While living on the eastern slope of Telegraph Hill, he made a magical discovery: a flock of wild parrots. In this unforgettable story, Bittner recounts how he became fascinated by the birds and patiently developed friendships with them that would last more than six years. When a documentary filmmaker comes along to capture the phenomenon on film, the story takes a surprising turn, and Bittner's life truly takes flight."A fascinating love story with wings." --Boston Herald"[A] charming memoir. For devoted birders everywhere." --Reader's Digest, Editor's Choice"[An] inspirational saga of one man finding his life's meaning in the most serendipitous way." --San Jose Mercury News"Instructive, surprising, sweet." --Gary Snyder, author of Turtle Island and Mountains and Rivers Without End

    Beau joins Arden, the black retriever, to complete their family. As Beau bounds back into life, the two dogs become Mark Doty's intimate companions, his solace, and eventually the very life force that keeps him from abandoning all hope during the darkest days. Their tenacity, loyalty, and love inspire him when all else fails.Dog Years is a remarkable work: a moving and intimate memoir interwoven with profound reflections on our feelings for animals and the lessons they teach us about life, love, and loss. Mark Doty writes about the heart-wrenching vulnerability of dogs, the positive energy and joy they bring, and the gift they bear us of unconditional love. A book unlike any other, Mark Doty's surprising meditation is radiantly unsentimental yet profoundly affecting. Beautifully written, Dog Years is a classic in the making.

    In looking back over his accomplishments, we are reminded of his groundbreaking work: He single-handedly began the rehabilitation of the wolf with Never Cry Wolf. He was the first to bring advocacy activism on behalf of the Inuit and their northern lands with People of the Deer and The Desperate People. And his was the first populist voice raised in defense of the environment and of the creatures with whom we share our world, the ones he has always called The Others. Otherwise is a memoir of the years between 1937 and the autumn of 1948 that tells the story of the events that forged the writer and activist. His was an innocent childhood, spent free of normal strictures, and largely in the company of an assortment of dogs, owls, squirrels, snakes, rabbits, and other wildlife. From this, he was catapulted into wartime service, as anxious as any other young man of his generation to get to Europe and the fighting. The carnage of the Italian campaign shattered his faith in humanity forever, and he returned home unable and unwilling to fit into post-war Canadian life. Desperate, he accepted a stint on a scientific collecting expedition to the Barrengrounds. There in the bleak but beautiful landscape he finds his purpose — first with the wolves and then with the indomitable but desperately starving Ihalmiut. Out of these experiences come his first pitched battles with an ignorant and uncaring federal bureaucracy as he tries to get aid for the famine-stricken Inuit. And out of these experiences, too, come his first books.Otherwise goes to the heart of who and what Farley Mowat is, a wondrous final achievement from a true titan.

    Little did she know at the time that those simple markings would become the basis of a years-long, life-changing exploration into a mysterious group known only as The Wander Society, as well as the subject of this book.Within these pages, you’ll find the results of Smith’s research: A guide to the Wander Society, a secretive group that holds up the act of wandering, or unplanned exploring, as a way of life. You’ll learn about the group’s mysterious origins, meet fellow wanderers through time, discover how wandering feeds the creative mind, and learn how to best practice the art of wandering, should you choose to accept the mission.

    Awarded a coveted Churchill Fellowship, her work expresses the intricacies of love and loss. Beautifully illustrated and thoughtfully conceived, Love and Misadventure will take you on a rollercoaster ride through an ill-fated love affair- from the initial butterflies to the soaring heights- through to the devastating plunge. Lang Leav has an unnerving ability to see inside the hearts and minds of her readers. Her talent for translating complex emotions with astonishing simplicity has won her a cult following of devoted fans from all over the world.

    Using her own adoration of birds as a starting point to explore avian minutiae both strange and fascinating, Blaise winds through the interconnectedness between humans and our feathered friends, from the eccentric people who obsess about birds to the compelling ways people have integrated birds into culture throughout history, as well as our similar behaviors, kindred intelligence, and shared habitats.Thoughtful, philosophical, and delightful, Crazy for Birds pairs beautiful artwork with whimsical writing to explore the many wonders of birds, shedding light on our abiding connection with nature, the diversity of life, and the idiosyncrasy of the human psyche.

    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

    Jones,   Walter Kirn,  Sheila Kohler,   Maxine Kumin,  Natalie Kusz,  Anne Lamott,   Gordon Lish,  Ralph Lombreglia, Merrill Markoe,  Pearson Marx,  Erin McGraw,  Heather McHugh,   Arthur Miller,  George Minot,  Susan Minot,   Honor Moore, Mary Morris,  Alicia Muñoz,  Elise Paschen,  Padgett Powell,  Wyatt Prunty,  Lawrence Raab,  Mark Richard,   John Rybicki, Jeanne Schinto,  Bob Shacochis,  Jim Shepard,   Karen Shepard,  Lee Smith,  Ben Sonnenberg,  Kate Clark Spencer,  Gerald Stern,Terese Svoboda,  William Tester,  Abigail Thomas,  Lily Tuck,  Sidney Wade,  Kathryn Walker,  William Wegman

    The normally lush, green countryside is in the grip of the worst drought in years: stunted cornstalks rasp in the hot July breeze, parched vegetable gardens wither and die, the Chittenden River shrinks to a trickle, and the drilling trucks are booked solid as one by one the wells give out. Patience Avery, known nationwide as a gifted "water witch", is having a busy summer, too. Using the tools of the dowser's trade —divining sticks, metal rods, bobbers, and pendulums—she can locate, among other things, aquifers deep within the earth. In the midst of this crisis, Scottie Winston lobbies for permits to expand Powder Peak, a local ski area that's his law firm's principal client. As part of the expansion, the resort seeks to draw water for snowmaking from the beleaguered Chittenden, despite opposition from environmentalists who fear that the already weakened river will be damaged beyond repair.

    Here are some of the remarkable features of Barnes & Noble Classics:New introductions commissioned from today's top writers and scholarsBiographies of the authorsChronologies of contemporary historical, biographical, and cultural eventsFootnotes and endnotesSelective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the workComments by other famous authorsStudy questions to challenge the reader's viewpoints and expectationsBibliographies for further readingIndices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. As an adolescent America searched for its unique identity among the nations of the world, a number of thinkers and writers emerged eager to share their vision of what the American character could be. Among their leaders was Ralph Waldo Emerson, whose essays, lectures, and poems defined the American transcendentalist movement, though he himself disliked the term.Emerson advocates a rejection of fear-driven conformity, a total independence of thought and spirit, and a life lived in harmony with nature. He believes that Truth lies within each individual, for each is part of a greater whole, a universal “over-soul” through which we transcend the merely mortal.Emerson was extremely prolific throughout his life; his collected writings fill forty volumes. This edition contains his major works, including Nature, the essays “Self-Reliance,” “The American Scholar,” “The Over-Soul,” “Circles,” “The Poet,” and “Experience,”, and such important poems as “The Rhodora,” “Uriel,” “The Humble-Bee,” “Earth-Song,” “Give All to Love,” and the well-loved “Concord Hymn.”Includes a comprehensive glossary of names.Peter Norberg has been Assistant Professor of English at Saint Joseph’s University in Philadelphia since 1997. A specialist in New England transcendentalism and the history of the antebellum period, he also has published on Herman Melville’s poetry. He currently is writing a history of Emerson’s career as a public lecturer.

    Pure Drivel is a collection of pieces, most of them written for the New Yorker, that demonstrate Martin's playful way with words and his unerring ability to create a feeling of serendipitous improvisation even on the printed page. Here's a passage from a piece that announces a shortage of periods in the Times Roman font: "Most vulnerable are writers who work in short, choppy sentences," said a spokesperson for Times Roman, who continued, "We are trying to remedy the situation and have suggested alternatives, like umlauts, since we have plenty of umlauts--and, in fact, have more umlauts than we could possibly use in a lifetime! Don't forget, umlauts can really spice up a page with their delicate symmetry--resting often midway in a word, letters spilling on either side--and not only indicate the pronunciation of a word but also contribute to a writer's greater glory because they're fancy, not to mention that they even look like periods, indeed, are indistinguishable from periods, and will lead casual readers to believe that the article actually contains periods!" Although some of these pieces flirted with topicality when they first appeared, Martin is most successful when he leaves the real world behind and gives his wit free rein. This collection preserves the best (so far) of his glorious improvisations. --Simon Leake

    Herzog’s groundbreaking research on animal rights activists, cockfighters, professional dog-show handlers, veterinary students, and biomedical researchers. Blending anthropology, behavioral economics, evolutionary psychology, and philosophy, Herzog carefully crafts a seamless narrative enriched with real-life anecdotes, scientific research, and his own sense of moral ambivalence.Alternately poignant, challenging, and laugh-out-loud funny, this enlightening and provocative book will forever change the way we look at our relationships with other creatures and, ultimately, how we see ourselves.

    To a smaller yet no less passionate audience, Fowles is also known for having written The Tree, one of his few works of nonfiction. First published a generation ago, it is a provocative meditation on the connection between the natural world and human creativity, and a powerful argument against taming the wild. In it, Fowles recounts his own childhood in England and describes how he rebelled against his Edwardian father’s obsession with the “quantifiable yield” of well-pruned fruit trees and came to prize instead the messy, purposeless beauty of nature left to its wildest. The Tree is an inspiring, even life-changing book, like Lewis Hyde’s The Gift, one that reaffirms our connection to nature and reminds us of the pleasure of getting lost, the merits of having no plan, and the wisdom of following one’s nose wherever it may lead—in life as much as in art.

    In the United States we sometimes call them buzzards; in parts of Mexico the name is aura cabecirroja, in Uruguay jote cabeza colorada, and in Ecuador gallinazo aura. A huge bird, the turkey vulture is a familiar sight from culture to culture, in both hemispheres. But despite being ubiquitous and recognizable, the turkey vulture has never had a book of literary nonfiction devoted to it—until Vulture. Floating on six-foot wings, turkey vultures use their keen senses of smell and sight to locate carrion. Unlike their cousin the black vulture, turkey vultures do not kill weak or dying animals; instead, they cleanse, purify, and renew the environment by clearing it of decaying carcasses, thus slowing the spread of such dangerous pathogens as anthrax, rabies, and botulism. The beauty, grace, and important role of these birds in the ecosystem notwithstanding, turkey vultures are maligned and underappreciated; they have been accused of spreading disease and killing livestock, neither of which has ever been substantiated. Although turkey vultures are protected under the Migratory Bird Treaty Act, which makes harming them a federal offense, the birds still face persecution. They’ve been killed because of their looks, their odor, and their presence in proximity to humans. Even the federal government occasionally sanctions “roost dispersals,” which involve the harassment and sometimes the murder of communally roosting vultures during the cold winter months. Vulture follows a year in the life of a typical North American turkey vulture. By incorporating information from scientific papers and articles, as well as interviews with world-renowned raptor and vulture experts, author Katie Fallon examines all aspects of the bird’s natural history: breeding, incubating eggs, raising chicks, migrating, and roosting. After reading this book you will never look at a vulture in the same way again.

    His whimsical and often erotic writing has already captured the hearts and minds of literally thousands of readers from around the world. He paints vivid pictures with intricate words and explores the compelling themes of love, loss, relationships and sex. All beautifully captured in poetry, prose, quotes and little short stories.