Although KrutchOCooften called the Cactus WaldenOCocame to the desert relatively late in his life, his curiosity and delight in his surroundings abound throughout "The Desert Year, " whether he is marveling at the majesty of the endless dry sea, at flowers carpeting the desert floor, or at the unexpected appearance of an army of frogs after a heavy rain.KrutchOCOs trenchant observations about life prospering in the hostile environment of ArizonaOCOs Sonoran Desert turn to weighty questions about humanity and the precariousness of our existence, putting lie to Western denials of mind in the "lower" forms of life: "Let us not say that this animal or even this plant has 'become adapted' to desert conditions. Let us say rather that they have all shown courage and ingenuity in making the best of the world as they found it. And let us remember that if to use such terms in connection with them is a fallacy then it can only be somewhat less a fallacy to use the same terms in connection with ourselves."This edition contains 33 exacting drawings by noted illustrator Rudolf Freund. Closely tied to Krutch's uncluttered text, the drawings tell a story of ineffable beauty.

    Now Terry Tempest Williams, the author of the environmental classic Refuge and the beloved memoir When Women Were Birds, returns with The Hour of Land, a literary celebration of our national parks, an exploration of what they mean to us and what we mean to them.From the Grand Tetons in Wyoming to Acadia in Maine to Big Bend in Texas and more, Williams creates a series of lyrical portraits that illuminate the unique grandeur of each place while delving into what it means to shape a landscape with its own evolutionary history into something of our own making. Part memoir, part natural history, and part social critique, The Hour of Land is a meditation and a manifesto on why wild lands matter to the soul of America.

    It is a land of absolutes, of passion and indifference, lush textures and inscrutable tensions. Here violence can push beauty to the edge of a razor blade. . . . Thus Ellen Meloy describes a corner of desert hard by the San Juan River in southeastern Utah, a place long forsaken as implausible and impassable, of little use or value—a place that she calls home. Despite twenty years of carefully nurtured intimacy with this red-rock landscape, Meloy finds herself, one sunbaked morning, staring down at a dead lizard floating in her coffee and feeling suddenly unmoored. What follows is a quest that is both physical and spiritual, a search for home.

    A desert, by definition, lacks it, but when water does come, it comes in torrential, sometimes devastating abundance. Childs, a thirtysomething desert rat with a vast knowledge of the Southwest's remote corners, knows this fact well. "Most rain falling anywhere but the desert comes slow enough that it is swallowed by the soil without comment," he observes. "Desert rains, powerful and sporadic, tend to hit the ground, gather into floods, and are gone before the water can sink five inches into the ground."The travels that Childs recounts in this vivid narrative take him from places sometimes parched, sometimes swimming, from the depths of the Grand Canyon to the dry limestone tanks of the lava-strewn Sonoran Desert. As he travels, Childs gives a close reading of the desert landscape ("the moral," he writes at one point, "is that if you know the land and its maps, you might live"), observing the rocks, plants, animals, and people that call it home. Some of his adventures will remind readers of Edward Abbey's Desert Solitaire—save that Childs writes without Abbey's bluster, and with a measured lyricism that well suits the achingly lovely back canyons and cactus forests of the Southwest. By turns travelogue, ecological treatise, and meditative essay, Childs's book will speak to anyone who has spent time under desert skies, wondering when the next drop of rain might fall.

    Written while Abbey was working as a ranger at Arches National Park outside of Moab, Utah, Desert Solitaire is a rare view of one man’s quest to experience nature in its purest form.Through prose that is by turns passionate and poetic, Abbey reflects on the condition of our remaining wilderness and the future of a civilization that cannot reconcile itself to living in the natural world as well as his own internal struggle with morality. As the world continues its rapid development, Abbey’s cry to maintain the natural beauty of the West remains just as relevant today as when this book was written.

     Desert Notebooks examines how the unprecedented pace of destruction to our environment and an increasingly unstable geopolitical landscape have led us to the brink of a calamity greater than any humankind has confronted before. As inhabitants of the Anthropocene, what might some of our own histories tell us about how to confront apocalypse? And how might the geologies and ecologies of desert spaces inform how we see and act toward time--the pasts we have erased and paved over, this anxious present, the future we have no choice but to build? Ehrenreich draws on the stark grandeur of the desert to ask how we might reckon with the uncertainty that surrounds us and fight off the crises that have already begun.In the canyons and oases of the Mojave and in Las Vegas's neon apocalypse, Ehrenreich finds beauty, and even hope, surging up in the most unlikely places, from the most barren rocks, and the apparent emptiness of the sky. Desert Notebooks is a vital and necessary chronicle of our past and our present--unflinching, urgent--yet timeless and profound.

    Spending nearly half the year in a 7' x 7' tower, 10,000 feet above sea level in remote New Mexico, his tasks were simple: keep watch over one of the most fire-prone forests in the country and sound the alarm at the first sign of smoke.Fire Season is Connors's remarkable reflection on work, our place in the wild, and the charms of solitude. The landscape over which he keeps watch is rugged and roadless — it was the first region in the world to be officially placed off limits to industrial machines — and it typically gets hit by lightning more than 30,000 times per year. Connors recounts his days and nights in this forbidding land, untethered from the comforts of modern life: the eerie pleasure of being alone in his glass-walled perch with only his dog Alice for company; occasional visits from smokejumpers and long-distance hikers; the strange dance of communion and wariness with bears, elk, and other wild creatures; trips to visit the hidden graves of buffalo soldiers slain during the Apache wars of the nineteenth century; and always the majesty and might of lightning storms and untamed fire.Written with narrative verve and startling beauty, and filled with reflections on his literary forebears who also served as lookouts — among them Edward Abbey, Jack Kerouac, Norman Maclean, and Gary Snyder — Fire Season is a book to stand the test of time.

    In this classic collection of meditations on the wonders of this region, Austin generously shares “such news of the land, of its trails and what is astir in them, as one lover of it can give to another.” Her vivid writings capture the landscape—from burnt hills to sun-baked mesas—as well as the rich variety of plant and animal life, and the few human beings who inhabit the land, including cattlemen, miners, and Paiute Indians. This Modern Library Paperback Classic is set from the original 1903 edition.

    Now, award-winning nature writer David Gessner follows the ghosts of these two remarkable writer-environmentalists from Stegner's birthplace in Saskatchewan to the site of Abbey's pilgrimages to Arches National Park in Utah, braiding their stories and asking how they speak to the lives of all those who care about the West.These two great westerners had very different ideas about what it meant to love the land and try to care for it, and they did so in distinctly different styles. Boozy, lustful, and irascible, Abbey was best known as the author of the novel The Monkey Wrench Gang (and also of the classic nature memoir Desert Solitaire), famous for spawning the idea of guerrilla actions—known to admirers as "monkeywrenching" and to law enforcement as domestic terrorism—to disrupt commercial exploitation of western lands. By contrast, Stegner, a buttoned-down, disciplined, faithful family man and devoted professor of creative writing, dedicated himself to working through the system to protect western sites such as Dinosaur National Monument in Colorado.In a region beset by droughts and fires, by fracking and drilling, and by an ever-growing population that seems to be in the process of loving the West to death, Gessner asks: how might these two farseeing environmental thinkers have responded to the crisis?Gessner takes us on an inspiring, entertaining journey as he renews his own commitment to cultivating a meaningful relationship with the wild, confronting American overconsumption, and fighting environmental injustice—all while reawakening the thrill of the words of his two great heroes.

    In addition, he acknowledges Yellowstone's history as ground zero for the conflicts between preservation and development.

    In Desert Cabal: A New Season in the Wilderness, Amy Irvine admires the man who influenced her life and work while challenging all that is dated—offensive, even—between the covers of Abbey’s environmental classic. Irvine names and questions the “lone male” narrative—white and privileged as it is—that still has its boots planted firmly at the center of today’s wilderness movement, even as she celebrates the lens through which Abbey taught so many to love the wild remains of the nation. From Abbey’s quiet notion of solitude to Irvine’s roaring cabal, the desert just got hotter, and its defenders more nuanced and numerous.

    A stunning collection of personal observations that uses images of the American West to probe larger concerns in lyrical, evocative prose that is a true celebration of the region.

    Fields, farms, hills and hedgerows appear altered, the wildlife behaves differently, and over time the terrain itself is transformed.In Rain, Melissa Harrison explores our relationship with the weather as she follows the course of four rain showers, in four seasons, across Wicken Fen, Shropshire, the Darent Valley and Dartmoor.Blending these expeditions with reading, research, memory and imagination, she reveals how rain is not just an essential element of the world around us, but a key part of our own identity too.

    In this, his last book completed just before his death, Sigurd F. Olson guides readers through his wide-ranging memories of a lifetime dedicated to the preservation of the wilderness.

    The title refers to the physiographic province of the United States that reaches from eastern Utah to eastern California, a silent world of austere beauty, of hundreds of discrete high mountain ranges that are green with junipers and often white with snow. The terrain becomes the setting for a lyrical evocation of the science of geology, with important digressions into the plate-tectonics revolution and the history of the geologic time scale.