Market farming in the rugged northern Philippine highlands has resulted in a unique blend of new and old economic, environmental and religious practices. Predictably, the onset of "modern" farming methods has brought ecological degradation but, contrary to most theories of rural development, traditional beliefs and communal bonds have flourished at the same time. The explosion of commercial agriculture after World War II, which brought unaccustomed prosperity to the region of Buguias, reinforced the religious practice of lavish feasting. Since the host will have "good luck" if the ritual succeeds in placating the ancestors, he feels free to adopt the most destructive farming methods. While pursuing heavenly favour these growers are literally wagering their lands, hopeful of gaining prosperity and prestige.
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"Lewis presents significant new material and handles it well. If her work is not exhaustive, this is largely because she is a pioneer. Her book is clear and informative, and reflects the sensitiveness she brings to the paintings." -- Bob Kirsh, The Burlington Magazine
"One of the most fascinating parts of Lewis's book is her discussion of the parallels between some of Czanne's paintings and the operas of Richard Wagner. . . . Lewis's book is valuable for the way that it places Czanne's early work within a cultural and art-historical context." -- Jack Flam, Art in America
"The breadth of Lewis's imaginative scholarship fundamentally alters the conventional image of Czanne as an isolated artist, brooding over his own dark fantasies." -- Helen Langdon, Times Literary Supplement
"One of the most fascinating parts of Lewis's book is her discussion of the parallels between some of Czanne's paintings and the operas of Richard Wagner. . . . Lewis's book is valuable for the way that it places Czanne's early work within a cultural and art-historical context." -- Jack Flam, Art in America
"The breadth of Lewis's imaginative scholarship fundamentally alters the conventional image of Czanne as an isolated artist, brooding over his own dark fantasies." -- Helen Langdon, Times Literary Supplement
From the Back Cover
"Lewis is inaugurating a whole new field in Czanne studies which promises to extend understanding of the artist." (Lawrence Gowing)
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More About the Author
Martin W. Lewis is a senior lecturer in the Department of History at Stanford University, where he teaches global historical and regional geography, contemporary geopolitics, and the history of Southeast Asia. He received a BA in Environmental Studies from the University of California at Santa Cruz in 1979, and a PhD in geography from the University of California at Berkeley in 1987. His recent research focuses on the history of geographical ideas, especially those pertaining to the division of the world. His avocations include travel, gardening, and fiction writing. He lives near Palo Alto, California, with his wife, Karen Wigen (professor of Japanese history at Stanford University), his son, Evan Lewis, and his daughter, Eleanor Lewis. For more information, see: http://www.stanford.edu/~mwlewis/
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