Her nineteenth-century New England lifestyle is legendary. Gardeners are especially intrigued by the profusion of antique flowers -- spectacular poppies, six-foot foxgloves, and intoxicating peonies -- in the cottage gardens surrounding her hand-hewn house. Until now we've only caught glimpses of Tasha Tudor's landscape. In this gorgeous book, two of her friends, the garden writer Tovah Martin and the photographer Richard Brown, take us into the magical garden and then behind the scenes. As we revel in the bedlam of Johnny-jump-ups and cinnamon pinks, the intricacy of the formal peony garden, and the voluptuousness of her heirloom roses, we also learn Tasha's gardening secrets. How does she coax forth her finicky camellia blossoms in the dead of a Vermont winter? How does she train that fantastic topiary to model for her artwork? How can she keep her crown imperials from tumbling in the winds? Tasha's garden reflects a wealth of family lore, perfected through the years and years of working the soil. We may be dazzled by the beauty of the garden, but we come away from this book with practical ideas about improving our own plots of land. "Paradise on earth" is how Tasha describes her garden, and along with the flowers and the vegetables that provide her food, her paradise is filled with an enchanting menagerie -- corgies, Nubian goats, cats, chickens, fantail doves, and forty or more exotic finches, cockatiels, canaries, nightingales, and parrots, which inhabit her collection of antique cages. Tasha's beautiful watercolors and her enchanting anecdotes color this sublimely beautiful book.

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    They include drawings, keys, terms, symbols, and glossaries. Each book covers a specific region.

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    The most complete reference catalog of nature's herbs ever published.

    The next stage of the ecological revolution begins with the reawakening of the male counterpart of the Goddess, the Green Man, and archetype found in folklore and religious art from the earliest times, and especially linked with Christian origins of modern science. Long suppressed, the archetype emerges now to challenge us to heal our relationship with nature.

    Carl Linnaeus's controversial new system for classifying plants based on their sexual characteristics, as well as his use of language resonating with erotic allusions, provoked intense public debate over the morality of botanical study. And the renowned Tahitian exploits of Joseph Banks--whose trousers were reportedly stolen while he was inside the tent of Queen Oberea of Tahiti--reinforced scandalous associations with the field. Yet Linnaeus and Banks became powerful political and scientific figures who were able to promote botanical exploration alongside the exploitation of territories, peoples, and natural resources. Sex, Botany, and Empire explores the entwined destinies of these two men and how their influence served both science and imperialism.Patricia Fara reveals how Enlightenment botany, under the veil of rationality, manifested a drive to conquer, subdue, and deflower--all in the name of British empire. Linnaeus trained his traveling disciples in a double mission--to bring back specimens for the benefit of the Swedish economy and to spread the gospel of Linnaean taxonomy. Based in London at the hub of an international exchange and correspondence network, Banks ensured that Linnaeus's ideas became established throughout the world. As the president of the Royal Society for more than forty years, Banks revolutionized British science, and his innovations placed science at the heart of trade and politics. He made it a policy to collect and control resources not only for the sake of knowledge but also for the advancement of the empire. Although Linnaeus is often celebrated as modern botany's true founder, Banks has had a greater long-term impact. It was Banks who ensured that science and imperialism flourished together, and it was he who first forged the interdependent relationship between scientific inquiry and the state that endures to this day.

    In this essential guide, Bruce Rogers, "The Orchid Whisperer," shares his expert tips from more than three decades of breeding and growing orchids. The book demystifies the growing process and features more than 100 lush color photographs of breathtaking plants. Best of all, it reveals professional secrets not found anywhere else for blooming, repotting, spotting hazards and pests, grooming, decorating, and much more. Perfect for beginners as well as orchid experts looking for new tricks, The Orchid Whisperer provides everything readers need to know to keep healthy orchids that will flower again and again!

    The Xerces Society for Invertebrate Conservation offers browsable profiles of 100 common flowers, herbs, shrubs, and trees that support bees, butterflies, moths, and hummingbirds. The recommendations are simple: pick the right plants for pollinators, protect them from pesticides, and provide abundant blooms throughout the growing season by mixing perennials with herbs and annuals! 100 Plants to Feed the Bees will empower homeowners, landscapers, apartment dwellers — anyone with a scrap of yard or a window box — to protect our pollinators.

    From the mythical beasts of ancient Greece to the hormonal vampires of the Twilight saga, monsters have captivated us for millennia. Matt Kaplan, a noted science journalist and monster-myth enthusiast, employs an entertaining mix of cutting-edge research and a love of lore to explore the history behind these fantastical fictions and our hardwired obsession with things that go bump in the night. Ranging across history, Medusa’s Gaze and Vampire’s Bite tackles the enduring questions that arise on the frontier between fantasy and reality. What caused ancient Minoans to create the tale of the Minotaur and its subterranean maze? Did dragons really exist? What inspired the creation of vampires and werewolves, and why are we so drawn to them? With the eye of a journalist and the voice of a storyteller, Kaplan takes readers to the forefront of science, where our favorite figures of horror may find real-life validation. Does the legendary Kraken, a squid of epic proportions, really roam the deep? Are we close to making Jurassic Park a reality by replicating a dinosaur from fossilized DNA? As our fears evolve, so do our monsters, and Medusa’s Gaze and Vampire’s Bite charts the rise of the ultimate beasts, humans themselves.

    More than 300 color photos illustrate the plants, their flowers, leaves, and fruits. The descriptive text includes information on where the plants are found as well as their known medicinal uses. An index to medical topics is helpful for quickly locating information on specific ailments from asthma and headaches to colds and stomach aches. Symbols next to plant descriptions provide quick visual caution for plants that are poisonous or cause allergic reactions. Organized by plant color for fast identification, this guide is a tool for understanding the traditional medicinal uses of the plants around us.

    . . . an optimistic call to action.” —Chicago Tribune Over time, with industrialization and urban sprawl, we have driven nature out of our neighborhoods and cities. But we can invite it back by designing landscapes that look and function more like they do in the wild: robust, diverse, and visually harmonious. Planting in a Post-Wild World by Thomas Rainer and Claudia West is an inspiring call to action dedicated to the idea of a new nature—a hybrid of both the wild and the cultivated—that can flourish in our cities and suburbs. This is both a post-wild manifesto and practical guide that describes how to incorporate and layer plants into plant communities to create an environment that is reflective of natural systems and thrives within our built world.

    Its symbols smile upon the land, Wrought by Natures wonderous hand; And in their silent beauty speak, Of life and joy, to those who seek For Love Divine and sunny hours In the language of the flowers".

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    To a smaller yet no less passionate audience, Fowles is also known for having written The Tree, one of his few works of nonfiction. First published a generation ago, it is a provocative meditation on the connection between the natural world and human creativity, and a powerful argument against taming the wild. In it, Fowles recounts his own childhood in England and describes how he rebelled against his Edwardian father’s obsession with the “quantifiable yield” of well-pruned fruit trees and came to prize instead the messy, purposeless beauty of nature left to its wildest. The Tree is an inspiring, even life-changing book, like Lewis Hyde’s The Gift, one that reaffirms our connection to nature and reminds us of the pleasure of getting lost, the merits of having no plan, and the wisdom of following one’s nose wherever it may lead—in life as much as in art.