Written by the author of "Sacred Path Cards", this practical guide to self-knowledge reveals the mysteries of an ancient feminine oral tradition. Jamie Sams records Native-American traditions passed on to her by two Kiowa grandmothers, and provides a tool that any woman can use to bring ancient feminine wisdom into daily life. Sams shows readers how to discover and cultivate their innate power through the teachings of the Thirteen Original Clan Mothers. Each clan mother represents a particular teaching. Each relates to a cycle of the moon and has special totems, talents and gifts. Readers learn how to find their birth clan mother, develop their personal talents and teach the truths of women's medicine. Jamie Sams is the author of "The Discovery of Self Through Native Teachers".

    At the end of each visit, photographer and family collaborated on a remarkable portrait of the family members outside their home, surrounded by all of their possessions—a few jars and jugs for some, an explosion of electronic gadgetry for others. Vividly portraying the look and feel of the human condition everywhere on Earth, this internationally acclaimed bestseller puts a human face on the issues of population, environment, social justice, and consumption as it illuminates the crucial question facing our species today: Can all six billion of us have all the things we want?

    These legends tell the stories behind many prominent natural features in and around Vancouver.

    Over 380 genera. More than 3700 species and cultivars.Dirr's Encyclopedia of Trees and Shrubs is the most comprehensive visual reference to more than 3700 species and cultivars. From majestic evergreens to delicate vines and flowering shrubs, Dirr features thousands of plants and all the essential details for identification, planting, and care. Color photographs show each tree's habit in winter, distinctive bark patterns, fall color, and more. Dirr's Encyclopedia of Trees and Shrubs is a critical addition to any garden library.

    Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.” Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”

    It's 2008 and Liam Greenwood is a carpenter, fallen from a ladder and sprawled on his broken back, calling out from the concrete floor of an empty mansion. It's 1974 and Willow Greenwood is out of jail, free after being locked up for one of her endless series of environmental protests: attempts at atonement for the sins of her father's once vast and violent timber empire. It's 1934 and Everett Greenwood is alone, as usual, in his maple syrup camp squat when he hears the cries of an abandoned infant and gets tangled up in the web of a crime that will cling to his family for decades. And throughout, there are trees: thrumming a steady, silent pulse beneath Christie's effortless sentences and working as a guiding metaphor for withering, weathering, and survival. A shining, intricate clockwork of a novel, Greenwood is a rain-soaked and sun-dappled story of the bonds and breaking points of money and love, wood and blood—and the hopeful, impossible task of growing toward the light.

    In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    The founder of Adbusters magazine, Lasn aims to stop the branding of America by changing the way information flows; the way institutions wield power; the way television stations are run; and the way the food, fashion, automobile, sports, music, and culture industries set agendas. With a courageous and compelling voice, Lasn deconstructs the advertising culture and our fixation on icons and brand names. And he shows how to organize resistance against the power trust that manages the brands by "uncooling" consumer items, by "dermarketing" fashions and celebrities, and by breaking the "media trance" of our TV-addicted age.A powerful manifesto by a leading media activist, Culture Jam lays the foundations for the most significant social movement of the early twenty-first century -- a movement that can change the world and the way we think and live.

    Ranging from pamphlets to multivolume treatments, these narratives shared a preoccupation with establishing the region as the cradle of an Anglo-Saxon nation and the center of a modern American culture. They also insisted, often in mournful tones, that New England’s original inhabitants, the Indians, had become extinct, even though many Indians still lived in the very towns being chronicled. In Firsting and Lasting, Jean M. O’Brien argues that local histories became a primary means by which European Americans asserted their own modernity while denying it to Indian peoples. Erasing and then memorializing Indian peoples also served a more pragmatic colonial goal: refuting Indian claims to land and rights. Drawing on more than six hundred local histories from Massachusetts, Connecticut, and Rhode Island written between 1820 and 1880, as well as censuses, monuments, and accounts of historical pageants and commemorations, O’Brien explores how these narratives inculcated the myth of Indian extinction, a myth that has stubbornly remained in the American consciousness. In order to convince themselves that the Indians had vanished despite their continued presence, O’Brien finds that local historians and their readers embraced notions of racial purity rooted in the century’s scientific racism and saw living Indians as “mixed” and therefore no longer truly Indian. Adaptation to modern life on the part of Indian peoples was used as further evidence of their demise. Indians did not—and have not—accepted this effacement, and O’Brien details how Indians have resisted their erasure through narratives of their own. These debates and the rich and surprising history uncovered in O’Brien’s work continue to have a profound influence on discourses about race and indigenous rights.

    Bound to a feudal lord, a “seigneur,” for three years in exchange for land, they become wood-cutters—barkskins. René suffers extraordinary hardship, oppressed by the forest he is charged with clearing. He is forced to marry a Mi’kmaw woman and their descendants live trapped between two inimical cultures. But Duquet, crafty and ruthless, runs away from the seigneur, becomes a fur trader, then sets up a timber business. Proulx tells the stories of the descendants of Sel and Duquet over three hundred years—their travels across North America, to Europe, China, and New Zealand, under stunningly brutal conditions—the revenge of rivals, accidents, pestilence, Indian attacks, and cultural annihilation. Over and over again, they seize what they can of a presumed infinite resource, leaving the modern-day characters face to face with possible ecological collapse.

    [MacIvor is a writer with an angular sense of humour and an uncommon knack for probing basic elements and truths of human behaviour." ?Vit Wagner, Toronto StarThis Is a Play is a hilarious postmodern romp through the interior lives of actors in a bad play."Ingenious, whimsical, a lyrical lunacy in the writing, This Is A Play is a theatre experience comedy you might associate with Tom Stoppard." ?Liam Lacey, Globe and Mail

    Native peoples and environments discussed range from the Inuit Arctic and the Native Americans of the Northwest coast, the Sioux of the Plains, and the Pueblo, Hopi, and Navajo of the Southwest to the Australian Outback, to the rich, fecund tropics of Africa, Malaysia, and the Amazon."Our technological civilization is speeding toward a violent collision with nature, and we are threatening the ability of the Earth--our home--to support life as we know it. Suzuki and Knudtson's extraordinary work powerfully reminds us that we are indeed one with the Earth. We are truly indebted to them for charting for us the course toward a healthy and sustaining relationship with our planet."--Vice President Al Gore

        In Liz Howard’s wild, scintillating debut, the mechanisms we use to make sense of our worlds – even our direct intimate experiences of it – come under constant scrutiny and a pressure that feels like love. What Howard can accomplish with language strikes us as electric, a kind of alchemy of perception and catastrophe, fidelity and apocalypse. The waters of Northern Ontario shield country are the toxic origin and an image of potential. A subject, a woman, a consumer, a polluter; an erotic force, a confused brilliance, a very necessary form of urgency – all are loosely tethered together and made somehow to resonate with our own devotions and fears; made “to be small and dreaming parallel / to ceremony and decay.” Liz Howard is what contemporary poetry needs right now.

    Over the next 3 centuries, it would grow to become one of the mightiest empires in the world, the Vijayanagara Empire. An empire dazzling in it's achievements, in it's riches, in it's arts. From it's founding, to it's fall after the Battle of Tallikota to the heights it achieved under Sri Krishna Deva Raya, City of Victory aims to recreate the splendor and glory of one of the most magnificent empires ev

    John's. Over the decades that follow, the city and the neighbourhood grow around them, as does the Holloway family. When the Second World War comes to St. John's and Audrey Holloway falls in love with an American soldier, she's sure her glamorous new life will unfold far from the streets of Rabbittown.​But fate leads Audrey back to the corner store, where for the next several decades she and the store will remain a fixture in their working-class neighbourhood. The fate of the Holloway family -- of Audrey, her musician son Henry and Henry's talented daughter Rachel -- seems tied to the fate of the corner store and a changing neighbourhood. Finally, in post-moratorium St. John's of the 1990s, Audrey has to face the possibility that the price of saving the family business may be a higher price than she is willing to pay.