These vast expanses provide a home to wildlife populations, a vital source of clean air and water, and a haven for recreation.Since its inception, however, America’s public land system has been embroiled in controversy—caught in the push and pull between the desire to develop the valuable resources the land holds or conserve them. Alarmed by rising tensions over the use of these lands, hunter, angler, and outdoor enthusiast Mark Kenyon set out to explore the spaces involved in this heated debate, and learn firsthand how they came to be and what their future might hold.Part travelogue and part historical examination, That Wild Country invites readers on an intimate tour of the wondrous wild and public places that are a uniquely profound and endangered part of the American landscape.

    Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

     The exploitation of animals is pervasive, entrenched, and horrific. In this book, the authors reject the idea that animal use is morally acceptable if we treat animals “humanely.” They reject the campaigns for “compassionate” exploitation promoted by virtually all large animal protection organizations. These campaigns, the authors argue, reinforce the notion that we can consume our way out of injustice and trade one form of exploitation for another. They are morally wrong and they are, as a practical matter, ineffective. The central argument of this book is that we need a paradigm shift. We must see nonhuman animals as nonhuman persons. This paradigm shift—this revolution of the heart—starts with our own veganism, not as some sort of “flexitarian lifestyle” issue, but as a basic, fundamental, and non-negotiable commitment to justice and fairness for nonhuman animals. Veganism, as a moral imperative, recognizes that we have no moral justification for using animals—however “humanely”—for our purposes. It continues with our daily efforts to educate others in creative, positive, and nonviolent ways about veganism—something that each of us can do if we want to. Every day, we have opportunities to educate family, friends, colleagues at work, and people whom we encounter in a store or on a bus. Is it easier to write a check to someone else than do the work ourselves? Of course it is. But it won’t work because the large advocacy organizations are not seeking to end animal exploitation; they are, by promoting the idea of “compassionate” animal use, seeking instead to make the public feel more comfortable about continuing to exploit animals. Francione and Charlton, both attorneys and professors at Rutgers University School of Law, have the dual perspective of working on animal issues for 30 years, while developing the abolitionist theory of animal rights. In this book, they discuss six principles that make up the Abolitionist Approach: I. Principle One: Abolitionists maintain that all sentient beings, human or nonhuman, have one right—the basic right not to be treated as the property of others. II. Principle Two: Abolitionists maintain that our recognition of this one basic right means that we must abolish, and not merely regulate, institutionalized animal exploitation, and that abolitionists should not support welfare reform campaigns or single-issue campaigns. III. Principle Three: Abolitionists maintain that veganism is a moral baseline and that creative, nonviolent vegan education must be the cornerstone of rational animal rights advocacy. IV. Principle Four: The Abolitionist Approach links the moral status of nonhumans with sentience alone and not with any other cognitive characteristic; all sentient beings are equal for the purpose of not being used exclusively as a resource. V. Principle Five: Abolitionists reject all forms of human discrimination, including racism, sexism, heterosexism, ageism, ableism, and classism—just as they reject speciesism. VI. Principle Six: Abolitionists recognize the principle of nonviolence as a core principle of the animal rights movement. On the bedrock of these six principles, Francione and Charlton maintain that we can end animal exploitation. About the authors: Gary L. Francione is Board of Governors Distinguished Professor of Law and the Nicholas deB. Katzenbach Scholar of Law and Philosophy at Rutgers University School of Law. Anna Charlton is Adjunct Professor of Law at Rutgers University School of Law.

    Gruchow turns a naturalist's eye on a wilderness of wolves, moose, and loons as he visits national parks and other scenic spots. Drawing on the works of Thoreau and Wendell Berry, he explores the relationship of person to place.

    This compelling work paints an unforgettable portrait not only of life on the inside?, but of our views of the natural world and our place in it.

    It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    Written by arts educator Steven Aimone, it’s packed with solid, friendly, hands-on instruction, as well as inspiring images, and backed by the trusted AARP name. Aimone teaches an accessible style called expressive drawing that emphasizes line and mark, rather than rendering a specific object, which for many people, can create barriers to self-expression. Exercises start off simple and quick, encouraging readers to work on instinct and feeling, while the later ones focus on detail and refinement. The book features hundreds ofimages of work by well-known artists from Debuffet to Jim Dine—and each chapter includes a profile of someone who came to drawing late in life and achieved recognition.

    The majority of solutions on offer, from using efficient light bulbs to biking to work, focus on individual lifestyle changes, yet the scale of the crisis requires far deeper adjustments. Ecology and Socialism argues that time still remains to save humanity and the planet, but only by building social movements for environmental justice that can demand qualitative changes in our economy, workplaces, and infrastructure."Williams adds a new and vigorous voice to the growing awareness that, yes, it is our capitalist system that is ruining the natural foundation of our civilization and threatening the very idea of a future. I am particularly impressed by the way he develops a clear and powerful argument for an ecological socialism directly from the actual ground of struggle, whetheragainst climate change, systematic poisoning from pollution, or the choking stream of garbage. Ecology and Socialism is a notable addition to the growing movement to save our planet from death-dealing capitalism.”—Joel Kovel, author of The Enemy of Nature�Finally, a book that bridges the best of the scholarly and activist literatures in socialist ecology! Sophisticated and compelling, eschewing academic jargons �postmodern’ and otherwise, Ecology and Socialism more than competently champions a Marxist approach to environmental crisis and the kind of economic democracy needed to achieve an ecologically friendly system of production and human development.”—Paul Burkett, author of Marxism and Ecological Economics�This book is more than essential reading—it is a powerful weapon in the fight to save our planet.”—Ian Angus, editor of climateandcapitalism.comChris Williams is a longtime environmental activist, professor of physics and chemistry at Pace University, and chair of the science department at Packer Collegiate Institute. He lives in New York City.

    But what is in- teresting about Haraway's remark - its challenge to the oppositional think- ing that sets up free will against determinism, vitalism against mechanism - has seldom been processed by a mode of theorizing which has tended to reproduce exactly the same oppositions. These theoretical failings, it will be argued here, arise from a resistance to pursuing cybernetics to its limits (a failure evinced as much by cyberneticists as by cultural theorists, it must be added). Unraveling the implications of cybernetics, it will be claimed, takes us out to the Gothic flatline. The Gothic flatline designates a zone of radical immanence. And to theorize this flatline demands a new approach, one committed to the theorization of immanence. This thesis calls that approach Gothic Materialism.

    Traversing past and present, Belonging charts a cyclical journey in which hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home. hooks has written provocatively about race, gender, and class; and in this book she turns her attention to focus on issues of land and land ownership. Reflecting on the fact that 90% of all black people lived in the agrarian South before mass migration to northern cities in the early 1900s, she writes about black farmers, about black folks who have been committed both in the past and in the present to local food production, to being organic, and to finding solace in nature. Naturally, it would be impossible to contemplate these issues without thinking about the politics of race and class. Reflecting on the racism that continues to find expression in the world of real estate, she writes about segregation in housing and economic racialized zoning. In these critical essays, hooks finds surprising connections that link the environment and sustainability to the politics of race and class that reach far beyond Kentucky.With characteristic insight and honesty, Belonging offers a remarkable vision of a world where all people--wherever they may call home--can live fully and well, where everyone can belong.

    In case study format, this informative reference answers questions surrounding nuclear energy, the potential of sustainable fossil fuels, and the possibilities of sharing renewable power with foreign countries. While underlining the difficulty of minimizing consumption, the tone remains positive as it debunks misinformation and clearly explains the calculations of expenditure per person to encourage people to make individual changes that will benefit the world at large.

    Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

    Recent, massive blooms of billions of jellyfish have clogged power plants, decimated fisheries, and caused millions of dollars of damage. Driven by questions about how overfishing, coastal development, and climate change were contributing to a jellyfish population explosion, Juli embarked on a scientific odyssey. She traveled the globe to meet the biologists who devote their careers to jellies, hitched rides on Japanese fishing boats to see giant jellyfish in the wild, raised jellyfish in her dining room, and throughout it all marveled at the complexity of these alluring and ominous biological wonders.

    Bird flu. Unusual concentrations of cancer and other diseases. Massive fish kills from flesh-eating parasites. Recalls of meats, vegetables, and fruits because of deadly E-coli bacterial contamination. Recent public health crises raise urgent questions about how our animal-derived food is raised and brought to market. In Animal Factory, bestselling investigative journalist David Kirby exposes the powerful business and political interests behind large-scale factory farms, and tracks the far-reaching fallout that contaminates our air, land, water, and food. In this thoroughly researched book, Kirby follows three families and communities whose lives are utterly changed by immense neighboring animal farms. These farms (known as “Concentrated Animal Feeding Operations,” or CAFOs), confine thousands of pigs, dairy cattle, and poultry in small spaces, often under horrifying conditions, and generate enormous volumes of fecal and biological waste as well as other toxins. Weaving science, politics, law, big business, and everyday life, Kirby accompanies these families in their struggles against animal factories. A North Carolina fisherman takes on pig farms upstream to preserve his river, his family’s life, and his home. A mother in a small Illinois town pushes back against an out-sized dairy  farm and its devastating impact. And a Washington State grandmother becomes an unlikely activist when her home is invaded by foul odors and her water supply is compromised by runoff from leaking lagoons of cattle waste. Animal Factory is an important book about our American food system gone terribly wrong---and the people who are fighting to restore sustainable farming practices and save our limited natural resources.