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Over the years the American writer Emma Larkin has spent traveling in Burma, she's come to know all too well the many ways this brutal police state can be described as "Orwellian." The life of the mind exists in a state of siege in Burma, and it long has. But Burma's connection to George Orwell is not merely metaphorical; it is much deeper and more real. Orwell's mother was born in Burma, at the height of the British raj, and Orwell was fundamentally shaped by his experiences in Burma as a young man working for the British Imperial Police. When Orwell died, the novel-in-progress on his desk was set in Burma. It is the place George Orwell's work holds in Burma today, however, that most struck Emma Larkin. She was frequently told by Burmese acquaintances that Orwell did not write one book about their country--his first novel, Burmese Days--but in fact he wrote three, the "trilogy" that included Animal Farm and Nineteen Eighty-Four. When Larkin quietly asked one Burmese intellectual if he knew the work of George Orwell, he stared blankly for a moment and then said, "Ah, you mean the prophet!"

In one of the most intrepid political travelogues in recent memory, Emma Larkin tells of the year she spent traveling through Burma using the life and work of George Orwell as her compass. Going from Mandalay and Rangoon to poor delta backwaters and up to the old hill-station towns in the mountains of Burma's far north, Larkin visits the places where Orwell worked and lived, and the places his books live still. She brings to vivid life a country and a people cut off from the rest of the world, and from one another, by the ruling military junta and its vast network of spies and informers. Using Orwell enables her to show, effortlessly, the weight of the colonial experience on Burma today, the ghosts of which are invisible and everywhere. More important, she finds that the path she charts leads her to the people who have found ways to somehow resist the soul-crushing effects of life in this most cruel police state. And George Orwell's moral clarity, hatred of injustice, and keen powers of observation serve as the author's compass in another sense too: they are qualities she shares and they suffuse her book--the keenest and finest reckoning with life in this police state that has yet been written.

A brave and revelatory reconnaissance of modern Burma, one of the world's grimmest and most shuttered police states, using as its compass the life and work of George Orwell, the man many in Burma call simply "the prophet"

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Brilliant

While it's hard to categorise this book, it could be filed under `must read' for fans of Orwell and everyone interested in modern international politics. This book falls into to genres of literary biography, travel and modern politics, and `Emma Larkin' succeeds brilliantly in all three.

As a literary biography she sheds new light onto Orwell as a person and the background to his books. In particular, I was fascinated by her informed speculation into how Orwell's experiences in Burma contributed to his transformation from a privileged child of Empire into the champion of the lower classes who came to write `1984'.

As a travel book Larkin brings Burma to life. Her descriptions of the Burmese landscape and Burmese people are wonderful and suggest that she dearly loves the country despite its hideous government.

As a book on modern politics, Larkin is extremely successful in describing how a totalitarian dictatorship operates and the devastation such forms of government inflict upon their people. In particular, Larkin's descriptions of how the Burmese regime has corrupted almost every aspect of civil society offers very valuable insights into how such regimes survive in the face of their brutality and incompetence. More subtly, the fact that Larkin had to write this book under a pseudonym and was unable to reveal any details about herself for fear of being identified and expelled from Burma brings to life the grim realities of living under a repressive regime.

All up, this is an impressive book which deserves a wide readership.

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The author of Midnight in the Garden of Good and Evil returns after more than a decade to give us an intimate look at the "magic, mystery, and decadence" of the city of Venice and its inhabitants

It was seven years ago that Midnight in the Garden of Good and Evil achieved a record-breaking four-year run on The New York Times bestseller list. John Berendt's inimitable brand of nonfiction brought the dark mystique of Savannah so startlingly to life for millions of people that tourism to Savannah increased by 46 percent. It is Berendt and only Berendt who can capture Venice-a city of masks, a city of riddles, where the narrow, meandering passageways form a giant maze, confounding all who have not grown up wandering into its depths. Venice, a city steeped in a thousand years of history, art and architecture, teeters in precarious balance between endurance and decay. Its architectural treasures crumble--foundations shift, marble ornaments fall--even as efforts to preserve them are underway. The City of Falling Angels opens on the evening of January 29, 1996, when a dramatic fire destroys the historic Venice opera house. The loss of the Fenice, where five of Verdi's operas premiered, is a catastrophe for Venetians. Arriving in Venice three days after the fire, Berendt becomes a kind of detective-inquiring into the nature of life in this remarkable museum-city-while gradually revealing the truth about the fire. In the course of his investigations, Berendt introduces us to a rich cast of characters: a prominent Venetian poet whose shocking "suicide" prompts his skeptical friends to pursue a murder suspect on their own; the first family of American expatriates that loses possession of the family palace after four generations of ownership; an organization of high-society, partygoing Americans who raise money to preserve the art and architecture of Venice, while quarreling in public among themselves, questioning one another's motives and drawing startled Venetians into the fray; a contemporary Venetian surrealist painter and outrageous provocateur; the master glassblower of Venice; and numerous others-stool pigeons, scapegoats, hustlers, sleepwalkers, believers in Martians, the Plant Man, the Rat Man, and Henry James.

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The myth of Shangri-la originates in Tibetan Buddhist beliefs in beyul, or hidden lands, sacred sanctuaries that reveal themselves to devout pilgrims and in times of crisis. The more remote and inaccessible the beyul, the vaster its reputed qualities. Ancient Tibetan prophecies declare that the greatest of all hidden lands lies at the heart of the forbidding Tsangpo Gorge, deep in the Himalayas and veiled by a colossal waterfall. Nineteenth-century accounts of this fabled waterfall inspired a series of ill-fated European expeditions that ended prematurely in 1925 when the intrepid British plant collector Frank Kingdon-Ward penetrated all but a five-mile section of the Tsangpo's innermost gorge and declared that the falls were no more than a "religious myth" and a "romance of geography." The heart of the Tsangpo Gorge remained a blank spot on the map of world exploration until world-class climber and Buddhist scholar Ian Baker delved into the legends. Whatever cryptic Tibetan scrolls or past explorers had said about the Tsangpo's innermost gorge, Baker determined, could be verified only by exploring the uncharted five-mile gap. After several years of encountering sheer cliffs, maelstroms of impassable white water, and dense leech-infested jungles, on the last of a series of extraordinary expeditions, Baker and his National Geographic-sponsored team reached the depths of the Tsangpo Gorge. They made news worldwide by finding there a 108-foot-high waterfall, the legendary grail of Western explorers and Tibetan seekers alike.

The Heart of the World is one of the most captivating stories of exploration and discovery in recent memory-an extraordinary journey to one of the wildest and most inaccessible places on earth and a pilgrimage to the heart of the Tibetan Buddhist faith.

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