The nexus between travel, writing and media in the contemporary world is dense: travel practice is increasingly interwoven with media; representations in old and new media are co-present and converge. Digitisation has had a profound impact on the practice and mediation of travel, but this volume aims to show that travel and its representation have always been enlaced with media. With contributions by experts in literary and cultural studies, journalism studies and informatics, the book takes a multi- and interdisciplinary approach and covers a wide range of media, from the hand-crafted album to social media. It illustrates how current transformations invite us to revisit earlier periods of travel writing and their media environments, and to explore the ways in which contemporary forms of mediation are prefigured by earlier practices and forms. The book addresses readers interested in travel writing, travel studies and cultural studies. Chapters Introduction, 3, 7 and 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license. Funded by University of Freiburg.

This is the first guide to earning money from travel writing in a media landscape turned upside down. With stories and advice for dozens of working travel writers, editors, and publishers, Travel Writing 2.0 leads readers on a path to success straddling print and electronic media. Written by Tim Leffel, a successful writer, book author, editor, and blogger.

A pair of revelatory travel memoirs from “a superb storyteller . . . [who] had a talent for depicting local color” (The New York Times). “One of the finest writers of any language,” British author Graham Greene embarked on two awe-inspiring and eye-opening journeys in the 1930s—to West Africa and to Mexico (The Washington Post). Greene would find himself both shaken and inspired by these trips, which would go on to inform his novels. Journey Without Maps: When Graham Greene set off from Liverpool in 1935 for what was then an Africa unmarked by colonization, it was to leave the known transgressions of his own civilization behind for those unknown. First by cargo ship, then by train and truck through Sierra Leone, and finally on foot, Greene embarked on a dangerous and unpredictable 350-mile, four-week trek through Liberia with his cousin and a handful of servants and bearers into a world where few had ever seen a white man. For Greene, this odyssey became as much a trip into the primitive interiors of the writer himself as it was a physical journey into a land foreign to his experience. “One of the best travel books [of the twentieth] century.” —The Independent The Lawless Roads: This eyewitness account of religious and political persecution in 1930s Mexico inspired The Power and the Glory, the British novelist’s “masterpiece” (John Updike). In 1938, Greene, a burgeoning convert to Roman Catholicism, was commissioned to expose the anticlerical purges in Mexico. Churches had been destroyed, peasants held secret masses in their homes, religious icons were banned, and priests disappeared. Traveling under the growing clouds of fascism, Greene was anxious to see for himself the effect it had on the people. Journeying through the rugged and remote terrain of Chiapas and Tabasco, Greene’s emotional, gut response to the landscape; the sights and sounds; the oppressive heat; and the people’s fear, despair, resignation, and fierce resilience makes for a vivid and powerful chronicle. “[A] singularly beautiful travel book.” —New Statesman

This book charts the trajectory of travel journalism from its print based origins to the emergence of hybridised multi-platform content. It considers how this has led to not only different kinds of travel journalism but different kinds of travel journalists; the professional travel journalist is now challenged online by user generated content. Cocking focuses on the conventions and “news values” of British print-based travel journalism, examining the genre’s liminal position between truth and fiction. In the context of the expansion of global tourism, Cocking explores how travel journalism from different parts of the world negotiates cultural differences in its depictions of destinations, regions, and tourist practices. Consideration is also given to the political potential of travel journalism and its capacity for awareness raising. Based on original research including qualitative analysis of print-based articles and blogs this book offers an innovative and original contribution to this emerging field of study.

“Tell me all about your trip!” It’s a request that follows travelers as they head out into the world, and one of the first things they hear when they return. When we leave our homes to explore the wider world, we feel compelled to capture the experiences and bring the story home. But for those who don’t think of themselves as writers, putting experiences into words can be more stressful than inspirational. Writing Abroad is meant for travelers of all backgrounds and writing levels: a student embarking on overseas study; a retiree realizing a dream of seeing China; a Peace Corps worker in Kenya. All can benefit from documenting their adventures, whether on paper or online. Through practical advice and adaptable exercises, this guide will help travelers hone their observational skills, conduct research and interviews, choose an appropriate literary form, and incorporate photos and videos into their writing. Writing about travel is more than just safeguarding memories—it can transform experiences and tease out new realizations. With Writing Abroad, travelers will be able to deepen their understanding of other cultures and write about that new awareness in clear and vivid prose.

Both a memoir in travel essays and an anti-guidebook, Bad Tourist takes us across four continents to fifteen countries, showing us what not to do when traveling. A woman learning to claim her own desires and adventures, Suzanne Roberts encounters lightning and landslides, sharks and piranha-infested waters, a nightclub drugging, burning bodies, and brief affairs as she searches for the love of her life and finally herself. Throughout her travels Roberts tries hard not to be a bad tourist, but owing to her cultural blind spots, things don’t always go as planned. Fearlessly confessional, shamelessly funny, and wholly unapologetic, Roberts offers a refreshingly honest account of the joys and absurdities of confronting new landscapes and cultures, as well as new versions of herself. Raw, bawdy, and self-effacing, Bad Tourist is a journey packed with delights and surprises—both of the greater world and of the mysterious workings of the heart.