The Governor General Award--winning team behind When We Were Alone shares a story that honors our connections to our past and our grandfathers and fathers.A boy and Moshom, his grandpa, take a trip together to visit a place of great meaning to Moshom. A trapline is where people hunt and live off the land, and it was where Moshom grew up. As they embark on their northern journey, the child repeatedly asks his grandfather, Is this your trapline? Along the way, the boy finds himself imagining what life was like two generations ago -- a life that appears to be both different from and similar to his life now. This is a heartfelt story about memory, imagination and intergenerational connection that perfectly captures the experience of a young child's wonder as he is introduced to places and stories that hold meaning for his family.

    Often on these walks of meditation and reflection, he finds himself making notes for poems. Some years he has accomplished as many as fifteen or twenty poems from those walks, while in other years only half a dozen. The resultant work has been published in collections of Sabbath Poems, a precursor to which was The Window Poems.The Window Poems were composed while Berry looked out of the multi-paned window of his writing studio, “The Long-Legged House.” The house is near the renovated farmhouse where Berry and his wife raised their children and continue to live. These poems contemplate Berry's personal life as much as they ponder the seasons he witnesses through the window. This beautiful book was first designed, composed, and printed on a Washington handpress by Bob Barris, at the Press on Scroll Road, with wood engravings by Wesley Bates. Including an introduction by James Baker Hall, this early sequence of poems signals and celebrates the groundwork of Berry's life.

    Against a backdrop of a digital economy that rewards online platforms instead of content creators, with climate-change anxiety hanging palpably in the air, the resolutely contemporary Morissette immerses readers into a vagabond year of modern love, as Daniel and Grace navigate their aspirations, insecurities and ambitions amidst a culture obsessed with the instantaneous satisfaction of selfies and self-identity. The Original Face is a fresh and imaginative critical examination of work and life in the 21st century by the author of the cultishly popular New Tab, a finalist for the 2015 Amazon.ca First Novel Award, and the 2014 Hugh MacLennan Prize for Fiction.

    His dad misses the happy times when their family was together, just as Louis does. But as it is, he and his little brother, Truffle, have to travel back and forth between their dad’s country house and their mom’s city apartment, where she tries to hide her own tears.Thankfully, Louis has Truffle for company. Truffle loves James Brown lyrics, and when he isn’t singing, he’s asking endless questions. Louis also has his friend Boris, with whom he spots ghost cop cars and spies on the “silent queen,” the love of his life, Billie.When Louis and Truffle go to their dad’s for two weeks during the summer, their father seems to have stopped drinking. And when Truffle has a close call from a bee sting, their mother turns up and the reunited foursome spend several wonderful days in New York — until they reach the end of the road, again.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    The result is The Backbone of the World, an arresting exploration of America’s longest wilderness corridor, a harsh and unforgiving region inhabited by men and women whose way of life is as imperiled as the neighboring wildlife. With the brutal beauty and stark cadences of a Cormac McCarthy novel, The Backbone of the World tells the story of the last remnants of the Old West, America’s mythic landscape, where past and present are barely discernible from one another and where people’s lives are still intrinsically linked to their natural surroundings. Clifford vividly captures the challenges of life along the Divide today through portraits of memorable characters: a ranching family whose isolated New Mexico homestead has become a mecca for illegal immigrants and drug smugglers; a sheep herder struggling to make a living tending his flock in the mountains above Vail, Colorado: an old mule packer who has spent years scouring the mountains of northwest Wyoming for the downed plane of his son; a Yellowstone Park ranger on a lone crusade to protect elk and grizzly bears from illegal hunters; and a group of Blackfeet Indians in northern Montana who are fearful that a wilderness sanctuary will be lost to oil and gas development. In each of their stories, the tide of change is looming as environmental, economic, social, and political forces threaten this uniquely unfettered population. Clifford’s participatory approach offers a haunting and immediate evocation of character and geography and an unsentimental eulogy to the people whose disappearance will sever a link with the defining American pioneer spirit. Set in a world of isolated ranches, trail camps, mountain bivouacs, and forgotten hamlets, The Backbone of the World highlights the frontier values that have both ennobled and degraded us, values that symbolize the last breath of our founding character.From the Hardcover edition.

    But choosing the right design isn’t always easy. Tattoo Johnny to the rescue! Culled from the world’s leading tattoo Web site, this in-depth resource offers more than 1,000 designs in a wide range of styles, all by renowned artists: angels, devils, flowers, pirates, pin-ups, religious images, stars, zodiac signs, and more. Whether readers are getting their first tattoo, or a second, third, or tenth, this is the ideal place to find the perfect pattern.

    Unlike the rest of the world's archipelagoes, it still has 95 percent of its prehuman quota of species. Wildlife of the Galapagos is the most superbly illustrated and comprehensive identification guide ever to the natural splendor of these incomparable islands--islands today threatened by alien species and diseases that have diminished but not destroyed what so enchanted Darwin on his arrival there in 1835. Covering over 200 commonly seen birds, mammals, reptiles, invertebrates, and plants, it reveals the archipelago's striking beauty through more than 400 color photographs, maps, and drawings and well-written, informative text. While the Galapagos Giant Tortoise, the Galapagos Sea Lion, and the Flightless Cormorant are recognized the world over, these thirty-three islands--in the Pacific over 600 miles from mainland Ecuador--are home to many more unique but less famous species. Here, reptiles well outnumber mammals, for they were much better at drifting far from a continent the archipelago was never connected with; the largest native land mammals are rice rats. The islands' sixty resident bird species include the only penguin to breed entirely in the tropics and to inhabit the Northern Hemisphere. There is a section offering tips on photography in the Equatorial sunlight, and maps of visitors' sites as well as information on the archipelago's history, climate, geology, and conservation. Wildlife of the Galapagos is the perfect companion for anyone who wants to know what so delighted Darwin. Covers over 200 commonly seen species including birds, mammals, reptiles, invertebrates, plants, and coastal and marine life Illustrated with over 400 color photographs, maps, and drawings; includes maps of visitors' sites Written by wildlife experts with extensive knowledge of the area Includes information on the history, climate, geology, and conservation of the islands The most complete identification guide to the wildlife of the Galapagos

    In Nocturne: Creatures of the Night, celebrated animal photographer Traer Scott takes the viewer on a journey through nighttime in the animal kingdom, revealing some of nature's most elusive creatures. Bats, big cats, flying squirrels, tarantula, owls, kangaroo mice, giant moths, sloth, several species of snakes, and a Madagascar hissing cockroach are only a few of the animals illuminated in these lushly detailed portraits. Seventy-five full-color photographs of forty different species are accompanied by informed but accessible descriptions of each animal's habits and habitats, and an introduction provides personal insight into how Scott captures her astonishing images. Nocturne is a compelling view of the rarely seen darkness dwellers who populate the night.

    Brimming with the joy of process and a love of art history, Brian Rutenberg reveals the places, people, and experiences that led to the paint­ings for which he is well known today. This book is packed with ideas, observations, techniques, and career advice all thought­fully arranged into six sections designed to inspire artists of all levels, as well as anyone interested in creativity.Clear Seeing Place is a companion to the artist's popular YouTube series, "Brian Rutenberg Studio Visits," and is a love letter to painting written by a painter.

    You know you’re a crazy plant lady when watering is a hobby, you can’t resist a cute pot, and just looking at succulents and monsteras makes you smile. This charming celebration of the plant lady lifestyle proves that plant love is the joy that keeps growing. There are sweet puns: Aloe you vera much. Plant lady dreams: thrifting the perfect vintage mister. Relatable mantras: Every day is a good day to go plant shopping. All featuring vibrant art by Isabel Serna throughout—plus, a bonus sheet of plant-themed stickers!

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    Grandmother passes down her knowledge of plant life to her young grandchildren.

    The infectious excitement in his voice, his boyish love of the game, and his uncanny ability to anticipate the play have earned him the affection of generations of fans, induction into the Hall of Fame, and the unofficial title of best hockey broadcaster ever.Now, for the first time, readers will see Cole at the centre of the story rather than watching it from the broadcast booth. We meet the young man growing up in Newfoundland in the years before it joins Canada. We see him talk his way into Foster Hewitt's office and into his first job. And of course we see some of the most cherished players in the game backstage: on the plane back from Russia in 1972, rubbing elbows with Bobby Orr; in the hallway on the old Montreal Forum, running into Jean Beliveau; meeting young players like Steve Stamkos, who grew up listening to him on Hockey Night in Canada.Written with the expert help of massively bestselling author and respected broadcaster Stephen Brunt, these stories come to life with the charm and detail of a conversation with Cole. They sound like Cole.No one has been closer to the game over the years than Cole, and no one is more closely associated with all we love about the game than the man whose eyes we've seen it though. Now we will see so much more through those same eyes and in that unforgettable voice.

    Among graphic artists and commercial designers, Mucha is praised for the innovative style books that pioneered the use of Art Nouveau in commercial packaging, design, and ornament.The most important of these style books was Documents Décoratifs, published in 1901 at the height of Mucha's fame as the high priest of the Art Nouveau movement. While the artist's fame rests largely on his posters, it is in the smaller works of the style books, or design portfolios, that the refinement of his technique can best be appreciated. The present volume, carefully reproduced from an extremely rare and valuable set of originals, contains all 72 plates of the Documents Décoratifs portfolio. Included are designs for jewelry, wallpaper, stained glass, furniture, and tableware; figure and botanical studies; and a selection of Mucha's famous panneaux décoratifs. Eighteen of the plates are in full color, while the remaining 54 are reproduced in two or more color tones.In addition to numerous innovative designs for practical and decorative objects, the elegant draftsmanship and meticulous execution that characterized all of Mucha's work is evident in studies of langorous nudes, portrait sketches, delicately rendered plant and animal motifs, exquisite modeling of drapery and cloth, and the flowing, fantastic forms created as experiments in pure design. In the Foreword by Gabriel Mourey, specially translated for this edition, Mucha's own philosophy of art, and the relation of the Documents to the rest of his work, receive an appreciative and informative discussion.Hitherto available only in scattered sources, or in the libraries of wealthy collectors, the complete Documents Décoratifs is now available in this inexpensive one-volume edition. Lovers of Mucha's work, admirers of Art Nouveau, and the application of that style to the decorative arts, will want to own this fine royalty-free collection by one of the greatest masters of the technique."[Documents Décoratifs is] . . . an encyclopedic source for Mucha's style in every branch of decorative and applied art and one of the few books on design where even individual plates are sought after by collectors." — Marina Henderson, The Graphic Style of Alphonse Mucha