Robert Sullivan – författare

This is the most extensive account of Moore's fiction to date that considers his many works from the early stories to the recent novel, No Other Life. Moore, who was born in Ireland but is a Canadian citizen and resides predominantly in the United States, has earned an international reputation as an important novelist. This book sets out to demonstrate a discernible pattern of concerns that cut across Moore's fictive output over the last 40 years. It argues that the concerns of love and faith (and the interplay between them) form the backbone of Moore's oeuvre. Sullivan draws from interviews with Moore and presents a study that convincingly demonstrates how Moore's fictions, from first to last, take their place in a larger thematic and formal masternarrative.

UNTAPPED NEW YORK: THE BEST NYC BOOKS OF ALL TIMEFew people today have ever heard of North Brother Island, though a hundred years ago it was place known to—and often feared by—nearly everyone in New York City. The island, a small dot in the East River, twenty acres slotted between today's gritty industrial shores of the Bronx and Queens, was a minor piece of the New York archipelago until the late 19th century, when calls for social and sanitary reform—and the massive expansion of the city's population—combined to remake NBI as a hospital island, a place to contain infectious disease and, later, other societal ills.Abandoned since 1963, North Brother Island is a ruin and a wildlife sanctuary (it is the protected nesting ground of the Black-crowned Night Heron), closed to the public and virtually invisible to it. But one cannot mistake its abandoned state as a sign of its irrelevance to the city's history and culture. Traces of the extensive hospital campus remain, as do sites linked to notorious people (it was the final home of "Typhoid Mary") and events (the steamship General Slocum sank by its shores). It has stories to tell.Photographer Christopher Payne (Asylum: Inside the Closed World of State Mental Hospitals) was granted permission by New York City's Parks & Recreation Department to photograph the island over a period of years. The results are both beautiful and startling. On North Brother Island, devoid of human habitation for fifty years, buildings great and small are being consumed by the unchecked growth of vegetation. In just a few decades, a forest has sprung up where once there were the streets and manicured lawns of a hospital campus.North Brother Island: The Last Unknown Place in New York City includes a history by University of Pennsylvania preservationist Randall Mason, who has studied the island extensively, and an essay by the writer Robert Sullivan (Rats, The Meadowlands), who came along on one of the rare expeditions.

An Ocean of Wonder: The Fantastic in the Pacific brings together fifty writers and artists from across Moananuiākea working in myriad genres across media, ranging from oral narratives and traditional wonder tales to creative writing as well as visual artwork and scholarly essays. Collectively, this anthology features the fantastic as present-day Indigenous Pacific world-building that looks to the past in creating alternative futures, and in so doing reimagines relationships between peoples, environments, deities, nonhuman relatives, history, dreams, and storytelling. Wonder is activated by curiosity, humility in the face of mystery, and engagement with possibilities. We see wonder and the fantastic as general modes of expression that arenot confined to realism. As such, the fantastic encompasses fantasy, science fiction, magic realism, fabulation, horror, fairy tale, utopia, dystopia, and speculative fiction. We include Black, feminist, and queer futurisms, Indigenous wonderworks, Hawaiian moʻolelo kamahaʻo and moʻolelo āiwaiwa, Sāmoan fāgogo, and other non-mimetic genres from specific cultures, because we recognize that their refusal to adopt restrictive Euro-American definitions of reality is whatinspires and enables the fantastic to flourish.As artistic, intellectual, and culturally based expressions that encode and embody Indigenous knowledge, the multimodal moʻolelo in this collection upend monolithic, often exoticizing, and demeaning stereotypes of the Pacific and situate themselves in conversation with critical understandings of the global fantastic, Indigenous futurities, social justice, and decolonial and activist storytelling.In this collection, Oceanic ideas and images surround and connect to Hawaiʻi, which is for the three coeditors, a piko (center); at the same time, navigating both juxtaposition and association, the collection seeks to articulate pilina (relationships) across genres, locations, time, and media and to celebrate the multiplicity and relationality of the fantastic in Oceania.

Originally written in 1921 for the author’s grandchildren, Hendrik Willem van Loon’s The Story of Mankind has charmed generations with its warmth, simplicity, and wisdom. Rather than the dry recitation of events so common in school textbooks, van Loon’s witty, amiable tone animates the story of human history as a grand and perpetually unfolding adventure. Beginning with the origins of human life and sweeping forward to illuminate all of history, van Loon’s incomparable prose and original illustrations present a lively rendering of the people and events that have shaped the world we live in today. This new version has been brought up to date by best-selling historian Robert Sullivan, who continues van Loon’s personable style, incorporating the most important developments of the early twenty-first century, including the war on terrorism, global warming, and the election of Barack Obama. Engagingly written, delightfully informative, and always entertaining, this is the necessary classic of all ages, for all ages.

Originally written in 1921 for the author’s grandchildren, Hendrik Willem van Loon’s The Story of Mankind has charmed generations with its warmth, simplicity and wisdom. Van Loon’s witty, amiable tone animates the story of human history as a grand unfolding adventure. Beginning with the origins of human life and sweeping forward to illuminate all of history, his incomparable prose and original illustrations present a lively rendering of the people and events that have shaped the world we live in today. This new version has been brought up to date by Robert Sullivan, incorporating the most important developments of the early twenty-first century, including the war on terrorism and global warming. Engagingly written, delightfully informative and always entertaining, this is the classic of all ages, for all ages.

Winner of the 2017 EDRA Great Places Award (Research Category)Winner of the 2017 VT ASLA Chapter Award of Excellence (Communications Category)The Renewable Energy Landscape is a definitive guide to understanding, assessing, avoiding, and minimizing scenic impacts as we transition to a more renewable energy future. It focuses attention, for the first time, on the unique challenges solar, wind, and geothermal energy will create for landscape protection, planning, design, and management.Topics addressed include:Policies aimed at managing scenic impacts from renewable energy development and their social acceptance within North America, Europe and AustraliaVisual characteristics of energy facilities, including the design and planning techniques for avoiding or mitigating impacts or improving visual fitMethods of assessing visual impacts or energy projects and the best practices for creating and using visual simulationsPolicy recommendations for political and regulatory bodiesA comprehensive and practical book, The Renewable Energy Landscape is an essential resource for those engaged in planning, designing, or regulating the impacts of these new, critical energy sources, as well as a resource for communities that may be facing the prospect of development in their local landscape.

After rejoining social media, Robert Sullivan wrote and posted a poem a day over two and a half months – the poems collected in Hopurangi—Songcatcher. Inspired by the cyclical energies of the Maramataka, these poems see the poet re-finding himself and his world – in the mātauranga of his kuia from the Ngāti Hau and Ngāti Kaharau hapū of Ngāpuhi; in his mother’s stories from his Ngāti Manu hapū at Kāretu; in the singing and storytelling at Puketeraki Marae, home of his father’s people of Kāti Huirapa, Kāti Māmoe, Waitaha and Kāi Tahu Whānui in Te Tai o Āraiteuru; and in the fellowship of friends on Facebook. Tīhei mauri ora!

In journals and pubs, on TikTok and the bestsellerlists, the current generation of New Zealand poets is finding new voices, newplatforms and new readers. It is a poetry of now: of emojis and hashtags, ofbodies and flesh, of identity and aspiration.How to takethe measure of this new rush of poetic energy, invention and disruption? Whatnew aesthetics emerge alongside these new voices? How might old forms and oldquestions take the pulse of the new? Te Whāriki provides a first readingof this exciting moment by weaving together the work of ten contemporary poets fromAotearoa with new critical writing that makes sense of these poets and theirpoems.Pulling these strands together in one volume, TeWhāriki is as dynamic, various and engaging as New Zealand poetry is today.Featuring poets Sam Duckor-Jones, Tayi Tibble,Claudia Jardine, essa may ranapiri, Rebecca Hawkes, Chris Tse, Oscar Upperton,Joanna Cho, Ruby Solly and Nafanua Purcell Kersel, with new critical writing byAmy Marguerite, Tru Paraha, Anna Jackson, Robert Sullivan, Mark Masterson,Stephanie Burt, Dani Yourukova, Dougal McNeill, Sophie van Waardenberg, BrigidQuirke, Robin Peters and David Eggleton.

Published on the cusp of the new millennium, Sullivan's third book of poems, Star Waka, came with some strings attached: each poem had to feature either a star, a waka, or the ocean. Within these parameters, and in 2001 lines, Sullivan creates 100 poems that, he says, themselves function like a waka: 'members of the crew change, the rhythm and the view changes it is subject to the laws of nature'.

Captain Cook in the Underworld is a book-length poem by a gifted Māori poet, an archetypal exploration of Western mythology and legend as it ‘discovers’ itself in the South Pacific. The poem was commissioned as the libretto for a new work with composer John Psathas for the fiftieth anniversary celebration of Wellington’s Orpheus Choir. Captain Cook in the Underworld offers fresh perspectives on the familiar story of Cook’s Pacific explorations; it has a broad bi-cultural (European/Polynesian) frame of references; and Sullivan employs a bold risk-taking approach. The book is a highly stylised, ‘operatic’ account of the voyages, with similarities to the musical structure of Coleridge’s Rime of the Ancient Mariner’, and opera. As the poem unfolds, European myth (Orpheus, Venus, etc) has to make space for Polynesian myth (Maui, Reinga, etc). In the final pages, Cook is required after his death to face up to the damage his expeditions have inflicted on the indigenous peoples of the Pacific. This theme of European guilt and recognition will have a strong and shocking impact.

Crime control has risen rapidly up the social and political agendas to become a central feature of western societies. As inequalities in society have increased, so the actual and perceived risks of crime and other social ills have grown rapidly for all sections of society. Crime has become a central issue to governments, and no longer just a technical operation of law enforcement and adjudication. This book is concerned with issues arising from these developments. Top criminologists from Britain, the USA and Australia explore the links between crime and risk through a range of themes, from the depiction of crime in the media to the dilemmas of policing, to the new punitiveness of criminal justice systems and the custodial warehousing of the poor and excluded. Crime, Risk and Justice will be of interest to students, academics and practitioners with an interest in crime and crime control and the place they have in modern society.

Crime control has risen rapidly up the social and political agendas to become a central feature of western societies. As inequalities in society have increased, so the actual and perceived risks of crime and other social ills have grown rapidly for all sections of society. Crime has become a central issue to governments, and no longer just a technical operation of law enforcement and adjudication. This book is concerned with issues arising from these developments. Top criminologists from Britain, the USA and Australia explore the links between crime and risk through a range of themes, from the depiction of crime in the media to the dilemmas of policing, to the new punitiveness of criminal justice systems and the custodial warehousing of the poor and excluded. Crime, Risk and Justice will be of interest to students, academics and practitioners with an interest in crime and crime control and the place they have in modern society.

The photographs in Nicholas Pollack’s new book Meadow were made between 2015-2020 in and around Secaucus, New Jersey, U.S. Inspired by the landscape of the New Jersey Meadowlands, Meadow is a body of work about a small plot of land and the friendships and interactions between a group of truck drivers who forge a transcendent relationship with the place. Nicholas Pollack’s Meadow is tied to place – specifically, a place that is neglected by society. Meadow tells the story of a group of truck drivers who made a piece of overlooked salt marsh their own. Operating in the tradition of documentary style photography, Pollack shows both the social and the physical landscapes of America in Meadow. This book is Nicholas Pollack’s ode to a small portion of the sprawling New Jersey Meadowlands, to its people and its landscape, and to the humanity enveloped in a post-industrial landscape.