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In the novel, Mahmoud Bishara is a 12-year-old living in Aleppo, Syria in 2015. He resides with his parents Yousef and Fatima, his brother Waleed, who is a 10-year-old, and his sister Hana, a baby. He resides with his parents Yousef and Fatima, his brother Waleed, who is a 10-year-old, and his sister Hana, a baby.
Refuge: An Unnatural History of Family and Place is a book-length essay by environmentalist Terry Tempest Williams. This book explores the relationship between the natural and unnatural along with condemning the American government for testing nuclear weapons in the West .
Her second novel, Refuge, was published in 2017, also by Riverhead Books. Refuge is a semi-autobiographical novel whose chapters are written alternately from the point of view of Niloo Hamidi, an Iranian woman who emigrated to the United States and, at the time of the novel, is teaching anthropology at a university in Amsterdam, and Bahman ...
The Refuge Collection is an anthology of inter-related stories by various authors published online from 2015–2016 and in print. [1] The first book, The Refuge Collection, Heaven to Some... (2016) contained the first 18 tales and a poem, and was printed in full colour as both hardback and softcover editions. The second book, The Refuge ...
Refuge (band), a side project of the German band Rage; Refuge Records, a 1980s American record label; Refuge or the title song, by Rage, 1994; Refuge (Sons of Korah album), by Sons of Korah, 2014; Refuge OST , by Carbon Based Lifeforms, 2013 "Refuge", a song by Psy from 4X2=8, 2017 "Refuge", a song by Steve Wilson from To the Bone, 2017
The Refuge series revolves around the eponymous fictional small town in New Hampshire as a group of residents is caught in a rapture-like phenomenon that transports the town through a unique trans-dimensional journey each entry, deliberately serialized according to the style of a seasonal TV show format.
It is an unwieldy book, self-indulgent in its articulation, by a writer of genius slumming it in a popular mode. It is, in various ways, corrupted by both the pretentiousness of its burbling arabesques of style and opinionation and by the vulgarity of the form with flashiness working to adorn a trashiness that lacks any principle of economy.
Making Refuge has been reviewed in outlets and journals such as The Journal of Social Encounters and PoLAR, the latter of which stated that it was "an excellent book for prompting them to think about these issues and their broader, ongoing ramifications, many of which are closer to home than they may realize."