Defiant, funny and courageously honest, High Tide in Tucson is an engaging and immensely readable collection from one of the most original voices in contemporary literature.'Possessed of an extravagantly gifted narrative voice, Kingsolver blends a fierce and abiding moral vision with benevolent and concise humour. Her medicine is meant for the head, the heart, and the soul.' New York Times Book Review

    This narrative weaves together the stories of human folly and grandiose endeavor that shaped the states and reveal the background of the critical economic and political issue that is how water is used and misused today.

    Generating cataclysmic volcanic eruptions and large earthquakes, the hotspot helped lift the Yellowstone Plateau to more than 7,000 feet and pushed the northern Rockies to new heights, forming unusually large glaciers to carve the landscape. It also created the jewel of the U.S. national park system: Yellowstone. Meanwhile, forces stretching apart the western U.S. created the mountainous glory of Grand Teton National Park. These two parks, with their majestic mountains, dazzling geysers, and picturesque hot springs, are windows into the Earth's interior, revealing the violent power of the dynamic processes within. Smith and Siegel offer expert guidance through this awe-inspiring terrain, bringing to life the grandeur of these geologic phenomena as they reveal the forces that have shaped--and continue to shape--the greater Yellowstone-Teton region. Over seventy illustrations--including fifty-two in full color--illuminate the breathtaking beauty of the landscape, while two final chapters provide driving tours of the parks to help visitors enjoy and understand the regions wonders. Fascinating and informative, this book affords us a striking new perspective on Earth's creative forces.

    Working as a writer and an endangered-species biologist, he became convinced that returning grass-fed, free-roaming buffalo to the grasslands of the northern plains would return natural balance to the region and reestablish the undulating prairie lost through poor land management and overzealous farming. In 1998 he bought his first buffalo and began the task of converting a little cattle ranch into an ethically run buffalo ranch. Wild Idea is a book about how good food choices can influence federal policies and the integrity of our food system, and about the dignity and strength of a legendary American animal. It is also a book about people: the daughter coming to womanhood in a hard landscape, the friend and ranch hand who suffers great tragedy, the venture capitalist who sees hope and opportunity in a struggling buffalo business, and the husband and wife behind the ranch who struggle daily, wondering if what they are doing will ever be enough to make a difference. At its center, Wild Idea is about a family and the people and animals that surround them—all trying to build a healthy life in a big, beautiful, and sometimes dangerous land.

    In the winter of 1983, the largest El Niño event on record—a chain of “superstorms” that swept in from the Pacific Ocean—battered the entire West. That spring, a massive snowmelt sent runoff racing down the Colorado River toward the Glen Canyon Dam, a 710-foot-high wall of concrete that sat at the head of the most iconic landscape feature in America, the Grand Canyon. As the water clawed toward the parapet of the dam, worried federal officials desperately scrambled to avoid a worst-case scenario: one of the most dramatic dam failures in history. In the midst of this crisis, beneath the light of a full moon, a trio of river guides secretly launched a small, hand-built wooden boat, a dory named the Emerald Mile, into the Colorado just below the dam’s base and rocketed toward the dark chasm downstream, where the torrents of water released by the dam engineers had created a rock-walled maelstrom so powerful it shifted giant boulders and created bizarre hydraulic features never previously seen. The river was already choked with the wreckage of commercial rafting trips: injured passengers clung to the remnants of three-ton motorboats that had been turned upside down and torn to pieces. The chaos had claimed its first fatality, further launches were forbidden, and rangers were conducting the largest helicopter evacuation in the history of Grand Canyon National Park. An insurgent river run under such conditions seemed to border on the suicidal, but Kenton Grua, the captain of that dory, was on an unusual mission: a gesture of defiance unlike anything the river world had ever seen. His aim was to use the flood as a hydraulic slingshot that would hurl him and two companions through 277 miles of some of the most ferocious white water in North America and, if everything went as planned, catapult the Emerald Mile into legend as the fastest boat ever propelled—by oar, by motor, or by the grace of God—through the heart of the Grand Canyon. Grua himself was already something of a mythic figure, a fearless boatman obsessed with the mysteries of the canyon. His quest embraced not only the trials of the speed run itself but also the larger story of his predecessors: the men who had first discovered the canyon and pioneered its exploration, as well as those who waged a landmark battle to prevent it from being hog-tied by a series of massive hydroelectric dams—a conflict that continues to this day. A writer who has worked as a river guide himself and is intimately familiar with the canyon’s many secrets, Kevin Fedarko is the ideal narrator for this American epic. The saga of The Emerald Mile is a thrilling adventure, as well as a magisterial portrait of the hidden kingdom of white water at the bottom of the greatest river canyon on earth. This book announces Fedarko as a major writing talent and at last sets forth the full story of an American legend—the legend of The Emerald Mile.

    'Wildlife Warrior' charts his amazing life - from his childhood catching snakes in Victoria, through to his work in the wilderness and in his zoo. It follows his love story with his wife Terri and his rise to fame.

    His anatomy of the word cool reminds us that, in the postwar 40s, it was infused with the feeling of jazz music but is now merely a synonym for neat. "On Celestial Music," which was included in Best American Essays, 2008, begins with a lament for the loss in recent music of the vulnerability expressed by Otis Redding's masterpiece, "Try a Little Tenderness;" moves on to Moody's infatuation with the ecstatic music of the Velvet Underground; and ends with an appreciation of Arvo Part and Purcell, close as they are to nature, "the music of the spheres."Contemporary groups covered include Magnetic Fields (their love songs), Wilco (the band's and Jeff Tweedy's evolution), Danielson Famile (an evangelical rock band), The Pogues (Shane McGowan's problems with addiction), The Lounge Lizards (John Lurie's brilliance), and Meredith Monk, who once recorded a song inspired by Rick Moody's story "Boys." Always both incisive and personable, these pieces inspire us to dive as deeply into the music that enhances our lives as Moody has done--and introduces us to wonderful sounds we may not know.~from back cover

    Mark’s most vivid childhood memories are set against a backdrop of mountains, woods, and fireflies in places like Redwood, Yosemite, and Grand Canyon national parks.On the eve of turning fifty and a little burned-out, Mark decided to reconnect with the great outdoors. He'd spend a year visiting the national parks. He planned to take his mother to a park she'd not yet visited and to re-create his childhood trips with his wife and their iPad-generation daughter.But then the unthinkable happened: his mother was diagnosed with cancer, given just months to live. Mark had initially intended to write a book about the future of the national parks, but Lassoing the Sun grew into something more: a book about family, the parks, the legacies we inherit and the ones we leave behind.

    She writes of ravens and elk and prairie dogs, and eagles falling out of the sky. She tells of a voyage of discovery in northern Japan, where she finds her bridge to heaven. She captures a light moving down a mountain slope. One evening there is a contrapuntal dance of death: a calf she has tried to save, and a friend and mentor both die. She remembers what a painter once told her when she was twelve years old, as he was painting her portrait: You have to mix death into everything. Then you have to mix life into that. If they are not there I try to mix them. Otherwise, the painting won't be human.Through these explorations, in prose that is supple and muscular and evocative, Ehrlich begins to understand her own longings, her own nature, and the relatedness of her life to the universe.A volume of ten deep, wandering essays that at times are so point-blank vital you nearly need to put down the book to settle yourself. -- Peter Stack, San Francisco Chronicle Her essays, delicately combining interior and exterior exploration, are as spare and beautiful as the landscape from which they've grown... Each one is a pilgrimage into the secrets of the heart. -- Andrea Barrett, The Cleveland Plain Dealers

    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.

    These daily journal entries on hunting, fishing and exploring, written in camp during his many field trips in lower California, New Mexico, Canada, and Wisconsin, indicate the source of Leopold's ideas on land ethics found in his longer essays. The excerpts from these journals—many taken from notes written around a camp fire, spattered with a slapped mosquito or a drop of coffee—show in direct context what he did in his own leisure time. The essays are taken from more contemplative notes which were still in manuscript when Leopold died, fighting a grass fire in 1948. Round River has been edited by Leopold's son, Luna, a geologist well-known in the field of conservation. It is also illustrated throughout with line drawings by Charles W. Schwartz. All admirers of Leopold's work—indeed, all lovers of nature—will find this book richly rewarding.

    Lakes are changing rapidly, not because we are separate from nature but because we are so much a part of it. While many of our effects on the natural world today are new, from climate change to nuclear fallout, our connections to it are ancient, as core samples from lake beds reveal. In Still Waters, Curt Stager introduces us to the secret worlds hidden beneath the surfaces of our most remarkable lakes, leading us on a journey from the pristine waters of the Adirondack Mountains to the wilds of Siberia, from Thoreau’s cherished pond to the Sea of Galilee.Through decades of firsthand investigations, Stager examines the significance of our impacts on some of the world’s most iconic inland waters. Along the way he discovers the stories these lakes contain about us, including our loftiest philosophical ambitions and our deepest myths. For him, lakes are not only mirrors reflecting our place in the natural world but also windows into our history, culture, and the primal connections we share with all life.Beautifully observed and eloquently written, Stager’s narrative is filled with strange and enchanting details about these submerged worlds—diving insects chirping underwater like crickets, African crater lakes that explode, and the growing threats to some of our most precious bodies of water. Modern science has demonstrated that humanity is an integral part of nature on this planet, so intertwined with it that we have also become an increasingly powerful force of nature in our own right. Still Waters reminds us how beautiful, complex, and vulnerable our lakes are, and how, more than ever, it is essential to protect them.

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

    In Sightings, a collection of essays, bird watching forms the basis for observations spiritual and soulful, witty and wise. He describes his childhood ramblings in the silence of the Tennessee wilderness as feeling distinctly more spiritualthan the hard pews of his grandmother's church. Later in life, the presumed extinction and subsequent rediscovery of the Ivory-billed Woodpecker prompts a meditation on the nature of the sacred. Blessed with moments of beauty and the insight to recognize them as such, Keen translates the marvels of nature into the language of heart and soul.

    In his most autobiographical writing to date, these essays employ fire as a metaphor for the crucial moment when deeply held viewpoints yield to new experiences, and our spirits and minds broaden and mature. Snyder here writes and riffs on a wide range of topics, from explorations of southwestern European Paleolithic cave art to his own personal poetic history with haiku; from reminiscences of youthful West Coast logging and trail crew days to talks given in Paris and Tokyo on art and archetypes. He honors poets of his generation, like Philip Whalen and Allen Ginsberg, and meditates on art, labor, and the making of families, houses, and homesteads.This is a work that requires us to make friends with impermanence and error — to make "wildfire" a partner — and to keep burning the hazardous, the excess, and even one's own dreams and attainments, over and over again. The final impression is holistic: We perceive not a collection of essays, but a cohesive presentation of Snyder's life and work expressed in his characteristically straightforward prose.