Five Thousand Days Like This One

Amid the turmoil after her father's death-decisions to be made, the future of the family farm to be settled-Jane Brox, using her acclaimed "compassion, honesty, and restraint" (The Boston Globe), begins a search for her family's story. The search soon leads her to the quintessentially American history of New England's Merrimack Valley, its farmers, and the immigrant workers caught up in the industrial textile age. Jane Brox's first book, Here and Nowhere Else, won the 1996 L. L. Winship/PEN New England Award. Her work has appeared in numerous journals and magazines, and has been represented in Best American Essays. She is a frequent contributor to The Georgia Review. Jane Brox lives in the Merrimack Valley of Massachusetts.

Though few of us now live close to the soil, the world we inhabit has been sculpted by our long national saga of settlement. At the heart of our identity lies the notion of the family farm, as shaped by European history and reshaped by the vast opportunities of the continent. It lies at the heart of Jane Brox's personal story, too: she is the daughter of immigrant New England farmers whose way of life she memorialized in her first two books but has not carried on. In this clear-eyed, lyrical account, Brox twines the two narratives, personal and historical, to explore the place of the family farm as it has evolved from the pilgrims' brutal progress at Plymouth to the modern world, where much of our food is produced by industrial agriculture while the small farm is both marginalized and romanticized. In considering the place of the farm, Brox also considers the rise of textile cities in America, which encroached not only upon farms and farmers but upon the sense of commonality that once sustained them; and she traces the transformation of the idea of wilderness--and its intricate connection to cultivation--which changed as our ties to the land loosened, as terror of the wild was replaced by desire for it. Exploring these strands with neither judgment nor sentimentality, Brox arrives at something beyond a biography of the farm: a vivid depiction of the half-life it carries on in our collective imagination.

They had met and married on perilously short acquaintance, she an American chef and food writer, he a Venetian banker. Now they were taking another audacious leap, unstitching their ties with exquisite Venice to live in a roughly renovated stable in Tuscany. Once again, it was love at first sight. Love for the timeless countryside and the ancient village of San Casciano dei Bagni, for the local vintage and the magnificent cooking, for the Tuscan sky and the friendly church bells. Love especially for old Barlozzo, the village mago, who escorts the newcomers to Tuscany’s seasonal festivals; gives them roasted country bread drizzled with just-pressed olive oil; invites them to gather chestnuts, harvest grapes, hunt truffles; and teaches them to caress the simple pleasures of each precious day. It’s Barlozzo who guides them across the minefields of village history and into the warm and fiercely beating heart of love itself. A Thousand Days in Tuscany is set in one of the most beautiful places on earth–and tucked into its fragrant corners are luscious recipes (including one for the only true bruschetta) directly from the author’s private collection.

A true story of a young successful stockbroker going broke, and lifting his thumb in search for his true self, by traveling the world. After almost five years of traveling on five different continents, Tomislav laid down in a hammock in one village on the coast of Ecuador, and started writing a book. He was determined to put down everything he knows about traveling, and with that, answer the questions that many people ask him for years: How is it possible to travel with almost no money? Is his way of traveling safe enough? What are the worst, and the best moments on the road? How can you earn money while traveling? Where to look for sponsors? How did his parents and friends react? Why is he traveling in the first place? Since it was impossible to give a simple and short answers to those questions, he started answering them in the only way possible - by telling his life story. Tomislav wrote about his student days in Croatia, about the days when he had a well paid job as a stockbroker, about going bankrupt, about turning his life around, about first ventures on the road with a backpack on his back, and about finding a way that he will follow in the years to come - by traveling. Tomislav wrote about hitchhiking in numerous countries, sleeping in homes of strangers, camping on the side of the road, eating in supermarkets and drinking beer in parks, volunteering, many anecdotes that he encountered on the road, natural beauties that left him breathless, and about the beautiful people that he met on the way.

The life story of a physician who defines himself through his recollection of the people he's known. While recognizing the importance of self-fulfillment and hard work to achieve personal goals, he relates a moving tale of encouragement, teaching, and enlightenment provided by those who helped to guide him to where he is today. Through a series of essays and personality profiles he reminds us of the importance of role models and family values in living a rewarding and satisfying life, and his own coming to faith along the way. Now retired from a long career at a major medical center, the author has turned to writing as a second career, consistent with his plan to avoid "leaving without a trace", and becoming a better person and role model as his time shortens. The author hopes this slender volume will serve to inspire those in the afternoon years of their lives, those who recognize the debt they owe to others, and those who wrestle with the desire to leave a gift of recognition and appreciation. The author's spirituality lies at the heart of this effort. The road to faith is a life-long journey, full of doubt at times, but rewarding, satisfying, fulfilling and leaving room for hope.

From the collapse of Communism in 1989 to the present day; our times have seen a rapid and unprecedented shift from a world dominated by the uneasy stand off between two superpowers, to one threatened by the unpredictable menace of global terrorism, suicide bornbings and rogue states. Selected by the British Press Photographers Association from the work of its members, this collection does justice to the photography in a way that newspaper printing never can. It is also an opportunity for some of the best images, which may not have served the newspaper editors needs at the time, to be seen. From front page news to quirky picture stories, the collection encompasses everything from shattering global events such as September 11 to startling, surprising, humorous and beautiful pictures of the politics, sports, arts and entertainment of the period.

In her first book, which won the L. L. Winship/PEN New England Award, Jane Brox writes of going back to the farm where she grew up, to help her aging father and the troubled brother who works the land with him. She memorably captures the cadences of farm life and the people who sustain it, at a time when both are waning.

Evelyn C. Shakir paints tales that are rich in history and background. She sets her stories in different eras, from the 1960s to the present, peopled with Lebanese women of different ages, sometimes writing letters, often reminiscing, looking back as far as the turn of the century. In different ways, these first and second-generation women struggle with feminist issues overshadowed by the demands of dual cultures. In Young Ali a teenager tries to listen to her beloved father’s time-honored tales of males in friendship and marriage. Aggie of House Calls is a deceased matriarch who returns to haunt her family with reminders of the customs she fought to uphold while alive. Shakir’s other heroines include a thrice-divorced thirty-year-old woman quibbling with a modern matchmaker, an elderly non-Lebanese woman who spies on Muslim neighbors in the wake of 9/11, and a traditional wife and mother who thinks she has found a route out of Old World womanly duties. Many of the authors’s women grapple with reclaiming or abandoning ancestral demands, and finessing age-old male-female relationships. In Oh, Lebanon a war-haunted Lebanese-born woman willfully departs from the mores of her upbringing, with surprising results. With agile humor and emotional truth, Shakir offers multiple perspectives on Lebanese women trying to change roles in a new landscape without surrendering cultural identity.