Using interview material, they bring together women's perspectives from North and South on environmental deterioration and develop and new way of approaching this body of knowledge which is at once practical and philosophical. Do women involved in environmental movements see a link between patriarchy and ecological degradation? What are the links between global militarism and the destruction of nature? In exploring such questions, the authors criticize prevailing theories and develop an intellectually rigorous ecofeminist perspective rooted in the needs of everyday life. They argue for the acceptance of limits, the rejection of the commoditization of needs, and a commitment to a new ethics.

    We learn that the impact of farming on greenhouse-gas levels, thousands of years before the industrial revolution, kept our planet notably warmer than if natural climate cycles had prevailed--quite possibly forestalling a new ice age.Plows, Plagues, and Petroleum is the first book to trace the full historical sweep of human interaction with Earth's climate. Ruddiman takes us through three broad stages of human history: when nature was in control; when humans began to take control, discovering agriculture and affecting climate through carbon dioxide and methane emissions; and, finally, the more recent human impact on climate change. Along the way he raises the fascinating possibility that plagues, by depleting human populations, also affected reforestation and thus climate--as suggested by dips in greenhouse gases when major pandemics have occurred. The book concludes by looking to the future and critiquing the impact of special interest money on the global warming debate.Eminently readable and far-reaching in argument, Plows, Plagues, and Petroleum shows us that even as civilization developed, we were already changing the climate in which we lived.

    How did we end up in this mess?In this masterful new history, Andreas Malm claims it all began in Britain with the rise of steam power. But why did manufacturers turn from traditional sources of power, notably water mills, to an engine fired by coal? Contrary to established views, steam offered neither cheaper nor more abundant energy—but rather superior control of subordinate labour. Animated by fossil fuels, capital could concentrate production at the most profitable sites and during the most convenient hours, as it continues to do today. Sweeping from nineteenth-century Manchester to the emissions explosion in China, from the original triumph of coal to the stalled shift to renewables, this study hones in on the burning heart of capital and demonstrates, in unprecedented depth, that turning down the heat will mean a radical overthrow of the current economic order.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    Beyond news media, what are the cultural registers of this phenomenon? How can artistic and literary engagements with destabilizing natural patterns summon new planetary imaginaries--reorienting perspectives on humanity's position within the environment?A Year Without a Winter brings together science fiction, history, visual art, and exploration. Inspired by the literary 'dare' that would give birth to Mary Shelley's Frankenstein amidst the aftermath of a massive volcanic eruption, and today, by the utopian architecture of Paolo Soleri and the Arizona desert, expeditions to Antarctica and Indonesia, this collection reframes the relationship among climate, crisis, and creation.The 1815 eruption of Mount Tambora, on the Indonesian island of Sumbawa, enveloped the globe in a cloud of ash, causing a climate crisis. By 1816, remembered as the 'year without a summer, ' the northern hemisphere was plunged into cold and darkness. Amidst unseasonal frosts, violent thunderstorms, and a general atmosphere of horror, Shelley began a work of science fiction that continues to shape attitudes to emerging science, technology, and environmental futures. Two hundred years later, in 2016, the hottest year on historical record, four renowned science fiction authors were invited to the experimental town of Arcosanti, Paolo Soleri's prototype for arcology, to respond to our present crisis. A Year Without a Winter presents their stories alongside critical essays, extracts from Shelley's masterpiece, and dispatches from expeditions to extreme geographies. Broad and ambitious in scope, this book is a collective thought experiment retracing an inverted path through narrative extremes.A Year Without a Winter is edited by Dehlia Hannah in collaboration with science fiction editors Brenda Cooper, Joey Eschrich, and Cynthia Selin. The book includes a suite of commissioned stories by Tobias Buckell, Nancy Kress, Nnedi Okorafor, and Vandana Singh; essays by Dehlia Hannah, Gillen D’Arcy Wood, James Graham, Hilairy Hartnett, David Higgins, Nadim Samman, and Pablo Suarez; artwork by Julian Charrière and Karolina Sobecka; and literary excerpts by Mary Shelley and Lord Byron.

    Bridging the fields of environmental history, cultural studies, critical race studies, and geography, Finney argues that the legacies of slavery, Jim Crow, and racial violence have shaped cultural understandings of the great outdoors and determined who should and can have access to natural spaces. Drawing on a variety of sources from film, literature, and popular culture, and analyzing different historical moments, including the establishment of the Wilderness Act in 1964 and the aftermath of Hurricane Katrina, Finney reveals the perceived and real ways in which nature and the environment are racialized in America. Looking toward the future, she also highlights the work of African Americans who are opening doors to greater participation in environmental and conservation concerns.

    Unlike other meditations on the subject, Flight Ways incorporates the particularities of real animals and their worlds, drawing philosophers, natural scientists, and general readers into the experience of living among and losing biodiversity.Each chapter of Flight Ways focuses on a different species or group of birds: North Pacific albatrosses, Indian vultures, an endangered colony of penguins in Australia, Hawaiian crows, and the iconic whooping cranes of North America. Written in eloquent and moving prose, the book takes stock of what is lost when a life form disappears from the world--the wide-ranging ramifications that ripple out to implicate a number of human and more-than-human others. Van Dooren intimately explores what life is like for those who must live on the edge of extinction, balanced between life and oblivion, taking care of their young and grieving their dead. He bolsters his studies with real-life accounts from scientists and local communities at the forefront of these developments. No longer abstract entities with Latin names, these species become fully realized characters enmeshed in complex and precarious ways of life, sparking our sense of curiosity, concern, and accountability toward others in a rapidly changing world.

    The skeleton, muscles and joints are covered with descriptions of differences between female and male anatomy.This is a reproduction of a 1852 British publication and may contain non-standard spellings and characters. The work has been proof-read and edited to remove typographical errors and reformat the text for the Kindle. All images have been cleaned and resized.

    

    Bringing to bear more than twenty years of experience as an environmental journalist, Kempf describes the invincibility that many of the world's wealthy feel in the face of global warming, and how their unchecked privilege is thwarting action on the single most vexing problem facing our world.In this important primer on the link between global ecology and the global economy, Kempf makes the following observations: First, that the planet's ecological situation is growing ever worse, despite the efforts of millions of engaged citizens around the world. And second, despite environmentalists' emphasis that "we're all in the same boat," the world's economic elites--who continue to benefit by plundering the environment--have access to "lifeboats" that insulate them from the resulting catastrophes.Societies have not been able to effectively combat the expanding ecological crisis because it is intimately linked to the social crisis in which the ruling form of capitalism has been organized to impede democratic initiatives. This link explains the failure to make progress against the greatest emergency of our time, because in this relationship the oligarchy plays an essential and destructive role. For this reason, solving the ecological crisis depends on disrupting the power of the world's elite.We cannot understand the entwined ecological and social crises, Kempf argues, if we don't see them as the two sides of the same disaster--a disaster that comes from a system piloted by a dominant social strata that has no drive other than greed, no ideal other than conservatism, no dream other than technology. But Kempf also calls for measured optimism: "Despite the scale of the challenges that await us, solutions are emerging and--faced with the sinister prospects the oligarchs promote--the desire to remake the world is being reborn."

    Bourne Jr. puts our fight against devastating world hunger in dramatic perspective. He travels the globe to introduce a new generation of farmers and scientists on the front lines of the next green revolution. He visits corporate farmers trying to restore Ukraine as Europe's breadbasket, a Canadian aquaculturist, the agronomist behind the world's largest organic sugarcane plantation, and many other extraordinary farmers, large and small, who are racing to stave off catastrophe as climate change disrupts food production worldwide.A Financial Times Best Book of the Year and a Finalist for the PEN / E. O. Wilson Literary Science Writing Award.

    But the surprisingly good news is that we have solutions to these problems. In the past 50 years, a remarkable number of environmental problems have been solved, while substantial progress is ongoing on others.The Optimistic Environmentalist chronicles these remarkable success stories. Endangered species — from bald eagles to gray whales — pulled back from the precipice of extinction. Thousands of new parks, protecting billions of hectares of land and water. The salvation of the ozone layer, vital to life on Earth. The exponential growth of renewable energy powered by wind, water, and sun. The race to be the greenest city in the world. Remarkable strides in cleaning up the air we breathe and the water we drink. The banning of dozens of the world’s most toxic chemicals. A circular economy where waste is a thing of the past. Past successes pave the way for even greater achievements in the future.Providing a powerful antidote to environmental despair, this book inspires optimism, leading readers to take action and exemplifying how change can happen.

    I know tomorrow.” This inscription in Tutankhamun’s tomb summarizes The Fifth Beginning. Here, archaeologist Robert L. Kelly explains how the study of our cultural past can predict the future of humanity.   In an eminently readable style, Kelly identifies four key pivot points in the six-million-year history of human development: the emergence of technology, culture, agriculture, and the state. In each example, the author examines the long-term processes that resulted in a definitive, no-turning-back change for the organization of society. Kelly then looks ahead, giving us evidence for what he calls a fifth beginning, one that started about AD 1500. Some might call it “globalization,” but the author places it in its larger context: a five-thousand-year arms race, capitalism’s global reach, and the cultural effects of a worldwide communication network.   Kelly predicts that the emergent phenomena of this fifth beginning will include the end of war as a viable way to resolve disputes, the end of capitalism as we know it, the widespread shift toward world citizenship, and the rise of forms of cooperation that will end the near-sacred status of nation-states. It’s the end of life as we have known it. However, the author is cautiously optimistic: he dwells not on the coming chaos, but on humanity’s great potential.

    Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

    Packed with nutrients and naturally low in fat, fish is the last animal we can still eat in good conscience. Or can we?In this vivid, eye-opening book—first published in the UK to wide acclaim and now extensively revised for an American audience—environmental journalist Charles Clover argues that our passion for fish is unsustainable. Seventy-five percent of the world’s fish stocks are now fully exploited or overfished; the most popular varieties risk extinction within the next few decades.Clover trawls the globe for answers, from Tokyo’s sumptuous fish market to the heart of New England’s fishing industry. He joins hardy sailors on high-tech boats, interviews top chefs whose menu selections can influence the fate of entire species, and examines the ineffective organizations charged with regulating the world’s fisheries. Along the way he argues that governments as well as consumers can take steps to reverse this disturbing trend before it’s too late. The price of a mouthwatering fillet of Chilean sea bass may seem outrageous, but The End of the Line shows its real cost to the ecosystem is far greater.