An arresting travel book about the way geography and people intersect.



An avid traveler and portrait photographer shares images and experiences from his journey across the Himalayas.

In his debut book, Morgan conveys via photographs the recent changes in the lives of many Himalayans. The dramatic geography of the Himalayas and their surrounding rivers created isolated regions where unique cultures developed, relatively uninfluenced by the rest of the world. Morgan explains that these cultures had maintained traditional ways of life in their almost total isolation. Immigration from surrounding regions, global warming and rapidly expanding technologies are now affecting these previously independent cultures, and Himalayans must decide whether to change or maintain their traditions. Morgan traveled across the Himalayas between 2009 and 2012, staying with families along the way. He photographed people in isolated regions of China, India, Pakistan and Nepal and shares the images and vignettes of his travels. Photographs are organized into a four-part travel book—one for each country. Morgan introduces each section with a short discussion of the region’s history and culinary culture; a brief caption accompanies each image. His funny, thought-provoking essays lead the reader to wonder about the consequences of globalization. During his travels, Morgan made attempts to wholly immerse himself in each culture by living with families in their homes. The result is an arresting portfolio that offers glimpses of cultures rarely seen by the Western world. Through precise lighting and attention to detail, Morgan’s portraits reveal the emotions and resilience in the faces of those featured; atmospheric landscapes complement these intimate portraits.

An arresting travel book about the way geography and people intersect.

Pub Date: April 17, 2013

ISBN: 978-1-4836-0377-3

Page Count: 228

Publisher: Xlibris

Review Posted Online: March 5, 2014

Kirkus Reviews Issue: April 1, 2014

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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