Weidenfeld & Nicolson strana 2 z 8

Soon after losing her own daughter in a tragic accident, Hon returns to her childhood home in the Korean countryside after many years away. Her father, a cattle farmer, is elderly and requires her care. He is withdrawn, kind but awkward around his own daughter. As time passes however, Hon realises that her father is far more complex than she ever realised. The discovery of a chest of letters and conversations with his family and friends help Hon piece together the tumultuous story of his life. She learns of her father's experiences during the Korean War and the violence of the 19th April Revolution; of a love affair and involvement in a religious sect; of his sacrifice and heroism and of the phantoms that haunt him. As she unravels secret after secret, Hon grows closer to her father, realising that his lifelong kindness belies a past wrought in both private and national trauma. More than just the portrait of one man, I Went to See My Father opens a window onto humankind, family, loss and war. It asks us to look at the ones we love, uncover the secrets they keep, and finally see who they really are. Flawlessly rendered by award-winning translator Anton Hur, Kyung-Sook Shin has crafted a novel both affectionate and epic, joyous and lasting.

'Some smuggle cigarettes, others alcohol - or weapons. Our contraband, being invisible, is more dangerous. Our contraband is undetectable by scanners. What we carry as concealed excess baggage is stories.' In this exquisite literary gem, Georgi Gospodinov, winner of the International Booker Prize, invites the reader on a winding journey through his own memories. He shows us a childhood under Communism, a particularly Bulgarian variety of melancholy, the freedom and thrills found in reading and writing, and the coming of age of one extraordinary writer. Ultimately, this profound, playful and deeply moving autobiographical text offers resounding proof of the power and importance of storytelling. TRANSLATED FROM THE BULGARIAN BY KRISTINA KOVACHEVA AND DAN GUNN

In the small and the insignificant - that's where life hides, that's where it builds its nest. Our unnamed narrator is not well. He suffers from attacks of 'pathological empathy', which cause him to wander unbidden into other people's memories. He moves from recollection to recollection - from a Bulgarian country fair in 1925, where he meets a Minotaur, to inside the mind of a slug, as it is swallowed by his own Grandfather. Part family history, part coming-of-age story, part meditation on life in Communist Europe, The Physics of Sorrow is a dazzlingly inventive, mind-expanding novel from one of Europe's most important writers. TRANSLATED FROM THE BULGARIAN BY ANGELA RODEL

There's something in the water of Con Dao. To the locals, a monster. To the corporate owners of the island, an opportunity. To the team of three sent to study and protect, a revelation. Their minds are unlike ours. Their bodies are malleable, transformable, shifting. They can communicate. And they want us to leave. When pioneering marine biologist Dr. Ha Nguyen is offered the chance to travel to the remote Con Dao Archipelago to investigate a highly intelligent, dangerous octopus species, she doesn't pause long enough to look at the fine print. DIANIMA- a transnational tech corporation best known for its groundbreaking work in artificial intelligence - has purchased the islands, evacuated their population and sealed the archipelago off from the world so that Nguyen can focus on her research. But the stakes are high: the octopuses hold the key to unprecedented breakthroughs in extrahuman intelligence and there are vast fortunes to be made by whoever can take advantage of their advancements. And as Dr. Nguyen struggles to communicate with the newly discovered species, forces larger than DIANIMA close in to seize the octopuses for themselves. But no one has yet asked the octopuses what they think. And what they might do about it.

One of the most beautiful handcrafted typefaces in the world, Albertus is also one of the most enduring. The face of thousands of book jackets, and the chosen look for David Bowie, Coldplay, Star Wars and London street signs, Albertus is as as warmly enticing on film posters as it is on memorial plaques. The story of the font is one displacement (its designer Berthold Wolpe was a German Jewish refugee who went on to design the masthead for The Times), but also one of permanence, for it has proved a fresh, vibrant and indestructible face for almost a century. In this unique celebration, the designer's children reveal the history of its creation and the erratic brilliance of their father, while the book grapples with one of the fundamental artistic questions: what makes great art not only survive but flourish in each new age and medium?

The classic elegant English typeface, still widely used as a book text more than 250 years since its creation. Baskerville is a transitional design, poised between the first metal types and modern styles, notable for its combination of fat and thin strokes. When it was first used there was genuine concern that it would damage readers' eyes. John Baskerville was a maverick lacquer maker and printer in Birmingham, a flamboyant dresser, an important figure in the Enlightenment. Though it earned him little money, he was obsessive about both his typeface and its appearance on the page, a perfectionism culminating in his magnificent Bible. The story encompasses one of the first powerful women of the printing world, his wife Sarah Baskerville, and the many typefaces the Baskervilles inspired. And it examines why John Baskerville's body was dug up and buried many times before it was finally allowed to rest in peace.

Comic Sans is one of the most used and most reviled typefaces of the digital age. How was it made? How could it spawn a movement to ban it and yet still be so widely promoted by educators? What does its accidental creator make of its contentious and singular history? This quirky and unique book considers how the computer transformed type into something that anyone could use and have an opinion on. It examines how a typeface, correctly used, may sell us almost anything, and how new types with names such as Crash Soul, Lovely Scream Queens and Ampersandist (to name but three recent examples of the hundreds issued each year) each attempt to keep the alphabet exciting and new. And it concludes with an alluring question: could Comic Sans now be the coolest typeface ever made?

They were the bestselling singles band in the world. They had awards, credibility, commercial success and creative freedom. Then they deleted their records, erased themselves from musical history and burnt their last million pounds in a boathouse on the Isle of Jura. And they couldn't say why. This is not just the story of The KLF. It is a book about Carl Jung, Alan Moore, Robert Anton Wilson, Ken Campbell, Dada, Situationism, Discordianism, magic, chaos, punk, rave, the alchemical symbolism of Doctor Who and the special power of the number twenty-three. Wildly unauthorised and unlike any other music biography, THE KLF is a trawl through chaos on the trail of a beautiful, accidental mythology. 10th ANNIVERSARY EDITION UPDATED WITH NEW MATERIAL

THE TIMES HISTORY BOOK OF THE YEAR ONE OF THE ECONOMIST'S BEST BOOKS OF THE YEAR From the master storyteller and internationally bestselling author - the story of humanity from prehistory to the present day, told through the one thing all humans have in common: family. We begin with the footsteps of a family walking along a beach 950,000 years ago. From here, Montefiore takes us on an exhilarating epic journey through the families that have shaped our world: the Caesars, Medicis and Incas, Ottomans and Mughals, Bonapartes, Habsburgs and Zulus, Rothschilds, Rockefellers and Krupps, Churchills, Kennedys, Castros, Nehrus, Pahlavis and Kenyattas, Saudis, Kims and Assads. A rich cast of complex characters form the beating heart of the story. Some are well-known leaders, from Alexander the Great, Attila, Ivan the Terrible and Genghis Khan to Hitler, Thatcher, Obama, Putin and Zelensky. Some are creative, from Socrates, Michelangelo and Shakespeare to Newton, Mozart, Balzac, Freud, Bowie and Tim Berners-Lee. Others are lesser-known: Hongwu, who began life as a beggar and founded the Ming dynasty; Kamehameha, conqueror of Hawaii; Zenobia, Arab empress who defied Rome; King Henry of Haiti; Lady Murasaki, first female novelist; Sayyida al-Hurra, Moroccan pirate-queen. Here are not just conquerors and queens but prophets, charlatans, actors, gangsters, artists, scientists, doctors, tycoons, lovers, wives, husbands and children. This is world history on the most grand and intimate scale - spanning centuries, continents and cultures, and linking grand themes of war, migration, plague, religion, medicine and technology to the people at the centre of the human drama. As spellbinding as fiction, The World captures the story of humankind in all its joy, sorrow, romance, ingenuity and cruelty in a ground-breaking, single narrative that will forever shift the boundaries of what history can achieve.

From heroic dissident journalist Mikhail Zygar, a journey into the myths and fantasies that led Russia to violence in Ukraine 'History is made up of myths,' writes the renowned Russian dissident journalist Mikhail Zygar. 'Alas, our myths led us to the fascism of 2022. It is time to expose them.' Drawing from his perilous career investigating the frontiers of the Russian empire, Zygar reveals how 350 years of propaganda, bad historical scholarship, folk tales and fantasy spurred his nation into war with Ukraine. How did a German monk's fear of the Ottoman Empire drive him to invent the fiction of a united Russian world? How did corny spy novels about a 'Soviet James Bond' inspire Vladimir Putin to join the KGB? How did Alexander Pushkin's admiration for a poem by Lord Byron end with him slandering the legendary chief of the Cossacks? And how did Putin underestimate a rising TV comic named Volodymyr Zelensky, failing to see that his satire had become deadly serious, and that his country would be a joke no longer? A noted expert on the Kremlin with unparalleled access to hundreds of players in the current conflict - from politicians to oligarchs, gangsters to comedians (not least Zelensky himself) - Zygar chronicles the power struggles from which today's politics grew, and digs out the essential truths from behind layers of seductive legend. By surveying the strange, complex record of Russo-Ukrainian relations, War and Punishment reveals exactly how the largest nation on Earth lost its senses. A work of history can't undo the past or transform the present, but sometimes it can shape the future. In fact, that's how the story begins.

Budapest has always been an important place. Almost at the centre of Europe, it is at the crossroads of geographical regions and of civilizations, at the intersection of ancient trade routes. Mountains that gradually slope into gentle hills converge on a great river, the Danube, and the regions of Buda and Pest sprang up on either side. Throughout history the centre of gravity in Budapest and among Hungarians has shifted between this division of East and West - culturally, politically, emotionally. Invaders have come and gone, empires have conquered, occupied for centuries or decades, and left a few footprints behind: the remains of a Roman bath house complete with wonderfully preserved mosaics stand next to a Soviet-style 'five-year-plan' apartment block. The city bears the scars of the rise and fall of multiple empires, two world wars, fascism, Nazi German occupation, Soviet Communism. It has been home to some of the world's greatest writers, artists and musicians. Hungary is a place of extremes, a small country that has often in history punched well above its weight. At many moments, events that began in Budapest have proved to be of world significance. This is the story of that tumultuous, often divided, but always fascinating city.

In Time Shelter, an enigmatic flâneur named Gaustine opens a 'clinic for the past' that offers a promising treatment for Alzheimer's sufferers: each floor reproduces a decade in minute detail, transporting patients back in time. As Gaustine's assistant, the unnamed narrator is tasked with collecting the flotsam and jetsam of the past, from 1960s furniture and 1940s shirt buttons to scents and even afternoon light. But as the rooms become more convincing, an increasing number of healthy people seek out the clinic as a 'time shelter', hoping to escape from the horrors of our present - a development that results in an unexpected conundrum when the past begins to invade the present. Intricately crafted, and eloquently translated by Angela Rodel, Time Shelter cements Georgi Gospodinov's reputation as one of the indispensable writers of our times, a major voice in international literature.

It's not so long ago that a woman's expressed interest in other realms would have ruined her reputation, or even killed her. And yet spiritualism, in various incarnations, has influenced numerous men - including lauded modernist artists such as Wassily Kandinsky, Piet Mondrian, Kazimir Malevich and Paul Klee - without repercussion. The fact that so many radical women artists of their generation - and earlier - also drank deeply from the same spiritual well has for too long been sorely neglected. In THE OTHER SIDE, we explore the lives and work of a group of extraordinary women, from the twelfth-century mystic, composer and artist Hildegard of Bingen to the nineteenth-century English spiritualist Georgiana Houghton, whose paintings swirl like a cosmic Jackson Pollock; the early twentieth-century Swedish artist, Hilma af Klint, who painted with the help of her spirit guides and whose recent exhibition at New York's Guggenheim broke all attendance records; the 'Desert Transcendentalist', Agnes Pelton, who painted her visions beneath the vast skies of California; the Swiss healer, Emma Kunz, who used geometric drawings to treat her patients; and the British surrealist and occultist, Ithell Colquhoun, whose estate of more than 5,000 works recently entered the Tate gallery collection. While the individual work of these artists is unique, the women loosely shared the same goal: to communicate with, and learn from, other dimensions. Weaving in and out of these myriad lives, sharing her own memories of otherworldly experiences, Jennifer Higgie discusses the solace of ritual, the gender exclusions of art history, the contemporary relevance of myth, the boom in alternative ways of understanding the world and the impact of spiritualism on feminism and contemporary art. A radical reappraisal of a marginalised group of artists, THE OTHER SIDE is an intoxicating blend of memoir, biography and art history.

It's not so long ago that a woman's expressed interest in other realms would have ruined her reputation, or even killed her. And yet spiritualism, in various incarnations, has influenced numerous men - including lauded modernist artists such as Wassily Kandinsky, Piet Mondrian, Kazimir Malevich and Paul Klee - without repercussion. The fact that so many radical women artists of their generation - and earlier - also drank deeply from the same spiritual well has for too long been sorely neglected. In THE OTHER SIDE, we explore the lives and work of a group of extraordinary women, from the twelfth-century mystic, composer and artist Hildegard of Bingen to the nineteenth-century English spiritualist Georgiana Houghton, whose paintings swirl like a cosmic Jackson Pollock; the early twentieth-century Swedish artist, Hilma af Klint, who painted with the help of her spirit guides and whose recent exhibition at New York's Guggenheim broke all attendance records; the 'Desert Transcendentalist', Agnes Pelton, who painted her visions beneath the vast skies of California; the Swiss healer, Emma Kunz, who used geometric drawings to treat her patients; and the British surrealist and occultist, Ithell Colquhoun, whose estate of more than 5,000 works recently entered the Tate gallery collection. While the individual work of these artists is unique, the women loosely shared the same goal: to communicate with, and learn from, other dimensions. Weaving in and out of these myriad lives, sharing her own memories of otherworldly experiences, Jennifer Higgie discusses the solace of ritual, the gender exclusions of art history, the contemporary relevance of myth, the boom in alternative ways of understanding the world and the impact of spiritualism on feminism and contemporary art. A radical reappraisal of a marginalised group of artists, THE OTHER SIDE is an intoxicating blend of memoir, biography and art history.

War in Ukraine, a global hunger crisis, the West's cost of living crisis - the eruptions of 2022 were all too predictable. In Price Wars, Rupert Russell lays out just how these crises are connected and how many such events plunged the 2010s into a decade of turmoil. Entering the eye of the storm - from the trenches of Russian separatist-controlled Donbas to bomb disposal squads in Mosul to cattle raiders in Kenya - Russell discovers a butterfly effect of chaos in the real world being driven by chaos in the commodities markets. The price of food and oil has the power to bankroll foreign invasions, plunge continents into poverty and spark revolutions, civil wars and refugee crises. And these prices, whistle-blowing hedge fund managers and Nobel Prize winners told him, have become irrational. In this thrilling exposé of the dark financial forces that rule our world, Russell takes us on adventure into the inner workings of global disorder unlike any other.

The fox knows many things, but the hedgehog knows one big thing. For Isaiah Berlin, there is a fundamental distinction in mankind: those who are fascinated by the infinite variety of things - foxes - and those who relate everything to a central all-embracing system - hedgehogs. It can be applied to the greatest creative minds: Dante, Ibsen and Proust are hedgehogs, while Shakespeare, Aristotle and Joyce are foxes. Yet when Berlin reaches the case of Tolstoy, he finds a fox by nature, but a hedgehog by conviction; a duality which holds the key to understanding Tolstoy's work, illuminating a paradox of his philosophy of history and showing why he was frequently misunderstood by his contemporaries and critics.