Über den Autor
Charlotte Du Cann is a writer, editor and co-director of the Dark Mountain Project. She also teaches collaborative non-fiction, and radical kinship with the other-than-human world.In 1991 she left her life as a London features and fashion journalist with a one-way ticket to Mexico. After travelling for a decade, she settled on the East Anglian coast to write a sequence of books about reconnecting with the Earth. The first of these "52 Flowers That Shook My World - A Radical Return to Earth" was published in 2012 by Two Ravens Press.Charlotte has published five works of non-fiction, ranging from a collection of essays about food and society, "Offal and the New Brutalism" (Heinemann) to the travelogue, "Reality Is the Bug That Bit Me in the Galapagos" (Flamingo). More recently, she has written about activism, myth and cultural change for the New York Times, the Guardian, Noema and openDemocracy. She co-founded the grassroots newspaper Transition Free Press and edited "Playing for Time - Making Art as if the World Mattered" (with author Lucy Neal), a handbook about community arts practice (Oberon Books). She is presently working on a collective Dark Mountain book about the ancestral solar year called "Eight Fires".
Klappentext
A pile of seeds, a tuft of wool, a vessel of water, a closed boxnnnWhat happens when the heroes disappear, when the battle for the city is over, when you return to the island and find a box in your hands? There was an instruction once that told us why the box should never be opened. But you don't believe those stories anymore. You always open the box.nnnAfter Ithaca is a non-fiction work - part memoir, part essay, part travelogue - that follows a real life journey of descent in a world on the tip of crisis. It is set in the Peruvian rainforest, in the backrooms of Suffolk towns, in Japan, in France, Australia, in the desert borderlands, in borrowed houses and Occupy tents, in kitchens and burial chambers, underneath a lemon tree on an abandoned terrace...nnnThe book revolves around the four initiatory tasks of Psyche, set by Venus, the goddess of love and justice: four territories that map this search for meaning and coherence in a time of fall. Each chapter starts with a memory of place as a clue to the investigation: the recovery of a relationship with wild nature, with being human, a kind of archaeology for the pieces of self that lie missing beneath a broken storyline, like the sherds of a pot.nIt is a personal story and also a social story, about the relinquishment of a certain world, that looks at writing as an existential practice: showing how myth can be a techne for finding our lost voice, our medicine of how to put a crooked thing straight.nnnHow to pull ourselves out of the wreckage, and start again.
