Going right up to the present day, and including both natural and man-made features, it demonstrates the sometimes subtle, sometimes radical ways in which people, flora, fauna, climate, soils, and other physical conditions have played a role in shaping the landscape. "...quirky and rewarding...full of answers to questions that others have not had the wit to ask."--Economist. "One thing is certain: no one would be wise to write further on our natural history...without thinking very hard about what is contained in these authoritative pages."--Country Life.

    Building on the work of Foucault, Giddens, Jameson and Lefebvre, one of America's geographers argues for a rethinking of the dialectics of space, time and social being.

    Most conservationists and environmentalists share this view. But what if the traditional view of ecology is wrong—what if true environmentalists should be applauding the invaders? In The New Wild, Pearce goes on a journey across six continents to rediscover what conservation in the twenty-first century should be about. Pearce explores ecosystems from remote Pacific islands to the United Kingdom, from San Francisco Bay to the Great Lakes, as he digs into questionable estimates of the cost of invader species and reveals the outdated intellectual sources of our ideas about the balance of nature. Pearce acknowledges that there are horror stories about alien species disrupting ecosystems, but most of the time, the tens of thousands of introduced species usually swiftly die out or settle down and become model eco-citizens. The case for keeping out alien species, he finds, looks increasingly flawed. As Pearce argues, mainstream environmentalists are right that we need a rewilding of the earth, but they are wrong if they imagine that we can achieve that by reengineering ecosystems. Humans have changed the planet too much, and nature never goes backward. But a growing group of scientists is taking a fresh look at how species interact in the wild. According to these new ecologists, we should applaud the dynamism of alien species and the novel ecosystems they create. In an era of climate change and widespread ecological damage, it is absolutely crucial that we find ways to help nature regenerate. Embracing the new ecology, Pearce shows us, is our best chance. To be an environmentalist in the twenty-first century means celebrating nature’s wildness and capacity for change.

    In the summer, Dillard stalks muskrats in the creek and contemplates wave mechanics; in the fall she watches a monarch butterfly migration and dreams of Arctic caribou. She tries to con a coot; she collects pond water and examines it under a microscope. She unties a snake skin, witnesses a flood, and plays 'King of the Meadow' with a field of grasshoppers.

    Now, Haskell brings his powers of observation to the biological networks that surround all species, including humans. Haskell repeatedly visits a dozen trees around the world, exploring the trees connections with webs of fungi, bacterial communities, cooperative and destructive animals, and other plants. An Amazonian ceibo tree reveals the rich ecological turmoil of the tropical forest, along with threats from expanding oil fields. Thousands of miles away, the roots of a balsam fir in Canada survive in poor soil only with the help of fungal partners. These links are nearly two billion years old: the fir s roots cling to rocks containing fossils of the first networked cells. By unearthing charcoal left by Ice Age humans and petrified redwoods in the Rocky Mountains, Haskell shows how the Earth s climate has emerged from exchanges among trees, soil communities, and the atmosphere. Now humans have transformed these networks, powering our societies with wood, tending some forests, but destroying others. Haskell also attends to trees in places where humans seem to have subdued nature a pear tree on a Manhattan sidewalk, an olive tree in Jerusalem, a Japanese bonsai demonstrating that wildness permeates every location. Every living being is not only sustained by biological connections, but is made from these relationships. Haskell shows that this networked view of life enriches our understanding of biology, human nature, and ethics. When we listen to trees, nature s great connectors, we learn how to inhabit the relationships that give life its source, substance, and beauty."

    While I don't share his conclusions about the potential for social movements to drive ambitious mitigation, this is a wise and important challenge from an elegant writer and original thinker. A critical intervention."--Naomi Klein, author of This Changes Everything: Capitalism vs. the ClimateComing home from the war in Iraq, US Army private Roy Scranton thought he'd left the world of strife behind. Then he watched as new calamities struck America, heralding a threat far more dangerous than ISIS or Al Qaeda: Hurricane Katrina, Superstorm Sandy, megadrought--the shock and awe of global warming.Our world is changing. Rising seas, spiking temperatures, and extreme weather imperil global infrastructure, crops, and water supplies. Conflict, famine, plagues, and riots menace from every quarter. From war-stricken Baghdad to the melting Arctic, human-caused climate change poses a danger not only to political and economic stability, but to civilization itself . . . and to what it means to be human. Our greatest enemy, it turns out, is ourselves. The warmer, wetter, more chaotic world we now live in--the Anthropocene--demands a radical new vision of human life.In this bracing response to climate change, Roy Scranton combines memoir, reportage, philosophy, and Zen wisdom to explore what it means to be human in a rapidly evolving world, taking readers on a journey through street protests, the latest findings of earth scientists, a historic UN summit, millennia of geological history, and the persistent vitality of ancient literature. Expanding on his influential New York Times essay (the #1 most-emailed article the day it appeared, and selected for Best American Science and Nature Writing 2014), Scranton responds to the existential problem of global warming by arguing that in order to survive, we must come to terms with death.Plato argued that to philosophize is to learn to die. If that’s true, says Scranton, then we have entered humanity’s most philosophical age—or this is precisely the problem of the Anthropocene. The trouble now is that we must learn to die not as individuals, but as a civilization.A war veteran, journalist, author, and Princeton PhD candidate, Roy Scranton has published in the New York Times, Wall Street Journal, Rolling Stone, Boston Review, and Theory and Event, and has been interviewed on NPR's Fresh Air, among other media.More praise for Learning to Die in the Anthropocene:"Perhaps it is because he is a soldier, perhaps it is because he is a literate human being, but the fact is--Roy Scranton gets it. He knows in his bones that this civilization is over. He knows it is high time to start again the human dance of making some other way to live. In his distinctive and original way he works though a common cultural inheritance, making it something fresh and new for these all too interesting times. This compressed, essential text offers both uncomfortable truths and unexpected joy."--McKenzie Wark, author of Molecular Red: Theory for the Anthropocene

    Both evoke a similar sensation in us — we find them beautiful and magical, but also spooky, sometimes horrifying.In this fascinating book, Maitland argues that the two forms are intimately connected: the mysterious secrets and silences, gifts and perils of the forests were both the background and the source of fairytales. Yet both forests and fairy stories are at risk and their loss deprives us of our cultural lifeblood. Maitland visits forests through the seasons, from the exquisite green of a beechwood in spring, to the muffled stillness of a snowy pine wood in winter. She camps with her son Adam, whose beautiful photographs are included in the book; she takes a barefoot walk through Epping Forest with Robert Macfarlane; she walks with a mushroom expert through an oak wood, and with a miner through the Forest of Dean. Maitland ends each chapter with a unique, imaginitive re-telling of a fairystory.Written with Sara's wonderful clarity and conversational grace, Gossip from the Forest is a magical and unique blend of nature writing, history and imaginative fiction.

    Both the book and film were inspired by a series of multimedia presentations on global warming that Gore created and delivers to groups around the world. With this book, Gore, who is one of our environmental heroes—and a leading expert—brings together leading-edge research from top scientists around the world; photographs, charts, and other illustrations; and personal anecdotes and observations to document the fast pace and wide scope of global warming. He presents, with alarming clarity and conclusiveness—and with humor, too—that the fact of global warming is not in question and that its consequences for the world we live in will be disastrous if left unchecked. This riveting new book—written in an accessible, entertaining style—will open the eyes of even the most skeptical.

    Richard Louv, author of the landmark bestseller Last Child in the Woods, urges us to change our vision of the future, suggesting that if we reconceive environmentalism and sustainability, they will evolve into a larger movement that will touch every part of society.This New Nature Movement taps into the restorative powers of the natural world to boost mental acuity and creativity; promote health and wellness; build smarter and more sustainable businesses, communities, and economies; and ultimately strengthen human bonds. Supported by groundbreaking research, anecdotal evidence, and compelling personal stories, Louv offers renewed optimism while challenging us to rethink the way we live.

    By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is--just a disease. Cancer, she argues, is not a curse, not a punishment, certainly not an embarrassment and, it is highly curable, if good treatment is followed.Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote a sequel to Illness as Metaphor, extending the argument of the earlier book to the AIDS pandemic.These two essays now published together, Illness as Metaphor and AIDS and Its Metaphors, have been translated into many languages and continue to have an enormous influence on the thinking of medical professionals and, above all, on the lives of many thousands of patients and caregivers.

    It led him to begin exploring these questions, prompting a journey westwards to Land's End through one of the most fascinating regions of Europe.From the Neolithic ritual landscape of Bodmin Moor to the Arthurian traditions of Tintagel, from the mysterious china-clay country to the granite tors and tombs of the far south-west, Marsden assembles a chronology of our shifting attitudes to place. In archives, he uncovers the life and work of other 'topophiles' before him - medieval chroniclers and Tudor topographers, eighteenth-century eighteenth-century antiquarians, post-industrial poets and abstract painters. Drawing also on his own travels overseas, Marsden reveals that the shape of the land lies not just at the heart of our history but of man's perennial struggle to belong on this earth.

    Our aquatic cousins are queer, fierce, protective of each other, complex, shaped by conflict, and struggling to survive the extractive and militarized conditions our species has imposed on the ocean. Gumbs employs a brilliant mix of poetic sensibility and naturalist observation to show what they might teach us, producing not a specific agenda but an unfolding space for wondering and questioning. From the relationship between the endangered North Atlantic Right Whale and Gumbs’s Shinnecock and enslaved ancestors to the ways echolocation changes our understandings of “vision” and visionary action, this is a masterful use of metaphor and natural models in the service of social justice.

    Much like human families, tree parents live together with their children, communicate with them, and support them as they grow, sharing nutrients with those who are sick or struggling and creating an ecosystem that mitigates the impact of extremes of heat and cold for the whole group. As a result of such interactions, trees in a family or community are protected and can live to be very old. In contrast, solitary trees, like street kids, have a tough time of it and in most cases die much earlier than those in a group.Drawing on groundbreaking new discoveries, Wohlleben presents the science behind the secret and previously unknown life of trees and their communication abilities; he describes how these discoveries have informed his own practices in the forest around him. As he says, a happy forest is a healthy forest, and he believes that eco-friendly practices not only are economically sustainable but also benefit the health of our planet and the mental and physical health of all who live on Earth.

    --LewisMumford. . . important to America and all the rest of the world in ourstruggle to design rational, wholesome, and productive landscapes.--Laurie Olin, Hanna Olin, Ltd.This century's most influential landscape architecture book.--Landscape Architecture. . . an enduring contribution to the technical literature oflandscape planning and to that unfortunately small collection ofwritings which speak with emotional eloquence of the importance ofecological principles in regional planning. --Landscape and UrbanPlanningIn the twenty-five years since it first took the academic world bystorm, Design With Nature has done much to redefine the fields oflandscape architecture, urban and regional planning, and ecologicaldesign. It has also left a permanent mark on the ongoing discussionof mankind's place in nature and nature's place in mankind withinthe physical sciences and humanities. Described by one enthusiasticreviewer as a user's manual for our world, Design With Natureoffers a practical blueprint for a new, healthier relationshipbetween the built environment and nature. In so doing, it providesnothing less than the scientific, technical, and philosophicalfoundations for a mature civilization that will, as Lewis Mumfordecstatically put it in his Introduction to the 1969 edition, replace the polluted, bulldozed, machine-dominated, dehumanized, explosion-threatened world that is even now disintegrating anddisappearing before our eyes.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.