A PACIFIC CREST TRAIL THROUGH HIKE THIS VIVID ACCOUNT OF A MAN AND HIS WIFE HIKING FROM MEXICO TO CANADA AT ONE GO IS AMAZING. "Unflinchingly honest, vividly told, funny, true, fascinating, exciting - Pacific Dream is all these things. It's the best book I've read this year and I'll never forget it. John writes with a candor that's shockingly fresh and real. His prose is clear as the water in one of the rushing streams he fords. It's as if I walked the trail with him, and I loved every step- - and this, coming from a non-hiker, is high praise." D.W.St.John, Author/Editor

Labeled "e;Leeteg the Legend"e; by James Michener and Often Called the "e;American Gauguin"e;Edgar Leeteg was the father of black velvet art and the genesis of a genre continuing today with the tiki and Polynesian pop art movement, nearly 70 years later.Describing himself as a "e;fornicating, gin-soaked, dope-head,"e; Leeteg took on the elite of the art establishment of Honolulu Academy of Arts in 1938 and shamed them in the press. Always the shrewd promoter and a creative genius, Edgar Leeteg possessed many titles, astounding fans and antagonizing critics. His insatiable lust for life led the author James Michener to label him "e;Leeteg the Legend"e; in his book, Rascals in Paradise (1957).This is a biography of the artist Leeteg, who left California in 1933 bound for the South Pacific. His home in Tahiti allowed him to paint nudes, drink, and party with sensual vahines from the beaches to the bars of Tahiti.He was a wealthy artist and legend in his lifetime, a goal few can achieve."e;Cook's work is entertaining and knowledgeable. The breadth of its featured cast, quotes, and remembrances make this biography lively. Tahiti, its people, roistering ex-pats, and luminous landscapes vibrate like personal memories. Leeteg's landscapes appear alongside Paul Gauguin's, questions the fine and arbitrary line that separates "e;popular"e; art from work acclaimed "e;great."e; -Foreword Reviews

In recent times, the Asia-Pacific region has far surpassed Europe in terms of reciprocal trade with the United States, and since the 1980s immigrants from Asia entering the United States have exceeded their counterparts from Europe, reversing a longstanding historical trend and making Asian Americans the country’s fastest growing racial group. What does transpacific history look like if the arc of the story is extended to the present? The essays in this volume offer answers to this question challenging current assumptions about transpacific relations. Many of these assumptions are expressed through fear: that the ascendance of China threatens a U.S.-led world system and undermines domestic economies; that immigrants subvert national unity; and that globalization, for all its transcending of international, cultural, and racial differences, generates its own forms of prejudice and social divisions that reproduce global and national inequalities. The contributors make clear that these fears associated with, and induced by, pacific integration are not new. Rather, they are the most recent manifestation of international, racial, and cultural conflicts that have driven transpacific relations in its premodern and especially modern iterations. Pacific America differs from other books that are beginning to flesh out the transnational history of the Pacific Ocean in that it is more self-consciously a people’s history. While diplomatic and economic relations are addressed, the chapters are particularly concerned with histories from the “bottom up,” including attention to social relations and processes, individual and group agency, racial and cultural perception, and collective memory. These perspectives are embodied in the four sections focusing on China and the early modern world, circuits of migration and trade, racism and imperialism, and the significance of Pacific islands. The last section on Pacific Islanders avoids a common failing in popular perception that focuses on both sides of the Pacific Ocean while overlooking the many islands in between. The chapters in this section take on one of the key challenges for transpacific history in connecting the migration and imperial histories of the United States, Japan, China, Korea, Vietnam, and other nations, with the history of Oceania.

During the winter of 1913 and the spring of 1914 the New York Giants and the Chicago White Sox took a trip around the world. Organized by crusty John McGraw of the Giants and the White Sox's Charles Comiskey, it was a trip of epic proportions-a tour to end all tours recreated here in all its monumental sweep and comical detail. This book follows the two teams, whose members include Christy Mathewson, Jim Thorpe, and half a dozen other future Hall-of-Famers, as they barnstorm across the United States and sail the seas to Asia, the Middle East, and Europe, finishing with a game before twenty thousand fans and King George V. Along the way, baseball's envoys meet such dignitaries as Pope Pius X, tea magnate Thomas Lipton, and the last khedive of Egypt. They play the tables of Monaco, survive a near-shipwreck, and cram a lifetime's worth of adventures into six months. Their story, told here for the first time, gives readers a glimpse into baseball history and the innocence and spirit of a long-gone era. James E. Elfers is a library analyst at the University of Delaware.

Exploring how modern internationalism emerged as a negotiated process through international conferences, this edited collection studies the spaces and networks through which states, civil society institutions and anti-colonial political networks used these events to realise their visions of the international. Taking an interdisciplinary approach, contributors explore the spatial paradox of two fundamental features of modern internationalism. First, internationalism demanded the overcoming of space, transcending the nation-state in search of the shared interests of humankind. Second, internationalism was geographically contingent on the places in which people came together to conceive and enact their internationalist ideas. From Paris 1919 to Bandung 1955 and beyond, this book explores international conferences as the sites in which different forms of internationalism assumed material and social form. While international 'permanent institutions' such as the League of Nations, UN and Institute of Pacific Relations constantly negotiated national and imperial politics, lesser-resourced political networks also used international conferences to forward their more radical demands. Taken together these conferences radically expand our conception of where and how modern internationalism emerged, and make the case for focusing on internationalism in a contemporary moment when its merits are being called into question.

Ralph Burke Tyree was an American artist who was the most prolific portrait artist of the South Pacific peoples of the 20th century. He was from central California and his art education took place in San Francisco. Seven weeks after the Japanese attack on Pearl Harbor he joined the Marines and was soon shipped off to Samoa. Private Tyree was befriended by his Commanding General and became the Marine-base artist. His portrait career began painting the officers and their loved ones, while corresponding with 10,000 word love letters to his girlfriend Margo back home in Turlock, California. After the war he began his professional career. He traveled back to the South Pacific to live for years in places such as Guam, Oahu, Maui, and the Big Island of Hawaii. Often from there he would travel to other island paradises: Palau, Fiji, Tahiti, Samoa, and the Solomon Islands over his thirty-year career. Most of his first works were sensual island wahines in island beach and jungle settings. He painted primarily with oil on board but also occasionally on canvas and with pastels. To add depth and texture, he switched in mid-career to painting with oil on fine, French silk, black velvet. This was in the midst of the 1960s' Tiki revolution and many of his nude pieces would be displayed in Tiki bars and restaurants. Tyree was likely the most prolific South Pacific and Tiki artist of the 20th century. In the 1970s, he started painting endangered animals to call attention to their limited numbers. He died suddenly of a heart attack at age fifty seven in 1979. In the 20th century after WWII, Ralph Burke Tyree led the transformation and appreciation of the South Pacific's serene beauty with his art. Furthermore he was the premier artist in American iconic movement of the Tiki revolution which emanated from Hawaii and California. He likely painted thousands of different pieces, initially oils on board, mostly wahines, au naturale. Starting in 1960 he switched to oils on black velvet with the portraiture nudity, more demure or sometimes a silhouette in a jungle scene. Tyree was a dreamer who painted idealized women in idyllic South Pacific landscapes, the faces of wizened island men and later exotic animals. His portraiture, whether of humans or animals, captured their quiet, gentle spirit.

Travel.

A practical guide to translation as a profession, this book provides everything translators need to know, from digital equipment to translation techniques, dictionaries in over seventy languages, and sources of translation work. It is the premier sourcebook for all linguists, used by both beginners and veterans, and its predecessor, The Translator's Handbook, has been praised by some of the world's leading translators, such as Gregory Rabassa and Marina Orellana.

In late December 1788 a worried Spanish official in Mexico City set down his fears about a new and aggressive northern neighbor. Viceroy Manuel Antonio Florez offered a gloomy prediction about the future of Spanish-United States relations in the West. He already knew about the steady march of frontiersmen toward St. Louis and now came troubling word of Robert Gray's ship Columbia on the Northwest coast. All this seemed to fit a pattern, a design for Yankee expansion. "We ought not to be surprised," warned the viceroy, "that the English colonies of America, now being an independent Republic, should carry out the design of finding a safe port on the Pacific and of attempting to sustain it by crossing the immense country of the continent above our possessions of Texas, New Mexico, and California." Canadian fur merchants and Russian bureaucrats also viewed the young republic as a potential rival in the struggle for western dominion. The viceroy's vision of the future proved startlingly accurate. Within the next two decades an American president would authorize a federally funded expedition to find just the sort of transcontinental route Florez imagined. Equally important, a New York entrepreneur would propose and put into motion an ambitious plan to make the Northwest an American political and commercial empire. John Astor's Pacific Fur Company, with Astoria as its central post on the Columbia River, was Florez's nightmare come true. Astoria had long represented either a daring overland adventure or simply a failed trading venture. The Astorians surely had their share of adventure. And the Pacific Fur Company never brought its founder the profits he expected. But all those involved in the extensive enterprise knew it meant more. Thomas Jefferson once described Astoria as the "germ of a great, free and independent empire," believing that the entire American claim to the lands west of the Rockies rested on "Astor's settlement at the mouth of the Columbia." And John Quincy Adams, the expansionist-minded secretary of state, labeled then entire Northwest as "the empire of Astoria." This book seeks to explore Astoria as part of a large and complex struggle for national sovereignty in the Northwest. The Astorians and their rivals were always engaged in more than trading and trapping. They were advance agents of empire. -- from Preface