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For more than a century, Illinois has been home to a blossoming wine culture, yet winemaking in the state has not received the attention it deserves. Now, Clara Orban has created the ultimate companion to Illinois wines and wineries. This illustrated volume is a comprehensive yet user-friendly guide for both experienced wine lovers and amateur oenophiles.Orban, a certified sommelier, begins with the history of Illinois wine production and wineries. She then enlightens readers on such wine basics as the most common grapes grown in Illinois, optimal food and wine pairings, the tenets of wine tas

This article explores borders, border crossings and the geography of separation in two recent Hungarian films. In The Maiden Danced to Death (2011) and The Notebook (2013), two films produced within a few years of one another and just before the recent re-erection of a border between Hungary and its neighbors, escape provides the vehicle for the brothers' separation. Of particular interest is the frequent portrayal of brothers separated during communism, often with one brother staying and one leaving. In these films, regimes and ideology tear brothers apart; whether viewed on screen or only alluded to, the crossing of a border becomes a physical symbol of this separation and loss. The fraternal pairs' personal lives interact with history, especially the repressive state as manifested in Hungary's border. Geocriticism, border and trauma studies perspectives will help understand the anguish of this separation. In these films, political realities fray the bonds between brothers and lead to their separation through the border, or to its trace, as identities are subjected to traumatic reconfigurations.

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Hungarian films produced after the year 2000 build on the historical reality of the fall of communism and anticipate, or come to terms with, entry into the European Union. This article will explore six films that deal with history through multiple perspectives to dramatize the dynamic between historical events and human responses to them. These films reference history, or efface it, as a way of problematizing the relationship between human behavior and history. Colossal Sensation [Világszám – Dodó és Naftalin] (2005) and Children of Glory [Szabadság, szerelem] (2006), for example, examine Hungarians' moments of defiance during the 1956 uprising but shape historical events to fit human constructs. Contemporary history provides satire of rising capitalism in The District! [Nyócker!] (2005) whose plot weaves historical figures into a modern rendition of Romeo and Juliette. Miracle in Krakow [Csoda Krakkóban] (2004) also presents a book as its central metaphor, and, like The District!, the book allows some of history's uglier moments to be erased. Béla Tarr's Werkmeister Harmonies [Werkmeister harmóniák] (2000) and Nimród Antal's Control [Kontroll] (2003), films without overt historical markers, provide allegorical visions of societal unrest that can be read as allusions to millennial concerns.