In this new collection of essays on fishing —and hunting—Gierach discusses fishing for trout in Alaska, for salmon in Scotland and for almost anything in Texas. He offers his perceptive observations on the subject of ice-fishing, getting lost, fishing at night, tournaments and the fine art of tying flies. Gierach also shares his hunting technique, which involves reading a good book and looking up occasionally to see if any deer have wandered by. Always entertaining, often irreverent and illuminating, Gierach invites readers into his enviable way of life, and effortlessly sweeps them along. As he writes in Dances with Trout, “Fly-fishing is solitary, contemplative, misanthropic, scientific in some hands, poetic in others, and laced with conflicting aesthetic considerations. It’s not even clear if catching fish is actually the point.”

    Gill's columns every Sunday - for his fearlessness, his perception, and the laughter-and-tear-provoking one-liners - but mostly because he was the best. 'By miles the most brilliant journalist of our age', as Lynn Barber put it. This is the definitive collection of a voice that was silenced too early but that can still make us look at the world in new and surprising ways.In the words of Andrew Marr, A.A. Gill was 'a golden writer'. There was nothing that he couldn't illuminate with his dazzling prose. Wherever he was - at home or abroad - he found the human story, brought it to vivid life, and rendered it with fierce honesty and bracing compassion. And he was just as truthful about himself. There have been various collections of A.A. Gill's journalism - individual compilations of his restaurant and TV criticism, of his travel writing and his extraordinary feature articles. This book showcasesthe very best of his work: the peerlessly funny criticism, the extraordinarily knowledgeable food writing, assignments throughout the world, and reflections on life, love, and death. Drawn from a range of publications, including the Sunday Times, Vanity Fair, Tatler and Australian Gourmet Traveller, The Ivy Cookbook and his books on England and America, it is by turns hilarious, uplifting, controversial, unflinching, sad, funny and furious.

    . ."Now available in paperback--a selection of revealing interviews from the award-winning National Public Radio showOriginating from WHYY-FM in Philadelphia and heard on more than 450 NPR stations, Fresh Air with Terry Gross has become a daily habit with millions of listeners nationwide--a must for anyone hoping to keep up with what's happening in the arts. Over the last twenty years, Terry's guests have included our most significant writers, actors, musicians, comics, and visual artists.For her first collection, Terry has chosen more than three dozen timeless interviews that prove to be as lively on the page as they were on the radio. Her questions--probing yet sensitive--encourage revelations from figures as diverse as John Updike, Isabella Rossellini, Conan OBrien, Samuel L. Jackson, Johnny Cash, and Nicolas Cage. And in her introduction, the generally self-effacing host of Fresh Air does something she wouldnt dream of doing on the air--she reveals a thing or two about herself.

    It offers a clear overview of the fundamentals of environmental economics that will enable students and professionals to quickly grasp important concepts and to apply those concepts to real-world environmental problems. In addition, the book integrates normative, policy, and institutional issues at a principles level. Chapters examine: the benefits and costs of environmental protection, markets and market failure, natural resources as capital assets, and sustainability and economic development. Markets and the Environment is the second volume in the Foundations of Contemporary Environmental Studies Series, edited by James Gustave Speth. The series presents concise guides to essential subjects in the environmental curriculum, incorporating a problem-based approach to teaching and learning.

    From soil erosion and population displacement to climate change and failed energy policies, American governing classes are paid by corporations to pretend that debate is the only democratic necessity and that solutions are capable of withstanding endless delay. Late Capitalism goes about its business of finishing off the planet. And we citizens are left with a shell of what was once proudly described as The American Dream.In this new collection of eleven essays, Berry confronts head-on the necessity of clear thinking and direct action. Never one to ignore the present challenge, he understands that only clearly stated questions support the understanding their answers require. For more than fifty years we’ve had no better spokesman and no more eloquent advocate for the planet, for our families, and for the future of our children and ourselves.

    Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    Veteran journalist Pete Hamill never covered just politics. Or just sports. Or just the entertainment business, the mob, foreign affairs, social issues, the art world, or New York City. He has in fact written about all these subjects, and many more, in his years as a contributor to such national magazines as Esquire, Vanity Fair, and New York, and as a columnist at the New York Post, the New York Daily News, the Village Voice, and other newspapers. Seasoned by more than thirty years as a New York newspaperman, Hamill wrote on an extraordinarily wide variety of topics in powerful language that is personal, tough-minded, clearheaded, always provocative. Piecework is a rich and varied collection of Hamill's best writing, on such diverse subjects as what television and crack have in common, why winning isn't everything, stickball, Nicaragua, Donald Trump, why American immigration policy toward Mexico is all wrong, Brooklyn's Seventh Avenue, and Frank Sinatra, not to mention Octavio Paz, what it's like to realize you're middle-aged, Northern Ireland, New York City then and now, how Mike Tyson spent his time in prison, and much more. This collection proves him once again to be among the last of a dying breed: the old-school generalist, who writes about anything and everything, guided only by passionate and boundless curiosity. Piecework is Hamill at his very best.

    Here, word for word is that amazing speech to inspire you to find what it is that you "Love".

    In what began as groundbreaking three-part series in the New Yorker, for which she won a National Magazine Award in 2006, Kolbert cuts through the competing rhetoric and political agendas to elucidate for Americans what is really going on with the global environment and asks what, if anything, can be done to save our planet. Now updated and with a new afterword, Field Notes from a Catastrophe is the book to read on the defining issue and greatest challenge of our times.

    Bilateral, symmetrical, it could with equal speed travel in opposite directions. For some years, he had been planning a book about places in the world where people have been engaged in all-out battles with nature, about (in the words of the book itself) "any struggle against natural forces--heroic or venal, rash or well advised--when human beings conscript themselves to fight against the earth, to take what is not given, to rout the destroying enemy, to surround the base of Mt. Olympus demanding and expecting the surrender of the gods." His interest had first been sparked when he went into the Atchafalaya--the largest river swamp in North America--and had learned that virtually all of its waters were metered and rationed by a U.S. Army Corps of Engineers' project called Old River Control.In the natural cycles of the Mississippi's deltaic plain, the time had come for the Mississippi to change course, to shift its mouth more than a hundred miles and go down the Atchafalaya, one of its distributary branches. The United States could not afford that--for New Orleans, Baton Rouge, and all the industries that lie between would be cut off from river commerce with the rest of the nation. At a place called Old River, the Corps therefore had built a great fortress--part dam, part valve--to restrain the flow of the Atchafalaya and compel the Mississippi to stay where it is.In Iceland, in 1973, an island split open without warning and huge volumes of lava began moving in the direction of a harbor scarcely half a mile away. It was not only Iceland's premier fishing port (accounting for a large percentage of Iceland's export economy) but it was also the only harbor along the nation's southern coast. As the lava threatened to fill the harbor and wipe it out, a physicist named Thorbjorn Sigurgeirsson suggested a way to fight against the flowing red rock--initiating an all-out endeavor unique in human history. On the big island of Hawaii, one of the world's two must eruptive hot spots, people are not unmindful of the Icelandic example. McPhee went to Hawaii to talk with them and to walk beside the edges of a molten lake and incandescent rivers.Some of the more expensive real estate in Los Angeles is up against mountains that are rising and disintegrating as rapidly as any in the world. After a complex coincidence of natural events, boulders will flow out of these mountains like fish eggs, mixed with mud, sand, and smaller rocks in a cascading mass known as debris flow. Plucking up trees and cars, bursting through doors and windows, filling up houses to their eaves, debris flows threaten the lives of people living in and near Los Angeles' famous canyons. At extraordinary expense the city has built a hundred and fifty stadium-like basins in a daring effort to catch the debris.Taking us deep into these contested territories, McPhee details the strategies and tactics through which people attempt to control nature. Most striking in his vivid depiction of the main contestants: nature in complex and awesome guises, and those who would attempt to wrest control from her--stubborn, often ingenious, and always arresting characters.

    In There's Nothing in the Middle of the Road But Yellow Stripes and Dead Armadillos, Hightower shows not only what's wrong, but also how to fix it, offering specific solutions and calling for a new political movement of working families and the poor to "take America back from the bankers and bosses, the big shots and bastards.""If you don't read another book about what's wrong with this country for the rest of your life, read this one. I think it's the best and most important book about out public life I've read in years." --Molly Ivins, author of Molly Ivins Can't Say That, Can She? "When do we get to vote for Jim Hightower for president? Will somebody please tell me? When do we get to vote for Jim Hightower for president?."--Michael Moore, author of Downsize This!"Listen to Jim Hightower. His is a two-fisted, rambunctious voice unafraid to speak truth to power, eloquently and clearly...He's one of the best." --Studs Terkel

    Always an impassioned and far-sighted advocate for a just relationship between the natural world and humankind, Williams has broadened her concerns over the past several years to include a reconfiguration of family and community in her search for a deeper understanding of what it means to be human in an era of physical and spiritual fragmentation. Williams begins in Ravenna, Italy, where "jeweled ceilings became lavish tales" through the art of mosaic. She discovers that mosaic is not just an art form but a form of integration, and when she returns to the American Southwest, her physical and spiritual home, and observes a clan of prairie dogs on the brink of extinction, she apprehends an ecological mosaic created by a remarkable species in the sagebrush steppes of the Colorado Plateau. And, finally, Williams travels to a small village in Rwanda, where, along with fellow artists, she joins survivors of the 1994 genocide and builds a memorial literally from the rubble of war, an act that becomes a spark for social change and healing. A singular meditation on how the natural and human worlds both collide and connect in violence and beauty, this is a work of uncommon perceptions that dares to find intersections between arrogance and empathy, tumult and peace, constructing a narrative of hopeful acts by taking that which is broken and creating something whole.

    Originally written in 1897 by the 28th president of the United States, this essay underlines the necessity for everyone in the modern world to embrace humane behavior.

    The anthology that spans an entire lifetime of writing by America's greatest curmudgeon, with a "flick of mischief on nearly every page."

    "Reading a Roderick Haig-Brown book is an experience to be savored slowly and delicately". -- Seattle Post Intelligencer