidel in Paris and discovers Weidel has committed suicide, leaving behind a suitcase containing letters and the manuscript of a novel. As he makes his way to Marseille to find Weidel’s widow, the narrator assumes the identity of a refugee named Seidler, though the authorities think he is really Weidel. There in the giant waiting room of Marseille, the narrator converses with the refugees, listening to their stories over pizza and wine, while also gradually piecing together the story of Weidel, whose manuscript has shattered the narrator’s “deathly boredom,” bringing him to a deeper awareness of the transitory world the refugees inhabit as they wait and wait for that most precious of possessions: transit papers.
A sensitive, stunning debut on movement, migration, and loss, in the vein of Valeria Luiselli's Sidewalks.
The imagination has long been associated with travel and tourism; from the seventeenth century when the showman and his peepshow box would take the village crowd to places, cities and lands through the power of stories, to today when we rely on a different range of boxes to whisk us away on our imaginative travels: the television, the cinema and the computer. Even simply the notion of travel, it would seem, gives us license to daydream. The imagination thus becomes a key concept that blurs the boundaries between our everyday lives and the idea of travel. Yet, despite what appears to be a close and comfortable link, there is an absence of scholarly material looking at travel and the imagination. Bringing together geographers, sociologists, cultural researchers, philosophers, anthropologists, visual researchers, archaeologists, heritage researchers, literary scholars and creative writers, this edited collection explores the socio-cultural phenomenon of imagination and travel. The volume reflects upon imagination in the context of many forms of physical and non-physical travel, inviting scholars to explore this fascinating, yet complex, area of inquiry in all of its wonderful colour, slipperiness, mystery and intrigue. The book intends to provide a catalyst for thinking, discussion, research and writing, with the vision of generating a cannon of scholarship on travel and the imagination that is currently absent from the literature.
In this epic tale of fate, fortune and legacy, Jennifer Makumbi vibrantly brings to life this corner of Africa and this colourful family as she reimagines the history of Uganda through the cursed bloodline of the Kintu clan. The year is 1750. Kintu Kidda sets out for the capital to pledge allegiance to the new leader of the Buganda kingdom. Along the way he unleashes a curse that will plague his family for generations. Blending oral tradition, myth, folktale and history, Makumbi weaves together the stories of Kintu’s descendants as they seek to break free from the burden of their past to produce a majestic tale of clan and country – a modern classic.
Seghers wrote Transit while living in exile, fleeing her Nazi persecutors. The novel captures the moods and motives of refugees from Hitler's Germany attempting to leave France via the seaport of Marseilles between the French capitulation in 1940 and the Spring of 1941. The story is told from the perspective of an unnamed narrator, a German engine-fitter who has escaped from a Nazi concentration camp (in fact, for the second time) and fled to Paris. Here he encounters a fellow escapee who asks him to deliver papers to a German writer called Weidel. The narrator finds Weidel already dead and assumes his identity, hoping to make use of his visa for Mexico. When he reaches Marseilles to avoid recapture he adds the papers of another deceased German, one Seidler, so from this point onwards he is juggling with three separate identities: those of Weidel, Seidler, and his own.
The imagination has long been associated with travel and tourism; from the seventeenth century when the showman and his peepshow box would take the village crowd to places, cities and lands through the power of stories, to today when we rely on a different range of boxes to whisk us away on our imaginative travels: the television, the cinema and the computer. Even simply the notion of travel, it would seem, gives us license to daydream. The imagination thus becomes a key concept that blurs the boundaries between our everyday lives and the idea of travel. Yet, despite what appears to be a close and comfortable link, there is an absence of scholarly material looking at travel and the imagination. Bringing together geographers, sociologists, cultural researchers, philosophers, anthropologists, visual researchers, archaeologists, heritage researchers, literary scholars and creative writers, this edited collection explores the socio-cultural phenomenon of imagination and travel. The volume reflects upon imagination in the context of many forms of physical and non-physical travel, inviting scholars to explore this fascinating, yet complex, area of inquiry in all of its wonderful colour, slipperiness, mystery and intrigue. The book intends to provide a catalyst for thinking, discussion, research and writing, with the vision of generating a cannon of scholarship on travel and the imagination that is currently absent from the literature.