Photographs and text document disappearing cultural landscapes and lifestyles in rural China, capturing poignant scenes far from Beijing or Shanghai. Just a few kilometers from the glittering skylines of Shanghai and Beijing, we encounter a vast countryside, an often forgotten and seemingly limitless landscape stretching far beyond the outskirts of the cities. Following traces of old trade routes, once-flourishing marketplaces, abandoned country estates, decrepit model villages, and the sites of mystic rituals, the authors of this book spent seven years exploring, photographing, and observing the vast interior of China, where the majority of Chinese people live in ways virtually unchanged for centuries. China's Vanishing Worlds is an impressive documentation in images and text of modernization's effect on traditional ways of life, and a sympathetic portrait of lives burdened by hardship but blessed by simplicity and tranquility. The scars of China's recent history and the decay of centuries-old traditions are made visible in this volume, but so is the lure and promise of technology and another life for young people. In the next twenty years, an estimated 280 million Chinese villagers will become city dwellers, leaving their ancestral homes in search of urban jobs and opportunities. In striking and evocative color photographs, we see picturesque villages set against a background of rolling hills, planned centuries ago according to the principles of feng shui; a restaurant with bright pink resin chairs and a wide-screen television; traditional buildings preserved by the accident of poverty and isolation; ramshackle rooms decorated with portraits of Chairman Mao; backpack-wearing children walking to school; festivals with elaborately costumed performers; old men playing cards; buyers and sellers at open-air markets. China's Vanishing Worlds offers readers a rare opportunity to glimpse China as it once was, and as it will soon no longer be.

Barry Allen explores the concept of knowledge in Chinese thought over two millennia and compares the different philosophical imperatives that have driven Chinese and Western thought. Challenging the hyperspecialized epistemology of modern Western philosophy, he urges his readers toward an ethical appreciation of why knowledge is worth pursuing.

In Night Bus, a young woman wearing round glasses finds herself on an adventurous late night bus ride that constantly makes detours through increasingly fantastical landscapes. Meanwhile a young cartoonist returns home after art school and tries his hand at becoming a working artist while watching over his aging grandmother whose memory is deteriorating. Nostalgic leaps take us to an elementary school gymnasium that slowly morphs into a swamp and is raided by a giant catfish. Beetles, salamanders, and bug-eyed fish intrude upon the bus ride of the round-glasses woman as the night stretches on. Night Bus blends autobiography, horror, and fantasy into a vibrantly detailed surreal world that shows a distinct talent surveying his past. Nature infringes upon the man-made world via gigantism and explosive abundance–the images in Night Bus are often unsettling, not aimed to horrify, but to upset the balance of modern life. Zuo Ma is part of a burgeoning Chinese art comics scene that pushes emotion to the forefront of the story while playing with action and dreams. Translated by Orion Martin.

The first memoir about the "reeducation" camps by a Uyghur woman. “I have written what I lived. The atrocious reality.” — Gulbahar Haitiwaji to Paris Match Since 2017, more than one million Uyghurs have been deported from their homes in the Xinjiang region of China to “reeducation camps.” The brutal repression of the Uyghurs, a Turkish-speaking Muslim ethnic group, has been denounced as genocide, and reported widely in media around the world. The Xinjiang Papers, revealed by the New York Times in 2019, expose the brutal repression of the Uyghur ethnicity by means of forced mass detention­—the biggest since the time of Mao. Her name is Gulbahar Haitiwaji and she is the first Uyghur woman to write a memoir about the 'reeducation' camps. For three years Haitiwaji endured hundreds of hours of interrogations, torture, hunger, police violence, brainwashing, forced sterilization, freezing cold, and nights under blinding neon light in her prison cell. These camps are to China what the Gulags were to the USSR. The Chinese government denies that they are concentration camps, seeking to legitimize their existence in the name of the “total fight against Islamic terrorism, infiltration and separatism,” and calls them “schools.” But none of this is true. Gulbahar only escaped thanks to the relentless efforts of her daughter. Her courageous memoir is a terrifying portrait of the atrocities she endured in the Chinese gulag and how the treatment of the Uyghurs at the hands of the Chinese government is just the latest example of their oppression of independent minorities within Chinese borders. The Xinjiang region where the Uyghurs live is where the Chinese government wishes there to be a new “silk route,” connecting Asia to Europe, considered to be the most important political project of president Xi Jinping.

"In this book, Edward Burtynsky presents photographs of the remnant and newly established zones of Chinese industrialization - those places created while realizing the "glory" of wealth for a powerful civilization yearning to move forward and join the ranks of modern nations. Using diplomatic channels, Burtynsky has gained rare access to these sites, creating images that are at once arresting and unsettling. These photographs afford us privileged glimpses of the vast social and economic transformation currently underway in China." "Burtynsky casts a watchful eye over the extreme expressions of Chinese industry. His subjects include the Three Gorges Dam, at present the world's largest engineering project and Bao Steel, China's biggest steel producer. He explores the vanishing dinosaurs of old industrial complexes in the north eastern "rust belt" and shipyards at Qiligang, the single most concentrated area of shipbuilding in the country."--BOOK JACKET.

Journalist Michael Meyer has spent his adult life in China, first in a small village as a Peace Corps volunteer, the last decade in Beijing--where he has witnessed the extraordinary transformation the country has experienced in that time. For the past two years he has been completely immersed in the ancient city, living on one of its famed hutong in a century-old courtyard home he shares with several families, teaching English at a local elementary school--while all around him "progress" closes in as the neighborhood is methodically destroyed to make way for high-rise buildings, shopping malls, and other symbols of modern, urban life. The city, he shows, has been demolished many times before; however, he writes, "the epitaph for Beijing will read: born 1280, died 2008...what emperors, warlords, Japanese invaders, and Communist planners couldn't eradicate, the market economy can." The Last Days of Old Beijing tells the story of this historic city from the inside out-through the eyes of those whose lives are in the balance: the Widow who takes care of Meyer; his students and fellow teachers, the first-ever description of what goes on in a Chinese public school; the local historian who rallies against the government. The tension of preservation vs. modernization--the question of what, in an ancient civilization, counts as heritage, and what happens when a billion people want to live the way Americans do--suffuse Meyer's story.

This is a 3-volume set of oversize books that span the continent of Asia. Ancient and beautiful traditions in Asia that are rapidly disappearing are recorded here in 9,000 images on 1,000 pages. The author has visited 35 countries in Asia and has travelled to the end of the road in its most remote places to capture the costumes, architecture, festivals, and lifestyles that are vanishing. The diverse cultures range from Turkey in the west to Japan in the east, from Siberia in the north to Indonesia in the south, and everything in between. Volume 1 covers West Asia, Volume 2 Central Asia, and Volume 3 East Asia. Every one of its 1,000 pages is uniquely designed, and every one of its 9,000 images is captioned. This is an ambitious and extreme passion project that the author/photographer has worked on for 49 years. Many of the scenes depicted in the book are now gone from the world, and others are becoming rarer by the day. There is no other book like it.