Amid the policy gridlock that characterizes most environmental debates, a new conservation movement has emerged. Known as “collaborative conservation,” it emphasizes local participation, sustainability, and inclusion of the disempowered, and focuses on voluntary compliance and consent rather than legal and regulatory enforcement. Encompassing a wide range of local partnerships and initiatives, it is changing the face of resource management throughout the western United States. Across the Great Divide presents a thoughtful exploration of this new movement, bringing together writing, reporting, and analysis of collaborative conservation from those directly involved in developing and implementing the approach. Contributors examine: the failure of traditional policy approaches recent economic and demographic changes that serve as a backdrop for the emergence of the movement the merits of, and drawbacks to, collaborative decision-making the challenges involved with integrating diverse voices and bringing all sectors of society into the movement In addition, the book offers in-depth stories of eight noteworthy collaborative initiatives -- including the Quincy Library Group, Montana's Clark Fork River, the Applegate Partnership, and the Malpai Borderlands -- that explore how different groups have organized and acted to implement their goals. Among the contributors are Ed Marston, George Cameron Coggins, David Getches, Andy Stahl, Maria Varela, Luther Propst, Shirley Solomon, William Riebsame, Cassandra Moseley, Lynn Jungwirth, and others. Across the Great Divide is an important work for anyone involved with collaborative conservation or the larger environmental movement, and for all those who care about the future of resource management in the West.

Haunted Dreams is the first comprehensive study in English devoted to cultural representations of adolescence in Russia since the end of the Soviet Union in 1991. Jenny Kaminer situates these cultural representations within the broader context of European and Anglo-American scholarship on adolescence and youth, and she explores how Russian writers, dramatists, and filmmakers have repeatedly turned to the adolescent protagonist in exploring the myriad fissures running through post-Soviet society. Through close analysis of prose, drama, television, and film, this book maps how the adolescent hero has become a locus for multiple anxieties throughout the tumultuous years since the end of the Soviet experiment. Kaminer also directly addresses some of the pivotal questions facing scholars of post-Soviet Russia: Have Soviet cultural models been transcended? Or do they continue to dominate? The figure of the adolescent, an especially potent and enduring source of cultural mythology throughout the Soviet years, provides provocative material for exploring these questions. In Haunted Dreams, Kaminer employs a historical approach to reveal how fantasies of adolescence have mutated and remained constant across the Soviet/post-Soviet divide, focusing on violence, temporality, and gender and the body. Some of the works discussed present the possibility of salvaging the model of the heroic adolescent for a new society. Others, by contrast, relegate this figure to the dustbin of history by evoking disgust or horror, or by unmasking the tragic consequences that ensue from the combination of adolescence, violence, and fantasy.

The heartbreaking story of five generations of young people from a single African-and-American family pursuing an elusive dream of freedom. "Gut wrenching and incredible.”— Sabaa Tahir #1 New York Times bestselling author of An Ember in the Ashes "This novel is a remarkable achievement."—Kelly Barnhill, New York Times bestselling author and Newbery medalist "Beautifully epic."—Ibi Zoboi, author American Street and National Book Award finalist Dream Country begins in suburban Minneapolis at the moment when seventeen-year-old Kollie Flomo begins to crack under the strain of his life as a Liberian refugee. He's exhausted by being at once too black and not black enough for his African American peers and worn down by the expectations of his own Liberian family and community. When his frustration finally spills into violence and his parents send him back to Monrovia to reform school, the story shifts. Like Kollie, readers travel back to Liberia, but also back in time, to the early twentieth century and the point of view of Togar Somah, an eighteen-year-old indigenous Liberian on the run from government militias that would force him to work the plantations of the Congo people, descendants of the African American slaves who colonized Liberia almost a century earlier. When Togar's section draws to a shocking close, the novel jumps again, back to America in 1827, to the children of Yasmine Wright, who leave a Virginia plantation with their mother for Liberia, where they're promised freedom and a chance at self-determination by the American Colonization Society. The Wrights begin their section by fleeing the whip and by its close, they are then the ones who wield it. With each new section, the novel uncovers fresh hope and resonating heartbreak, all based on historical fact. In Dream Country, Shannon Gibney spins a riveting tale of the nightmarish spiral of death and exile connecting America and Africa, and of how one determined young dreamer tries to break free and gain control of her destiny.

In 1969 Roberta Price received a grant and traveled west to explore and photograph the communes that had begun to spring up in New Mexico and Colorado. Over the next eight years she took more than 3,000 photos of commune life, and now she has selected 121 images for publication in a visual memoir that reflects on her experiences and invites us to contemplate the rural counterculture of her youth. Unlike most photographers of the back to the land movement, Price "went native," joining a Colorado community and living there for seven years. Her photo documentation of her years at Libre provides a unique view of commune life through the eyes of a participant. We see residents building homes, raising families, and celebrating community. Price's photographs of Drop City, New Buffalo, Reality Construction Company, Libre, the Red Rockers, and other southwestern communes capture long-haired men, women in self-made peasant attire, psychedelic art, sheaves of marijuana, cast-iron stoves, and preindustrial agricultural practices--visual evidence of the great divide that separated Price, her friends, and associates from the families and neighbors among whom they had grown up. The photos also reveal the presence of record players, amplifiers, and electric guitars, along with a staggering array of architectural and interior design, and visits by such iconoclasts as Ken Kesey, Peter Orlovsky, and Allen Ginsberg. The most famous cliché about the era is that if you can remember it, you weren't there. Price was there with her camera, and her images help us see it more clearly now.

Jill Homer has an outlandish ambition: Racing a mountain bike 2,740 miles from Canada to Mexico along the Continental Divide. But her dream starts to unravel the minute she sets it in motion. An accident on the Iditarod Trail results in serious frostbite. She struggles with painful recovery and growing uncertainties. Then, just two days before their departure, her boyfriend ends their eight-year relationship, dismantling everything Jill thought she knew about life, love and her identity. This is the story of an adventure driven relentlessly forward as foundations crumble. During her record-breaking ride in the 2009 Tour Divide, Jill battles a torrent of anger, self-doubt, fatigue, loneliness, pain, grief, bicycle failures, crashes and violent storms. Each night, she collapses under the crushing effort of this savage new way of life. And every morning, she picks up the pieces and strikes out to find what lies on the other side of the Divide: Astonishing beauty, unconditional kindness, and boundless strength.

#1 NEW YORK TIMES BESTSELLER • ONE OF ESSENCE’S 50 MOST IMPACTFUL BLACK BOOKS OF THE PAST 50 YEARS In this iconic memoir of his early days, Barack Obama “guides us straight to the intersection of the most serious questions of identity, class, and race” (The Washington Post Book World). “Quite extraordinary.”—Toni Morrison In this lyrical, unsentimental, and compelling memoir, the son of a black African father and a white American mother searches for a workable meaning to his life as a black American. It begins in New York, where Barack Obama learns that his father—a figure he knows more as a myth than as a man—has been killed in a car accident. This sudden death inspires an emotional odyssey—first to a small town in Kansas, from which he retraces the migration of his mother’s family to Hawaii, and then to Kenya, where he meets the African side of his family, confronts the bitter truth of his father’s life, and at last reconciles his divided inheritance. Praise for Dreams from My Father “Beautifully crafted . . . moving and candid . . . This book belongs on the shelf beside works like James McBride’s The Color of Water and Gregory Howard Williams’s Life on the Color Line as a tale of living astride America’s racial categories.”—Scott Turow “Provocative . . . Persuasively describes the phenomenon of belonging to two different worlds, and thus belonging to neither.”—The New York Times Book Review “Obama’s writing is incisive yet forgiving. This is a book worth savoring.”—Alex Kotlowitz, author of There Are No Children Here “One of the most powerful books of self-discovery I’ve ever read, all the more so for its illuminating insights into the problems not only of race, class, and color, but of culture and ethnicity. It is also beautifully written, skillfully layered, and paced like a good novel.”—Charlayne Hunter-Gault, author of In My Place “Dreams from My Father is an exquisite, sensitive study of this wonderful young author’s journey into adulthood, his search for community and his place in it, his quest for an understanding of his roots, and his discovery of the poetry of human life. Perceptive and wise, this book will tell you something about yourself whether you are black or white.”—Marian Wright Edelman