Burnt by the Sun examines the history of the first Korean diaspora in a Western society during the highly tense geopolitical atmosphere of the Soviet Union in the late 1930s. Author Jon K. Chang demonstrates that the Koreans of the Russian Far East were continually viewed as a problematic and maligned nationality (ethnic community) during the Tsarist and Soviet periods. He argues that Tsarist influences and the various forms of Russian nationalism(s) and worldviews blinded the Stalinist regime from seeing the Koreans as loyal Soviet citizens. Instead, these influences portrayed them as a colonizing element (labor force) with unknown and unknowable political loyalties. One of the major findings of Chang’s research was the depth that the Soviet state was able to influence, penetrate, and control the Koreans through not only state propaganda and media, but also their selection and placement of Soviet Korean leaders, informants, and secret police within the populace. From his interviews with relatives of former Korean OGPU/NKVD (the predecessor to the KGB) officers, he learned of Korean NKVD who helped deport their own community. Given these facts, one would think the Koreans should have been considered a loyal Soviet people. But this was not the case, mainly due to how the Russian empire and, later, the Soviet state linked political loyalty with race or ethnic community. During his six years of fieldwork in Central Asia and Russia, Chang interviewed approximately sixty elderly Koreans who lived in the Russian Far East prior to their deportation in 1937. This oral history along with digital technology allowed him to piece together Soviet Korean life as well as their experiences working with and living beside Siberian natives, Chinese, Russians, and the Central Asian peoples. Chang also discovered that some two thousand Soviet Koreans remained on North Sakhalin island after the Korean deportation was carried out, working on Japanese-Soviet joint ventures extracting coal, gas, petroleum, timber, and other resources. This showed that Soviet socialism was not ideologically pure and was certainly swayed by Japanese capitalism and the monetary benefits of projects that paid the Stalinist regime hard currency for its resources.

The #1 "New York Times"-bestselling author of "Crank" returns with a gripping, masterful novel, told in verse, that weaves a riveting story about a teenage girl who is raised in a fundamentally religious yet abusive family.

In 1600, the Catholic Inquisition condemned the philosopher and cosmologist Giordano Bruno for heresy, and he was then burned alive in the Campo de’ Fiori in Rome. Historians, scientists, and philosophical scholars have traditionally held that Bruno’s theological beliefs led to his execution, denying any link between his study of the nature of the universe and his trial. But in Burned Alive, Alberto A. Martínez draws on new evidence to claim that Bruno’s cosmological beliefs—that the stars are suns surrounded by planetary worlds like our own, and that the Earth moves because it has a soul—were indeed the primary factor in his condemnation. Linking Bruno’s trial to later confrontations between the Inquisition and Galileo in 1616 and 1633, Martínez shows how some of the same Inquisitors who judged Bruno challenged Galileo. In particular, one clergyman who authored the most critical reports used by the Inquisition to condemn Galileo in 1633 immediately thereafter wrote an unpublished manuscript in which he denounced Galileo and other followers of Copernicus for their beliefs about the universe: that many worlds exist and that the Earth moves because it has a soul. Challenging the accepted history of astronomy to reveal Bruno as a true innovator whose contributions to the science predate those of Galileo, this book shows that is was cosmology, not theology, that led Bruno to his death.

Each of the volumes in this series on Russian cinema investigates the production, context and reception of the film, the people who made it, and the film itself, including its place in world cinema. This title discusses the Oscar-winning film "Burnt by the Sun", directed by Nikita Mikhalov.

The photographs of Chris McCaw (born 1971) are produced with various hand-built view cameras as big as 30 by 40 inches, which are equipped with large aerial lenses designed to allow a maximum amount of light to pass through. Using large paper negatives, McCaw makes very long exposures ranging from several hours to a full day, which result in solarized final images. Besides the attractive neo-primitive qualities of his landscape imagery, the concentrated sunlight passing through the large optical elements actually scorches an etched path across the surface of the paper, rending open the charred skies to hint at a brighter light behind our sun. Sunburn brings together more than 60 of these landscapes, cooked visions in which blackened suns move stroboscopically through veiled skies that hang like curtains over vistas reduced to shadow. The violent shearing or destruction of each image contests the traditionally mellow aesthetic of the landscape photography tradition, and the marks left behind are a physical testament to the power of the sun, which is both subject and collaborator in this chance meeting of creator and destroyer. The excitement of discovering such a remarkable and untapped property of these particular lenses and expired gelatin silver papers is a testament to McCaw's openness to the photographic process, and his continued experimentation over the past eight years has created an equally indelible mark on the tradition of landscape photography. -- Amazon.com.

In Navajo country, where the land is thick with legends and forgotten histories, a writer sets out to find a place that no longer exists except on a few old maps: Burntwater. The story opens when two friends get stuck in a remote pocket of the desert as a winter storm moves in. They are taking a wandering route across the Four Corners region, curving through Utah, New Mexico, and Arizona on a long arc into the mythic heart of the country. As they travel, the author calls up past experiences in this land where the past flows seamlessly into the present. He remembers a medicine man whose chanting could start the cold engine of a Volkswagen. He describes an act of sabotage against an oil company by two Vietnam vets armed with deer rifles. He recalls how a winter of herding sheep for a Navajo family and a search for a Hopi known as the Sun Chief led him further into a human landscape as strange and compelling as the terrain. This book takes the backroads, crossing the Colorado Plateau from the headwaters of the Virgin River to the mouth of the Dirty Devil, from the badlands below Twin Angels to a remote mesa in Bandelier. As the miles go by and the stories unfold, there is a growing sense of mystery, of words not spoken, of messages carried on the wind. Reaching the Shrine of the Stone Lions, the writer recounts a near-fatal descent into the Grand Canyon where he finds a way to reconnect with the beauty of life. There his journey ends with an emotional punch that goes straight to the mind and the heart.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.