Caroline Brothers Bücher

Aryan und Kabir sind versteckt in Lieferwagen und Güterzügen oder zu Fuß unterwegs. Sie leiden unter Hunger, Erschöpfung und bitterer Kälte. Sie werden um den Lohn ihrer Arbeit betrogen, von brutalen Schleppern hintergangen und von allen anderen ignoriert. Mit Ausnahme der Polizei. Nicht immer gelingt es Aryan, den kleinen Kabir zu beschützen. Und doch: Ihre Reise birgt auch große Momente des Abenteuers, des Staunens, der ergreifenden Zärtlichkeit zwischen den Brüdern und selten - ganz selten - auch der unerwarteten Großherzigkeit eines Fremden. Caroline Brothers erzählt die Geschichte zweier Jungen, die stellvertretend für Millionen von Kindern inmitten der Flüchtlingsströme dieser Welt stehen. Niemandsland ist ein Roman ohne jede Rührseligkeit - und rührt den Leser gerade deshalb. Denn Aryans und Kabirs Europa ist auch das unsere.

Buenos Aires, 1976. Osvaldo Ferrero, a distinguished doctor, and his wife Yolanda escape the city with their daughters, sensible Julieta and wilful Graciela, who is nineteen and madly in love. On their return, the Argentine military stages a coup. Friends disappear overnight, and Osvaldo is forced to flee to Europe. When her fiancé is abducted, Graciela goes into hiding, then she vanishes in turn. As Yolanda fights on the ground for some trace of their beloved daughter, she soon realises she may be fighting for an unknown grandchild as well...

Since the 1970s, questions of ethics raised by documentary practice have been central to debates in photography. Perhaps no other photographer has so closely and consistently represented and participated in these debates than Susan Meiselas. An American photographer best known for her work covering the political upheavals in Central America in the 1970s and 80s--including the El Mozote massacre in El Salvador--Meiselas' process has evolved in radical and challenging ways as she has grappled with essential questions about her relationship to her subjects, the use and circulation of her images in the media and the relationship of images to history and memory. Meiselas is under no illusions about the dual nature of the photographer's role as "The camera is an excuse to be someplace you otherwise don't belong. It gives me both a point of connection and a point of separation." Her tenacious engagement with these matters has made her a leading commentator in the debate on contemporary photojournalism. With 200 plates and contributions from some of photography's finest theorists--among them David Levi Strauss, Lucy Lippard, Kristen Lubben, Jan-Erik Lundstrom and Allan Sekula--this volume gives an overview of Meiselas' enormously varied and courageous work to date.