Best Selling Books by John Berger

From John Berger, the Booker Prize-winning author of G., A Painter of Our Time is at once a gripping intellectual and moral detective story and a book whose aesthetic insights make it a companion piece to Berger''s great works of art criticism. The year is 1956. Soviet tanks are rolling into Budapest. In London, an expatriate Hungarian painter named Janos Lavin has disappeared following a triumphant one-man show at a fashionable gallery. Where has he gone? Why has he gone? The only clues may lie in the diary, written in Hungarian, that Lavin has left behind in his studio. With uncanny understanding, John Berger has written oneo f hte most convincing portraits of a painter in modern literature, a revelation of art and exile.

''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''.

Compelling and intimate, this collection of never-before-seen letters between the celebrated art critic and essayist, John Berger and his son Yves, an artist, is a moving look at their musings on art, memory, life, death, and beyond. Written between 2015-16, with 53 color images of well-known old masters and contemporary art as well as some of the Bergers’ own drawings and watercolors, Over to You is an informal back and forth not unlike the ping-pong games father and son used to play in the barn of their house. It begins when John—who is in a Parisian suburb—sends Yves—who is in Haute Savoie—an envelope of reproductions of art that have moved him. And so they begin to reveal their thoughts looking at a Goya, Watteau, Twombly, Joan Mitchell, Durer, Caravaggio, Manet, and Euan Uglow, among many others. But the art is just a way to summon shared emotions and memories, as well as deepen their understanding of the world and its mysteries. John at 89 is the more formal teacher, Yves at 39 comes across as the younger, philosophical artist. There are John’s thoughts on the use of color, light and space in, say, a Dürer, or a Beckmann to the question of “staying fully alive”; or Yves noting how much in life exceeds our understanding, the gap between our consciousness and our feeling, between the said and the unsaid. “That’s the zone where I would like us to meet. Are you coming?” He asks his father. “I may need other eyes to confirm what is really there. Like your eyes always did.” This is an exceptional and moving tribute to a relationship between a father and son, and between two artists, as well as a thought provoking look at questions we all have about work, time, the universe, life and death.

In one of the most eloquent accounts of photography ever devised (originally published in 1982 and unavailable for many years), the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact. Asking a range of questions ''What is a photograph?'' ''What do photographs mean?'' ''How can they be used?'' they give their answers in terms of a photograph as ''a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory''. From these beginnings they develop a theory of photography that has at its centre the form''s essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes ''another way of telling''. The unique combination of critic and photographer results in a work that moves beyond the landmarks established by Walter Benjamin, Roland Barthes and Susan Sontag to establish a new theory of photography. This unique combination of words and pictures includes 230 photographs by Jean Mohr

“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.”

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.

In this book 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 a dog?--to a wasteland beside the highway called Saint Valery. Here, at the end of the twentieth century, among smashed trucks, old boilers, and broken washing machines, live Liberto, Malak, Jack, Corinna, Danny, Anna, Joachim, Saul, Alfonso, and Vico and Vica. Listen to King''s voice as he tells a different kind of story: twenty-four hours pass and lives are lived. It is good to have survived another winter, for now it is spring, when the nights, though cold, are no longer harsh enough to kill. The wet season is over, and with it the hopelessness of damp. Today the sun will shine: of what else will the day be made? King is at once a furious homage to the homeless and a lyrical meditation on language and experience. The bitter yet celebratory prose speaks to us all.

Artwork by John Christie. Text by John Berger.

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.

This book is first a dialogue between a daughter and a father about life, physical sensation, mortality. Both seem to listen to the other with great attention. Secondly it is the extraordinary vehicle for a series of insights into the everyday life and the art of the great Venetian master, following an uncanny incident at the large exhibition of his work staged in Venice in 1990. While attending the exhibition Katya meets an old man, who she becomes convinced can only be the ghost of the great painter. Her ''spiritual'' visitor engages her in conversation about the minute particularities of painting some of the pictures there. She shares this experience with her father in a letter. He accepts the encounter at face value and discusses the historical background to the old man''s remarks, seeking answers to a series of evidential questions about his daughter''s encounter. From then on, the three of them, the old painter, the daughter, and the father discuss animals, Greece, fur, sexuality, the strangeness of drawing.

On October 7th 2001, US-led forces invaded Afghanistan, marking the start of George Bush and Tony Blair''s "War on Terror." Six years on, where have the policies of Bush and Blair left us? Bringing together some of the finest contemporary writers, this wide-ranging anthology, from reportage and "faction" to fiction, explores the impact of this "long war" throughout the world, from Palestine to Iraq, Abu Ghraib, the curtailment of civil liberties and manipulation of public opinion. Published in conjunction with Stop the War coalition and United for Peace and Justice, War With No End provides an urgent, necessary reflection on the causes and consequences of the ideological War on Terror.

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.

This carefully-designed textbook offers a brand-new approach to learning neuroanatomy for medical students and newly-qualified doctors, particularly those considering a career in neurology and neurosurgery. Promoting active learning and taking inspiration from other popular case-based formats, readers are encouraged to overcome their inherent ‘neurophobia’. The accessible text and practical examples, unencumbered by esoteric minutiae, support students and trainees in developing the necessary skills that will be essential in later clinical practice. Developed specifically in response to student feedback, the authors have succeeded in creating a novel, brief, and high-yield primer that offers a unique approach to mastering this challenging discipline. Case Closed! Neuroanatomy not only teaches students how to localize, but also guides them to solve successfully the problems that will reappear in their exams and in the clinic.

A devasting and unforgettable story of doomed love from the winner of the Booker Prize, reissued with a new introduction by Nadeem Aslam

With this provocative and infinitely moving collection of essays, a preeminent critic of our time respond to the profound questions posed by the visual world. For when John Berger writes about Cubism, he writes not only of Braque, Leger, Picasso, and Gris, but of that incredible moment early in this century when the world converged around a marvelous sense of promise.

A book on visual perception.