Here was Once the Sea features poetry, fiction, and nonfiction guest edited by Rina Garcia Chua, Esther Vincent Xueming, and Ann Ang. While many of these works are comprised mostly of anglophone texts, which reflects the aspirations of regional writers to speak across borders and to the globe at large, several native languages appear on these pages. Here, Southeast Asia refers to the constituent nations of the Association of Southeast Asian Nations (ASEAN), namely, Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, and Vietnam, as well as their associated diasporas. The writers and the peoples of the region live and remember more profoundly than we know. Their work explores the ecological across a multiscalar spectrum, featuring both geological landscapes and visceral botanical or animal entanglements, inheriting histories and spiritualities that defy and disrupt modern epistemologies. Together they represent a chorus of offerings, first and foremost to the land and the sea; and secondly to you, our readers, as an invitation to attend to the urgencies and travails of our homes. These are the stories we share and the stories we carry in our pasiking (basket) as we follow movements towards our destinies. These are the stories that sing of hope—for ourselves and for our world; ones that we whisper silently to ourselves as we touch our lips to the familiar earth and wait for the incoming monsoon rain to fall gently on our backs, our fields, our rivers.

As World War II intrudes upon their home, three young friends risk everything for freedom, love, and a chance at a better life. On October 28th, 1940, Mussolini provides Greek Prime Minister Ioannis Metaxas with an ultimatum: either allow Axis forces to occupy their country, or face war, and Greece's response is swift. "Oxi!" they say. "No!" In a small village nestled against the radiant waters of the Aegean Sea, we find Alexei, the son of a local fisherman, and his best friend Costa, who were both born on the same night eighteen years earlier and have been like brothers ever since, though now, like all the other young men in their village and throughout Greece, they will leave their homes to bravely fight for their country. But before they go, Alexei asks Philia, the girl that he's loved his entire life, to marry him, which sets into motion the events which will change the lives of these three and their family and friends forever, and begins an epic and unforgettable story of courage, survival, sacrifice, the strength of the human spirit, and of a love and friendship that will echo across time and generations. A spellbinding novel and sweeping romance that performs the remarkable feat of creating action-packed scenes, characters that we care deeply about, and revealing in vivid detail the untold true story of how Greece helped the Allies to win World War II, Once We Were Here is an unforgettable tale that pays tribute to the brave men and women who fought and gave everything for their country, for each other, and for freedom.

“Enthralling.… Seymour powerfully evokes the world from which Rhys never really escaped, one of prejudice, abuse, and abuse’s shamefaced offspring, complicity.” —James Wood, The New Yorker An intimate, profoundly moving biography of Jean Rhys, acclaimed author of Wide Sargasso Sea. Jean Rhys is one of the most compelling writers of the twentieth century. Memories of her Caribbean girlhood haunt the four short and piercingly brilliant novels that Rhys wrote during her extraordinary years as an exile in 1920s Paris and later in England, a body of fiction—above all, the extraordinary Wide Sargasso Sea—that has a passionate following today. And yet her own colorful life, including her early years on the Caribbean island of Dominica, remains too little explored, until now. In I Used to Live Here Once, Miranda Seymour sheds new light on the artist whose proud and fiercely solitary life profoundly informed her writing. Rhys experienced tragedy and extreme poverty, alcohol and drug dependency, romantic and sexual turmoil, all of which contributed to the “Rhys woman” of her oeuvre. Today, readers still intuitively relate to her unforgettable characters, vulnerable, watchful, and often alarmingly disaster-prone outsiders; women with a different way of moving through the world. And yet, while her works often contain autobiographical material, Rhys herself was never a victim. The figure who emerges for Seymour is cultured, self-mocking, unpredictable—and shockingly contemporary. Based on new research in the Caribbean, a wealth of never-before-seen papers, journals, letters, and photographs, and interviews with those who knew Rhys, I Used to Live Here Once is a luminous and penetrating portrait of a fascinatingly elusive artist.

How did scientists, artists, designers, manufacturers and amateur enthusiasts experience and value the sea and its products? Examining the commoditization of the ocean world during the nineteenth century, this book demonstrates how the transaction of oceanic objects inspired a multifaceted material discourse stemming from scientific exploration, colonial expansion, industrialization, and the rise of middle-class leisure. From the seashore to the seabed, marine organisms and environments, made tangible through processing and representational technologies, captivated practitioners and audiences. Combining essays and case studies by scholars, curators, and scientists, Sea Currents investigates the collecting and display, illustration and ornamentation, and trade and consumption of marine flora and fauna, analysing their material, aesthetic and commercial dimensions. Traversing global art history, the history of science, empire studies, anthropology, ecocriticism and material culture, this book surveys the currency of marine matter embedded in the economies and ecologies of a modernizing ocean world.

Stephen Maxwell has just retired from a lifetime spent teaching history at his alma mater. As he writes the official history of Blake's, a minor public school steeped in military tradition, he also reveals how, forty years ago, a secret conflict dating from the Second World War re-enacted itself among staff and pupils, when fascism once more made its presence felt in the school and the city, with violent and nightmarish results.

One of Northern Europe's most popular writers, Guus Kuijer was fascinated with the Bible from an early age, but was never able to believe it, no matter how hard he tried. Now, in prose that is humorous and sometimes irreverent, Kuijer reinterprets the most popular book in the world, making it new again for the twenty-first century and for the first time rendering it accessible to "unbelievers"—that is, to people who are ready to appreciate it as something other than a sacred text. The first volume of The Bible for Unbelievers tells the story of the Book of Genesis as an agnostic novel in which man's curiosity causes creation, not God alone. Kuijer explores the nagging loneliness of the universe before creation. He asks if man and woman are indeed God's handiwork or vice versa. The entire cast of characters in this Bible is imperfect, a little lawless, and at times fumbling and jealous—God included. Kuijer's afterword tells us that no story can "come to life unless the storyteller makes it his or her own." There's a charming invitation in these pages for us all to dare to revisit our founding myths and the roles we play in them. The Bible for Unbelievers is here to draw us into questions that have no answers. It does so not with fear or religiosity, but with joy.

The six sections of this collection are like a sequence of musical variations on the theme of personal identity as it develops from childhood to death. The first section evokes the poet's experience of being lost, of his search for identity, and of his being found by God. Section II, in a kind of echo of Section I, celebrates the successive seasons of nature and functions as a metaphor for the movement through a life. Section III is a boisterous fugue on the high drama of clouds in the course of a day, from dawn to nightfall. Section IV, in a series of portraits of persons (and of a cat!), some dead, some living, intimates the mystery of friendship, love, and loss. Section V contains narratives, drawn from history and nature, that extend this mystery to the link human beings intuitively sense between this world and a "world elsewhere." In the final section, the poet's personal experience resurfaces as he contemplates, with wonder and gratitude, his course through the years from childhood to old age, even through death itself to the "far country" he has sensed and longed for all his life.