Trinity University Press

When Jennifer Case became pregnant unexpectedly with her second child, she was overwhelmed at the prospect of caring for another child in a society with high expectations and low support for mothers. She sought to reclaim control over, if not her changing body, then at least her rapidly declining mental health. Immersing herself in research, Case learned that the United States has one of the highest maternal death rates among developed countries. One in every five women develops a mental health issue as a result of pregnancy. It became clear to her that in order to address the sexism and isolation mothers face—including the racism that further marginalizes women of color—we must recognize these as social problems that affect us all

We Are Animals draws attention to these issues by examining key moments in Case’s life where her experience as both a woman in twenty-first-century America and a child-bearing mammal, and the conflicts between these two identities, were brought into sharp relief. From the surprising salve of parasocial interactions on baby forums to the not so surprisingly intertwined history of industrial dairy farming and wearable breast pumps, Case explores an array of realities that give historical and cultural context to the experience of motherhood.

The essays collected here offer a balm for women who have struggled in silence over childbirth trauma, conflicted responses to motherhood, or a deeply felt intuition that what their bodies needed as mothers did not match what society provided. They also offer a much needed, nuanced perspective for policymakers, activists, and medical professionals who continue to shape women’s experience of motherhood.

What might the lives of contemporary monastics teach us about putting down roots? Whereas many of us are constantly on the go, stressed out, and focused on productivity, the life of a monk prioritizes staying put and paying attention. Many monks take a vow of stability that commits them to their home monastery, leading them to develop a deep connection with and knowledge of the land they inhabit. The monastic life teaches those who practice it to move more slowly through the world, and the monastic sense of place may even hold a key to responding to the growing ecological crisis threatening our environment.

Dwelling in the Wilderness examines how contemporary Benedictine Roman Catholic monks in the American West fall in love with their landscapes and how, in troubled times, we might do the same. Jason Brown travels to four monasteries—the New Camaldoli Hermitage in Big Sur, California; the Abbey of Our Lady of New Clairvaux in Vina, California; Our Lady of Guadalupe Trappist Abbey in Carlton, Oregon; and the Monastery of Christ in the Desert in Abiquiu, New Mexico—and spends time with the monks there, following their daily routine of prayer and tending to the land. He learns how the places they inhabit are essential to their daily spiritual practice and how they construct deeper theological meaning from the natural world.

Illustrated with Brown’s photography of monastic landscapes, his journey as a pilgrim anthropologist is astute, insightful, and intimate. He explores theories of environmental perception, philosophy, and symbolic landscapes in accessible language. Bringing theological reflection to the power of contemplative ecology in an era many are calling the Anthropocene, or the age of human domination, he leads us to reconsider our relationship with our natural homes.

From Here to the Horizon presents the work of fifty of America’s leading contemporary landscape photographers in honor of the life and influence of Barry Lopez (1945–2020), one of our most revered writers about the landscape and our place within it. Work by each photographer was selected in relation to, and accompanied by, an excerpt from the best-selling book Home Ground: A Guide to the American Landscape, a reader’s A-to-Z guide to American landscape terms, edited by Lopez and Debra Gwartney. With images reflecting landforms or locations and others that are more evocative, the collection creates a portrait of the beauty, diversity, and abundance found in our shared North American topography.

For Lopez, the land was never simply a background for human activity but reflected our aspirations and desires, both as individuals and communities. He had a particular affinity with photographers, and some have compared his precise, crystalline language to the artistry found in photography. As Virginia Beahan noted, “What impressed me so much about Barry’s writing was the slow-moving attention to detail . . . as he tried to make sense of the world.

The collection includes leading photographers such as Virginia Beahan, Barbara Bosworth, Frank Gohlke, Lois Conner, Emmet Gowin, Mark Klett, David Maisel, Laura McPhee, Andrew Moore, Mark Ruwedel, and essays by Debra Gwartney, Robert Macfarlane, and Toby Jurovics. From Here to the Horizon serves as a marker of the admiration of and affection for Lopez and will spark the imagination of places we already know, or hope to one day visit, or may never see but carry with us because of the life-affirming work of writers like Lopez.

Photographers: Robert Adams, Virginia Beahan, Marion Belanger, Michael Berman, Andrew Borowiec, Barbara Bosworth, Joann Brennan, Gregory Conniff, Linda Connor, Lois Conner , Thomas Joshua Cooper, Robert Dawson, Peter de Lory, Lucinda Devlin, Rick Dingus, Terry Evans, Lukas Felzmann, Steve Fitch, Frank Gohlke, Peter Goin, Emmet Gowin, Wayne Gudmundson, Owen Gump, David T. Hanson, Alex Harris, Allen Hess, Ron Jude, Robert Glenn Ketchum, Mark Klett, Stuart Klipper, Peter Latner, David Maisel, Laura McPhee, Andrew Moore, Eric Paddock, Mary Peck, Edward Ranney, Jeff Rich, Meghann Riepenhoff, Mark Ruwedel, Mike Smith, Joel Sternfeld, Martin Stupich, Willy Sutton, Bob Thall , Terry Toedtemeier, Geoff Winningham, Dennis Witmer, and William Wylie

Writers: Jeffery Renard Allen, Kim Barnes, Conger Beasley Jr., Lan Samantha Chang, Michael Collier, Elizabeth Cox, William deBuys, Pamela Frierson, Robert Hass, Patricia Hampl, Emily Hiestand, Linda Hogan, Barbara Kingsolver, William Kittredge, Gretchen Legler, Ellen Meloy, Robert Morgan, Antonya Nelson, Pattiann Rogers, Scott Russell Sanders, Eva Saulitis, Donna Seaman, Carolyn Servid, Kim Stafford, Arthur Sze, D. J. Waldie, Joy Williams, Terry Tempest Williams, and Larry Woiwod

Hailed by book reviewers as a "masterpiece," "gorgeous and fascinating," and "sheer pleasure," Home Ground: A Guide to the American Landscape was published in fall 2006 in hardcover. It was met with outstanding reviews and strong sales, going into three printings. A language-lover's dream, this visionary reference revitalized a descriptive language for the American landscape by combining geography, literature, and folklore in one volume. This is a totally redesigned, near-pocket-sized field guide edition of the best-selling hardcover.

Home Ground brings together 45 poets and writers to create more than 850 original definitions for words that describe our lands and waters. The writers draw from careful research and their own distinctive stylistic, personal, and regional diversity to portray in bright, precise prose the striking complexity of the landscapes we inhabit. Includes an introductory essay by Barry Lopez. At the heart of the book is a community of writers in service to their country, emphasizing a language suggesting the vastness and mystery that lie beyond our everyday words.

Contributors include: Jeffery Renard Allen, Kim Barnes, Conger Beasley, Jr., Franklin Burroughs, Lan Samantha Chang, Michael Collier, Elizabeth Cox, John Daniel, Jan DeBlieu, William deBuys, Gretel Ehrlich, Charles Frazier, Pamela Frierson, Patricia Hampl, Robert Hass, Emily Hiestand, Linda Hogan, Stephen Graham Jones, John Keeble, Barbara Kingsolver, William Kittredge, Jon Krakauer, Gretchen Legler, Arturo Longoria, Bill McKibben, Ellen Meloy, Robert Morgan, Susan Brind Morrow, Antonya Nelson, Robert Michael Pyle, Pattiann Rogers, Scott Russell Sanders, Eva Saulitis, Donna Seaman, Carolyn Servid, Kim Stafford, Mary Swander, Arthur Sze, Mike Tidwell, Luis Alberto Urrea, Luis Verano, D. J. Waldie, Joy Williams, Terry Tempest Williams, and Larry Woiwode.

An island is a world out of time and place, separated by literal and figurative oceans, where the confines of reality are tenuous and magic may be possible. Iceland—with its relative isolation, enchanting mythologies, creative people, and the otherworldly wild beauty of its glaciers, geysers, volcanos, and fjords—encompases this special magic in the minds of many, including writer Kurt Caswell.

Vividly illustrated by Julia Oldham, Iceland Summer recounts Caswell’s journey traversing the country by foot and bus accompanied by his lifelong friend Scott. The pair set out from Reykjavík and travel clockwise along the Ring Road, stopping along the way for backcountry walking trips. Caswell immerses himself in the natural beauty and charming eccentricities of the tiny island nation. With his drinking and hiking buddy by his side, and fueled by a steady diet of Brennivín (fermented grain mash) and pylsur (Icelandic hot dogs), he explores the Hornstrandir peninsula, walks to the famed Dettifoss waterfall, waits for a glimpse of the lake monster Lagarfljótsormurinn at Egilsstaðir, visits the world’s only penis museum, and pays homage to centuries of Icelandic literary tradition at the Árni Magnússon Institute.

Writing in the tradition of other pairs who have traveled in Iceland, like W. G. Collingwood and Jón Stefánsson, and W. H. Auden and Louis MacNeice, Caswell meditates on the value of wild places in the modern world, travel as both pastime and occupation, the nature of friendship, and walking, food, and literature. Scott is the Sancho Panza to Caswell’s Don Quixote, offering a ribald humor that grounds Caswell’s flights into the romantic. The two travel well together and together arrive at the understanding that what anchors them both is their lifelong friendship.

Barry Lopez had no illusions about the seriousness of our global crisis, yet he also felt a deep conviction about the power of hope and the sources of renewal in the living world. Syntax of the River is an extended conversation spanning three days between Lopez and Julia Martin in which he explores what this juxtaposition means for him as a writer.

On the first day Lopez reflects on years watching the McKenzie River near his home in Oregon. He describes the quality of attention he learned from intimacy with the place itself: a very fine distinction between silence and stillness, the rich complexities of the present moment, and the syntax of interrelationships between living things. The second day is concerned with craft: the work of making sentences and books. Lopez shares his practical strategies for writing and revising a manuscript and goes on to speak about vulnerability. He says he often experienced a deep sense of doubt about his capacity to achieve whatever he was trying to do in a particular project. Over time, though, this characteristic experience of not-knowing became a kind of fuel for his work, and even a weapon at times.

On the final day, Lopez ponders the idea of writing as a praxis, a way of life, even a prayer for the earth, while concurrently being terrified by the portents of its destruction. Here, the experience of being an attentive participant emerges as his core teaching. Over the decades he developed a practice of attention that was endlessly curious and enthralled by the living world, what he calls its pattern or syntax. Despite acclaim as a celebrated writer, throughout his career Lopez humbly tasked himself with making a combination of wonder and horror work together to effectively communicate a life journey of contemplation, exploration, and discovery.

Mary Parrish was reading in her home when the Tulsa race massacre began on the evening of May 31, 1921. Parrish’s daughter, Florence Mary, called the young journalist and teacher to the window. “Mother,” she said, “I see men with guns.” The two eventually fled and unwittingly became eyewitnesses to the death of hundreds of Black Oklahomans and the destruction of the Greenwood district, a prosperous, primarily Black area known nationally as Black Wall Street. The Nation Must Awake is Parrish’s first-person account, compiled along with the recollections of nearly two dozen others, of what is now recognized as the single worst incident of racial violence in U.S. history.

America is at a crossroads. Conflicting political and social perspectives reflect a need to collectively define our moral imperatives, clarify cultural values, and inspire meaningful change. In that patriotic spirit, hundreds of writers, artists, scientists, and political and community leaders have come together since the 2016 presidential election to offer their impassioned letters to America, in a project envisioned by the online journal Terrain.org and collected in Dear America: Letters of Hope, Habitat, Defiance, and Democracy. In the inaugural piece in Terrain.org’s Letters to America series, Alison Hawthorne Deming writes, “Think of the great spirit of inventiveness the Earth calls forth after each major disturbance it suffers. Be artful, inventive, and just, my friends, but do not be silent.” oining Deming are renowned artists and thinkers including Seth Abramson, Ellen Bass, Jericho Brown, Francisco Cantú, Kurt Caswell, Victoria Chang, Camille T. Dungy, Tarfia Faizullah, Blas Falconer, Attorney General Bob Ferguson, David Gessner, Katrina Goldsaito, Kimiko Hahn, Brenda Hillman, Jane Hirshfield, Linda Hogan, Pam Houston, Robin Wall Kimmerer, Karen An-hwei Lee, Christopher Merrill, Kathryn Miles, Kathleen Dean Moore, Aimee Nezhukumatathil, Naomi Shihab Nye, Elena Passarello, Dean Rader, Scott Russell Sanders, Lauret Savoy, Gary Soto, Pete Souza, Kim Stafford, Sandra Steingraber, Arthur Sze, Scott Warren, Debbie Weingarten, Christian Wiman, Robert Wrigley, and others.

Dear America reflects the evolution of a moral panic that has emerged in the nation. More importantly, it is a timely congress of the personal and the political, a clarion call to find common ground and conflict resolution, all with a particular focus on the environment, social justice, and climate change. The diverse collection features personal essays, narrative journalism, poetry, and visual art from more than 130 contributors—many pieces never before published—all literary reactions to the times we live in, with a focus on civic action and social change as we approach future elections. As Scott Minar writes, we must remain steadfast and look to the future: “Despair can bring us very low, or it can make us smarter and stronger than we have ever been before.”

The car bomb assassination of Maltese investigative journalist Daphne Caruana Galizia in 2017 shocked the European Union and put the world’s spotlight on an island so small that few knew it was an independent country and even fewer could find it on the map. But Caruana Galizia’s death didn’t come as a surprise to those who lived there.

Ryan Murdock had visions of living a slow-paced island life on the Mediterranean while writing about his experiences, so in 2011 he moved from Canada to Malta. To the casual visitor, Malta is a sleepy place with sun-soaked shorelines and ancient fortified harbors. Murdock imagined it to be an archipelago island of warm weather, gorgeous views, busy cafes, and grilled fish dinners. On the surface, it was.

The six years Murdock spent in Malta revealed an insular culture whose fundamental baseline is amoral familism, a worldview in which any action taken to benefit one’s family or oneself is justifiable, regardless of whether it is legal or ethical. In such a place murder may or may not be wrong, depending on what one thinks of another’s politics. This pervasive perspective created a culture of corruption that rose all the way to the top of the island nation. The office of the prime minister was implicated in Caruana Galizia’s murder, and the investigation continues to reveal a government mired in money laundering, human trafficking, fuel smuggling, and the sale of EU passports to Russian and Middle Eastern oligarchs.

Interspersed with personal narrative, Murdock delves into Malta’s unique geopolitical, cultural, ethnic, and religious history—one that transformed it from a hub of prehistoric rule into a modern society where a powerful cabal of political and business leaders nearly got away with murder.

Intimate in size yet quietly breathtaking in scope, this graceful gift book will forever change how you think, and how you feel, about trees. In poetically sparse scientific observations, renowned conservation biologist Gretchen Daily narrates the evolution, impact, and natural wonder of trees. Alongside photographs by Chuck Katz, the text and images form a quiet and moving meditation on The Power of Trees.

Twenty-six duotone black and white photographs illustrate the development of trees: how trunks were formed, what tree rings tell us about human societies, and how trees define the future of humanity. Pictures of trees threading through the landscape - dotting mountainsides, braiding along the sides of glassine rivers - bear witness to the lyrical force and clarity of Daily's observations.

Recreating the authors’ hike together through the landscape of the Skagit River in Washington State, the balletic movement between Daily’s commentary and Katz’s vision reaches out to readers, inviting them to enjoy the landscape through a scientific understanding of trees. At once emotional and intellectual, The Power of Trees is the first collection of nature photographs that invites the reader to not only delight in the gorgeous play between light and shadow, but also the fascinating natural mechanisms that create such striking natural beauty.

An ecologist by training, Gretchen Daily is an internationally acclaimed conservancy advocate and scholar. Her role as a National Trustee for The Nature Conservancy will feature prominently in the national marketing campaign to bridge the gap between scientific educators and the general nature reader.

In the spirit of Eat, Pray, Love, Carol Wright Folbre’s story is of a young suburban Texas woman’s path to self-discovery in the early 1980s. Newly married, she embarked with her husband on a journey that morphed into an eighteen-month reassessment and discovery of her core skills, values, and presumptions.

Folbre’s travels across India, Nepal, China, and Russia were replete with challenge and adventure. Travel by foot, plane, passenger and industrial rail, bus rooftop, riverboat, bicycle, camelback, and donkey cart landed her in places she had never imagined and introduced her to centuries- and millennia-old cultures she had only read about in books. Staying in yurts, hostels, monasteries, and teahouses along the way, she met many people who captivated her.

What started as a headstrong journey driven by a Western tourist’s curiosity became a progression of discovery as Folbre learned the value of getting lost and embracing surprises, listening deeply, and finding strength in the unknown. Throughout her travels, she journaled and illustrated her encounters. What emerged was a framework for her to rethink her worldview and adopt a journey-over-destination and process-over-outcome perspective, recognizing a way of living that holds as many questions as answers and can be genuinely beautiful.

There’s no such thing as the middle of nowhere. Everywhere is the middle of somewhere for some living being. That was Suzanne Stryk’s mantra as she journeyed through her home state on a mission inspired by the reflective, encyclopedic sensibility of Thomas Jefferson’s book Notes on the State of Virginia. While acknowledging the moral contradictions in the founding father’s work and life, Stryk offers a contemporary interpretation of Virginia’s ecology from a visual artist’s point of view. The Middle of Somewhere is an assemblage of essays, sketches, and ephemera from her travels. In a challenge that is universal, Stryk invites us to travel slowly, tread lightly, and look closely at each somewhere that defines a place.

“Woodsqueer” is sometimes used to describe the mindset of a person who has taken to the wild for an extended period of time. Gretchen Legler is no stranger to life away from the rapid-fire pace of the twenty-first century, which can often lead to a kind of stir-craziness. Woodsqueer chronicles her experiences intentionally focusing on not just making a living but making a life—in this case, an agrarian one more in tune with the earth on eighty acres in backwoods Maine.

Building a home with her partner, Ruth, on their farm means learning to live with solitude, endless trees, and the wild animals the couple come to welcome as family. Whether trying to outsmart their goats, calculating how much firewood they need for the winter, or bartering with neighbors for goods and services, they hone life skills brought with them (carpentry, tracking and hunting wild game) and other skills they learn along the way (animal husbandry, vegetable gardening, woodcutting).

Legler’s story is at times humbling and grueling, but it is also amusing. A homage to agrarian American life echoing the back-to-the-land movement popularized in the mid-twentieth century, Woodsqueer reminds us of the benefits of living close to the land. Legler unapologetically considers what we have lost in America, in less than a century—individually and collectively—as a result of our urban, mass-produced, technology-driven lifestyles.
Illustrated with rustic pen-and-ink illustrations, Woodsqueer shows the value of a solitary sojourn and both the pathway to and possibilities for making a sustainable, meaningful life on the land. The result, for Legler and her partner, is an evolution of their humanity as they become more physically, emotionally, and even spiritually connected to their land and each other in a complex ecosystem ruled by the changing seasons.

The phrase “an animal a thousand miles miles long,” attributed to Aristotle, refers to a sprawling body that cannot be seen in its entirety from a single angle, a thing too vast and complicated to be knowable as a whole.

For Leath Tonino, the animal a thousand miles long is the landscape of his native Vermont. Tonino grew up along the shores of Lake Champlain, situated between Vermont’s Green Mountains and New York’s Adirondacks. His career as a nature and travel writer has taken him across the country, but he always turns his eye back on his home state. “All along,” he writes, “I’ve been exploring various parts of the animal, trying to make a prose map of its body—not to understand it in a conclusive or definitive way but rather to celebrate it, to hint at its possibilities.”

This fragmented yet deep search is the overarching theme of the twenty essays in The Animal One Thousand Miles Long. Tonino posits that geography, natural history, human experience, and local traditions, seasons, and especially atypical outings—on skis, bicycles, sleds, and boogie boards—can open us to a place and, simultaneously, open a place to us. He looks closely at what he calls "huge-small" Vermont, but his underlying mission is to demonstrate our collective need to better understand the meaning of place, especially the ones we call home and think we know best. From Laredo to Jackson Hole, San Francisco to Burlington, his sensibility is applicable to us all.

In his signature piece, “Seven Lengths of Vermont,” he traverses the length of the state in seven different ways—a twenty-day hike, 500 miles on bicycle, a thirty-six-ride hitchhiking tour, 260 miles in a canoe, ten days swimming Lake Champlain, a three-week ski trek, and a two-hour “vast and fast” flyover. He plots each route with blue ink on maps strung across his office. “Each inky thread was an animal a thousand miles long,” he writes. “Vermont appeared before me as a menagerie.”

What Bill Bryson's A Walk in the Woods did for the Appalachian Trail and Peter Mayle's A Year in Provence did for the South of France, Tonino's affinity for the land he calls home gives a new perspective on the Green Mountain State. His infectious love of the outdoors, the ground of everyday life, should inspire us to explore the places just outside our own front door.

Laika began her life as a stray dog on the streets of Moscow and died in 1957 aboard the Soviet satellite Sputnik II. Initially the USSR reported that Laika, the first animal to orbit the earth, had survived in space for seven days, providing valuable data that would make future manned space flight possible. People believed that Laika died a painless death as her oxygen ran out. Only in recent decades has the real story become public: Laika died after only a few hours in orbit when her capsule overheated. Laika’s Window positions Laika as a long overdue hero for leading the way to human space exploration.

Kurt Caswell examines Laika’s life and death and the speculation surrounding both. Profiling the scientists behind Sputnik II, he studies the political climate driven by the Cold War and the Space Race that expedited the satellite’s development. Through this intimate portrait of Laika, we begin to understand what the dog experienced in the days and hours before the launch, what she likely experienced during her last moments, and what her flight means to history and to humanity. While a few of the other space dog flights rival Laika’s in endurance and technological advancements, Caswell argues that Laika’s flight serves as a tipping point in space exploration “beyond which the dream of exploring nearby and distant planets opened into a kind of fever from which humanity has never recovered.”

Examining the depth of human empathy—what we are willing to risk and sacrifice in the name of scientific achievement and our exploration of the cosmos, and how politics and marketing can influence it—Laika’s Windowis also about our search to overcome loneliness and the role animals play in our drive to look far beyond the earth for answers.

The Plazas of New Mexico documents the rich heritage of New Mexico’s plazas and the everyday life and community celebrations that help sustain them. It traces three distinct design traditions — the Native American center place with kiva and terraced residential blocks, the Hispanic plaza with church and courtyard houses, and the Anglo square with courthouse and business blocks. This landmark volume has resulted from a multi-year research project involving 50 students, a half dozen faculty members, and outside experts working through the Historic Preservation and Regionalism program at the University of New Mexico School of Architecture and Planning. New Mexico's plazas, like urban spaces everywhere, are gaining renewed attention in this time when the challenges of sustainability have sparked the Smart Growth movement, urban revitalization and intensified historic preservation. Detailing the success of restoration projects, this book shows how to encourage heritage tourism in the service of, rather than at the expense of, local quality of life and community sustainability.

"A volume for a lifetime" is how The New Yorker described the first of Donald Culross Peatie's two books about American trees published in the 1950s. In this one-volume edition, modern readers are introduced to one of the best nature writers of the last century. As we read Peattie's eloquent and entertaining accounts of American trees, we catch glimpses of our country's history and past daily life that no textbook could ever illuminate so vividly.

Here you'll learn about everything from how a species was discovered to the part it played in our country’s history. Pioneers often stabled an animal in the hollow heart of an old sycamore, and the whole family might live there until they could build a log cabin. The tuliptree, the tallest native hardwood, is easier to work than most softwood trees; Daniel Boone carved a sixty-foot canoe from one tree to carry his family from Kentucky into Spanish territory. In the days before the Revolution, the British and the colonists waged an undeclared war over New England's white pines, which made the best tall masts for fighting ships.

It's fascinating to learn about the commercial uses of various woods -- for paper, fine furniture, fence posts, matchsticks, house framing, airplane wings, and dozens of other preplastic uses. But we cannot read this book without the occasional lump in our throats. The American elm was still alive when Peattie wrote, but as we read his account today we can see what caused its demise. Audubon's portrait of a pair of loving passenger pigeons in an American beech is considered by many to be his greatest painting. It certainly touched the poet in Donald Culross Peattie as he depicted the extinction of the passenger pigeon when the beech forest was destroyed.

A Natural History of North American Trees gives us a picture of life in America from its earliest days to the middle of the last century. The information is always interesting, though often heartbreaking. While Peattie looks for the better side of man's nature, he reports sorrowfully on the greed and waste that have doomed so much of America's virgin forest.

Former President Ronald Reagan called Eva Castellanoz a "national treasure" when he awarded her an NEA National Heritage Fellowship in 1987. Featured in National Geographic, National Public Radio, and numerous other publications, Castellanoz is celebrated as a folk artist, community activist and a curandera, a traditional Mexican healer who uses a mind-body-spirit approach. During her 16 year friendship with Joanne Mulcahy, Castellanoz has revealed her life story as well as her remedios — her remedies, both medicinal and metaphoric — for life's maladies. Using her own observations and Castellanoz’s stories, Mulcahy employs creative nonfiction and oral accounts to portray the life, beliefs, and practices of this remarkable woman. Anyone who has been healed by Eva Castellanoz has felt her power and wisdom. Anyone who reads this vivid portrait will come away feeling wiser and empowered by the story of this courageous and loving healer.

At eighteen, Vermont-native Leath Tonino ventured west to attend college in Colorado. Upon hearing his destination, many of Tonino’s friends and family predicted that he’d never come back; he’d make the “land of endless space and sky, its ranges and their storms” his home. “The West will swallow you,” one said, in a tone that felt like part warning and part prophecy.

More than a decade later Tonino continues to call Vermont his home. But despite his love of New England and his admiration for writers who sing the praises of their native ground, he concedes that he is, as Gary Snyder once phrased it, “promiscuous with landscapes.” Tonino has spent the intervening years since college traversing “the alphabet of the American West from AZ to CA to UT to WY” and writing about its mysterious and powerful beauty. The resulting musings are collected in The West Will Swallow You, the title of which is a nod to the words that stayed with him and that, in many ways, turned out to be true.

Although the adventures gathered here range widely in terrain and tone, the western landscape is always front and center—focusing on Arizona’s remote Kaibab Plateau, where Tonino worked as a biologist studying raptor communities, in San Francisco’s overgrown nooks and crannies and pigeon-flocked park benches, on ranches in Wyoming, at campsites in Nevada, in the mountains of Colorado, and “in libraries and national monuments, in people, in a midnight fox’s eyes, in the rushing wind.”

Why is something a masterpiece? Art History 101 . . . Without the Exams is about revisiting famous works of art that we may have studied in an art history class or seen in a textbook. Each discussion delves into one great masterpiece and asks the questions that help us understand how it has shaped history. What is the piece about? How did the original owner look at this piece? Where was it originally placed? Why is it in this museum now? How did it get famous? From the sixth-century mosaics of Ravenna and the painted bulls of Altamira, Spain, dated 12,500 BCE, to an incense burner from twelfth-century Seljuk Iran, frescoes from a Late Byzantine funerary chapel, and masterworks by Botticelli, Caravaggio, Monet, and Sargent, this book shows readers how to look closely. It welcomes us to the joy of art history—but without the papers, notes, and exams.

At age forty, Parker surrendered to her Swept Away meets Swiss Family Robinson fantasy of running an inn far from her home in the Pacific Northwest. For the next twenty-plus years Parker ran La Finca Caribe, an eco-lodge in Vieques, Puerto Rico. What started as a rough-and-tumble dream grew into a paradise enjoyed by guests from around the world. Sketchbook in hand, Parker chronicled her daily adventures living with the land. La Finca is a lively graphic memoir about a woman creating a new life amid countless challenges, including hurricanes that led her to reconsider everything. It is a story about trusting oneself, self-discovery, accepting disappointment and loss, and falling in love with a place.

From the 1870s to the 1920s, British-born architect Alfred Giles designed everything from simple domestic residences and showy mansions to county courthouses and commercial structures throughout Texas and northern Mexico. He was highly regarded at the time for adapting and combining stylistic elements with sobriety and simplicity. The Architectural Legacy of Alfred Gilesbook highlights his restored buildings, with an appendix devoted to his work in Mexico. Included are color photographs of these restorations taken by architect Eugene George, along with illuminating black-and-white historical images.

Equal parts art, biography, and history, Colors on Clay brings to life the artistry, designers, and styles that brought the San José Workshops’ distinctive art pottery to international prominence. Author Susan Toomey Frost tells the story of how two colorful characters, Ethel Wilson Harris and her talented designer Fernando Ramos, revived a dying Mexican art and eventually became the driving forces behind three San Antonio art tile factories, known collectively as the San José Workshops. Produced from 1931 through 1977, the factories’ tiles and wares became celebrated throughout the world and prized in San Antonio for both public and private installations. In addition to historical and biographical information, Frost provides detailed information on authentic tiles, helping collectors steer clear of the many reproductions on the market. Featuring 300 full-color illustrations, including never-before-seen drawings, this exhaustively researched and eminently readable book is an important addition to any collector’s library.

Yosemite is a world-famous location that has attracted photographic greats like Eadweard Muybridge, Edward Weston, and Ansel Adams, along with environmentalists, mountaineers, and countless tourists. Yosemite in Time puts this landscape and its history in a new perspective, with Mark Klett and Byron Wolfe’s original photographs and panoramas, together with rephotographs of some of the most enduring images taken at Yosemite. In three essays, noted critic Rebecca Solnit brings in nature, culture, and politics to look through the past to understand the present. As she writes in her introduction, “Yosemite is a singular place onto which are mapped myriad expectations and desires.” To track many of those designs, Klett, Solnit, and Wolfe made multiple expeditions over three years.

They found the exact points where Muybridge, Weston, and Adams stood to photograph what would become seminal views of a grand landscape; they replicated the exact time of day and year of the earlier photographs in order to get exactly the same angle of light. While Klett and Wolfe brought both precision and invention to their rephotography, Solnit reconstructed the layers of meaning and overlapping ideas entwined with the “steep, intricate, hallowed, scarred landscape of Yosemite.”

Together, the photographs and essays reconsider the iconic status of Yosemite in America’s conception of wilderness, examine how the place was interpreted by early Euro-Americans, and show how our conceptions of landscape have altered and how the landscape has changed—or not—over time. Arresting and incisive, Yosemite in Time explores the environmental and photographic history, science, and politics of a site that has long captured our collective imagination.

Places for the Spirit is a stunning collection of over 80 documentary photographs of African American folk gardens — and their creators — in the Deep South (Louisiana, Mississippi, Alabama, Georgia, South Carolina, and North Carolina). These landscapes have a unique historical significance due to the design elements and spiritual meanings that have been traced to the yards and gardens of American slaves and further back to their prior African heritage. These deceptively casual or whimsical foliage arrangements are subtle and symbolic reminders of the divine in everyday life, the cycles of nature, and implied right and wrong ways to live. In the spirit of “outsider” art traditions, blues musical roots, and other such folk manifestations, these gardens have a unique aesthetic and cultural significance. Over 20 years in the making, this is the first collection of fine art photography to document this subject and, as such, it adds greatly to our understanding and appreciation of this disappearing element of African American culture.

How is it that during a war, one can still find gardens? In the most brutal environments, on both the home front and the battlefield, they continue to flourish. Wartime gardens are dramatic examples of what Kenneth Helphand calls “defiant gardens” — gardens created in extreme social, political, economic, or cultural conditions. Illustrated with archival photos, this remarkable book examines gardens of war in the 20th century, including extraordinary examples built behind the trenches in World War I, in the Warsaw and other ghettos during World War II, and in Japanese-American internment camps, as well as gardens created by soldiers at their bases and encampments during wars in the Persian Gulf, Vietnam, and Korea. Winner of the Environmental Design Research Association award and other honors, Defiant Gardens proves that these man-made constructs are far more than decorative diversions or simple sanctuaries from the stresses of daily life.

The incomparable Rebecca Solnit, author of more than a dozen acclaimed, prizewinning books of nonfiction including Men Explain Things To Me, brings the same dazzling writing to the essays in The Encyclopedia of Trouble and Spaciousness; hailed by the Los Angeles Times as "globally wide-ranging and topically urgent and the Boston Globe as "luminous and precise.". As the title suggests, the territory of Solnit’s concerns is vast, and in her signature alchemical style she combines commentary on history, justice, war and peace, and explorations of place, art, and community, all while writing with the lyricism of a poet to achieve incandescence and wisdom.

Gathered here are celebrated iconic essays along with little-known pieces that create a powerful survey of the world we live in, from the jungles of the Zapatistas in Mexico to the splendors of the Arctic. This rich collection tours places as diverse as Haiti and Iceland; movements like Occupy Wall Street and the Arab Spring; an original take on the question of who did Henry David Thoreau’s laundry; and a searching look at what the hatred of country music really means.

Solnit moves nimbly from Orwell to Elvis, to contemporary urban gardening to 1970s California macramé and punk rock, and on to searing questions about the environment, freedom, family, class, work, and friendship. It’s no wonder she’s been compared in Bookforum to Susan Sontag and Annie Dillard and in the San Francisco Chronicle to Joan Didion.

The Encyclopedia of Trouble and Spaciousness proves Rebecca Solnit worthy of the accolades and honors she’s received. Rarely can a reader find such penetrating critiques of our time and its failures leavened with such generous heapings of hope. Solnit looks back to history and the progress of political movements to find an antidote to despair in what many feel as lost causes. In its encyclopedic reach and its generous compassion, Solnit’s collection charts a way through the thickets of our complex social and political worlds. Her essays are a beacon for readers looking for alternative ideas in these imperiled times.

Enchiladas: Aztec to Tex-Mex is an in-depth exploration of one of Mexico’s most historic and popular foods. Illustrated with sumptuous photography, the book showcases more than sixty traditional and contemporary recipes for enchiladas, as well as recipes for the salsas, salads, and sides that accompany them.

The enchilada is more than an everyday Mexican food. It is the history of a people--rolled, folded, and flat--that embodies thousands of years of Mexican life. The evolving ingredients in enchiladas from pre-Columbian to modern times reveal the internal and external forces that have shaped the cuisine and culture of a nation. In this definitive cookbook, you’ll explore every aspect of this iconic food, as well as gain insights into many popular Mexican ingredients, including herbs, spices, cheeses, and chiles. You’ll learn the basic techniques for making many staples of the Mexican cocina, such as homemade tortillas, queso fresco, crema Mexicana, and chorizo. With Enchiladas: Aztec to Tex-Mex, you can prepare enchiladas in the traditional Mexican way--with loving hands.

With this book, you'll learn to make corn tortillas from scratch, including colorful flavor-infused versions; fire roast fresh chiles and prepare dried chiles for enchilada sauces and moles; dry roast tomatoes, onions, garlic, and chiles using a traditional comal (griddle); make your own homemade queso fresco, crema Mexicana, and chorizo; prepare tender pot beans and savory refried beans
Cook perfect Mexican rice--six ways; prepare chicken, pork, beef, seafood, and vegetables for fillings.

Enchiladas: Aztec to Tex-Mex is also packed with information about many other key ingredients of Mexican cuisine, including avocados, tomatoes, tomatillos, and nopales (cactus). A section on Mexican cheeses describes their flavors, textures, melting properties, and possible substitutes. Fresh and dried chiles used in enchilada cookery are presented, along with a description of their flavor profiles, heat levels, and specific uses. Experience the history of Mexico through its most delicious ambassador, the enchilada!

Writing Architecture considers the process, methods, and value of architecture writing based on Wiseman’s 30 years of experience in writing, editing, and teaching young architects how to write. This book creatively tackles a problematic issue that Wiseman considers crucial to successful architecture writing: clarity of thinking and expression. He argues that because we live our lives within the built environment, architecture is the most comprehensive and complex of all art forms.

Written as a primer for both college-level students and practitioners, Writing Architecture acknowledges and explores the boundaries between different techniques of architecture writing from myriad perspectives and purposes. Using excerpts from writers in different genres and from different historical periods, Wiseman offers a unique and authoritative perspective on the comprehensible writing skills needed for success.

The Osage Orange Tree, a never-before-published story by beloved poet William Stafford, is about young love complicated by misunderstanding and the insecurity of adolescence, set against the backdrop of poverty brought on by the Great Depression. The narrator recalls a girl he once knew. He and Evangeline, both shy, never find the courage to speak to each other in high school. Every evening, however, Evangeline meets him at the Osage orange tree on the edge of her property. He delivers a newspaper to her, and they talk—and as the year progresses a secret friendship blossoms. This magical coming-of-age tale is brought to life through linocut illustrations by Oregon artist Dennis Cunningham, with an afterword by poet Naomi Shihab Nye, a personal friend of Stafford’s.

In the tradition of the work of great fiction writers like Steinbeck, O’Connor, and Welty, The Osage Orange Tree stands the test of time, not just as an ode to a place and a generation but as a testament to the resilience of a nation and the strength of the human heart.

A classic book authored by the foremost architectural historian in America, this fully illustrated history of American architecture and city planning is based on Vincent Scully's conviction that architecture and city planning are inseparably linked and must therefore be treated together. He defines architecture as a continuing dialogue between generations which creates an environment across time. This definitive survey extends beyond the cities themselves to the American scene as a whole, which has inspired the reasonable balanced, closed and ordered forms, and above all the probity, that he feels typifies American architecture.

Arturo Madrid's homeland is in the shadow of the Rocky Mountains in northern New Mexico, where each town seems a world apart from the next, and where family histories that extend back four centuries bind the people to the land and to one another.This New Mexico is a land of struggle and dispute, a place in which Madrid's ancestors predate those who landed at Plymouth Rock.

In the Country of Empty Crosses is Madrid’s complex yet affirming memoir about lands before the advent of passable roads--places such as Tierra Amarilla, San Augustín [insert "u" and note accent on I], and Los Fuertes that were once among the most remote in the nation. Madrid grew up in a family that was doubly removed from the community: as Hispanic Protestants, they were a minority among the region's politically dominant Anglo Protestants and a minority within the overwhelmingly Catholic Hispanic populace.

Madrid writes affectingly of the tensions, rifts, and disputes that punctuated the lives of his family as they negotiated prejudice and racism, casual and institutional, to advance and even thrive as farmers, ranchers, and teachers. His story is affectionate as well, embracing generations of ancestors who found their querencias—their beloved home places—in that beautiful if sometimes unforgiving landscape. The result is an account of New Mexico unlike any other, one in which humor and heartache comfortably coexist. Complemented by stunning images by acclaimed photographer Miguel Gandert -- ranging from intimate pictures of unkempt rural cemeteries to New Mexico's small villages and stunning vistas -- In the Country of Empty Crosses is a memoir of loss and survival, of hope and redemption, and a lyrical celebration of an often misunderstood native land and its people.

Acclaimed poet and MacArthur Foundation Fellow, Lucia Perillo, a former park ranger who loved to hike the Cascade Mountains alone and prided herself on daring solo skis down the wild slopes of Mount Rainier, was diagnosed with multiple sclerosis when she was in her thirties. I've Heard the Vultures Singing is a clear-eyed and brazenly outspoken examination of her life as a person with disabilities. In unwavering and witty prose, and without a trace of self-pity, she contemplates the bitter ironies of being unable to walk, what it’s like to experience eros as a sick person, how to lower one’s expectations for a wilderness experience, and how to deal with the vagaries of a disease that has no predictable trajectory. Masterfully written, the essays resonate with lovers of literature and nature, and with anyone who has dealt with disadvantages of the body or the hard-luck limitations of ordinary life.

In this eclectic anthology, more than 20 scientists, nature writers, poets, and Zen practitioners, attest to how paying attention to nature can be a healing antidote to the hectic and harrying pace of our lives. Throughout this provocative and uplifting book, writers describe their various experiences in nature and portray how careful, and mindful, attention to the larger world around us brings rewarding and surprising discoveries. They give us the literary, personal, and spiritual stories that point a way toward calm and quiet for which many people today hunger. Contributors to The Way of Natural History highlight their individual ways of paying attention to nature and discuss how their experiences have enlivened and enhanced their worlds. The anthology is a rich array of writings that provide models for interacting with the natural world, and together, create a call for the importance of natural history as a discipline. Contributors include Robert Aitken, John Anderson, Paul Dayton, Alison Hawthorne Deming, Cristina Eisenberg, Dave Foreman, Wren Farris, Thomas Lowe Fleischner, Charles Goodrich, R. Edward Grumbine, Jane Hirshfield, Robin Wall Kimmerer, Ken Lamberton, Robert Macfarlane, Kathleen Dean Moore, Robert Michael Pyle, Sarah Juniper Rabkin, Scott Russell Sanders, Laura Sewall, John Tallmadge, Richard Thompson, and Stephen C. Trombula.

A Kite in the Wind is an anthology of essays by 20 veteran writers and master teachers. While the contributors offer specific, practical advice on such fundamental aspects of craft as characterization, character names, the first person point of view, and unreliable narrators, they also give extended, thoughtful consideration to more sophisticated topics, including “imminence,” or the power of a sense of beginning; creating and maintaining tension; “lushness”; and the deliberate manipulation of information to create particular effects.

The essays in A Kite in the Wind begin as personal investigations — attempts to understand why a decision in a particular story or novel seemed unsuccessful; to define a quality or problem that seemed either unrecognized or unsatisfactorily defined; to understand what, despite years of experience as a fiction writer, resisted comprehension; and to pursue haunting, even unanswerable questions.

Unlike a how-to book, the anthology is less an instruction manual than it is an intimate visit with twenty very different writers as they explore topics that excite, intrigue, and even puzzle them. Each discussion uses specific examples and illustrations, including both canonical stories and novels and writing less frequently discussed, from the 19th, 20th, and 21st centuries, by both American and international authors.

The contributors share their hard-earned insights for beginning and advanced writers with humility, wit, and compassion. The first section of the book focuses on narration, with particular attention paid to various kinds of narrators; the second, on strategic creation and presentation of character; the third, on some of the roles of the visual, beginning with establishing setting; and the fourth, on structural and organizational issues, from movement through time to the manipulation of information to create mystery and suspense. Contributors include Wilton Barnhardt, Andrea Barrett, Charles Baxter, Karen Brennan, Maud Casey, Lan Samantha Chang, Robert Cohen, Stacey D’Erasmo, Judy Doenges, Anthony Doerr, C. J. Hribal, Michael Martone, Kevin McIlvoy, Alexander Parsons, Frederick Reiken, Steven Schwartz, Dominic Smith, Debra Spark, Megan Staffel, Sarah Stone, and Peter Turchi.

When Jennifer Case became pregnant unexpectedly with her second child, she was overwhelmed at the prospect of caring for another child in a society with high expectations and low support for mothers. She sought to reclaim control over, if not her changing body, then at least her rapidly declining mental health. Immersing herself in research, Case learned that the United States has one of the highest maternal death rates among developed countries. One in every five women develops a mental health issue as a result of pregnancy. It became clear to her that in order to address the sexism and isolation mothers face—including the racism that further marginalizes women of color—we must recognize these as social problems that affect us all.

We Are Animals draws attention to these issues by examining key moments in Case’s life where her experience as both a woman in twenty-first-century America and a child-bearing mammal, and the conflicts between these two identities, were brought into sharp relief. From the surprising salve of parasocial interactions on baby forums to the not so surprisingly intertwined history of industrial dairy farming and wearable breast pumps, Case explores an array of realities that give historical and cultural context to the experience of motherhood.

The essays collected here offer a balm for women who have struggled in silence over childbirth trauma, conflicted responses to motherhood, or a deeply felt intuition that what their bodies needed as mothers did not match what society provided. They also offer a much needed, nuanced perspective for policymakers, activists, and medical professionals who continue to shape women’s experience of motherhood.

Witness to War presents a compelling visual record of a young American man’s venture in Mexico as the country veered into revolution in the early 1900s. Walter Elias Hadsell, a skilled photographer who had recently graduated as a mining engineer, documented a critical period of foreign investment in Mexico’s mining industry and, in the process, captured scenes of Mexican life in other cities.

Susan Toomey Frost draws from an extensive collection of Hadsell’s original photographic prints to narrate his ten years in Mexico. The images in Witness to War follow him from his time as a mining engineer in Mexico to his 1917 return to mining in Arizona, his home state.

Planning for a future career in photography, Hadsell soon acquired the Kodak franchise for Veracruz, Mexico’s most important port since colonial times. He documented the damage done in Mexico City during a ten-day uprising in 1913 that led to the assassination of Mexican president Francisco Madero.

Veracruz became a vortex for U.S. interference in the Mexican Revolution when President Woodrow Wilson invaded the country in 1914 in an attempt to thwart Mexico's successor president and to favor opposing forces. Hadsell, as a resident American citizen, had immediate access to the military operation as it unfolded. His images are essential historical records of Wilson’s intervention in Mexican affairs.

Hadsell’s camera recorded images of a defenseless city disrupted by the landing of thousands of American troops. With no exit plan, U.S. forces remained for seven months before abruptly departing. Hadsell’s personal life took a tragic turn with the death of his wife, who left him with three young children, all born in Mexico. He endured another tragedy with the loss of his Veracruz studio during a period of anti-Americanism, though he ultimately left a rich legacy documenting U.S.-Mexico relations at a critical time.

Looking for adventure and continuing a process of self-discovery, Janisse Ray has repeatedly set out to immerse herself in wildness, to be wild, and to learn what wildness can teach us. From overwintering with monarch butterflies in Mexico to counting birds in Belize, the stories in Wild Spectacle capture her luckiest moments—ones of heart-pounding amazement, discovery of romance, and moving toward living more wisely. In Ray’s worst moments she crosses boundaries to encounter danger and embrace sadness.

Anchored firmly in two places Ray has called home—Montana and southern Georgia—the sixteen essays here span a landscape from Alaska to Central America, connecting common elements in the ecosystems of people and place. One of her abiding griefs is that she has missed the sights of explorers like Bartram, Sacagawea, and Carver: flocks of passenger pigeons, routes of wolves, herds of bison. She craves a wilder world and documents encounters that are rare in a time of disappearing habitat, declining biodiversity, and a world too slowly coming to terms with climate change.

In an age of increasingly virtual, urban life, Ray embraces the intentionality of trying to be a better person balanced with seeking out natural spectacle, abundance, and less trammeled environments. She questions what it means to travel into the wild as a woman, speculates on the impacts of ecotourism and travel in general, questions assumptions about eating from the land, and appeals to future generations to make substantive change.

Wild Spectacle explores our first home, the wild earth, and invites us to question its known and unknown beauties and curiosities.

Mary Parrish was reading in her home when the Tulsa race massacre began on the evening of May 31, 1921. Parrish’s daughter, Florence Mary, called the young journalist and teacher to the window. “Mother,” she said, “I see men with guns.” The two eventually fled and unwittingly became eyewitnesses to the death of hundreds of Black Oklahomans and the destruction of the Greenwood district, a prosperous, primarily Black area known nationally as Black Wall Street. The Nation Must Awake is Parrish’s first-person account, compiled along with the recollections of nearly two dozen others, of what is now recognized as the single worst incident of racial violence in U.S. history.

Pan Dulce is filled with recipes, personal stories, and songs celebrating the history, culture, and creation of Mexico’s sweetest heritage. Accompanied by glowing photography and illustrations, it is more than a history. It is a cookbook, a cultural experience, and the largest A to Z of pan dulces ever published.

Pan dulce, an integral part of Mexican and Mexican American food culture, brings people together in panaderías and at home as the breads are shared with generations of family for breakfast, at afternoon meriendas, during holidays, or anytime at all. Follow the smell of the sugars, spices, and freshly baked breads, and you’ll discover pan dulce’s development from indigenous origin to colonial fusion, from Aztec maize to French croissants. Explore the lives of the panaderos who create new and traditional baked goods and read about the naming customs that produced the tongue-in-cheek pedo de monja and the historical conde. Reference the entries of more than a thousand pan dulces, and peruse stories of popular sweet breads, from flaky, crunchy campechanas to brightly colored cortadillos. Take your reading into the kitchen with some twenty authentic recipes from Ellen Riojas Clark, beloved Mexican cookbook authors, and panaderos from Texas and Mexico.

Pan Dulce celebrates the traditions surrounding this vital culinary culture. In cataloging the names and histories of the different varieties, the compendium honors pan dulce’s journey to becoming an indispensable part of Mexican culture and a developing food in the United States, preserving this delicious custom in bread.

Flat track roller derby is one of the country’s fastest growing sports. What started as a single league in Austin, Texas, a couple of decades ago has grown into an international phenomenon, with nearly two thousand leagues around the world.

Rollergirls captures the spirit of the game, which is poised to become an Olympic sport, and highlights the women who have become known as the godmothers of modern-day roller derby. Documentary photographer Felicia Graham takes readers on a visual tour of more than 160 black-and-white images, showcasing the confidence it takes to become a rollergirl and the camaraderie that develops among the players. Focusing on the Texas League, where it all began, Graham celebrates the culture and personality of flat track derby everywhere.

Despite their different reasons for joining the sport, women of varying professions, ages, and lifestyles have made roller derby uniquely their own. With tongue-in-cheek team names like the Hotrod Honeys and personas like Sparkle Plenty and Buckshot Betty, the players use their brains and brawn to master the strategic game while also expanding the sport internationally. It’s all done with bravado and a brash sense of humor unique to full-contact sports.

Graham has been photographing the Texas Rollergirls on and off the track, in Texas and on the international circuit, for more than a decade. Spending untold hours with the league and collecting thousands of photographs of pivots and blockers, adoring crowds, and the sweat of the bench, she has created a visual narrative of women who embody the freedom of flying around the track. In these pages, readers learn how regular girls become rollergirls--determined, athletic, intimidating, and powerful, all on their own terms.

Elephants have captivated the human imagination for as long as they have roamed the earth, appearing in writings and cultures from thousands of years ago and still much discussed today. In Thirty-Three Ways of Looking at an Elephant, veteran scientific writer Dale Peterson has collected thirty-three essential writings about elephants from across history, with geographical perspectives ranging from Africa and Southeast Asia to Europe and the United States. An introductory headnote for each selection provides additional context and insights from Peterson’s substantial knowledge of elephants and natural history.

The first section of the anthology, “Cultural and Classical Elephants,” explores the earliest mentions of elephants in African mythology, Hindu theology, and Aristotle and other ancient Greek texts. “Colonial and Industrial Elephants” finds elephants in the crosshairs of colonial exploitation in accounts pulled from memoirs commoditizing African elephants as a source of ivory, novel targets for bloodsport, and occasional export for circuses and zoos. “Working and Performing Elephants” gives firsthand accounts of the often cruel training methods and treatment inflicted on elephants to achieve submission and obedience.

As elephants became an object of scientific curiosity in the mid-twentieth century, wildlife biologists explored elephant families and kinship, behaviors around sex and love, language and self-awareness, and enhanced communications with sound and smell. The pieces featured in “Scientific and Social Elephants” give readers a glimpse into major discoveries in elephant behaviors. “Endangered Elephants” points to the future of the elephant, whose numbers continue to be ravaged by ivory poachers. Peterson concludes with a section on fictional and literary elephants and ends on a hopeful note with the 1967 essay “Dear Elephant, Sir,” which argues for the moral imperative to save elephants as an act of redemption for their systematic abuse and mistreatment at human hands.

Essential to understanding the history and experience of this beloved and misunderstood creature, Thirty-Three Ways of Looking at an Elephant is a must for any elephant lover or armchair environmentalist.

The Last Speaker of Bear is the patchwork story of a life spent traveling in the north from Alaska to Siberia. Lawrence Millman first visited northern Canada as a child and has spent four decades since on some thirty-five expeditions in search of undeveloped landscapes and traditional cultures, not to mention untamed wildlife. While much of his experience is centered in Canada—including territories from Yukon to Quebec and Newfoundland/Labrador—he includes stories from villages in Greenland, Iceland, and Norway as well.

Early on, Millman developed a reverence for the wisdom of indigenous and native communities with histories spanning centuries: Inuit, Inuk, Innu, Alutiiq, Cree, and others. Whether dining on mushrooms, fungus, tobacco leaves, or unusual foods that would have made even Andrew Zimmern or Anthony Bourdain turn up their noses, or exploring northern tundras, rugged mountains, or remote islands, he paints a picture of people often living in tenuous conditions but rooted in a faith that their worlds will provide for them. Relationships with bears, caribou, reindeer, walruses, seals, whales, and abundant avian life serve spiritual, companionship, and sustenance purposes. Traditions grounded in family and community rituals thrive, as do lost languages, natural medicine, and time-honored ways to survive difficult circumstances.. 

In this collection of vignettes, Millman reminds us of the potency of endangered knowledge as well as the importance of paying close attention to the natural world. He opens our eyes to a life in remote places thousands of miles from the fast-paced, urban world so many of us inhabit.

In (Don’t) Stop Me If You’ve Heard This Before, Peter Turchi combines personal narrative and close reading of a wide range of stories and novels to reveal how writers create the fiction that matters to us. Building on his much-loved Maps of the Imagination: The Writer as Cartographer, Turchi leads readers and writers to an understanding of how the intricate mechanics of storytelling—including shifts in characters’ authority, the subtle manipulation of images, careful attention to point of view, the strategic release of information, and even digressing from the (apparent) story—can create powerful effects.

Using examples from Dickens, Chekhov, and Salinger, and Twain to more contemporary writers including Toni Morrison, Alice Munro, E. L. Doctorow, Jenny Erpenbeck, Adam Johnson, Mohsin Hamid, Jai Chakrabarti, Yoko Ogawa, Richard Powers, Deborah Eisenberg, Olga Tokarczuk, Rachel Cusk, and Colson Whitehead, Turchi offers illuminating insights into the inner workings of fiction as well as practical advice for writers looking to explore their craft from a fresh angle beyond the fundamentals of character and setting, plot, and scene.

While these essays draw from decades of teaching undergraduate and graduate students, they also speak to writers working on their own. In “Out of the Workshop, into the Laboratory,” Turchi discusses how anyone can make the most of discussions of stories or novels in progress, and in “Reading Like a Writer” he provides guidelines for learning from writing you admire. Perhaps best of all, these essays by a writer the Houston Chronicle has called “one of the country’s foremost thinkers on the art of writing” are as entertaining as they are edifying, always reminding us of the power and pleasure of storytelling.

David Lesch is a modern-day Renaissance man whose work has spanned continents and allowed him to explore cultures near and far. An acclaimed scholar, educator, author, and conflict resolution specialist, he has advised five U.S. White Houses and their cabinets about the head-spinning political, religious, and cultural complexities of the Middle East. He is the author or editor of seventeen books, including The History of the Middle East since the Rise of Islam, Syria: A Modern History, and The Arab-Israeli Conflict: A History.

Long before, as the number one draft pick for the Los Angeles Dodgers in 1980, Lesch followed his American dream, playing with many baseball greats until a shoulder injury sidelined him. He later became a distinguished professor of Middle East studies at Trinity University in San Antonio and was soon tapped by the United Nations, the U.S. State Department, and policy centers and governments internationally.

Dodgers to Damascus documents a part of the world that has been shrouded in mystery and plagued by conflict, power struggles, and warfare, and offers a firsthand glimpse inside modern Syria, its neighboring countries, and their connections to the rest of the world.
Lesch’s work in Syria resulted in a tenuous relationship with President Bashar al-Assad and many tense situations, including a poisoned meal that almost cost him his life. His encounters with elected officials, diplomats, spies, and conflict resolution specialists have all the elements of a Hollywood thriller and parallel his personal story of loss, crisis, and redemption.

Lesch’s work in Syria resulted in a tenuous relationship with President Bashar al-Assad and many tense situations, including a poisoned meal that almost cost him his life. His encounters with elected officials, diplomats, spies, and conflict resolution specialists have all the elements of a Hollywood thriller and parallel his personal story of loss, crisis, and redemption.

“Woodsqueer” is sometimes used to describe the mindset of a person who has taken to the wild for an extended period of time. Gretchen Legler is no stranger to life away from the rapid-fire pace of the twenty-first century, which can often lead to a kind of stir-craziness. Woodsqueer chronicles her experiences intentionally focusing on not just making a living but making a life—in this case, an agrarian one more in tune with the earth on eighty acres in backwoods Maine.

Building a home with her partner, Ruth, on their farm means learning to live with solitude, endless trees, and the wild animals the couple come to welcome as family. Whether trying to outsmart their goats, calculating how much firewood they need for the winter, or bartering with neighbors for goods and services, they hone life skills brought with them (carpentry, tracking and hunting wild game) and other skills they learn along the way (animal husbandry, vegetable gardening, woodcutting).

Legler’s story is at times humbling and grueling, but it is also amusing. A homage to agrarian American life echoing the back-to-the-land movement popularized in the mid-twentieth century, Woodsqueer reminds us of the benefits of living close to the land. Legler unapologetically considers what we have lost in America, in less than a century—individually and collectively—as a result of our urban, mass-produced, technology-driven lifestyles.
Illustrated with rustic pen-and-ink illustrations, Woodsqueer shows the value of a solitary sojourn and both the pathway to and possibilities for making a sustainable, meaningful life on the land. The result, for Legler and her partner, is an evolution of their humanity as they become more physically, emotionally, and even spiritually connected to their land and each other in a complex ecosystem ruled by the changing seasons.

In Tides: The Science and Spirit of the Ocean, writer, sailor, and surfer Jonathan White takes readers across the globe to discover the science and spirit of ocean tides. In the Arctic, White shimmies under the ice with an Inuit elder to hunt for mussels in the dark cavities left behind at low tide; in China, he races the Silver Dragon, a twenty-five-foot tidal bore that crashes eighty miles up the Qiantang River; in France, he interviews the monks that live in the tide-wrapped monastery of Mont Saint-Michel; in Chile and Scotland, he investigates the growth of tidal power generation; and in Panama and Venice, he delves into how the threat of sea level rise is changing human culture—the very old and very new. Tides combines lyrical prose, colorful adventure travel, and provocative scientific inquiry into the elemental, mysterious paradox that keeps our planet’s waters in constant motion. Photographs, scientific figures, line drawings, and sixteen color photos dramatically illustrate this engaging, expert tour of the tides.

All the Powerful Invisible Things is an eloquent memoir of self-discovery and a chronicle of outdoor life. Refusing “impoverished ideas of passion,” Gretchen Legler writes about the complexities of being a woman who fishes and hunts, as well as about the more intimate terrain of family and sexuality. The result is a unique literary confluence filled with the ineffable graces of the natural world.

She writes: “I used to hate being a woman. When I was young, I believed I was a boy. Throughout college I never knew what it was like to touch a woman, to kiss a woman, to have a woman as a friend. All of my friends were men. I am thirty years old now, and I feel alone. I am not a man. Knowing this is like an earthquake. Just now all the lies are starting to unfold. I don’t blend in as well or as easily as I used to. I refuse to stay on either side of the line.”

Like many women, Legler finds that her presence identifies the unmarked boundaries of where she is and is not welcome, learning when it is advantageous to pass as male and when it is better to disappear into the woods and trees around her. This contrasts sharply with her experience of nature as a source of spiritual sustenance, a space of unparalleled freedom where she can lose herself in something larger.

Twenty-five years after it was first published, All the Powerful Invisible Things remains a highwater mark for women writing about the outdoors and is one of the few works to tackle the intricacies of gender identity and sexuality with transcendental aplomb.

San Antonio is in the national spotlight as one of the fastest growing and most dynamic emerging major cities in America. Yet local lore has it that every Texan has two hometowns—his own and San Antonio. The Alamo City's charm, colorful surroundings, and diverse cultures combine to make it one of the most interesting places in Texas and the nation. In San Antonio Uncovered, Mark Rybczyk examines some of the city's internationally known legends and lore (including ghost stories) and takes a nostalgic look at landmarks that have disappeared. He also introduces some of the city’s characters and unusual features, debunks local myths, and corrects common misconceptions.

Rybczyk embraces San Antonio's peculiarities by chronicling the cross-country journey of the World’s Largest Boots to their home in front of North Star Mall; the origins of the Frito corn chip and chewing gum; the annual Cornyation of King Anchovy; and Dwight Eisenhower's stint as the football coach at St Mary’s University.

This completely updated, new edition of San Antonio Uncovered highlights San Antonio as a modern, thriving city with the feel of a small town that sees beauty in the old and fights to save it, even something as seemingly insignificant as an old Humble Oil Station; and its diverse inhabitants as those who appreciate the blending of the old and the new at the Tobin Center and fight to save what’s left of the Hot Wells Hotel.

After quitting her job with an awkward text to her boss, Lucie Frost planned to live out her early retirement fantasy. Except she was lost, an empty nester with no job, no structure, no identity, and no clear purpose. Everything changed after she binge-watched the television program 90 Day Fiancé one day, which led to a stream of answers to her question about midlife stagnation: What do we do with our lives when our jobs or children are no longer making those decisions for us?

Her trivia-filled memoir, How the Hell Did I Not Know That?, follows the first year of Frost’s postretirement era, a year when curiosity pulled her off the couch and into a world where she discovered how to build a fulfilling life from the smallest of wonders—things like how to unboil an egg with urine (but why, oh why?), where the vice president of the United States lives (something we should know?), and why the sky is blue (wait, didn’t we learn that in third grade?).

How the Hell Did I Not Know That? is a witty and honest companion, a girlfriend, if you will, for women in midlife who are struggling to find their place in the world, who are concerned about misogyny, climate change, and the industrial prison complex, just not while watching the latest episode of The Bachelor. Frost shows us that women “of a certain age” need to take themselves seriously while remembering to laugh at inappropriate things and that they can find meaning in life by relying on the power of curiosity.

The word “terroir” refers to the climate and soil in which something is grown. Natasha Sajé applies this idea to the environments that nurture and challenge us, exploring in particular how the immigrant experience has shaped her identity. She revisits people and literature across her life, including her experiences as the child of European refugees in suburban New Jersey, taken under the wing of a widowed neighbor; a winter spent waitressing in Switzerland; her marriage to a Jamaican man in Baltimore; and finally her marriage to a woman in Salt Lake City.

This memoir-in-essays combines poetic lyricism with incisive commentary on nationality, race, ethnicity, gender, sexual orientation, and class. Reminding us that change is constant in our lives, Sajé asks how terroir creates identity. Throughout, the English language is her most fertile ground.

William Carlos Williams (1883–1963) emerged alongside Pound, Eliot, Stevens, Frost, and Yeats as one of the foremost poets of the 20th century. Paterson, Williams's epic masterpiece, raised everyday American speech to the highest levels of poetic imagination. A finalist for the national Book Award and a New York Times Notable Book, William Carlos Williams: A New World Naked is a remarkable, rich blend of art and scholarship. From a small-town doctor who delivered more than 3,000 babies to an extraordinary revolutionary, Paul Mariani unfolds Williams' life and times while simultaneously letting the reader inside the poet's mind and language in this definitive masterwork.

In a collection of musings that is as much historical record as it is memoir, Coleen Grissom provides a unique view of life on and off an American university campus. As an administrator and faculty member at Trinity University in San Antonio for over five decades, Grissom has seen the feminist movement take hold, the sexual revolution take off, and the tragic deaths of students, friends, and family. Her honest, witty, and acerbic words have urged students, their parents, and the community at large to become lifelong readers and to aspire to a life well-lived.

America is at a crossroads. Conflicting political and social perspectives reflect a need to collectively define our moral imperatives, clarify cultural values, and inspire meaningful change. In that patriotic spirit, nearly two hundred writers, artists, scientists, and political and community leaders have come together since the 2016 presidential election to offer their impassioned letters to America, in a project envisioned by the online journal Terrain.org and collected, with 50 never-before-published letters, in Dear America: Letters of Hope, Habitat, Defiance, and Democracy. In the inaugural piece in Terrain.org’s Letters to America series, Alison Hawthorne Deming writes, “Think of the great spirit of inventiveness the Earth calls forth after each major disturbance it suffers. Be artful, inventive, and just, my friends, but do not be silent.” Joining Deming are renowned artists and thinkers including Seth Abramson, Ellen Bass, Jericho Brown, Francisco Cantú, Kurt Caswell, Victoria Chang, Camille T. Dungy, Tarfia Faizullah, Blas Falconer, Attorney General Bob Ferguson, David Gessner, Katrina Goldsaito, Kimiko Hahn, Brenda Hillman, Jane Hirshfield, Linda Hogan, Pam Houston, Robin Wall Kimmerer, Karen An-hwei Lee, Christopher Merrill, Kathryn Miles, Kathleen Dean Moore, Aimee Nezhukumatathil, Naomi Shihab Nye, Elena Passarello, Dean Rader, Scott Russell Sanders, Lauret Savoy, Gary Soto, Pete Souza, Kim Stafford, Sandra Steingraber, Arthur Sze, Scott Warren, Debbie Weingarten, Christian Wiman, Robert Wrigley, and others.

Dear America reflects the evolution of a moral panic that has emerged in the nation. More importantly, it is a timely congress of the personal and the political, a clarion call to find common ground and conflict resolution, all with a particular focus on the environment, social justice, and climate change. The diverse collection features personal essays, narrative journalism, poetry, and visual art from nearly 130 contributors—many pieces never before published—all literary reactions to the times we live in, with a focus on civic action and social change as we approach future elections. As Scott Minar writes, we must remain steadfast and look to the future: “Despair can bring us very low, or it can make us smarter and stronger than we have ever been before.”

At eighteen, Vermont-native Leath Tonino ventured west to attend college in Colorado. Upon hearing his destination, many of Tonino’s friends and family predicted that he’d never come back; he’d make the “land of endless space and sky, its ranges and their storms” his home. “The West will swallow you,” one said, in a tone that felt like part warning and part prophecy.

More than a decade later Tonino continues to call Vermont his home. But despite his love of New England and his admiration for writers who sing the praises of their native ground, he concedes that he is, as Gary Snyder once phrased it, “promiscuous with landscapes.” Tonino has spent the intervening years since college traversing “the alphabet of the American West from AZ to CA to UT to WY” and writing about its mysterious and powerful beauty. The resulting musings are collected in The West Will Swallow You, the title of which is a nod to the words that stayed with him and that, in many ways, turned out to be true.

Although the adventures gathered here range widely in terrain and tone, the western landscape is always front and center—focusing on Arizona’s remote Kaibab Plateau, where Tonino worked as a biologist studying raptor communities, in San Francisco’s overgrown nooks and crannies and pigeon-flocked park benches, on ranches in Wyoming, at campsites in Nevada, in the mountains of Colorado, and “in libraries and national monuments, in people, in a midnight fox’s eyes, in the rushing wind.”

When you stray from a trail and strike out into the woods, you are bushwhacking. The term implies a physical thrashing about—pushing past branches, slicing through thickets, leaping across downed trees—but it also implies a certain fortitude and resilience to seek places unknown. In Bushwhacking, Jennifer McGaha borrows the term, likening it to what writers do when faced with the equally daunting blank page. Exploring the wilderness of your inner life means leaving a relatively comfortable place and going where no path exists. Writers face similar, unknown obstacles when forging a route to a final draft.

Part writing memoir, part nature memoir, and part meditation on a life well lived, Bushwhacking draws on McGaha’s experiences running, hiking, biking, paddling, and getting lost across the Appalachian Mountains of western North Carolina to offer readers encouragement and practical suggestions to accompany them on their writing and life journeys. Each essay links one of McGaha’s forays into the wilderness to an insight about the creative process. An almost-failed attempt at zip lining becomes a lesson on getting out of one’s comfort zone. The thrum of a hummingbird’s wings, an autumn sunset, and a hound dog’s bay at a bear on the path are impromptu master classes in finding inspiration in the small, the ordinary, and the unexpected.

With humility, humor, and hard-won wisdom, Bushwhacking honors writing craft traditions and offers fresh insights into how close communion with nature can transform your writing and your life.

An island is a world out of time and place, separated by literal and figurative oceans, where the confines of reality are tenuous and magic may be possible. Iceland—with its relative isolation, enchanting mythologies, creative people, and the otherworldly wild beauty of its glaciers, geysers, volcanos, and fjords—encompases this special magic in the minds of many, including writer Kurt Caswell.

Vividly illustrated by Julia Oldham, Iceland Summer recounts Caswell’s journey traversing the country by foot and bus accompanied by his lifelong friend Scott. The pair set out from Reykjavík and travel clockwise along the Ring Road, stopping along the way for backcountry walking trips. Caswell immerses himself in the natural beauty and charming eccentricities of the tiny island nation. With his drinking and hiking buddy by his side, and fueled by a steady diet of Brennivín (fermented grain mash) and pylsur (Icelandic hot dogs), he explores the Hornstrandir peninsula, walks to the famed Dettifoss waterfall, waits for a glimpse of the lake monster Lagarfljótsormurinn at Egilsstaðir, visits the world’s only penis museum, and pays homage to centuries of Icelandic literary tradition at the Árni Magnússon Institute.

Writing in the tradition of other pairs who have traveled in Iceland, like W. G. Collingwood and Jón Stefánsson, and W. H. Auden and Louis MacNeice, Caswell meditates on the value of wild places in the modern world, travel as both pastime and occupation, the nature of friendship, and walking, food, and literature. Scott is the Sancho Panza to Caswell’s Don Quixote, offering a ribald humor that grounds Caswell’s flights into the romantic. The two travel well together and together arrive at the understanding that what anchors them both is their lifelong friendship.

The spaces we inhabit– from homes and workspaces to city streets—mediate community, creativity, and our very identity. Using insights from environmental psychology, design, and architecture, The Shaping of Us shows how the built and natural worlds subtly influence our behavior, health, and personality. Exploring ideas such as “ruin porn” and “ninja-proof seating,” mysteries of how we interact with the physical spaces around us are revealed. From caves and cathedrals to our current housing crisis and the dreaded open-plan office, Lily Bernheimer demonstrates that, for our well-being, we must reconnect with the power to shape our spaces.

Have you ever wondered why we adorn our doorframes with moldings? What does Wikipedia’s open-source technology have to teach us about the history and future of urban housing? What does your desk say about your personality?

From savannahs and skyscrapers to co-working spaces, The Shaping of Us shows that the built environment supports our well-being best when it echoes our natural habitats in some way. In attempting to restore this natural quality to human environments, we often look to other species for inspiration. The real secret to building for well-being, Bernheimer argues, is to reconnect humans with the power to shape our surroundings. When people are involved in forming and nurturing their environments, they feel a greater sense of agency, community, and pride, or “collective efficacy.” And when communities have high rates of collective efficacy, they tend to have less litter, vandalism, and violent crime.

Playful and accessible, The Shaping of Us is a delightful read for designers, professionals, and anyone wanting to understand how spaces make us tick and how to fix the broken bits of our world.

At Great Salt Lake, near Robert Smithson’s iconic earthwork Spiral Jetty, a motley crew of scientists walks the mudflats to study fossils in the making. This reputedly dead sea is home to tar seeps, pools of raw oil (nicknamed ‘death traps’) that act as a preservative, encasing organisms as they were in life.

In this spare landscape, an intricate web of life unfurls. Halophiles―salt-hungry microorganisms―tint the brackish water pink and orange; crystals of gypsum stud the ground, glistening underfoot; and pelicans and other migratory birds stop for a crucial rest. Barn owls and seagulls flirt with their prey around the seeping constellations, sometimes falling prey to the oil themselves. Gretchen Henderson came to the tar seeps, a kind of natural asphalt, after recovering from being hit by a car as she walked in a crosswalk―a manmade asphalt. Like the spiraling artwork that made Great Salt Lake’s north shore famous, Henderson’s associations of life and death, degeneration and regeneration, and injury and healing coalesced. As she reexamined pressing issues that this delicate area revealed about the climate crisis, her sense of ecology spiraled into other ways of perceiving the lake’s entangled lives.

How do we move beyond narrow concepts of wounded and healed, the beautiful and the ugly, to care for ecosystems that evolve over time? How do we confront our vulnerability to recognize kindred dynamics in our living planet? Through shifting lake levels, bird migrations, microbial studies, environmental arts, and cultural histories shaped by indigenous knowledges and colonial legacies, Life in the Tar Seeps contemplates the ways that others have understood this body of water, enlivening more than this region alone. As Henderson witnesses scientists, arts curators, land managers, and students working collaboratively to steward a challenging place, she grows to see the lake not as dead but as a watershed for shifting perceptions of any overlooked place, offering a meditation on environmental healing across the planet.

Henderson interweaves her journey with her own vivid photographs of tar seeps and pelican death assemblages, historic maps and contemporary art, as a wayfinding guide for exploring places of our own.

How Books Can Save Democracy argues that American democracy is in crisis as healthy disagreement has pivoted into negative, winner-take-all contests. Michael Fischer proposes that literature is an essential tool to rekindle the relationships and mutual understanding that functional democracies require.

By participating in reading, writing, and discussions about literature with diverse perspectives—whether in classrooms or book clubs or at public festivals—we can discover how to embrace our differences rather than fear them, enabling the empathy and collaborative spirit needed to sustain a democratic society.

How Books Can Save Democracy illustrates how literature, from classics to contemporary works, fosters nuanced thinking and the ability to find common ground despite our differences. Fischer draws insightful connections and examines how great literature throughout history has diagnosed societal democratic challenges, discussing the works of Zadie Smith, Charles Dickens, Alexis de Tocqueville, Hannah Arendt, Philip Roth, Ezra Klein, Bishop Desmond Tutu, and many others. For anyone concerned about polarization and democratic backsliding, he provides evidence that the reading, writing, and discussion of powerful texts may be our most valuable and overlooked democratic resource.

How Books Can Save Democracy is essential reading for educators, community leaders, and anyone concerned about the future of American democracy. Now more than ever we need works of literature to help us benefit from our differences instead of being threatened by them, and our bookshelves may hold the solution to this pressing civic challenge.

The phrase “an animal a thousand miles miles long,” attributed to Aristotle, refers to a sprawling body that cannot be seen in its entirety from a single angle, a thing too vast and complicated to be knowable as a whole.

For Leath Tonino, the animal a thousand miles long is the landscape of his native Vermont. Tonino grew up along the shores of Lake Champlain, situated between Vermont’s Green Mountains and New York’s Adirondacks. His career as a nature and travel writer has taken him across the country, but he always turns his eye back on his home state. “All along,” he writes, “I’ve been exploring various parts of the animal, trying to make a prose map of its body—not to understand it in a conclusive or definitive way but rather to celebrate it, to hint at its possibilities.”

This fragmented yet deep search is the overarching theme of the twenty essays in The Animal One Thousand Miles Long. Tonino posits that geography, natural history, human experience, and local traditions, seasons, and especially atypical outings—on skis, bicycles, sleds, and boogie boards—can open us to a place and, simultaneously, open a place to us.

He looks closely at the 262-mile length of Vermont, but his underlying mission is to demonstrate our collective need to better understand the meaning of place, especially the ones we call home and think we know best. From Laredo to Jackson Hole, San Francisco to Burlington, his sensibility is applicable to us all.

In his signature piece, “Seven Lengths of Vermont,” he traverses the length of the state in seven different ways—a twenty-day hike, 500 miles on bicycle, a thirty-six-ride hitchhiking tour, 260 miles in a canoe, ten days swimming Lake Champlain, a three-week ski trek, and a two-hour “vast and fast” flyover. He plots each route with blue ink on maps strung across his office. “Each inky thread was an animal a thousand miles long,” he writes. “Vermont appeared before me as a menagerie.”

What Bill Bryson's A Walk in the Woods did for the Appalachian Trail and Peter Mayle's A Year in Provence did for the South of France, Tonino's affinity for the land he calls home gives a new perspective on the Green Mountain State. His infectious love of the outdoors, the ground of everyday life, should inspire us to explore the places just outside our own front door.

There’s no such thing as the middle of nowhere. Everywhere is the middle of somewhere for some living being. That was Suzanne Stryk’s mantra as she journeyed through her home state on a mission to re-create Thomas Jefferson’s Notes on the State of Virginia. The founding father’s work surveys the region’s natural history and, as one might expect from a philosopher-statesman living more than 230 years ago, is fact packed and formally written.

The Middle of Somewhere takes a different approach—to interpret Virginia land and life from a contemporary perspective and an artist’s point of view. Stryk kayaks pristine swamps in river country, wanders the galleries of the Virginia Museum of Fine Arts, hikes rocky trails crisscrossing the Appalachians, and strolls the dusty streets of old coal towns. In these sacred spaces she encounters frogs, millipedes, ravens, dragonflies, sparrows, turtles, and many other species that claim a particular place as home.

Weaving in historical anecdotes and personal memories, Stryk relates her encounters with all of these beings in their “somewheres.” The creatures in their habitats and the people she meets are characters in the book, a tapestry of essays, lush sketches, and ephemera. Stryk’s multimedia collages, composed of dead bugs, tourist pamphlets, road maps, pressed leaves, rusty farm equipment, animal bones, and handwritten directions, all artistically arranged over USGS topographic maps, bring the narrative to life.

Stryk’s personal reflections and conversational tone make readers feel as if they are traveling across Virginia with a friend, one who is at times funny and at other times deeply reflective. As we accompany her, she challenges us to travel slowly, tread lightly, and look closely at each somewhere that defines a place.

The car bomb assassination of Maltese investigative journalist Daphne Caruana Galizia in 2017 shocked the European Union and put the world’s spotlight on an island so small that few knew it was an independent country and even fewer could find it on the map. But Caruana Galizia’s death didn’t come as a surprise to those who lived there.

Ryan Murdock had visions of living a slow-paced island life on the Mediterranean while writing about his experiences, so in 2011 he moved from Canada to Malta. To the casual visitor, Malta is a sleepy place with sun-soaked shorelines and ancient fortified harbors. Murdock imagined it to be an archipelago island of warm weather, gorgeous views, busy cafes, and grilled fish dinners. On the surface, it was.

The six years Murdock spent in Malta revealed an insular culture whose fundamental baseline is amoral familism, a worldview in which any action taken to benefit one’s family or oneself is justifiable, regardless of whether it is legal or ethical. In such a place murder may or may not be wrong, depending on what one thinks of another’s politics. This pervasive perspective created a culture of corruption that rose all the way to the top of the island nation. The office of the prime minister was implicated in Caruana Galizia’s murder, and the investigation continues to reveal a government mired in money laundering, human trafficking, fuel smuggling, and the sale of EU passports to Russian and Middle Eastern oligarchs.

Interspersed with personal narrative, Murdock delves into Malta’s unique geopolitical, cultural, ethnic, and religious history—one that transformed it from a hub of prehistoric rule into a modern society where a powerful cabal of political and business leaders nearly got away with murder.

To Be Honest is a play script and series of essays reflecting on the ways Muslims are perceived and spoken of in America. With funding from a Mellon Foundation grant, several professors conducted more than two hundred hours of qualitative interviews in Texas with people across religious and political spectrums. Their conversations confirm expected polarizations and reveal new, troubling perspectives.

To Be Honest is a “documentary theater” script born from these interviews, which were used to help create monologues that give a face to the nuanced complexity of what is rarely said aloud. The monologues touch on non-Muslim millennials’ understandings of Islam, racism’s intersection with Islamophobia, the fatigue of “activist” Muslims, the impact of intervention in the Middle East on U.S. military veterans, feminist readings of the hijab, the Trump presidency, and more.

Six essays contextualize the script’s underlying themes and provide material for further study. In these polarizing times, To Be Honest illuminates the striking reality that Americans have vastly different experiences with Islam, from evangelicals who work to convert Muslims with the aim of “helping them achieve peace” to Muslim youth who struggle to make sense of why society dissects their religion.

Students, scholars, readers, and theatergoers will come away with insights that allow them to move beyond limited views of Islam by listening to and engaging with others. To Be Honest is an important script for staging and a valuable tool for dialogue across ideological perspectives.

Three hundred years ago San Antonio was founded as a strategic outpost of presidios and missions on the edge of northern New Spain, imposing Spanish political and religious principles on this contested, often hostile region. The city’s many Catholic missions bear architectural witness to the time of their founding, but few have walked these sites without wondering who once lived there and what they saw, valued, and thought.

San Antonio 1718 presents a wealth of art that depicts a rich blending of sometimes conflicted cultures -- explorers, colonialists, and indigenous Native Americans -- and places the city’s founding in context. The book is organized into three sections, accompanied by five discussions by internationally recognized scholars with expertise in key aspects of eighteenth-century northern New Spain. The first section, “People and Places,” features art depicting the lives of ordinary people. Such art is rare since most painting and sculpture from this period was made in service to the church, the crown, or wealthy families. They provide compelling insight into how those living in the Spanish Colonies viewed gender, social organization, ethnicity, occupation, dress, home and workplace furnishings, and architecture. Since portraiture was the most popular genre of eighteenth-century and early nineteenth-century Mexican painting, the second section, “Cycle of Life,” includes a selection of individual and family portraits representing people during different stages of life. The third and largest section is devoted to the church.

Throughout the colonial period, Catholic evangelization of New Spain went hand in hand with military, economic, and political expansion. All the major religious orders—the Franciscans, the Dominicans, the Jesuits, and the Augustinians—played significant roles in proselytizing indigenous populations of northern New Spain, establishing monasteries and convents to support these efforts.

In San Antonio 1718, more than 100 portraits, landscapes, religious paintings, and devotional and secular objects reveal the visual culture that reflected and supported this region’s evolving world view, signaling how New Spain saw itself, its vast colonial and religious ambitions, in an age prior to the emergence of an independent Mexico and, subsequently, the state of Texas.

Writer, teacher, and adventurer Kurt Caswell has spent his adult life canoeing, hiking, and pedaling his way toward a deeper understanding of our vast and varied world. Getting to Grey Owl: A Man's Journey across Four Continents chronicles over twenty years of Caswell’s travels as he buys a rug in Morocco, rides a riverboat in China, attends a bullfight in Spain, climbs four mountains in the United Kingdom, and backpacks a challenging route through Iceland’s wild Hornstrandir Peninsula. Writing in the tradition of such visionary nomads as Hermann Hesse, Robert Louis Stevenson, Bruce Chatwin, Paul Theroux, Pico Iyer, Samuel Taylor Coleridge, and William Wordsworth, Caswell travels through wild and urban landscapes, as well as philosophical and ideological vistas, championing the pleasures of a wandering life. Far from the trappings of the everyday, he explores a range of ideas: the meaning of roads and pathways, the story of Cain and Abel, nomadic life and the evolution of the human animal, the role of agriculture in the making of the modern world, and the fragility of love.

The future of the world’s ice is at a critical juncture marked by international debate about climate change and almost daily reports about glaciers and ice shelves breaking, oceans rising, and temperatures spiking across the globe. These changing landscapes and the public discourse surrounding them are changing fast. It is science wrought with mystery, and for Beth Peterson it became personal.

A few months after Peterson moved to a tiny village on the edge of Europe’s largest glacier, things began to disappear. The glacier was melting at breakneck pace, and people she knew vanished: her professor went missing while summiting a volcano in Japan, and a friend wandered off a mountain trail in Norway. Finally, Peterson took a harrowing forty-foot fall while ice climbing.

Peterson’s effort to make sense of these losses led to travels across Scandinavia, Italy, England and back to the United States. She visited a cryonics institute, an ice core lab, a wunderkammer, Wittgenstein’s cabin, and other museums and libraries. She spoke with historians, guides, and scientists in search of answers. Her search for a noted glacier museum in Norway led to news that the renowned building had set on fire in the middle of the night before and burned to the ground.

Dispatches from the End of Ice is part science, part lyric essay, and part research reportage—all structured around a series of found artifacts (a map, a museum, an inventory, a book) in an attempt to understand the idea of disappearance. It is a brilliant synthesis of science, storytelling, and research in the spirit of essayists like Robert Macfarlane, John McPhee, and Joni Tevis. Peterson’s work veers into numerous terrains, orbiting the idea of vanishing and the taxonomies of loss both in an unstable world and in our individual lives.

Rambling Prose is a collection of essays by Steven Kellman, culled from his lifetime of work on comparative literature, criticism, and film studies. Filled with wordplay and surprising insight, the collection demonstrates his range as an essayist and invites us to explore the human experience through refined literary analysis.

Kellman explores such topics as animal rights, silence, mortality, eroticism, film, and language with his unique critical perspective and offers complex investigations of eternal human quandaries that raise more questions than they answer. Two original pieces complement the remaining twenty-six, which appeared in the Chronicle Review, the Hedgehog Review, Puerto Del Sol, and other publications from 1980 to 2016.

Kellman’s nuanced explorations of moments in history like the intersection of Camus and the HIV/AIDS epidemic in the United States or the combined comedy and tragedy of writers running for office challenge us to understand our world through the lens of good prose. His deft navigation of the implications of language helps parse the cultural impact of words in instances ranging from Pauline Kael’s revolutionary film criticism to Esperanto’s use in popular media. The intellectually curious will find validation and insight into favorite authors and critics, while those just approaching the literary world may be inspired to delve deeper.

Witty and insightful, Kellman entertains and educates, pokes fun at institutions, and honors the contributions of those who have come before him. Rambling Prose is a book for anyone who loves language and believes in the power, both positive and negative, of words to change the world.

The incomparable Rebecca Solnit, author of more than a dozen acclaimed, prizewinning books of nonfiction, brings the same dazzling writing to the essays in Encyclopedia of Trouble and Spaciousness. As the title suggests, the territory of Solnit’s concerns is vast, and in her signature alchemical style she combines commentary on history, justice, war and peace, and explorations of place, art, and community, all while writing with the lyricism of a poet to achieve incandescence and wisdom.

Gathered here are celebrated iconic essays along with little-known pieces that create a powerful survey of the world we live in, from the jungles of the Zapatistas in Mexico to the splendors of the Arctic. This rich collection tours places as diverse as Haiti and Iceland; movements like Occupy Wall Street and the Arab Spring; an original take on the question of who did Henry David Thoreau’s laundry; and a searching look at what the hatred of country music really means.

Solnit moves nimbly from Orwell to Elvis, to contemporary urban gardening to 1970s California macramé and punk rock, and on to searing questions about the environment, freedom, family, class, work, and friendship. It’s no wonder she’s been compared in Bookforum to Susan Sontag and Annie Dillard and in the San Francisco Chronicle to Joan Didion.

The Encyclopedia of Trouble and Spaciousness proves Rebecca Solnit worthy of the accolades and honors she’s received. Rarely can a reader find such penetrating critiques of our time and its failures leavened with such generous heapings of hope. Solnit looks back to history and the progress of political movements to find an antidote to despair in what many feel as lost causes. In its encyclopedic reach and its generous compassion, Solnit’s collection charts a way through the thickets of our complex social and political worlds. Her essays are a beacon for readers looking for alternative ideas in these imperiled times.

The Artist’s Field Guide to Yellowstone introduces readers to the wildlife of the Greater Yellowstone Ecosystem through the works of fifty of the region’s distinguished writers and artists. This robust anthology of eclectic artwork and inspiring storytelling offers an enlivened take on the traditional field guide and argues for the intrinsic value of this world-renowned ecosystem.

Yellowstone naturalist and artist Katie Shepherd Christiansen has compiled this sensible field guide and elegant art book to highlight the unique biodiversity of the Greater Yellowstone Ecosystem, organized across four habitat strata: sky, earth, soil, and water. Writers and artists pair up to reveal new ways of understanding key species through prose, poetry, and artwork. The addition of scientific descriptions provides a natural history frame, and Christiansen’s illustrations of ecologically connected species bring life to every page.

Contributors hail from the Greater Yellowstone area. Writers are Elise Atchison, Rick Bass, Todd Burritt, Tom Campbell, Lyn Dalebout, Matt Daly, Joanne Dornan, Gary Ferguson, Matt Hart, Geneen Marie Haugen, Susan Marsh, Craig Mathews, Arthur Middleton, Doug Peacock, Karen Reinhart, Kelsey Sather, Jack Turner, Rebecca Watters, Tina Welling, Marylee White, Connie Wieneke, Todd Wilkinson, and Terry Tempest Williams. Artists are Kalon Baughan, Tamara Callens, Meredith Campbell, Sue Cedarholm, Derek DeYoung, Loretta Domaszewski, Katy Ann Fox, Dave Hall, Dwayne Harty, Laney Hicks, DG House, Will Hunter, S. J. Karikó, Laney, Jennifer Lowe-Anker, Mimi Matsuda, James Prosek, Robert Schlenker, Jocelyn Slack, Tucker Smith, Kay Stratman, Kara Tripp, Shannon Troxler, Kathryn Mapes Turner, John Wasson, Carrie Wild, and Monte Yellow Bird Sr.

What might the lives of contemporary monastics teach us about putting down roots? Whereas many of us are constantly on the go, stressed out, and focused on productivity, the life of a monk prioritizes staying put and paying attention. Many monks take a vow of stability that commits them to their home monastery, leading them to develop a deep connection with and knowledge of the land they inhabit. The monastic life teaches those who practice it to move more slowly through the world, and the monastic sense of place may even hold a key to responding to the growing ecological crisis threatening our environment.

Dwelling in the Wilderness examines how contemporary Benedictine Roman Catholic monks in the American West fall in love with their landscapes and how, in troubled times, we might do the same. Jason Brown travels to four monasteries—the New Camaldoli Hermitage in Big Sur, California; the Abbey of Our Lady of New Clairvaux in Vina, California; Our Lady of Guadalupe Trappist Abbey in Carlton, Oregon; and the Monastery of Christ in the Desert in Abiquiu, New Mexico—and spends time with the monks there, following their daily routine of prayer and tending to the land. He learns how the places they inhabit are essential to their daily spiritual practice and how they construct deeper theological meaning from the natural world.

Illustrated with Brown’s photography of monastic landscapes, his journey journey as a pilgrim anthropologist is astute, insightful, and intimate. He explores theories of environmental perception, philosophy, and symbolic landscapes in accessible language. Bringing theological reflection to the power of contemplative ecology in an era many are calling the Anthropocene, or the age of human domination, he leads us to reconsider our relationship with our natural homes.

In Putting on the Dog, Melissa Kwasny explores the age-old relationship between humans and the animals that have provided us with our clothing: leather, wool, silk, feathers, pearls, and fur. From silkworms grown on plantations in Japan and mink farms off Denmark’s western coast to pearl beds in the Sea of Cortés, Kwasny offers firsthand accounts of traditions and manufacturing methods—aboriginal to modern—and descriptions of the marvel and miracle of the clothing itself. What emerges is a fresh look at the cultural history of fashion.

Kwasny travels the globe to visit both large-scale industrial manufacturers and community-based, often subsistence production by people who have spent their lives working with animals—farmers, ranchers, tanners, weavers, shepherds, and artisans. She examines historical rates of consumption and efforts to move toward sustainability, all while considering animal welfare, worker safety, environmental health, product accountability, and respect for indigenous knowledge and practice.

At its heart, Putting on the Dog demonstrates how what we choose to wear represents one of our most profound engagements with the natural world.

Open Midnight weaves two parallel stories about the great wilderness—Brooke Williams’s year alone with his dog ground truthing wilderness maps of southern Utah, and that of his great-great-great-grandfather, who in 1863 made his way with a group of Mormons from England across the wilderness almost to Utah, dying a week short. The book is also about two levels of history—personal, as represented by William Williams, and collective, as represented by Charles Darwin, who lived in Shrewsbury, England, at about the same time as Williams.

As Brooke Williams begins researching the story of his oldest known ancestor, he realizes that he has few facts. He wonders if a handful of dates can tell the story of a life, writing, “If those points were stars in the sky, we would connect them to make a constellation, which is what I’ve made with his life by creating the parts missing from his story.” Thus William Williams becomes a kind of spiritual guide, a shamanlike consciousness that accompanies the author on his wilderness and life journeys, and that appears at pivotal points when the author is required to choose a certain course.

The mysterious presence of his ancestor inspires the author to create imagined scenes in which Williams meets Darwin in Shrewsbury, sowing something central in the DNA that eventually passes to Brooke Williams, whose life has been devoted to nature and wilderness.

Brooke Williams’s inventive and vivid prose pushes boundaries and investigates new ways toward knowledge and experience, inviting readers to think unconventionally about how we experience reality, spirituality, and the wild. The author draws on Jungian psychology to relate how our consciousness of the wild is culturally embedded in our psyche, and how a deep connection to the wild can promote emotional and psychological well-being.

Williams's narrative goes beyond a call for conservation, but in the vein of writers like Joanna Macy, Bill Plotkin, David Abram, the author argues passionately for the importance of wildness is to the human soul. Reading Williams's inspired prose provides a measure of hope for protecting the beautiful places that we all need to thrive.

Open Midnight is grounded in the present by Williams’s descriptions of the Utah lands he explores. He beautifully evokes the feeling of being solitary in the wild, at home in the deepest sense, in the presence of the sublime. In doing so, he conveys what Gary Snyder calls “a practice of the wild” more completely than any other work.

Williams also relates an insider’s view of negotiations about wilderness protection. As an advocate working for the Southern Utah Wilderness Alliance, he represents a minority in meetings designed to open wilderness lands to roads and hunting. He portrays the mindset of the majority of Utah’s citizens, who argue passionately for their rights to use their lands however they wish.

The phrase “open midnight,” as Williams sees it, evokes the time between dusk and dawn, between where we’ve been and where we’re going, and the unconscious where all possibilities are hidden.

María Sánchez is obsessed with what she cannot see. As a field veterinarian following in the footsteps of generations before her, she travels the countryside of Spain bearing witness to a life eroding before her eyes—words, practices, and people slipping away because of depopulation, exploitation of natural resources, inadequate environmental policies, and development encroaching on farmland and villages. Sánchez, the first woman in her family to dedicate herself to what has traditionally been a male-dominated profession, rebuffs the bucolic narrative of rural life often written by—and for consumption by—people in cities, describing the multilayered social complexity of people who are proud, resilient, and often misunderstood.
Sánchez interweaves family stories of three generations with reflections on science and literature. She focuses especially on the often dismissed and undervalued generations of women who have forgone education and independence to work the land and tend to family. In doing so, she asks difficult questions about gender equity and labor. Part memoir and part rural feminist manifesto, Land of Women acknowledges the sacrifices of Sánchez’s female ancestors who enabled her to become the woman she is.
A bestseller in Spain, Land of Women promises to ignite conversations about the treatment and perception of rural communities everywhere.

With his characteristic talent for finding the connections between writing and the stuff of our lives (most notably in his earlier hit Maps of the Imagination: The Writer as Cartographer), Peter Turchi ventures into new, and even more surprising, territory. In A Muse and a Maze, Turchi draws out the similarities between writing and puzzle-making and its flip side, puzzle-solving. He teases out how mystery lies at the heart of all storytelling. And he uncovers the magic—the creation of credible illusion—that writers share with the likes of Houdini and master magicians.

In Turchi’s associative narrative, we learn about the history of puzzles, their obsessive quality, and that Benjamin Franklin was a devotee of an ancient precursor of sudoku called Magic Squares. Applying this rich backdrop to the requirements of writing, Turchi reveals as much about the human psyche as he does about the literary imagination and the creative process.

With the goal of giving writers new ways to think about their work and readers new ways to consider the books they encounter, A Muse and a Maze suggests ways in which every piece of writing is a kind of puzzle. The work argues that literary writing is defined, at least in part, by its embrace of mystery; offers tangrams as a model for the presentation of complex characters; compares a writer’s relationship to his or her narrator to magicians and wizards; offers the maze and the labyrinth as alternatives to the more common notion of the narrative line; and concludes with a discussion of how readers and writers, like puzzle solvers, not only tolerate but find pleasure in difficulty.

While always balancing erudition with accessibility, Turchi examines the work of writers as various as A. A. Milne, Dashiell Hammett, Truman Capote, Anton Chekhov, Alison Bechdel, F. Scott Fitzgerald, Antonya Nelson, Vladimir Nabokov, Charles D’Ambrosio, Michael Ondaatje, Alice Munro, Thomas Bernhard, and Mark Twain, elaborating and illuminating ways in which their works expand and deliver on the title’s double entendre, A Muse and a Maze.

With 100 images that range from movie stills from Citizen Kane and Butch Cassidy and the Sundance Kid to examples of sudokus, crosswords, and other puzzles; from Norman Rockwell’s famous triple self-portrait to artwork by Charles Richie; and from historical arcana to today’s latest magic, A Muse and a Maze offers prose exposition, images, text quotations, and every available form of wisdom, leading the reader step-by-step through passages from stories and novels to demonstrate, with remarkable clarity, how writers evolve their eventual creations.

My Heart Is Not Blind: On Blindness and Perception is a collection of stunning portraits of blind and visually impaired people taken by photographer Michael Nye. Each image is accompanied by an intimate story told by the subject concerning his or her experiences and unique perspective.

The causes of vision loss range from genetic predispositions (retinitis pigmentosa) or disease (glaucoma) to external circumstances such as accidents (struck by a train) or violence (gunshot wound). The people in this diverse group differ not only in their particular conditions and losses but also in their cultural and socio-economic backgrounds. Taken as a whole, however, the accounts of adapting to changing modes of perception are bound by a common theme of resilience, revealed in shared reactions and unexpected insights.

The subjects depicted in My Heart Is Not Blind share their experiences and unique perspectives in a personal narratives that accompany their respective portraits. Most speak of the transition from sight to vision loss, and how that has changed—and not changed—their ability to perceive the surrounding world. Some question the classification of blindness as a disability. One participant proposes that blindness may, in some ways, even aid in perception, musing, “if you can always see the sun, you can never discover the stars.”

My Heart Is Not Blind offers a window into the world of the blind and visually impaired, revealing surprising similarities and fascinating differences alongside compelling accounts of survival, adaptation, and heightened understanding. The collection invites us to reconsider what we think we know about blindness in order to gain a deeper understanding of vision and perception.

The Grand Canyon National Park has been called many things, but home isn't often one of them. Yet after years of traveling the globe, Nathaniel Brodie found his home there.

Steel on Stone is Brodie's account of living in the canyon during the eight years he worked on a National Park Service trail crew, navigating a vast and unforgiving land. Embedded alongside Brodie and his crew, readers experience precipitous climbs to build trails, dangerous search-and-rescue missions, rockslides, spelunking expeditions, and rafting trips through the canyon on the Colorado River. From Brodie's chronicles of tracking cougars and dodging rampaging pack mules to adjusting to seasons spanning triple-digit heat and inaccessibility during the winter, we learn about the life cycle of this iconic park, whose complex ecosystems coexist with humans, each one seeking a deeply personal experience, and the subcultures and hierarchies that form deep within the canyon.

Following in the steps of naturalists like John Wesley Powell and Edward Abbey, Brodie reveals the park’s nearly two million square miles. He deftly weaves histories and tall tales from canyon aficionados living and dead into his own story. Over time he comes to realize that home is not always a place on a map but instead is deeply defined by the people we encounter, including those who finally call us to move on.

Steel on Stone is a love letter to the Grand Canyon and those who have given years of their lives to work its trails so that we may understand and enjoy it today as the transformative landscape we seek.

Gerald Stern has been a significant presence and an impassioned and idiosyncratic voice in twentieth and twenty-first-century American poetry. Insane Devotion is a retrospective of his career and features fourteen writers, critics, and poets examining the themes, stylistic traits, and craft of a poet who has shaped and inspired American verse for generations.

The essays and interviews in Insane Devotion paint a broad picture of a man made whole by the influence of the written word. They touch on the contentious and nuanced stance of Judaism in the breadth of Stern’s work and explore Stern’s capacious memory and his use of personal history to illuminate our common humanity. What is revealed is a poet of complexity and heart, often tender, often outraged. As Philip Levine writes in his lyrical foreword to the volume, Stern is both sweet and spiky, “a born teacher who can teach me to see the universe in an acorn and hear the music of the lost in an empty Pepsi can.”

Long before cities were scrambling to go green and eco-conscious commuters were sensibly strapping on their bike helmets, New Haven, Connecticut, was envisioning a plan for its growth taken from the challenging ideas of the City Beautiful Movement and its call for civic monumentality. In a 1910 plan commissioned from legendary landscape architect Frederick Law Olmsted and prominent architect Cass Gilbert, New Haven's leaders charted new ground by incorporating revolutionary models for studying social and demographic data and using that information to help guide the physical plan for the city's growth. The visionary result is a gem of American urban planning history that became a benchmark in discussions about the shape the new American city would take in the twentieth century.

This facsimile edition of the 1910 Plan for New Haven, available to general readers for the first time, includes a critical contemporary review of the century-old plan. Architectural scholar Alan Plattus and urban economist Douglas Rae contribute modern perspectives on the plan's importance to the development of both New Haven and American urbanism in the current rediscovery of urban livability and sustainability. The lessons of master urban planners like Cass and Gilbert have never been more valuable and can guide an exploration of how American urbanism has evolved and where it is going in the twenty-first century.

Dogs, like humans, have memories, instincts, fears, and loyalties. But, as far as we know, dogs do not get swept up in nostalgia, speculation, or self-analysis. Although they have hopes, they are not driven by regrets. In Crossing the Plains with Bruno, Annick Smith weaves together a memoir of travel and relationship, western history and family history, human love and animal love centering around a two week road trip across the Great Plains she and her 95 pound chocolate lab, Bruno, took in the summer of 2003. It is a chain of linked meditations, often triggered by place, about how the past impinges on the present and how the present can exist seemingly sans past.

Traveling from her rural homestead in Montana to pick up her nearly 100-year-old mother from her senior residence on Chicago’s North Side and bring her to the family’s beach house on a dune overlooking Lake Michigan, Smith often gets lost in memory and rambling contemplation. Bruno’s constant companionship and ever present needs force her to return to the actual, reminding her that she, too, is an animal whose existence depends on being alert to the scents, sights, hungers, and emotions of the moment.

Passing through wide open spaces, dying ranch towns, green cornfields, and Midwestern hamlets, Annick is immersed in memories of her immigrant Hungarian Jewish family, her childhood days in Chicago, her early marriage, and ultimate immigration west. Triggered by random encounters along the way, she’s taken back to life as a young mother, her career as a writer and filmmaker who produced the classic A River Runs Through It, the death of her husband, and the thrill of a late romance. A lifetime of reflection played out one mile at a time.

Crossing the Plains with Bruno is a story narrated by a woman beset by the processes of aging, living with the imminent reality of a parent’s death, but it is the dog that rides shotgun, like Sancho Panza to Don Quixote, that becomes the reminder of the physical realities outside our own imaginations.

A Rock between Two Rivers is the story of a man coming to terms with the environmental legacy of his family’s ranch in Dimmitt County, Texas, and reckoning with the birthright he’ll leave for the generations who follow. What began for Hugh Fitzsimons as a mission to expose local ecological hazards from hydraulic fracking has turned into a lifelong ache to understand the more complicated story of how his family changed the land inherited from his grandfather, and deeper still, how the land irrevocably changed the family.

Water is the lens through which this fifth-generation rancher tells his story. While the discovery of oil in this part of Texas fueled the region's growth, water has the upper hand, determining where people live and how they make their living. Agriculture, ranching, drilling for oil, and now fracking all require water, with each pursuit requiring more and more but giving back less and less to the communities they’ve helped enrich. In A Rock between Two Rivers, Fitzsimons struggles with the inheritance he wants for his own children, one that considers the future consequences of our actions toward the land we are born to and owns the broader threats to our natural resources that loom in the near distance.

Interweaving a family narrative of a life built on the U.S.-Mexico border and the history of European colonization with its brutal consequences on the land and indigenous peoples, Fitzsimons explores how our attitudes toward this precious resource have changed alongside our relationship to the places we call home.

At age forty, Parker surrendered to her Swept Away meets Swiss Family Robinson fantasy of running an inn far from her home in the Pacific Northwest. For the next twenty-plus years Parker ran La Finca Caribe, an eco-lodge in Vieques, Puerto Rico. What started as a rough-and-tumble dream grew into a paradise enjoyed by guests from around the world. Sketchbook in hand, Parker chronicled her daily adventures living with the land. La Finca is a lively graphic memoir about a woman creating a new life amid countless challenges, including hurricanes that led her to reconsider everything. It is a story about trusting oneself, self-discovery, accepting disappointment and loss, and falling in love with a place.

In Not So Golden State, leading environmental historian Char Miller looks below the surface of California's ecological history to expose some of its less glittering conundrums. In this necessary work, Miller asks tough questions as we stand at the edge of a human-induced natural disaster in the region and beyond. He details policy steps and missteps in public land management and examines the impact of recreation on national forests, parks, and refuges, assessing efforts to restore wild land habitat, riparian ecosystems, and endangered species.

Why, during a devastating five-year drought, is the Central Valley’s agribusiness still irrigating its fields as if it were business as usual? What’s unusual, Miller reveals, is that northern counties rich in groundwater sell it off to make millions while draining their aquifers toward eventual mud.

Why, when contemporary debate over oil and gas drilling questions reasonable practices, are extractive industries targeting Chaco Canyon National Historic Park and its ancient sites, which are of inestimable value to Native Americans? How do we begin to understand “local,” a concept of hope for modern environmentalism? After all, Miller says, what we define as local determines how we might act in its defense.

To inhabit a place requires placed-based analyses, whatever the geographic scope—examinations rooted in a precise, physical reality. To make a conscientious life in a suburb, floodplain, fire zone, or coastline requires a heightened awareness of these landscapes’ past so that we can develop an intensified responsibility for their present condition and future prospects. Building a more robust sense of justice is the key to creating resilient, habitable, and equitable communities.

Miller turns to Aldo Leopold’s insight that “all history consists of successive excursions from a single starting point,” a location humans return to "again and again to organize another search for a durable scale of values.” This quest, a reflection of our ambition to know ourselves in relation to time and space, to organize our energy and structure our insights, is as inevitable as it is unending.

Turning his focus to the tensions along the California coastline, Miller ponders the activities of whale watching and gazing at sea otters, thinking about the implications of the human desire to protect endangered flora and fauna, which makes the shoreline a fraught landscape and a source of endless stories about the past and present.

In the Los Angeles region these connections are more obvious, given its geography. The San Gabriel Mountains rise sharply above the valleys below, offering some of the steepest relief on the planet. Three major river systems—the Santa Ana, San Gabriel, and Los Angeles—cut through the range’s sheer canyons, carrying an astonishing amount of debris that once crashed into low-lying areas with churning force. Today the rivers are constrained by flood-control dams and channels. Major wildfires, sparked by annual drought, high heat, and fierce Santa Ana winds, move at lightning speed and force thousands to flee.

The city’s legendary smog, whose origins lie in car culture, was fueled in part by oil brought to the region's surface in the late nineteenth century. It left Angelenos gasping for breath as climatic conditions turned exhaust into a toxic ozone layer trapped by the mountains that back in the day were hard to see. Clearing the befouled skies took decades.

Every bit as complex is the enduring effort to regenerate riparian health and restore wildlife habitat in a concrete-hardened landscape. The emerging tensions are similar to those threading through the U.S. Forest Service’s management of the Angeles National Forest, exacerbated whenever a black bear ambles into a nearby subdivision.

How we build ourselves into these spaces depends on the removal of competing users or uses: a historic strawberry patch gives way to a housing development, a memorial forest goes up in smoke, a small creek tells a larger tale of the human impress, and struggles over water—a perennial issue in this dry land—remind us we're not as free of the past as we'd like to think.

Neither are we removed from the downwind consequences of our choice to live in fire’s path. The West does not burn every summer; it just seems that way. And not every fire is a smoke signal of distress. Picking through the region’s fiery terrain is as tricky as trying to extinguish a roaring blaze in the August heat. There are lessons to be had by examining how we respond to the annual conflagrations.

The Wallow Fire, which in 2011 burned hundreds of thousands of acres in remote Arizona, sparked equal amounts of political grandstanding and hand-wringing about wildfire-fighting strategies. Beyond the headlines and flashy, smoke-filled images lay another reality. The creation of defensible space and the thinning of forests communities—signs of homeowners' and state and federal agencies' proactive intervention—meant few structures burned during the monthlong firestorm. That such good news is rarely reported is part and parcel of another ethical dilemma too rarely acknowledged: the decision to live in fire zones should come coupled with homeowners’ responsibility to do all they can to ensure their homes don't go up in smoke. How they build their homes and landscape its environs are essential steps in defending their space. That obligation comes with another, made clear in the 2013 Yarnell Hill, which took the lives of nineteen firefighters. To make our houses fire-safe is to give firefighters a fighting chance.

This reciprocity and the social compact it depends on require us to believe we inhabit common ground with our neighbors, a realization that should build a stronger sense of community. But it's a tough concept to promote in a bewilderingly antisocial political environment, when budgets for fire prevention are slashed as part of larger efforts to defund the nation-state. Or when the very reasons some seek to live in isolated, mountainous environs clash with the larger need to act in concert with their communities. Fires illuminate many things, not least the ties that bind and those that are frayed.

Miller develops his argument from a variety of places and perspectives. Most of the pieces ask a series of questions about a particular landscape—Gila National Forest, Death Valley, Zion, Arches, and Rocky Mountain National Parks, and a host of other iconic western scenic spots. Why do we conceive of wilderness as a preserve, separate and inviolate? Who benefits—or does not—from the idea that such landscapes are, or ought to be, untrammeled? Why has this intellectual construction, and the preservationist ethos it depends on, come to dominate contemporary environmentalism?

Related queries bubble up after Miller spends time in the newest national park, Pinnacles in central California, or one of the most venerable, the Grand Canyon in northern Arizona. What impact has the long history of tourism and recreation had on these public lands? Maintaining trails that weave through the Yosemite Valley is an arduous, incessant task made more difficult by the visitors pouring in to John Muir’s favorite terrain or rushing to rock climb in Minerva Hoyt’s beloved Joshua Tree. Still more daunting is the prospect of sustained ecological restoration and habitat regeneration under current conditions and those that climate change is generating across the West.

Once again Aldo Leopold can be a guide. “A member of a biotic team is shown by an ecological interpretation of history,” he once observed, adding that many “historical events, hitherto explained solely in terms of human enterprise, were actually biotic interactions between people and land.” Only when “the concept of land as a community really penetrates our intellectual life” will history, as a subject and methodology, become fully realized.

Not So Golden State contributes powerfully toward the realization of this enduring cross-generational endeavor.

Agave dates back to the Aztec civilization as an important crop in Mexico. Since the 1600s, the people of western Mexico have cultivated blue agave from the red volcanic soil that blankets the region, to make what we know as tequila. The Spirit of Tequila celebrates the tradition, culture, and myth of this iconic drink. Joel Salcido traveled across the state of Jalisco capturing images of distilleries and artisanal tequileras, including blue agave fields at sunset, the agave's pineapple-like centers (piñas), elegantly shadowed barrel rooms (añejos), and, of course, the agave farmers themselves.

Nearly ninety photographs, taken with a medium format camera—some in full-color, some in duotone—reveal not only the tequila making process but also the region’s traditions of culture and religion. Haunting and beautiful, a church spire is juxtaposed with a firework celebration in honor of the Virgen de Guadalupe. A Mexican charro rides through the streets of Arandas. Near Atotonilco, a horse pulls a traditional plow through the fields to irrigate. Exploring the rooms and techniques hidden in the distilleries of legendary tequilas Herradura, Sauza, Jose Cuervo, Don Julio, and others, The Spirit of Tequila celebrates a craft that is rooted deep in the culture of Mexico.

In the course of researching dogwood trees, beloved poet and essayist Christopher Merrill realized that a number of formative moments in his life had some connection to the tree named—according to one writer—because its fruit was not fit for a dog. As he approached his sixtieth birthday, Merrill began to compose a self-portrait alongside this tree whose lifespan is comparable to a human’s and that, from an early age, he’s regarded as a talisman.

Dogwoods have never been far from Merrill’s view at significant moments throughout his life, helping to shape his understanding of place in the great chain of being; entwined in his experience is the conviction that our relationship to the natural world is central to our walk in the sun. The feeling of a connection to nature has become more acute as his life has taken him to distant corners of the earth, often to war zones where he has witnessed not only humankind’s propensity for violence and evil but also the enduring power of connections that can be forged across languages, borders, and politics. Dogwoods teach us persistence humility and wonder.

Self-Portrait with Dogwood is no ordinary memoir, but rather the work of a traveler who has crisscrossed the country and the globe in search of ways to make sense of his time here. Merrill provides new ways of thinking about personal history, the environment, politics, faith, and the power of the written word. In his descriptions of places far and near, many outside of the average American’s purview—a besieged city in Bosnia, a hidden path in a Taiwanese park, Tolstoy’s country house in Russia, a castle in Slovakia, a blossoming dogwood at daybreak in Seattle—the reader’s understanding of the world will flourish as well.

Writing programs in prisons and rehabilitation centers have proven time and again to be transformative and empowering for people in need. Halfway houses, hospitals, and shelters are all fertile ground for healing through the imagination and can often mean the difference for inmates and patients between just simply surviving and truly thriving. It is in these settings that teachers and their students need reading that nourishes the soul and challenges the spirit.

Words without Walls is a collection of more than seventy-five poems, essays, stories, and scripts by contemporary writers that provide models for successful writing, offering voices and styles that will inspire students in alternative spaces on their own creative exploration. Created by the founders of the award-winning program of the same name based at Chatham University, the anthology strives to challenge readers to reach beyond their own circumstances and begin to write from the heart.

Each selection expresses immediacy--writing that captures the imagination and conveys intimacy on the page--revealing the power of words to cut to the quick and unfold the truth. Many of the pieces are brief, allowing for reading and discussion in the classroom, and provide a wide range of content and genre, touching on themes common to communities in need: addiction and alcoholism, family, love and sex, pain and hope, prison, recovery, and violence.

Included is work by writers dealing with shared issues, such as Dorothy Alison and Jesmyn Ward, who write about families for whom struggle is a way of life; or Natalie Kenvin and Toi Derricotte, whose pieces reveal violence against women. Also included are writings by those who have spent time in prison themselves, such as Jimmy Santiago Baca, Dwayne Betts, Ken Lamberton, and Etheridge Knight. Eric Boyd ennobles the day he was released from jail. Stephon Hayes reflects on what he sees from his prison window. Terra Lynn evokes the experience of being put in solitary confinement.

Because in 2011 almost half of all prisoners in federal facilities were in for drug-related offenses, there are pieces by James Brown, Nick Flynn, and Ann Marlowe, who explore their own addiction and alcoholism, and by Natalie Diaz, Scott Russell Sanders, and Christine Stroud, who write of crippling drug abuse by family and friends.

These powerful excerpts act as models for beginning writers and offer a vehicle to examine their own painful experiences. Words without Walls demonstrates the power of language to connect people; to reflect on the past and reimagine the future; to confront complicated truths; and to gain solace from pain and regret. For students in alternative spaces, these writings, together with their own expressions, reveal the same intense desire to write and share one’s writing, found in the Russian poet Irina Ratushinskaya, who scratched her poems on bars of soap in a Gulag shower, or the Turkish poet Nazim Hikmet, who smuggled bits of poetry out of jail in the clothing of visiting friends.

Wole Soyinka, in solitary confinement forty years ago, wrote that “creation is admission of great loneliness.” In these communal spaces, our loneliness is lessened, our vulnerability exposed, and our honesty tested, and through these revelatory writings students receive the necessary encouragement to share the whispering corners of their minds.

From the Memorial Day Miracle to coach Gregg Popovich's legendary leadership to winning five NBA championships, the San Antonio Spurs have brought excitement to the Alamo City and the greater NBA family since 1976. As the team with the most rabid and loyal fan base in basketball history, Spurs Nation captures all the most unforgettable plays and crucial junctures in 30 years of playing hoops. Spurs Nation is THE collectible book for Spurs fans filled with silver and black and moments. This full-color photography, hardcover collection encompasses all three decades of the Spurs including favorite past and current players from George Gervin to Tim Duncan, as seen through the eyes and words of the sports writers and photographers who've covered their monumental rise for the San Antonio Express-News.

Why is something a masterpiece? Art History 101 . . . Without the Exams is about revisiting famous works of art that we may have studied in an art history class or seen in a textbook. Each discussion delves into one great masterpiece and asks the questions that help us understand how it has shaped history. What is the piece about? How did the original owner look at this piece? Where was it originally placed? Why is it in this museum now? How did it get famous? From the sixth-century mosaics of Ravenna and the painted bulls of Altamira, Spain, dated 12,500 BCE, to an incense burner from twelfth-century Seljuk Iran, frescoes from a Late Byzantine funerary chapel, and masterworks by Botticelli, Caravaggio, Monet, and Sargent, this book shows readers how to look closely. It welcomes us to the joy of art history—but without the papers, notes, and exams.

During the 1980s and 90s, the Resource Institute, headed by Jonathan White, held a series of "floating seminars" aboard a sixty-five-foot schooner featuring leading thinkers and writers from an array of disciplines. Over ten years, White conducted interviews, gathered in this collection, with the writers, scientists, and environmentalists who gathered on board to explore our relationship to the wild.

White describes the conversations as the roots of an integrated community: "While at first these roots may not appear to be linked, a closer look reveals that they are sustained in common ground."

Beloved fiction writer Ursula K. Le Guin discusses the nature of language, microbiologist Lynn Margulis contemplates Darwin's career and the many meanings of evolution, and anthropologist Richard Nelson sifts through the spiritual life of Alaska's native people. Rounding out the group are writers Gretel Ehrlich, Paul Shepard, and Peter Matthiessen, conservationists Roger Payne and David Brower, theologian Matthew Fox, activist Janet McCloud, Jungian analyst James Hillman, poet Gary Snyder, and ecologist Dolores LaChapelle.

By identifying the common link between these conversations, Talking on the Water takes us on a journey in search of a deeper understanding of ourselves and the environment.

Laika began her life as a stray dog on the streets of Moscow and died in 1957 aboard the Soviet satellite Sputnik II. Initially the USSR reported that Laika, the first animal to orbit the earth, had survived in space for seven days, providing valuable data that would make future manned space flight possible. People believed that Laika died a painless death as her oxygen ran out. Only in recent decades has the real story become public: Laika died after only a few hours in orbit when her capsule overheated. Laika’s Window positions Laika as a long overdue hero for leading the way to human space exploration.

Kurt Caswell examines Laika’s life and death and the speculation surrounding both. Profiling the scientists behind Sputnik II, he studies the political climate driven by the Cold War and the Space Race that expedited the satellite’s development. Through this intimate portrait of Laika, we begin to understand what the dog experienced in the days and hours before the launch, what she likely experienced during her last moments, and what her flight means to history and to humanity. While a few of the other space dog flights rival Laika’s in endurance and technological advancements, Caswell argues that Laika’s flight serves as a tipping point in space exploration “beyond which the dream of exploring nearby and distant planets opened into a kind of fever from which humanity has never recovered.”

Examining the depth of human empathy—what we are willing to risk and sacrifice in the name of scientific achievement and our exploration of the cosmos, and how politics and marketing can influence it—Laika’s Windowis also about our search to overcome loneliness and the role animals play in our drive to look far beyond the earth for answers.

Through words and photographs, environmental scientist Gretchen C. Daily and photographer Charles J. Katz describe how one relict tree—the magnificent Ceiba pentandra in Sabalito, Costa Rica—carries physical and spiritual importance. The people in the town of Sabalito call the tree la ceiba, a term said to be derived from a Taíno word referring to a type of wood used for making canoes in the West Indies.

Ceiba evokes times and places where people hollowed out the great cylindrical trunks and glided along languid rivers winding through lush tropical forest. Today the tree is known by different names in regions ranging from southern Mexico and the Caribbean to the southern edge of the Amazon Basin and in western Africa. The ceiba has survived what is probably the highest rate of tropical deforestation in the world. It is a legendary and vital tree in centuries-old forests in places like Costa Rica that were once almost completely forested (98 percent in the mid-twentieth century) and decades later have suffered devastating deforestation (34 percent by 1980).

One Tree grew out of a conversation between photographer Chuck Katz and acclaimed ecologist Gretchen Daily about the relict tree—a single tree that remains standing in a pasture, for example, after the forest has been cleared from the land, and takes on iconic importance for the animals, plants, and people in the ecosystem. During a trip the authors took to Costa Rica, Katz focused his lens on the ceiba and a story was born. In descriptive language interwoven with scientific fact, Daily discusses the tree's historical and natural history and the ceiba species in general. She touches on the science of the Costa Rican rainforest and its deforestation and the cultural traditions, legends, and folklore of forests and relict trees. Katz's photographs of the massive tree and the village that takes care of it create an intimate work celebrating the visual and biological intricacies of trees.

Dream Song is the story of John Berryman, one of the most gifted poets of a generation that included Elizabeth Bishop, Randall Jarrell, Robert Lowell, and Dylan Thomas. Using Berryman's unpublished letters and poetry, as well as interviews with those who knew him intimately, Paul Mariani captures Berryman's genius and the tragedy that dogged him, while at the same time illuminating one of the most provocative periods in American letters. Here we witness Berryman's struggles with alcohol and drugs, his obsession with women and fame, and his friendships with luminary writers of the century. Mariani creates an unforgettable portrait of a poet who, by the time of his suicide at age fifty-seven, had won a Pulitzer Prize and a National Book Award.

In this new telling of Mexico’s Second Empire and Louis Napoléon’s installation of Maximilian von Habsburg and his wife, Carlota of Belgium, as the emperor and empress of Mexico, Maximilian and Carlota brings the dramatic, interesting, and tragic time of this six-year-siege to life.

From 1861 to 1866, the French incorporated the armies of Austria, Belgium—including forces from Crimea to Egypt—to fight and subdue the regime of Mexico’s Benito Juárez during the time of the U.S. Civil War. France viewed this as a chance to seize Mexican territory in a moment they were convinced the Confederacy would prevail and take over Mexico. With both sides distracted in the U.S., this was their opportunity to seize territory in North America. In 1867, with aid from the United States, this movement came to a disastrous end both for the royals and for France while ushering in a new era for Mexico.

In a bid to oust Juárez, Mexican conservatives appealed to European leaders to select a monarch to run their country. Maximilian and Carlota’s reign, from 1864 to 1867, was marked from the start by extravagance and ambition and ended with the execution of Maximilian by firing squad, with Carlota on the brink of madness. This epoch moment in the arc of French colonial rule, which spans North American and European history at a critical juncture on both continents, shows how Napoleon III’s failure to save Maximilian disgusted Europeans and sealed his own fate.

Maximilian and Carlota offers a vivid portrait of the unusual marriage of Maximilian and Carlota and of international high society and politics at this critical nineteenth-century juncture. This largely unknown era in the history of the Americas comes to life through this colorful telling of the couple’s tragic reign.