The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row.

    In this captivating guided journal, readers are encouraged to explore their world as both artists and scientists. The mission Smith proposes? To document and observe the world around you. As if you've never seen it before. Take notes. Collect things you find on your travels. Document findings. Notice patterns. Copy. Trace. Focus on one thing at a time. Record what you are drawn to. With a series of interactive prompts and a beautifully hand-illustrated two-color package, readers will enjoy exploring and discovering the world through this gorgeous book.

    It is recommended that the student take this course during the same year that he or she is taking Algebra 1. Exploring Creation With Biology is a college-prep biology course that provides a detailed introduction to the methods and concepts of general biology. Heavily emphasizing the vocabulary of biology, it provides the student with a strong background in the scientific method, the five-kingdom classification scheme, microscopy, biochemistry, cellular biology, molecular and Mendelian genetics, evolution, dissection, and ecosystems. It also provides a complete survey of the five kingdoms in Creation. Please note that this course does not contain a discussion of human anatomy and physiology. Most college biology professors do not consider it to be a part of a solid, college-prep biology course. Human anatomy and physiology is such a detailed subject that it merits an entire high school course (Please see Human Body, Fearfully and Wonderfully Made). Students who take and understand this course will be very well-prepared for a tough university biology course. The student text contains all student material, on-your-own questions and solutions, laboratory exercises, and chapter study guides. Color illustrations and diagrams."

    In handsomely crafted prose, and with the grace and authority of his extraordinary gift for narrative history, William Manchester leads us from a civilization tottering on the brink of collapse to the grandeur of its rebirth - the dense explosion of energy that spawned some of history's greatest poets, philosophers, painters, adventurers, and reformers, as well as some of its most spectacular villains - the Renaissance.

    It imagines passing clouds to be permanent and is blind to powerful, long-term shifts taking place in full view of the world.” —George Friedman In his long-awaited and provocative new book, George Friedman turns his eye on the future—offering a lucid, highly readable forecast of the changes we can expect around the world during the twenty-first century. He explains where and why future wars will erupt (and how they will be fought), which nations will gain and lose economic and political power, and how new technologies and cultural trends will alter the way we live in the new century.The Next 100 Years draws on a fascinating exploration of history and geopolitical patterns dating back hundreds of years. Friedman shows that we are now, for the first time in half a millennium, at the dawn of a new era—with changes in store, including:• The U.S.-Jihadist war will conclude—replaced by a second full-blown cold war with Russia.• China will undergo a major extended internal crisis, and Mexico will emerge as an important world power.• A new global war will unfold toward the middle of the century between the United States and an unexpected coalition from Eastern Europe, Eurasia, and the Far East; but armies will be much smaller and wars will be less deadly.• Technology will focus on space—both for major military uses and for a dramatic new energy resource that will have radical environmental implications.• The United States will experience a Golden Age in the second half of the century.Written with the keen insight and thoughtful analysis that has made George Friedman a renowned expert in geopolitics and forecasting, The Next 100 Years presents a fascinating picture of what lies ahead.For continual, updated analysis and supplemental material, go to www.Stratfor.com

    Now you can become part of the movement - and together, we can make history.It's time. This is our last chance to do anything about the global climate and ecological emergency. Our last chance to save the world as we know it.Now or never, we need to be radical. We need to rise up. And we need to rebel.Extinction Rebellion is a global activist movement of ordinary people, demanding action from Governments. This is a book of truth and action. It has facts to arm you, stories to empower you, pages to fill in and pages to rip out, alongside instructions on how to rebel - from organising a roadblock to facing arrest.By the time you finish this book you will have become an Extinction Rebellion activist. Act now before it's too late.

    Here, in this compelling assembly of writings, Pulitzer Prize-winning author Annie Dillard explores the world of natural facts and human meanings.

    Improper use of antibiotics. Local warfare. Massive refugee migration. Changing social and environmental conditions around the world have fostered the spread of new and potentially devastating viruses and diseases—HIV, Lassa, Ebola, and others. Laurie Garrett takes you on a fifty-year journey through the world's battles with microbes and examines the worldwide conditions that have culminated in recurrent outbreaks of newly discovered diseases, epidemics of diseases migrating to new areas, and mutated old diseases that are no longer curable. She argues that it is not too late to take action to prevent the further onslaught of viruses and microbes, and offers possible solutions for a healthier future.

    This text surveys the major ideologies which have shaped the political landscape, covering traditional ideologies including liberalism, conservatism, and socialism, and the newly emerging ideologies, like environmentalism.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Haunted by the crimes in which he'd participated, the soldier wanted to confess to--& obtain absolution from--a Jew. Faced with the choice between compassion & justice, silence & truth, Wiesenthal said nothing. But even years after the war had ended, he wondered: Had he done the right thing? What would you have done in his place?In this important book, 53 distinguished men & women respond to Wiesenthal's questions. They are theologians, political leaders, writers, jurists, psychiatrists, human rights activists, Holocaust survivors & victims of attempted genocides in Bosnia, Cambodia, China & Tibet. Their responses, as varied as their experiences of the world, remind us that Wiesenthal's questions are not limited to events of the past. Often surprising, always thought provoking, The Sunflower will challenge you to define your beliefs about justice, compassion & responsibility.

    Told through an examination of animal and plant life today - with occasional juxtapositions of extinct fossil forms to reveal the origin of living creatures - "Life on Earth" is an astonishing pageant of life, with a cast of characters drawn from the whole range of living animals the world over. Attenborough's perceptive, dynamic approach to the evolution of some four million species of living organisms that populate the planet is to trace the most significant thread in the history of each major group. He then proceeds to explain from the evidence of living representatives and fossil remains why certain animals adapted and survived, evolved to more complex and "higher" forms of life, while others, by some inherent limitation imposed by their physiology or structure, failed and became extinct. "Life on Earth" is a book of wonders. A model of clarity and ease as a guide, Attenborough takes the reader around the world with him into jungles where orchids have petals that "impersonate" wasps to attract pollinating insects; to Australia, where honeypot ants force feed nectar to workers of a special caste, then hang them up by their forelegs like living storage jars; to remote mountains in Japan where little monkeys called macaques have learned to combat the winter snows by bathing in hot volcanic springs.

    This third edition has been fully revised and uses a story-telling approach to illustrate how research is done and the results of such research. Each chapter begins with a real-life vignette that epitomizes the social psychological concepts that follow, and experiences and historical events are used to illustrate theories within social psychology.

    He helped save the world’s last unprotected redwoods. He co-created the predecessor to today’s Green New Deal. And he led a successful effort by climate scientists and activists to keep nuclear plants operating, preventing a spike of emissions.But in 2019, as some claimed “billions of people are going to die,” contributing to rising anxiety, including among adolescents, Shellenberger decided that, as a lifelong environmental activist, leading energy expert, and father of a teenage daughter, he needed to speak out to separate science from fiction.Despite decades of news media attention, many remain ignorant of basic facts. Carbon emissions peaked and have been declining in most developed nations for over a decade. Deaths from extreme weather, even in poor nations, declined 80 percent over the last four decades. And the risk of Earth warming to very high temperatures is increasingly unlikely thanks to slowing population growth and abundant natural gas.Curiously, the people who are the most alarmist about the problems also tend to oppose the obvious solutions.What’s really behind the rise of apocalyptic environmentalism? There are powerful financial interests. There are desires for status and power. But most of all there is a desire among supposedly secular people for transcendence. This spiritual impulse can be natural and healthy. But in preaching fear without love, and guilt without redemption, the new religion is failing to satisfy our deepest psychological and existential needs.

    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.