"A thorough and generous guide to shaping your world not only to your own happiness, but the world’s as well.”—John Hodgman, host of Judge John Hodgman; author of Vacationland Carving Out a Living on the Land tells the story of how author Emmet Van Driesche navigated changing life circumstances, took advantage of unexpected opportunities, and leveraged new and old skills to piece together an economically viable living on marginal farmland, while at the same time respecting the land’s complex ecological relationships. Van Driesche’s adventure began when he recognized that he could do much more with his land than simply tend rows of perfectly sheared Christmas trees. From spoon carving to scything, coppicing to wreath-making, Carving Out a Living on the Land proves that you don’t need acres of expensive bottomland to start your land-based venture, but rather the creativity and vision to see what might be done with that rocky section or ditch or patch of trees too small to log. You can lease instead of buy; build flexible, temporary structures rather than sink money into permanent ones; and take over an existing operation rather than start from scratch. What matters are your unique circumstances, talents, and interests, which when combined with what the land is capable of producing, can create a fulfilling and meaningful farming life.

When he first envisioned becoming a farmer, author Emmet Van Driesche never imagined his main crop would be Christmas trees, nor that such a tree farm could be more of a managed forest than the conventional grid of perfectly sheared trees. Carving Out a Living on the Land tells the story of how Van Driesche navigated changing life circumstances, took advantage of unexpected opportunities, and leveraged new and old skills to piece together an economically viable living, while at the same time respecting the land's complex ecological relationships. From spoon carving to scything, coppicing to wreath-making, Carving Out a Living on the Land proves that you don't need acres of expensive bottomland to start your land-based venture, but rather the creativity and vision to see what might be done with that rocky section or ditch or patch of trees too small to log. You can lease instead of buy; build flexible, temporary structures rather than sink money into permanent ones; and take over an existing operation rather than start from scratch. What matters are your unique circumstances, talents, and interests, which when combined with what the land is capable of producing, can create a fulfilling and meaningful farming life.

An investigation of the practice of “commoning” in urban housing and its necessity for challenging economic injustice in our rapidly gentrifying cities Provoked by mass evictions and the onset of gentrification in the 1970s, tenants in Washington, D.C., began forming cooperative organizations to collectively purchase and manage their apartment buildings. These tenants were creating a commons, taking a resource—housing—that had been used to extract profit from them and reshaping it as a resource that was collectively owned by them. In Carving Out the Commons, Amanda Huron theorizes the practice of urban “commoning” through a close investigation of the city’s limited-equity housing cooperatives. Drawing on feminist and anticapitalist perspectives, Huron asks whether a commons can work in a city where land and other resources are scarce and how strangers who may not share a past or future come together to create and maintain commonly held spaces in the midst of capitalism. Arguing against the romanticization of the commons, she instead positions the urban commons as a pragmatic practice. Through the practice of commoning, she contends, we can learn to build communities to challenge capitalism’s totalizing claims over life.

Artists around the world have lately been turning to their bookshelves for more than just a good read, opting to cut, paint, carve, stitch or otherwise transform the printed page into whole new beautiful, thought-provoking works of art. Art Made from Books is the definitive guide to this compelling art form, showcasing groundbreaking work by today's most showstopping practitioners. From Su Blackwell's whimsical pop-up landscapes to the stacked-book sculptures of Kylie Stillman, each portfolio celebrates the incredible creative diversity of the medium. A preface by pioneering artist Brian Dettmer and an introduction by design critic Alyson Kuhn round out the collection.

In the early 1980s, Yvonne Maximchuk, a single mother of two, was living in Whiterock, BC, and making a living as a working artist and art instructor. Then she fell in love with Albert, a crab fisherman who fished the waters of Boundary Bay. Drawn to his seemingly idyllic life and her desire for connection with the natural world, Yvonne and her children moved with Albert to Echo Bay, a tiny settlement east of Vancouver Island. Life in this remote community was a lot different from life in the city: there was no running water and electricity had to be generated. The closest grocery store was two hours away by boat, and even a small emergency could be life threatening. But in spite of the challenges, they persevered, building a homestead and thriving "off the grid." In this new life, Yvonne learned to do things she had only dreamed of. She cleared land, helped build their home and got to know the community of hardy folks who were always there to help one another. Soon after arriving in Echo Bay, Yvonne met Billy Proctor, a BC coastal icon and fisherman. Intrigued by his life on the sea, she asked to join him as he fished the coast looking for chinook and sockeye salmon, ling cod and tuna. Eight seasons of fishing with Billy took her on many adventures to the challenging waters and enchanting islands of BC. Inspired, she captured on canvas the mysteries and treasures of the wild Pacific coast. In Drawn to Sea Yvonne creates stunning, lyrical word pictures of her home in the Broughton Archipelago. Making the most of the tools available, from paintbrush to chainsaw, she has flourished in this remote area, carving out a home and a career in a place far from just about everyone.

Very little has yet been written about the cultural or economic contributions of woodcarving to people's livelihoods or the consequences of felling hardwood and softwood trees for the international woodcarving trade. Carving Out a Future is the first examination of this trade and its critical links to rural livelihoods, biodiversity, conservation, forestry and the international trade regime. A range of case studies from Australia, Bali, India,Africa and Mexico provides a lens for examining the critical issues relating to the significant impacts of woodcarving on forests, conservation efforts, the need to promote sustainable rural livelihoods and efforts to promote trade so that skilled artisans in developing countries get a fair economic return. Livelihoods, Carving and Conservation * Global Overview * The Case of Woodcarving in Kenya * Drums and Hornbills * Sculpture and Identity * Carving Wood in Southern Zimbabwe * The Kiaat Woodcrafters of Bushbuckridge, South Africa * Carvers, Conservation and Certification in India * Colour, Sustainability and Market Sense in Bali * Aboriginal Woodcarvers in Australia * BurseraWoodcarving in Oaxaca, Mexico * Linaloe Wood Handicrafts * Learning from a Comparison of Cases * Carving, Sustainability and Scarcity * Certification of Woodcarving * Planning for Woodcarving in the 21st Century *

Very little has yet been written about the cultural or economic contributions of woodcarving to people's livelihoods or the consequences of felling hardwood and softwood trees for the international woodcarving trade. Carving Out a Future is the first examination of this trade and its critical links to rural livelihoods, biodiversity, conservation, forestry and the international trade regime. A range of case studies from Australia, Bali, India,Africa and Mexico provides a lens for examining the critical issues relating to the significant impacts of woodcarving on forests, conservation efforts, the need to promote sustainable rural livelihoods and efforts to promote trade so that skilled artisans in developing countries get a fair economic return.Livelihoods, Carving and Conservation * Global Overview * The Case of Woodcarving in Kenya * Drums and Hornbills * Sculpture and Identity * Carving Wood in Southern Zimbabwe * The Kiaat Woodcrafters of Bushbuckridge, South Africa * Carvers, Conservation and Certification in India * Colour, Sustainability and Market Sense in Bali * Aboriginal Woodcarvers in Australia * BurseraWoodcarving in Oaxaca, Mexico * Linaloe Wood Handicrafts * Learning from a Comparison of Cases * Carving, Sustainability and Scarcity * Certification of Woodcarving * Planning for Woodcarving in the 21st Century *