Gathering Moss is a beautifully written mix of science and personal reflection that invites readers to explore and learn from the elegantly simple lives of mosses. Robin Wall Kimmerer's book is not an identification guide, nor is it a scientific treatise. Rather, it is a series of linked personal essays that will lead general readers and scientists alike to an understanding of how mosses live and how their lives are intertwined with the lives of countless other beings, from salmon and hummingbirds to redwoods and rednecks. Kimmerer clearly and artfully explains the biology of mosses, while at the same time reflecting on what these fascinating organisms have to teach us.Drawing on her diverse experiences as a scientist, mother, teacher, and writer of Native American heritage, Kimmerer explains the stories of mosses in scientific terms as well as in the framework of indigenous ways of knowing. In her book, the natural history and cultural relationships of mosses become a powerful metaphor for ways of living in the world.Gathering Moss will appeal to a wide range of readers, from bryologists to those interested in natural history and the environment, Native Americans, and contemporary nature and science writing.

    

    The result is a bracing and often humorous examination by one of America’s most acclaimed essayists of what it is to grow, parent, write, and exist as a black American male. Walker refuses to lull his readers; instead his missives urge them to do better as they consider, through his eyes, how to be a good citizen, how to be a good father, how to live, and how to love.

    But the glory of each essay lies in Childs's ability to portray the sometimes brutal beauty of the wilderness, to capture the individual essence of wild creatures, to transport the reader beyond the human realm and deep inside the animal kingdom.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    Once the epicenter of the voting rights struggle, today it's Ground Zero for a new movement that is Flowers's life's work. It's a fight to ensure human dignity through a right most Americans take for granted: basic sanitation. Too many people, especially the rural poor, lack an affordable means of disposing cleanly of the waste from their toilets, and, as a consequence, live amid filth.Flowers calls this America's dirty secret. In this powerful book she tells the story of systemic class, racial, and geographic prejudice that foster Third World conditions, not just in Alabama, but across America, in Appalachia, Central California, coastal Florida, Alaska, the urban Midwest, and on Native American reservations in the West.Flowers's book is the inspiring story of the evolution of an activist, from country girl to student civil rights organizer to environmental justice champion at Bryan Stevenson's Equal Justice Initiative. It shows how sanitation is becoming too big a problem to ignore as climate change brings sewage to more backyards, and not only those of poor minorities.

    Join author Douglas Adams and zoologist Mark Carwardine as they take off around the world in search of exotic, endangered creatures.

    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.

    Much like human families, tree parents live together with their children, communicate with them, and support them as they grow, sharing nutrients with those who are sick or struggling and creating an ecosystem that mitigates the impact of extremes of heat and cold for the whole group. As a result of such interactions, trees in a family or community are protected and can live to be very old. In contrast, solitary trees, like street kids, have a tough time of it and in most cases die much earlier than those in a group.Drawing on groundbreaking new discoveries, Wohlleben presents the science behind the secret and previously unknown life of trees and their communication abilities; he describes how these discoveries have informed his own practices in the forest around him. As he says, a happy forest is a healthy forest, and he believes that eco-friendly practices not only are economically sustainable but also benefit the health of our planet and the mental and physical health of all who live on Earth.

    Now, in his first book, he presents a blistering collection of new and newly expanded essays--including the achingly funny viral hit "Things You Only Know When Both Your Parents Are Dead." In these pages, he travels to Saudi Arabia, where he acts as a perplexed bystander at a camel pageant; offers a survival guide for the modern dinner party (i.e. how to tactfully escape at the first sign of an adult board game); and gets pitted head-to-head, again and again, with an unpredictable, unpitying subspecies of Londoner: the landlord.Through it all, he shows that no matter how cruel the misfortune, how absurd the circumstance, there's always the soft punch of a lesson tucked within. This is a book for anyone who overshares, overthinks, has ever felt lost or confused--and who wants to have a good laugh about it.

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    Now, for the first time, in his tenth travel book, Theroux explores a piece of America — the Deep South. He finds there a paradoxical place, full of incomparable music, unparalleled cuisine, and yet also some of the nation’s worst schools, housing, and unemployment rates. It’s these parts of the South, so often ignored, that have caught Theroux’s keen traveler’s eye.  On road trips spanning four seasons, wending along rural highways, Theroux visits gun shows and small-town churches, laborers in Arkansas, and parts of Mississippi where they still call the farm up the road “the plantation.” He talks to mayors and social workers, writers and reverends, the working poor and farming families — the unsung heroes of the south, the people who, despite it all, never left, and also those who returned home to rebuild a place they could never live without.  From the writer whose “great mission has always been to transport us beyond that reading chair, to challenge himself — and thus, to challenge us” (Boston Globe), Deep South is an ode to a region, vivid and haunting, full of life and loss alike.

    Then make it better.I am 94. I've had an extraordinary life. It's only now that I appreciate how extraordinary.As a young man, I felt I was out there in the wild, experiencing the untouched natural world - but it was an illusion. The tragedy of our time has been happening all around us, barely noticeable from day to day - the loss of our planet's wild places, its biodiversity.I have been witness to this decline. A Life on Our Planet is my witness statement, and my vision for the future. It is the story of how we came to make this, our greatest mistake - and how, if we act now, we can yet put it right.We have one final chance to create the perfect home for ourselves and restore the wonderful world we inherited.All we need is the will to do so.

    Anne’s College, Oxford. Her lectures took the shape of this set of discursive stories. Refusing to be tied down to either fiction or the essay form, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature.A hypnotic dialogue unfolds, a duet between and a meditation on art and storytelling, a book about love, grief, memory, and revitalization. Smith’s heady powers as a fiction writer harmonize with her keen perceptions as a reader and critic to form a living thing that reminds us that life and art are never separate.Artful is a book about the things art can do, the things art is full of, and the quicksilver nature of all artfulness. It glances off artists and writers from Michelangelo through Dickens, then all the way past postmodernity, exploring every form, from ancient cave painting to 1960s cinema musicals. This kaleidoscope opens up new, inventive, elastic insights—on the relation of aesthetic form to the human mind, the ways we build our minds from stories, the bridges art builds between us. Artful is a celebration of literature’s worth in and to the world and a meaningful contribution to that worth in itself. There has never been a book quite like it.

    Here is a blend of history, anthropology and politics.