New Releases by John Berger

The Moment of Cubism is one of John Berger's most important collections of art criticism. Whether considering Vermeer in his studio, Poussin's poignant meditation on death, or the complexities of Rodin's sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather than a movement, one that came and went without the consent of its key figures - Picasso and Braque above all. He makes a case for Cubism's revolutionary influence. As always, Berger helps us see the world in new ways.

Two essential plays from Berger and Bielski on art, politics and liberation Goya''s Last Portrait and The Question of Geography are the result of collaboration between John Berger and the actress and writer Nella Bielski. Here, collated for the first time as part of the Essential John Berger Series. Goya''s Last Portrait, is a study of the artist looking back on his work and drawing the outline of the relationship between art and life. Having painted the darkest images of the soul, the horrors of war, as well as the vibrant colours of aristocratic life, Goya''s questions whether he has reflected life or changed it. The Question of Geography, premiered at the Royal Shakespeare Company, i s set in Magadan, a town in the Soviet Far East where former political prisoners, known as "Zeks," are forced to live after serving their sentences. The play delves into themes of exile, displacement, the lasting effects of political repression, and the struggle to rebuild lives after imprisonment.

Despite their status as intellectual giants of the twentieth century, John Berger and Susan Sontag’s artistic collaboration – and intense friendship – remains virtually unknown. Published for the first time, To Tell a Story offers a glimpse into their shared history that spanned nearly a quarter-century. From sources such as their eponymous film broadcast, rare personal letters and archival recordings, the composite fragments build a portrait of a relationship that was often lively and challenging, sometimes trivial and always affectionate. Berger and Sontag’s voices echo throughout these pages, riffing off the other as they grapple with their respective concerns. Above all, their conversations reveal a deep reciprocal admiration and an exchange of ideas about storytelling, the self and society that informed their own work.

When the Japanese Empire went to war with the Allies in December 1941, it had already been fighting in China for 10 years. During that time it had conquered huge areas of China, and subjugated millions of people. The Japanese needed to control the Chinese population in these occupied territories, and for this reason they set up governments from amongst the leaders of the Chinese who were willing to co-operate with them. These so-called ‘puppet’ governments were designed to rule on behalf of the Japanese while firmly under their overall control. In turn, the ‘puppet’ governments needed their own ‘independent’ armed forces. These ‘puppet’ armies were large in number, reaching a total of well over 1 million before 1945. Although poorly-armed and equipped, these forces had an influence on the Japanese war effort through sheer numbers. The Chinese ‘puppet’ soldiers ranged from the well-drilled and trained regular Army of the Last Emperor of China, Pu Yi, who ruled the newly-formed state of Manchukuo, 1932-45, to the irregular Mongol cavalry who served alongside Japanese troops in the ‘secret war’ waged in the Mongolian hinterlands. The troops were dismissed as traitors by the Chinese fighting the Japanese, and they were equally despised by the Japanese themselves. The troops were motivated by a range of reasons, from simple survival to a loyalty to their commander. The fact that so many Chinese were willing to fight for the Japanese was embarrassing to all sides, and for this reason has been largely ignored in previous histories of the war in the East. In the first of a three volume series, Philip Jowett tells the story of the Chinese who fought for the Japanese over a 14 year period.

The great art critic and writer John Berger joined forces again with Turkish writer and illustrator Selçuk Demirel in this unexpected pictorial essay. What happens when an art critic loses some of his sight to cataracts? What wonders are glimpsed once vision is restored? In this impressionistic essay written in the spirit of Montaigne, John Berger, whose treatises on seeing have shaped cultural and media studies for four decades, records the effects of cataract removal operations on each of his eyes. The result is an illuminated take on perception. Berger ponders how we can become accustomed to a loss of sense until a dulled world becomes the norm, and describes the sudden richness of reawakened sight with acute attention to sensory detail. This wise little book beckons us to pay close attention to our own senses and wonder at their significance as we follow Berger''s journey into a more vivid, differentiated way of seeing. Demirel''s witty illustrations complement the text, creating a mini-world where eyes take on whimsical lives of their own. The result is a collaborative collectors'' piece perfect for every reader’s bedside table. This title completes a trilogy of books by Berger and Demirel. Smoke was published in 2018, and What Time Is It? was published in 2019.

Nestes ensaios clássicos baseados na série televisiva inglesa Modos de ver, exibida em 1972, John Berger revoluciona a crítica de arte ao apontar as estruturas de poder presentes no processo de criação de imagens. Se hoje, cinquenta anos após a escrita deste livro, ainda é preciso reforçar que "uma imagem é a recriação ou a reprodução de uma visão" — ou, como afirma Djaimilia Pereira de Almeida em seu prefácio, que devemos encarar "a visão enquanto vivificação e a observação da arte como paralela à observação da vida" —, a leitura de Berger, essencial em tempos de propagandas por toda parte, se faz mais urgente do que nunca. O primeiro texto parte da pintura a óleo, técnica consagrada pela arte europeia. Após a reprodutibilidade técnica, tornou-se possível ver trabalhos a óleo fora dos castelos, igrejas e residências privadas a que se destinaram um dia, e, isolados de seu contexto original, eles circulam pelo mundo sem serem de fato compreendidos. Quando se instituiu que eram obras de arte, esses trabalhos passaram a ser interpretados — e mistificados — segundo pressupostos como beleza, verdade e genialidade, os quais eram ditados pelo modo de ver específico de uma minoria social no poder. Em outro ensaio, John Berger aborda a representação da mulher na arte ocidental, apreendendo de que maneiras na tradição do nu o corpo feminino se tornou objeto a serviço do olhar masculino. Com perspicácia, o autor afirma que o protagonista de um nu jamais é mostrado: ele é o espectador diante do quadro, para quem as "figuras assumem a sua nudação". Berger esmiúça, ainda, as naturezas-mortas, que em seu auge expunham objetos extorquidos por feitorias escravocratas. E não se priva de olhar para o impacto da publicidade no século 20, expondo como ela se vale da tradição artística para explorar os impulsos consumistas de quem a observa. Coletivo, emancipatório e com toda a vitalidade da insurreição social dos anos 1970, "Modos de ver" é um tratado contra o sequestro do olhar pela imagem na sociedade capitalista e um alerta para a linguagem não verbal.

''We live within a spectacle of empty clothes and unworn masks'' In this series of remarkable pieces from across his career, John Berger celebrates and dissects the close links between art and society and the individual. Few writers give a more vivid and moving sense of how we make art and how art makes us. One of twenty new books in the bestselling Penguin Great Ideas series. This new selection showcases a diverse list of thinkers who have helped shape our world today, from anarchists to stoics, feminists to prophets, satirists to Zen Buddhists.

“Patience, patience, because the great movements of history have always begun in those small parenthesis that we call ‘in the meantime.’” —John Berger The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Selçuk Demirel, and has an introduction by Maria Nadotti. What Time Is It? is a profound and playful meditation on the illusory nature of time. Berger, the great art critic and Man Booker Prize–winning author, reflects on what time has come to mean to us in modern life. Our perception of time assumes a uniform and ceaseless passing of time, yet time is turbulent. It expands and contracts according to the intensity of the lived moment. We talk of time “saved” in a hundred household appliances; time, like money, is exchanged for the content it lacks. Berger posits the idea that time can lengthen lifetimes once we seize the present moment. “What-is-to-come, what-is-to-be-gained empties what-is.”

Traduit de l'anglais par Katya Berger Andreadakis Xavier est incarcéré dans la cellule n° 73 de la prison de Suse, où il purge une peine de détention à vie pour terrorisme. Aida est l'amante de Xavier. Elle est libre. Elle lui écrit. De A à X est l'ensemble de ces lettres, "miraculeusement " retrouvées par John Berger. Un roman par lettres, donc. Quel genre de roman ? L'amour y est présent à chaque phrase, mais on ne peut dire qu'il en soit le sujet. On pense à un manuel de résistance ou à un traité de guérilla urbaine. Ou à un recueil d'exercices spirituels. Avec ce livre, John Berger donne la réplique à son époque. Il le fait à sa manière : précise et elliptique. Précise, parce qu'écrire est un travail qui s'apparente à la soudure, à la réparation d'objets cassés ou au fait de recoudre une plaie par balle. Elliptique, parce que comprenne qui voudra. Dès lors, peu importe que cette histoire se déroule à Mexico, à Ramallah, à Kaboul ou ailleurs. Partout où des hommes, des femmes – et même des enfants – résistent à l'oppression, la voix fraternelle de John Berger les accompagne, comme une chanson de marche pour traverser la nuit.

«Nunca he escrito un libro con mayor sensación de urgencia.» Alfaguara recupera esta joya del ganador del Premio Booker John Berger, uno de los autores fundamentales de la literatura contemporánea. Así define el gran John Berger El tamaño de una bolsa, una de sus obras más lúcidas y conmovedoras, hoy más pertinente que nunca: «La bolsa en cuestión es una pequeña bolsa de resistentes. Una bolsa se forma cuando dos o más personas se ponen de acuerdo y se unen. Se unen para resistir contra un nuevo orden económico mundial que no puede ser más inhumano. Nos reunimos tú --el lector--, yo y todos aquellos de quienes se habla en los ensayos que contiene este libro: Rembrandt, los pintores de las cuevas rupestres, un campesino rumano, los antiguos egipcios, un experto en la soledad de ciertas habitaciones de hotel, unos perros en la media luz del crepúsculo, un locutor de radio. Y este intercambio refuerza inesperadamente nuestra convicción de que lo que está sucediendo hoy en el mundo es perverso y que las explicaciones que se nos suelen ofrecer al respecto son un montón de mentiras. Nunca he escrito un libro con mayor sensación de urgencia». En la cubierta de esta edición se reproduce un dibujo inédito que el propio Berger regaló a su traductor al alemán Hans Jürgen Balmes: tan personal, único y expresionista como cada página de este libro excepcional. Reseñas: «Una de las voces esenciales para comprender el estado de nuestra sociedad [...]. Combina a la perfección compromiso y reflexión.» El Confidencial «Un autor esencial. [...] Una mirada humanista, rebelde y serena al mismo tiempo, la de un renacentista.» Pedro Antonio Curto, El Comercio «Fue la voz de los frágiles, residuos del mundo moderno a los que su obra otorgó dignidad de reyes.» Javier Rodríguez Marcos, El País «Su obra parece labrada con una precisión de relojero, y una intimidad que podría confundirse con ternura.» The New York Times Book Review «Desde D. H. Lawrence no ha habido un escritor como Berger, capaz de ofrecer al mundo tal atención sobre los problemas humanos más disímiles, con una sensualidad que no renuncia a los imperativos de la conciencia y la responsabilidad.» Susan Sontag «Fue el Leonard Cohen de otra clase de rotunda melancolía: la de la tristeza (social, íntima) que provoca el auténtico saber en mitad de la sociedad capitalista de fauces abiertas y hambre incansable.» Diego Medrano, El Comercio «Los libros de Berger poseen la peculiar cualidad de parecer libros solo por azar. Hechos de palabras, las portan, sin embargo, con indulgencia, casi a regañadientes, como si igual pudieran estar hechos de lienzo y pintura o, aún mejor, de polvo y paja, barro y hueso.» Herald Tribune «Un faro de luz tenue pero inagotable, constante, esperanzada.» Àlex Susana, Ara

“Essential reading”—n+1 Creative and political art criticism on landscape works from the Renaissance to the present from a “master” storyteller (Arundhati Roy, author of The God of Small Things) In this brilliant collection of diverse pieces—essays, short stories, poems, translations—which spans a lifetime’s engagement with art, John Berger reveals how he came to his own unique way of seeing. He pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective takes in artistic movements and individual artists—from the Renaissance to the present—while never neglecting the social and political context of their creation. Berger pushes at the limits of art writing, demonstrating beautifully how his artist’s eye makes him a storyteller in these essays, rather than a critic. With “landscape” as an animating, liberating metaphor rather than a rigid definition, this collection surveys the aesthetic landscapes that have informed, challenged and nourished John Berger’s understanding of the world. Landscapes—alongside its companion Portraits—completes a tour through the history of art that will be an intellectual benchmark for many years to come.

“A rich and lovely exploration of art history” from the world-renowned art critic behind Ways of Seeing (Slate)! A diverse cast of artists comes to life in this jargon-free study Zadie Smith hails as “among the greatest books on art I’ve ever read.” One of the world’s most celebrated art writers takes us through centuries of drawing and painting, revealing his lifelong fascination with a diverse cast of artists. Berger grounds the artists in their historical milieu in revolutionary ways, whether enlarging on the prehistoric paintings of the Chauvet caves or Cy Twombly’s linguistic and pictorial play. In penetrating and singular prose, Berger presents entirely new ways of thinking about artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. The result is an illuminating walk through many centuries of visual culture featuring 100 black and white images, from one of the contemporary world’s most incisive critical voices. “A wonderful artist and thinker.” —Susan Sontag

''Language is a body, a living creature ... and this creature''s home is the inarticulate as well as the articulate''. John Berger''s work has revolutionized the way we understand visual language. In this new book he writes about language itself, and how it relates to thought, art, song, storytelling and political discourse today. Also containing Berger''s own drawings, notes, memories and reflections on everything from Albert Camus to global capitalism, Confabulations takes us to what is ''true, essential and urgent''.

El alcance de las reflexiones de John Berger es tan diverso como sustancial e influyente. En 1972, Berger revolucionó la teoría del arte con el programa televisivo Ways of Seeing, que posteriormente se publicaría en el célebre libro homónimo Modos de ver. Poco después aparecieron Mirar y Otra manera de contar y, en paralelo, la obra artística y literaria de Berger. La presente antología viene a llenar un vacío en la publicación de su obra teórica y reúne, por primera vez en un solo volumen, los textos sobre fotografía más importantes del artista e intelectual británico. Los cerca de veinticinco ensayos que componen este volumen, cuidadosamente seleccionados por el novelista y ensayista Geoff Dyer, aparecen ordenados cronológicamente en un recorrido donde se suceden desde textos emblemáticos ya publicados en algunas de las obras más conocidas de Berger, hasta artículos inéditos aparecidos en catálogos de exposiciones. También comparte sus visiones con colegas como Sebastião Salgado o Martine Franck y nos regala brillantes reflexiones sobre la obra fotográfica de Henri Cartier-Bresson, Paul Strand o Eugene Smith. Un conjunto reflexivo de peso que pasa a formar parte por derecho propio de las grandes obras sobre el medio fotográfico.

A furious homage to the homeless and a lyrical meditation on language and experience. You will be led to a place you haven''t been, from where few stories come. You will be led by King, a dog (or is he?) to a wasteland beside the motorway called Saint Valery.

John Berger''s writings on photography are some of the most original of the twentieth century. This selection contains many groundbreaking essays and previously uncollected pieces written for exhibitions and catalogues in which Berger probes the work of photographers such as Henri Cartier-Bresson and W. Eugene Smith - and the lives of those photographed - with fierce engagement, intensity and tenderness. The selection is made and introduced by Geoff Dyer, author of the award-winning The Ongoing Moment. How do we see the world around us? This is one of a number of pivotal works by creative thinkers whose writings on art, design and the media have changed our vision for ever. John Berger was born in London in 1926. His acclaimed works of both fiction and non-fiction include the seminal Ways of Seeing and the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he now lives in a small village in the French Alps. Geoff Dyer is the author of four novels and several non-fiction books. Winner of the Lannan Literary Award, the International Centre of Photography''s 2006 Infinity Award and the American Academy of Arts and Letters''s E. M. Forster Award, Dyer is also a regular contributor to many publications in the UK and the US. He lives in London.

John Berger está considerado uno de los escritores y críticos de arte más influyentes y originales de los últimos tiempos. Sin embargo, una faceta de su trabajo mucho menos conocida es la de pintor y dibujante. Sobre el dibujo recoge una serie de ensayos que reflexionan sobre las dificultades que entraña la maestría del dibujo, donde la mirada hacia el arte se confunde con la propia experiencia vital. Los análisis de los dibujos de Vincent van Gogh, Antoine Watteau, Martin Noël, Juan Muñoz o las pinturas rupestres de la cueva de Chauvet se entremezclan con la magistral descripción de la experiencia del autor como dibujante, en un intento por descubrir el misterio de la técnica de los maestros o comprender las dificultades de enfrentarse a un modelo. Berger evoca experiencias que confunden el enigma que rodea al arte con nuestras propias vidas, y se pasea, casi sin reparar en ello, entre varias categorías literarias: del relato al ensayo, pasando por las cartas o los diálogos.

When the Japanese Empire went to war with the Allies in December 1941, it had already been fighting in China for 10 years. During that time it had conquered huge areas of China, and subjugated millions of people. The Japanese needed to control the Chinese population in these occupied territories, and for this reason they set up governments from amongst the leaders of the Chinese who were willing to cooperate with them. These so-called ''puppet'' governments were designed to rule on behalf of the Japanese while firmly under their overall control. In turn, the puppet governments needed their own armed forces to help them maintain control over the populace and so they raised their own ''independent'' armed forces. These puppet armies were large in number, reaching a total of well over 1 million before 1945. Although poorly armed and equipped, these forces had an influence on the Japanese war effort through sheer numbers.The Chinese puppet soldiers ranged from the well-drilled and trained regular Army of the Last Emperor of China, Pu Yi, who ruled the newly-formed state of Manchukuo, 1932-45, to the irregular Mongol cavalry who served alongside Japanese troops in the ''secret war'' waged in the Mongolian hinterlands. The troops were dismissed as traitors by the Chinese fighting the Japanese, and they were equally despised by the Japanese themselves. The troops were motivated by a range of reasons, from simple survival to a loyalty to their commander. The fact that so many Chinese were willing to fight for the Japanese was embarrassing to all sides, and for this reason has been largely ignored in previous histories of the war in the East. In the first of a three-volume series, Philip Jowett tell the story of the Chinese who fought for the Japanese over a 14 year period. He describes in detail the organization, training, actions, uniforms and equipment of these forces, including detailed orders-of-battle. Volume 1 contains many rare and previously unpublished photos, as well as color plates illustrating the uniforms and insignia of the armies. The air forces and navies of these states are also described in detail, incl. color aircraft profiles. In a series of appendices, the author provides selected orders of battle as well as biographies of notable military commanders. This is a fascinating insight into a hitherto-neglected aspect of Second World War and Asian military history. This is a limited edition reprint of just 500 copies, each copy numbered and signed by the author.

Bento's Sketchbook is an exploration of the practice of drawing, as well as a meditation on how we perceive and seek to explore our ever-changing relationship with the world around us.

Un mundo campesino tan resistente a la historia, tan sensual y tan imprevisible como el pueblo de Macondo en Cien años de soledad. «John Berger escribe sobre aquello que es importante, y no simplemente interesante. Es para mí una figura sin rival en la literatura contemporánea en lengua inglesa». Así define Susan Sontag la obra de un escritor que, pese a su adscripción a la izquierda marxista y su constante rechazo a la institucionalización, es una figura clásica de las letras británicas. John Berger (Londres, 1926) ha trazado en Puerca tierra «los rasgos de un mundo campesino tan refractario a la historia y tan sensual como el Macondo de Gabriel García Márquez», según destacaba The Washington Post. Los textos que componen el libro condensan todas las cualidades de su autor: claridad en el lenguaje, sensibilidad extrema para la luz y el color y compromiso continuo con aquellos cuyas vidas se han visto sepultadas por la llamada «prosperidad europea». La crítica ha dicho... «Berger evoca con una extraordinaria sencillez un mundo campesino tan resistente a la historia, tan sensual y tan imprevisible como el pueblo de Macondo en Cien años de soledad.» Washington Post «Al registrar con fidelidad las estaciones de la puerca tierra y buscar al campesino francés en sí mismo, John Berger revela algo elemental en todos nosotros.» The New York Times «Bella, poética, cautivadora... Una obra maestra.» New Republic «Fue la voz de los frágiles, residuos del mundo moderno a los que su obra otorgó dignidad de reyes... Poeta, novelista, ensayista y crítico de arte, toda su obra literaria es el testimonio de alguien que contempla un universo que se desvanece ante sus ojos.» Javier Rodríguez Marcos, El País «Un autor esencial [...] La mirada de Berger era tan profunda como diversa... Una mirada humanista, rebelde y serena al mismo tiempo, la de un renacentista [...] En pocos autores se ha producido la fusión que él logró entre imagen y escritura.» Pedro Antonio Curto, El Comercio «Fue el Leonard Cohen de otra clase de rotunda melancolía: la de la tristeza (social, íntima) que provoca el auténtico saber en mitad de la sociedad capitalista de fauces abiertas y hambre incansable[...] Era un activista, su literatura viene de ahí, del compromiso a la manera de Albert Camus, de la protesta, de la obsesión con el poder y sus lepras.» Diego Medrano, El Comercio «Uno de los autores más irreverentes del siglo XX.» Elena Hevia, El Periódico de Aragón «Este libro es un lugar refugio: vidas que resisten con humildad sublime el azote de un tiempo desquiciado.» Manuel Rivas, Heraldo de Aragón

Nadie aprecia el detalle de estar vivo más que los muertos. En Lisboa, un hombre, John, encuentra a su madre sentada en un banco del parque. Ella ríe como una colegiala. Lleva muerta quince años. En un mercado de Cracovia, entre las verduras y las campesinas, reconoce a Ken, la persona más importante de su vida de los once a los diecisiete años. La misma complicidad existe todavía entre los dos. La última vez que se vieron fue hace cuarenta años. En la casa de Hubert en Islington, su compañero de la escuela de arte, John recuerda a una chica que conoció entonces. La solía llamar Tirol... La cantidad de vidas que caben en una sola es incalculable. En este libro nómada, que viaja a través de Europa, historias aparentemente dispares revelan su conexión, y los objetos descolocados encuentran su lugar. Recuerdos sensuales del pasado penetran en la piel del presente como la sal. En su paso a través de fronteras y zonas horarias, Aquí nos vemos es una obra hermosa, radiante e inesperada.

Ésta es una boda como sólo podía ocurrir a fines de siglo pasado. Una madre y un padre viajan por Europa «hacia la boda» de su hija. La madre toma un autobús en Eslovaquia y el padre va en moto desde Francia. Se encuentran después de muchos años y diversos personajes pueblan su historia: un chatarrero italiano, una pandilla de piratas informáticos, un redactor de enciclopedias, una Virgen pintada en una ermita... Cuando la orquesta rompa a tocar, Ninon se quitará los zapatos y bailará para siempre con Gino. Reseñas: «La epidemia del sida produjo en los años ochenta y noventa una contundente respuesta desde las artes plásticas [...] y desde la literatura de testimonio [...] faltaba la gran novela. La escribió John Berger.» Javier Rodríguez Marcos, Babelia «Fue la voz de los frágiles, residuos del mundo moderno a los que su obra otorgó dignidad de reyes.Poeta, novelista, ensayista y crítico de arte, toda su obra literaria es el testimonio de alguien que contempla un universo que se desvanece ante sus ojos.» Javier Rodríguez Marcos, El País «Un autor esencial.La mirada de Berger era tan profunda como diversa, una mirada humanista, rebelde y serena al mismo tiempo, la de un renacentista... En pocos autores se ha producido la fusión que él logró entre imagen y escritura.» Pedro Antonio Curto, El Comercio «Fue el Leonard Cohen de otra clase de rotunda melancolía: la de la tristeza (social, íntima) que provoca el auténtico saber en mitad de la sociedad capitalista de fauces abiertas y hambre incansable. Era un activista, su literatura viene de ahí, del compromiso a la manera de Albert Camus, de la protesta, de la obsesión con el poder y sus lepras.» Diego Medrano, El Comercio «El rito y el mito, la tecnología y la ciencia, y la historia -natural y humana- juegan un rol crucial en esta bella y originalísima novela... Berger asombra por su dominio de distintas culturas y escenarios, su don para el detalle y la combinación de profundidad y ligereza narrativa... Con su desesperanza política y su tierna celebración de la humanidad, Hacia la boda tiene una inusitada vigencia.» Publishers Weekly «John Berger escribe acerca de lo que verdaderamente importa... En la literatura contemporánea, me parece incomparable.» Susan Sontag «Poético, filosófico y profundo. Uno de los mejores novelistas británicos vivos.» Scotland on Sunday «Sus contemporáneos más cercanos podrían ser Umberto Eco o el tardío W. G. Sebald, pero resulta difícil compararlo: Berger rompió todos los moldes.» The Guardian «Uno de los autores más irreverentes del siglo XX.» Elena Hevia, El Periódico de Aragón

Con la esperanza entre los dientes es un polémico e incisivo retrato de nuestro tiempo, una profunda meditación acerca del significado actual del compromiso político. Visceral y apasionada, esta obra aúna la más lúcida perspectiva literaria con el más reflexivo activismo político y social y sugiere el pensamiento y la acción que podrían ayudar a acabar con la injusticia y el sufrimiento en el mundo. John Berger analiza la esencia del terrorismo y el drama del desarraigo de millones de personas que se han visto obligados por la pobreza y la guerra a vivir en calidad de refugiados. Su mirada implacable ilumina la situación de Afganistán, Irak, Palestina, Serbia, Bosnia, China, Indonesia, y todos aquellos lugares donde la gente se ve privada de la más básica de las libertades. Reseñas: «Toda obra de John Berger es un hito... Sus admiradores reconocerán la característica mezcla de compasión y lucidez, honestidad discursiva, calor humano y ejemplaridad cosmopolita.» The Times Literary Supplement «John Berger se ha convertido en una de las voces esenciales para comprender el estado de nuestra sociedad... Un hombre que combina a la perfección compromiso y reflexión.» El Confidencial «Iluminador... Una meditación seria acerca de la ética del poder.» Los Angeles Times «John Berger escribe acerca de lo que verdaderamente importa... En la literatura contemporánea, me parece incomparable.» Susan Sontag «Para Berger, ganador del premio Booker, pintor, filósofo, crítico y activista, el acto de observar es una forma de empatía... Compasivo y sensible en su visión de nuestro mundo en peligro, Berger ha visto mucho y ha sentido más.» Booklist «En la lucha entre la desesperación y la luz, sólo la existencia de alguien como Berger hace que el combate tenga sentido.» Isabel Coixet «Sus contemporáneos más cercanos en términos de audacia estética podrían ser Umberto Eco o el tardío W. G. Sebald, pero resulta difícil compararlo a cualquier autor inglés del último medio siglo. Berger, simplemente, rompió todos los moldes.» The Guardian

When he stands before Giorgione's La Tempesta, Booker Prize-winning author John Berger sees not only the painting but our whole notion of time, sweeping us away from a lost Eden. A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams. With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by Berger's eloquence and courageous moral imagination.

With this haunting first volume of his Into Their Labours trilogy, John Berger begins his chronicle of the eclipse of peasant cultures in the twentieth century. Set in a small village in the French Alps, Pig Earth relates the stories of skeptical, hard-working men and fiercely independent women; of calves born and pigs slaughtered; of summer haymaking and long dark winters f rest; of a message of forgiveness from a dead father to his prodigal son; and of the marvelous Lucie Cabrol, exiled to a hut high in the mountains, but an inexorable part of the lives of men who have known her. Above all, this masterpiece of sensuous description and profound moral resonance is an act of reckoning that conveys the precise wealth and weight of a world we are losing.

Why does the Western world look to migrant laborers to perform the most menial tasks? What compels people to leave their homes and accept this humiliating situation? In A Seventh Man, John Berger and Jean Mohr come to grips with what it is to be a migrant worker—the material circumstances and the inner experience—and, in doing so, reveal how the migrant is not so much on the margins of modern life, but absolutely central to it. First published in 1975, this finely wrought exploration remains as urgent as ever, presenting a mode of living that pervades the countries of the West and yet is excluded from much of its culture.

From Booker Prize-winning author John Berger, a collection of essays that explores the relationship of art and artists and includes examinations of the work of Brancusi, Degas, Michelangelo, and Frida Kahlo, among others. The pocket in question is a small pocket of resistance. A pocket is formed when two or more people come together in agreement. The resistance is against the inhumanity of the New World Economic Order. The people coming together are the reader, me, and those the essays are about–Rembrandt, Paleolithic cave painters, a Romanian peasant, ancient Egyptians, an expert in the loneliness of a certain hotel bedroom, dogs at dusk, a man in a radio station. And unexpectedly, our exchanges strengthen each of us in our conviction that what is happening in the world today is wrong, and that what is often said about it is a lie. I’ve never written a book with a greater sense of urgency. –John Berger

The writing career of Booker Prize winner John Berger–poet, storyteller, playwright, and essayist–has yielded some of the most original and compelling examinations of art and life of the past half century. In this essential volume, Geoff Dyer has brought together a rich selection of many of Berger’s seminal essays. Berger’s insights make it impossible to look at a painting, watch a film, or even visit a zoo in quite the same way again. The vast range of subjects he addresses, the lean beauty of his prose, and the keenness of his anger against injustice move us to view the world with a new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s Guernica, the parallel violence and alienation in the art of Francis Bacon and Walt Disney, or the enigmatic silence of his own mother, what binds these pieces throughout is the depth and fury of Berger’s passion, challenging us to participate, to protest, and above all, to see.

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