Some of the natural history lore is antiquated, but keen intelligence and good humor express themselves in a readable and enjoyable manner.

    Not only does the Benedictine lifestyle fit well within the walls of the monastery, its interpretation of life is also suitable to other forms of society. In The Rule of Benedict for Beginners, Wil Derkse reveals how elements from Benedictine spirituality and the Benedictine lifestyle may be fruitful outside the monastery to strengthen the quality of societal living and working.The Rule of Benedict for Beginners is a useful source of life orientation and lifestyle for those interested in living by the Rule. It applies the monastic vows to life within organizations and examines the valuable elements of Benedictine leadership and Benedictine time management.Chapter one sketches Derkse's own acquaintance with the Benedictine lifestyle. Chapter two examines the basic patterns of Benedictine spirituality in order to translate these patterns into nonmonastic contexts. Inspired leadership, listening decision-making, fruitfully prospering human resources, and sensible time management are themes in the remaining chapters.Chapters in Part I: A First Acquaintance with Benedictine Spirituality are a lesson from the Imagery of Hildegard's Abbey in Eibingen," "What I Learned Through My Own Acquaintance with Benedictine Life," and "Growing Toward the Oblature." Chapters in Part II: Basic Patterns of Benedictine Spirituality and First Translation to Nonmonastic Contexts are "The Benedictine Way of Life: Listening Attentively to Gain Results," "The Benedictine Vows: Directed Toward Growth and Liberation," and "Additional Aspects of the Benedictine Art of Listening." Chapters in Part III: Benedictine Leadership: Stimulating People Toward Growth are "Leadership Demands a Special Talent for Listening," "The Person of the Abbot," and "The Person of the Cellarer: 'A Man For All Seasons.'" Chapters in Part IV: Benedictine Time Management: A Full Agenda, But Never Busy are "Living a Wholesome Rhythm," and "'Bearing Fruit in Season.'"

    Hadot's book demonstrates the extent to which philosophy has been, and still is, above all else a way of seeing and of being in the world.

    Anything Goes is a collection of some of his finest work written between 2005 and 2009 for New English Review. A note on the cover from New English Review Press: This jazz age photograph by Alfred Cheney Johnston reflects the classical conviction that the human form expresses a spiritual level of beauty, the artwork of God, if you will. It is also a statement about the essential humanism of Dr. Dalrymple's work. One cannot look at that figure and see an animal or a machine. Rather one sees something truly beautiful and truly human.

    For all those who have read and cherished the Foxfire books, here is a loving portrait of a fondly remembered friend. This book is not just about Aunt Arie; it is Aunt Arie. In her own words, she discusses everything from planting, harvesting, and cooking to her thoughts about religion and her feelings about living alone. Also included are testimonials from many who knew her and a wealth of photographs.

    Miranda Fox has devoted much of her life to caring for her elderly father. After his tragic death, she starts to make plans for her future, funded by the inheritance she is sure will be coming her way, but it seems her arrogant and domineering half-brother has very different ideas . . . Then a chance encounter with a man who has been given months to live boosts Miranda’s confidence, and as their friendship grows she finally learns to stand up for herself and her dreams. Can Miranda find the happiness that she deserves?

    In A Garden of Marvels, she extends the story. Frustrated by plants that fail to thrive, she sets out to understand the basics of botany in order to become a better gardener. She retraces the progress of the first botanists who banished myths and misunderstandings and discovered that flowers have sex, leaves eat air, roots choose their food, and hormones make morning glories climb fence posts. She also visits modern gardens, farms, and labs to discover the science behind extraordinary plants like one-ton pumpkins, a truly black petunia, a biofuel grass that grows twelve feet tall, and the world's only photosynthesizing animal. Transferring her insights to her own garden, she nurtures a "cocktail" tree that bears five kinds of fruit, cures a Buddha's Hand plant with beneficial fungi, and gets a tree to text her when it's thirsty. Intertwining personal anecdote, accessible science, and untold history, the ever-engaging author takes us on an eye-opening journey into her garden - and yours.

    Okatibbee Creek is based on the true story of Mary Ann Rodgers, who not only survived the war, but with the help of an unexpected champion, emerged a heroic woman with an amazing story.

    

    This predicament seems inevitable, but in fact it's quite new. In medieval Europe, God's calling was a grounding force. In ancient Greece, a whole pantheon of shining gods stood ready to draw an appropriate action out of you. Like an athlete in “the zone,” you were called to a harmonious attunement with the world, so absorbed in it that you couldn’t make a “wrong” choice. If our culture no longer takes for granted a belief in God, can we nevertheless get in touch with the Homeric moods of wonder and gratitude, and be guided by the meanings they reveal?All Things Shining says we can. Hubert Dreyfus and Sean Dorrance Kelly illuminate some of the greatest works of the West to reveal how we have lost our passionate engagement with and responsiveness to the world. Their journey takes us from the wonder and openness of Homer’s polytheism to the monotheism of Dante; from the autonomy of Kant to the multiple worlds of Melville; and, finally, to the spiritual difficulties evoked by modern authors such as David Foster Wallace and Elizabeth Gilbert.Dreyfus, a philosopher at the University of California, Berkeley, for forty years, is an original thinker who finds in the classic texts of our culture a new relevance for people’s everyday lives. His lively, thought-provoking lectures have earned him a podcast audience that often reaches the iTunesU Top 40. Kelly, chair of the philosophy department at Harvard University, is an eloquent new voice whose sensitivity to the sadness of the culture— and to what remains of the wonder and gratitude that could chase it away—captures a generation adrift.Re-envisioning modern spiritual life through their examination of literature, philosophy, and religious testimony, Dreyfus and Kelly unearth ancient sources of meaning, and teach us how to rediscover the sacred, shining things that surround us every day. This book will change the way we understand our culture, our history, our sacred practices, and ourselves. It offers a new—and very old—way to celebrate and be grateful for our existence in the modern world.

    This classic book, expanded from the film of the same title, brings you face to face with Dr. Campolo to hear just such a message: an unashamed proclamation that the Gospel of Christ, when taken seriously, is able to meet every human need-the need for psychological health, emotional well-being, self worth and value, love, purpose in life, miracles, and hope. With passion and humor Campolo challenges us to face life's problems with the hope of the resurrection and shout, "It's Friday, but Sunday's comin' "

    She goes where the vast majority of American have their most consistent experiences of Nature -- in their front yards, in the malls, and in front of their television screens. Price is interested in finding out what Nature with a capital "N" means to Americans, and those are the places that reflect our hopes and desires surrounding Nature while also illuminating our philosophical and economic relationships with Nature. We have become attached to the notion of Nature as a realm Out There, apart from our hectic modern lives. Our social systems are in rapid flux, with only tenuous moorings. Nature seems to offer a timeless anchor. It is the ultimate reality to which we can appeal. As Price makes clear throughout the book, Nature is not actually Out There, but all around us and in everything we create -- no matter how "artificial," all objects must derive in some fashion from natural resources. To get to the source of current attitudes, Price begins at an earlier era in American history, right at the transition point when the mythos of Nature was first being formulated. She takes as her case study the extinction of the passenger pigeon, but instead of searching for the causes of this extinction, she tries to understand how the people of that time experienced their relationship to the pigeons. Pioneers saw the huge flocks, numbering in the hundreds, but as the birds' numbers dwindled, their main consumers -- diners at Delmonico's, one of the first elegant New York restaurants, which featured wild game regularly; and trap shooters who imported the wild birds for tournaments -- never saw passenger pigeons in their native habitat. This disconnect increased as people began using wild nature imported from areas farther and farther away. A fashion for whole birds and bird parts on women's hats caused a crisis that resulted in the first Audubon societies, as people became aware that their actions were causing perhaps irreparable damage to wild nature. A developed view of wild nature as a separate and elevated realm (for example, appeals to the motherhood of egrets being violated when the birds were shot on their nests) set the tone for subsequent attitudes.The elevation of Nature continued apace in contrast to the artificial creations of humanity. The pink flamingo plastic lawn ornament with its "unnatural" eye-popping colors stands in here for a whole class of objects that became singled out. But there is "nature" in a pink flamingo -- namely the materials that went into it. It became a symbol of unreal, inauthentic mass culture, as opposed to the real, authentic Nature Out There. The desire to surround oneself with the authenticity of Nature while living in an industrialized, consumer society led to stores like the Nature Company, where people could commune with Nature in a mall and take a little home with them. Nature as timeless authority was coopted to hawk an incredible variety of products -- most notably cars -- and to serve as an icon on television shows. Overall, Flight Maps has the effect of bringing to the fore more or less subconscious assumptions about Nature to which we have all been exposed. Since Price's intention is to illuminate attitudes, she does not offer a program for reintegrating nature, both the wild and transformed, into our awareness, but I could not help but be reminded of The Consumer's Guide to Effective Environmental Choices: Practical Advice from the Union of Concerned Scientists, which details exactly how much nature is going into the things that we buy, whether or not we think of them as Nature. --Laura Wood, Science & Nature Editor

    Always an impassioned and far-sighted advocate for a just relationship between the natural world and humankind, Williams has broadened her concerns over the past several years to include a reconfiguration of family and community in her search for a deeper understanding of what it means to be human in an era of physical and spiritual fragmentation. Williams begins in Ravenna, Italy, where "jeweled ceilings became lavish tales" through the art of mosaic. She discovers that mosaic is not just an art form but a form of integration, and when she returns to the American Southwest, her physical and spiritual home, and observes a clan of prairie dogs on the brink of extinction, she apprehends an ecological mosaic created by a remarkable species in the sagebrush steppes of the Colorado Plateau. And, finally, Williams travels to a small village in Rwanda, where, along with fellow artists, she joins survivors of the 1994 genocide and builds a memorial literally from the rubble of war, an act that becomes a spark for social change and healing. A singular meditation on how the natural and human worlds both collide and connect in violence and beauty, this is a work of uncommon perceptions that dares to find intersections between arrogance and empathy, tumult and peace, constructing a narrative of hopeful acts by taking that which is broken and creating something whole.

    Scott wants to put an end to the belief that American women have to wear a colorless, shapeless uniform to achieve liberation and equality.A pointed attack on feminism's requisite style of dress, Fresh Lipstick argues that wearing high heels and using hair curlers does not deny you the right to seek advancement, empowerment, and equality. Scott asserts that judging someone on her fashion choices is as detrimental to advancement as judgments based on race, nationality, or social class. Fashion is an important mode of personal expression, not an indication of submission. She demonstrates that feminism's dogged reduction of fashion to sexual objectification has been motivated by a desire to control other women, not free them. This push for power has produced endless conflict from the movement's earliest days, hindering advances in women's rights by promoting exclusion. It is time for the "plain Jane" dress code of the revolution to be lifted, allowing all women to lead, even those wearing makeup and Manolos.Marching through 150 years of American dress history, Scott rips down feminism's favorite positions on fashion-from the power of images to the purpose of makeup. The illustrative examples-from flappers to Twiggy to body-piercing-are often poignant, occasionally infuriating, but always illuminating and thought-provoking.With Fresh Lipstick, Linda Scott gives women the ammunition to settle the fashion debate once and for all. She challenges feminists to move beyond appearances and to return their focus to the true mission of the movement: equality for all women everywhere.

    Beginning at the time of Alexander the Great, the monsters come fast and furious--Behemoth and Leviathan, Gog and Magog, Satan and his demons, Grendel and Frankenstein, circus freaks and headless children, right up to the serial killers and terrorists of today and the post-human cyborgs oftomorrow. Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravelstraditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations. In doing so, he illuminates the many ways monsters have become repositories for those human qualities that must be repudiated, externalized, and defeated.