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How can people work on trains? Read on trains? There is so much happening outside! With these words, World Fantasy and Hugo Award-nominated artist Kathleen Jennings opens the door to a graceful, nuanced world of travel vignettes. With an affinity for words that’s equal to her celebrated artwork, Jennings captures the passing landscape with an illustrator’s eye for detail and a poet’s command of rich language and startling metaphors. Originally published over the span of three years while travelling across Massachusetts, New York State, and England, Travelogues collects Kathleen’s travel vignettes together for the first time. Each of these nine journeys is infused with wonder and rich, unfamiliar landscapes, and those who climb aboard will forever look at train travel with new eyes.
In Hajj Travelogues: Texts and Contexts from the 12th Century until 1950 Richard van Leeuwen maps the corpus of hajj accounts from the Muslim world and Europe. The work outlines the main issues in a field of study which has largely been neglected. A large number of hajj travelogues are described as a textual type integrating religious discourse into the form of the journey. Special attention is given to their intertextual embedding in the broader discursive tradition of the hajj. Since the corpus is seen as dynamic and responsive to historical developments, the texts are situated in their historical context and the subsequent phases of globalisation. It is shown how in travelogues forms of religious subjectivity are constructed and expressed.
In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics," depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era. Peterson describes the travelogue's characteristic form and style and demonstrates how imperialist ideologies were realized and reshaped through the moving image. She argues that although educational films were intended to legitimate filmgoing for middle-class audiences, travelogues were not simply vehicles for elite ideology. As a form of instructive entertainment, these technological moving landscapes were both formulaic and also wondrous and dreamlike. Considering issues of spectatorship and affect, Peterson argues that scenics produced and disrupted viewers' complacency about their own place in the world.
Dúnlaith Bird argues that vagabondage - a physical and textual elaboration of gender identity in motion - emerges as a totemic concept in European women's travel writing from 1850. For travellers including Olympe Audouard, Isabella Bird, Isabelle Eberhardt, and Freya Stark,vagabondage is a means of pushing out the physical, geographical, and textual parameters by which 'women' are defined. Travelling in Different Skins explores the negotiations of European women travel writers from 1850-1950 within the traditionally male-oriented discourses of colonialism and Orientalism. Moving from historical overview to close textual reading, it traces a complex web of tacit collusion and gleeful defiance. These women improvise access to the highly gendered 'imaginative geography' of the Orient. Tactics including cross-dressing, commerciality, and the effacement of their male companions are used to carve out a space for their unconventional and often sexually-hybrid constructions. Using a composite theoretical basis of the later critical work of Judith Butler and Edward Said, this comparative study of British and French colonial empires and gender norms draws out the nuances in these travellers' constructions of gender identity. Women travel writers are shown to play an important role in the legacy of sexual experimentation and self-creation in the Orient, traditionally associated with male writers including Gide and Pierre Loti, and now ripe for critical re-evaluation. This study demonstrates how these women use lived experiences of restriction and negotiation to elaborate advanced theories of motion and gender construction, presaging the concerns of twenty-first century feminism and post-colonialism.
This “melodious” mix of music, history, and travelogue “reveals a story inextricably linked to the drama of Russia itself . . . These pages sing like a symphony.” —The Wall Street Journal Siberia’s story is traditionally one of exiles, penal colonies, and unmarked graves. Yet there is another tale to tell. Dotted throughout this remote land are pianos—grand instruments created during the boom years of the nineteenth century, as well as humble Soviet-made uprights that found their way into equally modest homes. They tell the story of how, ever since entering Russian culture under the westernizing influence of Catherine the Great, piano music has run through the country like blood. How these pianos traveled into this snowbound wilderness in the first place is testament to noble acts of fortitude by governors, adventurers, and exiles. Siberian pianos have accomplished extraordinary feats, from the instrument that Maria Volkonsky, wife of an exiled Decembrist revolutionary, used to spread music east of the Urals, to those that brought reprieve to the Soviet Gulag. That these instruments might still exist in such a hostile landscape is remarkable. That they are still capable of making music in far-flung villages is nothing less than a miracle. The Lost Pianos of Siberia follows Roberts on a three-year adventure as she tracks a number of instruments to find one whose history is definitively Siberian. Her journey reveals a desolate land inhabited by wild tigers and deeply shaped by its dark history, yet one that is also profoundly beautiful—and peppered with pianos. “An elegant and nuanced journey through literature, through history, through music, murder and incarceration and revolution, through snow and ice and remoteness, to discover the human face of Siberia. I loved this book.” —Paul Theroux
A book about the meaning of travel, about how important the topic has been for writers for two and a half centuries, and about how excellent the literature of travel happened to be in England and America in the 1920s and 30s.