Description
For decades, Colombia was the ‘narcostate’.
Now it’s seen as one of the rising stars of the global economy.
Where does the truth lie?
How did a land likened to paradise by the first conquistadores become a byword for hell on earth? And how is it rebuilding itself after decades of violence?
Writer and journalist Tom Feiling has journeyed throughout Colombia, down roads that were until recently too dangerous to travel, talking to people from former guerrilla fighters to nomadic tribesmen and millionaires.
Tom Feiling spent a year living and working in Colombia before making Resistencia: Hip-Hop in Colombia, which won numerous awards at film festivals around the world, and was broadcast in four countries.
In 2003 he became Campaigns Director for the TUC’s Justice for Colombia campaign, which organizes for human rights in Colombia.
His first book was The Candy Machine: How Cocaine Took Over The World, which was based on over sixty interviews with people involved in all aspects of the cocaine business and the ‘war on drugs’, and was published by Penguin in 2009.
‘Creates a portrait of Colombia that is perceptive, unsensational, and full of humanity…Feiling is a brilliant reporter, lucid, unflinching, morally engaged, and with an occasional deadpan sense of humour…one of the most consistently intelligent and compelling books to have appeared on any South American country in recent years’ – Michael Jacobs, Independent
‘Tom Feiling takes us on an enlightening journey through a changing country that few understand’ – Rachel Aspden, Observer
‘A deeply political account of one man’s journey to the violent heart of modern, rural, Colombia…a must read’ – Kevin Howlett, Colombia Politics
‘Feiling…venture[s] into areas that have been off limits for decades…the sense of a vibrant nation worth discovering peeks out’ – Siobhan Murphy, Metro
‘The best British travel writers like Norman Lewis or Bruce Chatwin give the reader more than simple travellers’ tales. Feiling is of their company…a brilliant, penetrating and highly readable account’ – Robert Carver, Spectator
