The Passenger collects the best new writing, photography, and reportage from around the world. Its aim, to break down barriers and introduce the essence of the place. Packed with essays and investigative journalism; original photography and illustrations; charts, and unusual facts and observations, each volume offers a unique insight into a different culture, and how history has shaped the place into what it is today.
Â Brimming with intricate research and enduring wonder, The Passenger is a love-letter to global travel.
IN THIS VOLUME, Peter Schneider, Cees Nooteboom, Vincenzo Latronico among other German writers tell of a youthful city that doesnâ€™t cling to its â€œpoor but sexyâ€ past.
Â â€œBerlin is too big for Berlinâ€ is the curious title of a book by the flaneur Hanns Zischler, who joked about the low population density of a city so spread-out and polycentricâ€”one of the reasons why it still inspires feelings of freedom and space. But the phrase also carries a symbolic, broader meaning: how can a single city encompass and sustain such a weighty mythology as that of contemporary Berlin, â€œthe capital of coolâ€?Â In order to find out, it is necessary to go back to the origins of todayâ€™s Berlin, when time seemed to have stopped. The scars of a century of war were still visible everywhere: coal stoves, crumbling buildings, desolate minimarts, not a working buzzer or elevator. To visit the city then was a hallucinatory experience, a simultaneous journey into the past and into the future. The cityâ€™s youth seemed to have appropriatedâ€”and turned into a positiveâ€”the famous phrase pronounced by Karl Scheffler at the beginning of the 20th century: â€œBerlin is a place doomed to always become, never be.â€