Return Of A Native

From a fixed point in the middle of English nowhere, Vron Ware takes you through time and space to explain why transcending the urban-rural divide is integral to the future of the planet. Rural England is a mythic space, a complex canvas on which people from many different backgrounds project all kinds of fantasies, prejudices, desires and fears. This book seeks to challenge many of these ideas, showing how the artificial divide between rural and urban works to conceal the underlying relationship between these two fundamental poles of human settlement. This investigation of rurality is oriented from a fixed point in north-west Hampshire, marked by a signpost that points in four directions to two towns, four villages and two hamlets. Through stories, interviews and reportage gathered over two decades, the book demolishes tired notions of rural England that cast it as a separate realm of existence, whether marooned in a perpetual time-warp, or reduced to a refuge for the retired, wealthy urbanites, extreme nature-lovers, and, more recently, anyone tired of waiting out the pandemic in towns and cities. It poses two simple questions: what does the word rural mean today? What will it mean tomorrow? The author is an ambivalent native, held captive to the land by an umbilical cord but always on the verge of fleeing home to the city. She writes from a feminist, postcolonial standpoint that is alert to the slow violence of historical processes taking place over many centuries; enslavement, colonialism, industrialisation, globalisation. Both argument and narrative are propelled by the urgent need to reconsider the concept of ‘countryside’ in the context of the climate emergency and the patent collapse of ecosystems due to intensive farming which has poisoned the land.

The Return of the Native offers a look at the role of preconquest peoples such as the Aztecs and the Incas in the imagination of Spanish American elites in the first century after independence.

Damon Wildeve, a local innkeeper known for his fickleness is preoccupied with Eustacia Vye, an exotically beautiful young woman who broke up with him when Clym, a successful diamond merchant, returned from Paris to his native Egdon Heath. Eustacia sees him as a way to escape the hated heath and begin a grander, richer existence in a glamorous new location. When he sees that Eustacia is lost to him, Wildeve marries Thomasin Yeobright, who gives birth to a daughter. After realizing that Clym won't fulfill her dreams, Eustacia becomes desperate, but another opportunity shows up. Wildeve has unexpectedly inherited a large sum of money, and is now in a better position to fulfill Eustacia's hopes, but he now has a wife and a child.

One of Thomas Hardy's most powerful works, The Return of the Native centers famously on Egdon Heath, the wild, haunted Wessex moor that D. H. Lawrence called 'the real stuff of tragedy.' The heath's changing face mirrors the fortunes of the farmers, inn-keepers, sons, mothers, and lovers who populate the novel. The 'native' is Clym Yeobright, who comes home from a cosmopolitan life in Paris. He; his cousin Thomasin; her fiancé, Damon Wildeve; and the willful Eustacia Vye are the protagonists in a tale of doomed love, passion, alienation, and melancholy as Hardy brilliantly explores that theme so familiar throughout his fiction: the diabolical role of chance in determining the course of a life.

A work of immense cultural significance and beauty, this long poem became an anthem for the African diaspora and the birth of the Negritude movement. With unusual juxtapositions of object and metaphor, a bouquet of language-play, and deeply resonant rhythms, Césaire considered this work a "break into the forbidden," at once a cry of rebellion and a celebration of black identity. More praise: "The greatest living poet in the French language."--American Book Review "Martinique poet Aime Cesaire is one of the few pure surrealists alive today. By this I mean that his work has never compromised its wild universe of double meanings, stretched syntax, and unexpected imagery. This long poem was written at the end of World War II and became an anthem for many blacks around the world. Eshleman and Smith have revised their original 1983 translations and given it additional power by presenting Cesaire's unique voice as testament to a world reduced in size by catastrophic events." --Bloomsbury Review "Through his universal call for the respect of human dignity, consciousness and responsibility, he will remain a symbol of hope for all oppressed peoples." --Nicolas Sarkozy "Evocative and thoughtful, touching on human aspiration far beyond the scale of its specific concerns with Cesaire's native land - Martinique." --The Times

The prominent journalist, historian, and author—an eyewitness to some of the most pivotal events of the twentieth century—tells the story of his final years. In the last book of a three-volume series, William L. Shirer recounts his return to Berlin after the Third Reich’s defeat, his shocking firing by CBS News, and his final visit to Paris sixty years after he first lived there as a cub reporter in the 1920s. It paints a bittersweet picture of his final decades, friends lost to old age, and a changing world. More personal than the first two volumes, this final installment takes an unflinching look at the author’s own struggles after World War II—and his vindication after the publication of The Rise and Fall of the Third Reich, his most acclaimed work. It also provides intimate details of his often-troubled marriage. This book gives readers a surprising and moving account of the last years of a true historian—and an important witness to history.

The first book to examine the role of Canada’s newspapers in perpetuating the myth of Native inferiority. Seeing Red is a groundbreaking study of how Canadian English-language newspapers have portrayed Aboriginal peoples from 1869 to the present day. It assesses a wide range of publications on topics that include the sale of Rupert’s Land, the signing of Treaty 3, the North-West Rebellion and Louis Riel, the death of Pauline Johnson, the outing of Grey Owl, the discussions surrounding Bill C-31, the “Bended Elbow” standoff at Kenora, Ontario, and the Oka Crisis. The authors uncover overwhelming evidence that the colonial imaginary not only thrives, but dominates depictions of Aboriginal peoples in mainstream newspapers. The colonial constructs ingrained in the news media perpetuate an imagined Native inferiority that contributes significantly to the marginalization of Indigenous people in Canada. That such imagery persists to this day suggests strongly that our country lives in denial, failing to live up to its cultural mosaic boosterism.

Some of the most exciting writers in and from Wales consider the future of Wales and the UK and their place in it. What does it mean to imagine Wales and ‘The Welsh’ as something both distinct and inclusive? In Welsh (Plural), some of the foremost Welsh writers consider the future of Wales and their place in it. For many people, Wales brings to mind the same old collection of images – if it’s not rugby, sheep and leeks, it’s the 3 Cs: castles, coal, and choirs. Heritage, mining and the church are indeed integral parts of Welsh culture. But what of the other stories that point us toward a Welsh future? In this anthology of essays, authors offer imaginative, radical perspectives on the future of Wales as they take us beyond the clichés and binaries that so often shape thinking about Wales and Welshness. Includes essays from Charlotte Williams (A Tolerant Nation?), Joe Dunthorne (Submarine, The Adulterants), Niall Griffiths (Sheepshagger, Broken Ghost), Rabab Ghazoul (Gentle / Radical Turner Prize Nominee), Mike Parker (On the Red Hill), Martin Johnes (Wales Since 1939, Wales: England’s Colony?), Kandace Siobhan Walker (2019 Guardian 4th Estate Prize Winner), Gary Raymond (Golden Orphans, Wales Arts Review, BBC Wales), Darren Chetty (The Good Immigrant), Andy Welch (The Guardian), Marvin Thompson (Winner 2021 UK Poetry Prize), Durre Shahwar (Where I’m Coming From), Hanan Issa (My Body Can House Two Hearts), Dan Evans (Desolation Radio), Shaheen Sutton, Morgan Owen, Iestyn Tyne, Grug Muse and Cerys Hafana.