We should expect great things from her." --The Globe and MailHome of Sudden Service is a sad and scary book of punk rock villanelles and sonnets about delinquency.Set in Anyvalley, North America, Home of Sudden Service centres around the experiences of young people growing up in the suburbs. The contrast of elegant poetic forms with the colloquial, often harsh language of suburban teens makes for a compelling and engaging achievement.Bachinsky creates a gothic landscape that will be familiar to anyone who's visited the suburbs. Here, young Brownies dance, learn to sew and get badges in a series of eerie rituals, and smalltown girls settle down early. Murder, lust, teen pregnancy and a young man's disappearance are all discussed with a matter-of-fact, dispassionate voice.But this world is not without humour and hope. Home of Sudden Service concludes with "Drive," a series of fifteen sonnets about the poet's trip across Canada with her sister -- and out of the setting of their youth.

    She sizes up the continuing assaults on America's public lands and the erosion of our commitment to the open space of democracy. She asks: "How do we find the strength to not look away from all that is breaking our hearts?"We know the elements of erosion: wind, water, and time. They have shaped the spectacular physical landscape of our nation. Here, Williams bravely and brilliantly explores the many forms of erosion we face: of democracy, science, compassion, and trust. She examines the dire cultural and environmental implications of the gutting of Bear Ears National Monument—sacred lands to Native Peoples of the American Southwest; of the undermining of the Endangered Species Act; of the relentless press by the fossil fuel industry that has led to a panorama in which "oil rigs light up the horizon." And she testifies that the climate crisis is not an abstraction, offering as evidence the drought outside her door and, at times, within herself.These essays are Williams's call to action, blazing a way forward through difficult and dispiriting times. We will find new territory—emotional, geographical, communal. The erosion of desert lands exposes the truth of chnage. What has been weathered, worn, and whittled away is as powerful as what remains. Our undoing is also our becoming.Erosion is a book for this moment, political and spiritual at once, written by one of our greatest naturalists, essayists, and defenders of the environment. She reminds us that beauty is its own form of resistance, and that water can crack stone.Preface: The turquoise triangle --Map of Bears Ears and Grand Staircase-Escalante National Monuments --The cutting edge of time: erosion of home --What love looks like: erosion of safety --This moment: erosion of democracy --Boom: erosion of belief --Coda: The liturgy of home

    He seeks conversions, not just votes. This Spotlight Story from TIME explores the Gospel of Bernie Sanders.

    Unfortunately, Justine Trimble, satr of 1950s cowboy B-movies, has been dead for 47 years. He saw her first in Last Stage to El Paso, a lowlife black-and-whie Western, and has been unable to think of anything else since. Desperate, Goodman invokes the help of his old friend, Istvan Fallock, to see if they can't somehow coax a videotape to yield the 25-year-old Justine. So with a test tube, distillation of frog, a soupcon of primordial soup mixed with a suspension of disbelief, they summon her back to life. And to their surprise and consternation, she materializes. As a reward for lust and hubris, Irving gets a lot more than the affection and attention he'd bargained for. Thus beings an amazing tale of murder and mayhem in contemporary London, where sexy vampire cowgirls run amok, chased by men old enough to know better.

    Cult comic book creator Debbie Reynolds Biondi has been riding the success of her Cold War era inspired superhero series Sputnik Chick Girl with No Past for more than 25 years. But with the comic book losing fans and Debbie struggling to come up with new plot lines for her badass mutant-killing heroine she decides to finally tell Sputnik Chick's origin story. Debbie's never had to make anything up before and she isn't starting now. Sputnik Chick is based on Debbie's own life in an alternate timeline called Atomic Mean Time. As a teenager growing up in Shipman's Corners, a Rust Belt town voted by Popular Science magazine as most likely to be nuked, she was recruited by a self-proclaimed time traveller to collapse Atomic Mean Time before an all-out nuclear war grotesquely altered humanity. In trying to save the world Debbie risked obliterating everyone she'd ever loved as well as her own past in the process. Or so she believes. Present-day Debbie is addicted to lorazepam and dirty wet martinis making her an unreliable narrator at best.

    Explores scientific and mystical developments that renew and enhance the soil, among them rock dust fertilizer, biodynamic agriculture, and other highly unusual fertilizers.

    

    Where there is no separation between "human" and "wild." Unlearn, Rewild boldly envisions such a world, probing deeply into the cultural constraints on our ability to lead truly sustainable lives and offering real, tangible tools to move toward another way of living, seeing, and thinking.Part philosophical treatise, part hard-core survival guide, this unique and thoroughly unconventional manual blends philosophy with a detailed introduction to a rich assortment of endangered traditional living skills, including:Harvesting and preparing unconventional proteinsFeral food preservationDealing responsibly with wasteNatural methods of birth controlTanning and processing animal skinsLyrical, humorous, surprising, enlightening, and thought-provoking by turns, Unlearn, Rewild is essential reading for those who wish to heal themselves and the earth, live gracefully into the future primitive and experience their wildest dreams.Miles Olson has spent the past decade deeply immersed in learning and practicing earth skills. While foraging, hunting, gardening, and gathering for his livelihood, his experiences have given him a unique perspective on rewilding, radical self-reliance, and the impact of civilization on the natural world.

    In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.

    Intense, vivid, and fearless, her work endows the true and seemingly ordinary aspects of life—a commuter chases snowball-throwing children through backyards, a bookish teenager memorizes the poetry of Rimbaud—with beauty and irony. These essays invite readers into sweeping landscapes, to join Dillard in exploring the complexities of time and death, often with wry humor. On one page, an eagle falls from the sky with a weasel attached to its throat; on another, a man walks into a bar.Marking the vigor of this powerful writer, The Abundance highlights Annie Dillard’s elegance of mind.

    For more than forty years, Hitchens delivered to numerous publications on both sides of the Atlantic essays that were astonishingly wide-ranging and provocative. The judges for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, posthumously bestowed on Hitchens, praised him for the way he wrote “with fervor about the books and writers he loved and with unbridled venom about ideas and political figures he loathed.” He could write, the judges went on to say, with “undisguised brio, mining the resources of the language as if alert to every possibility of color and inflection.” He was, as Benjamin Schwarz, his editor at The Atlantic magazine, recalled, “slashing and lively, biting and funny—and with a nuanced sensibility and a refined ear that he kept in tune with his encyclopedic knowledge and near photographic memory of English poetry.” And as Michael Dirda, writing in the Times Literary Supplement, observed, Hitchens “was a flail and a scourge, but also a gift to readers everywhere.”The author of five previous volumes of selected writings, including the international bestseller Arguably, Hitchens left at his death nearly 250,000 words of essays not yet published in book form. And Yet… assembles a selection that usefully adds to Hitchens’s oeuvre. It ranges from the literary to the political and is, by turns, a banquet of entertaining and instructive delights, including essays on Orwell, Lermontov, Chesterton, Fleming, Naipaul, Rushdie, Pamuk, and Dickens, among others, as well as his laugh-out-loud self-mocking “makeover.” The range and quality of Hitchens’s essays transcend the particular occasions for which they were originally written. Often prescient, always pugnacious, and formidably learned, Hitchens was a polemicist for the ages. With this posthumous volume, his reputation and his readers will continue to grow.Christopher Hitchens was the cartographer of his own literary and political explorations. He sought assiduously to affirm—and to reaffirm—the ideas of secularism, reason, libertarianism, internationalism, and solidarity, values always under siege and ever in need of defending. Henry James once remarked, “Nothing is my last word on anything.” For Hitchens, as for James, there was always more to be said.

    Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.

    NO dissects 45 deceptive affairs including Rebellion, The Sexes, Individuality, Equality, Peace, The Nazis, and Keeping It Real, all brought to light in a fashion that only Boyd Rice can. If past written collections of his work serve as time-capsuled history, let NO be the words of the future.Debossed paperback.

    In the essay, Twain laments the dour ways in which men of America's Gilded Age employ man's "most faithfull friend." He concludes by insisting that: "the wise thing is for us diligently to train ourselves to lie thoughtfully, judiciously; to lie with a good object, and not an evil one; to lie for others' advantage, and not our own; to lie healingly, charitably, humanely, not cruelly, hurtfully, maliciously; to lie gracefully and graciously, not awkwardly and clumsily; to lie firmly, frankly, squarely, with head erect, not haltingly, tortuously, with pusillanimous mien, as being ashamed of our high calling."

    Concluding with the prospects for its future in a world burgeoning with noise, Biguenet asks whether we should desire or fear silence-or if it is even ours to choose.Object Lessons is published in partnership with an essay series in The Atlantic.