Mostrando resultados por autor "Antonia Lloyd-Jones" en Todas las categorías

In a remote Polish village, Janina devotes the dark winter days to studying astrology, translating the poetry of William Blake, and taking care of the summer homes of wealthy Warsaw residents. Her reputation as a crank and a recluse is amplified by her not-so-secret preference for the company of animals over humans. Then, a neighbor, Big Foot, turns up dead. Soon, other bodies are discovered, in increasingly strange circumstances. As suspicions mount, Janina inserts herself into the investigation, certain that she knows whodunit. If only anyone would pay her mind....

In the gonzo spirit of Anthony Bourdain and Hunter S. Thompson, Witold Szabłowski has tracked down—and broken bread with—people whose stories of working in Kremlin kitchens impart a surprising flavor to our understanding of one of the world’s superpowers. Traveling across Stalin’s Georgia, the war fronts of Afghanistan, the nuclear wastelands of Chornobyl, and even to a besieged steelworks plant in Mariupol, he shows that a century after the revolution, Russia still uses food as an instrument of war and feeds its people on propaganda.

What was Pol Pot eating while two million Cambodians were dying of hunger? Did Idi Amin really eat human flesh? And why was Fidel Castro obsessed with one particular cow? Traveling across four continents, from the ruins of Iraq to the savannahs of Kenya, Witold Szabłowski tracked down the personal chefs of five dictators known for the oppression and massacre of their own citizens—Iraq’s Saddam Hussein, Uganda’s Idi Amin, Albania’s Enver Hoxha, Cuba’s Fidel Castro, and Cambodia’s Pol Pot—and listened to their stories.

For hundreds of years, Bulgarian Gypsies trained bears to dance, welcoming them into their families and taking them on the road to perform. In the early 2000s, with the fall of Communism, they were forced to release the bears into a wildlife refuge. But even today, whenever the bears see a human, they still get up on their hind legs to dance. In the tradition of Ryszard Kapuściński, award-winning Polish journalist, Witold Szabłowski uncovers remarkable stories of people throughout Eastern Europe and in Cuba who, like Bulgaria’s dancing bears, are now free but who seem nostalgic for the time when they were not.

All eyes are on famous prosecutor Teodor Szacki when he investigates a skeleton discovered at a construction site in the idyllic Polish city of Olsztyn. Old bones come as no shock to anyone in this part of Poland, but it turns out these remains are fresh, the flesh chemically removed. Szacki questions the dead man's wife, only to be left with a suspicion she's hiding something. Then another victim surfaces - a violent husband, alive but maimed - giving rise to a theory: someone's targeting domestic abusers.

In the middle of summer, omnipresent heat radiates as a group of elderly people are remembering their youth. The story focuses on two sisters, Leokadia and Helena, who live together in a retirement home not far from Warsaw. These are not ordinary stories they are sharing, because both of them were imprisoned as children in Auschwitz during World War II.

Cracow, 1893. Zofia Turbotyńska—professor’s wife and socialite—is bored at home, with little to do but plan a charity auction sponsored by the wealthy residents of a local nursing home and the nuns who work there. But when one of those residents is found dead, Zofia finds a calling: solving crimes. Ridiculed by the police, who have declared the deaths of natural cause, she starts her own murder investigation. With her husband blissfully unaware of her secret, Zofia remakes herself into Cracow’s greatest—or at the very least, most surprising—amateur detective.

It begins with a tantalizing clue: a recent photograph taken of Raphael’s Portrait of a Young Man - one of the most priceless masterworks ever plundered by the Nazis, which disappeared and was believed destroyed. Now, with proof of its existence, the Polish government wants it back. One wrong move and it could vanish forever. Because bound together with the missing artwork are secrets that have remained buried for a reason.