Janisse Ray was a babe in arms when a boat of her father’s construction cracked open and went down in the mighty Altamaha River. Tucked in a life preserver, she washed onto a sandbar as the craft sank from view. That first baptism began a lifelong relationship with a stunning and powerful river that almost nobody knows. The Altamaha rises dark and mysterious in southeast Georgia. It is deep and wide bordered by swamps. Its corridor contains an extraordinary biodiversity, including many rare and endangered species, which led the Nature Conservancy to designate it as one of the world’s last great places. The Altamaha is Ray’s river, and from childhood she dreamed of paddling its entire length to where it empties into the sea. Drifting into Darien begins with an account of finally making that journey, turning to meditations on the many ways we accept a world that contains both good and evil. With praise, biting satire, and hope, Ray contemplates transformation and attempts with every page to settle peacefully into the now. Though commemorating a history that includes logging, Ray celebrates “a culture that sprang from the flatwoods, which required a judicious use of nature.” She looks in vain for an ivorybill woodpecker but is equally eager to see any of the imperiled species found in the river basin: spiny mussel, American oystercatcher, Radford’s mint, Alabama milkvine. The book explores both the need and the possibilities for conservation of the river and the surrounding forests and wetlands. As in her groundbreaking Ecology of a Cracker Childhood, Ray writes an account of her beloved river that is both social history and natural history, understanding the two as inseparable, particularly in the rural corner of Georgia that she knows best. Ray goes looking for wisdom and finds a river.

The book explores both the need and the possibilities for conservation of the river and the surrounding forests and wetlands.

From the memories of a childhood marked by extreme poverty, mental illness, and restrictive fundamentalist Christian rules, Janisse Ray crafted a “heartfelt and refreshing” (New York Times) memoir that has inspired thousands to embrace their beginnings, no matter how humble, and to fight for the places they love. This new edition updates and contextualizes the story for a new generation and a wider audience desperately searching for stories of empowerment and hope. Ray grew up in a junkyard along U.S. Highway 1, hidden from Florida-bound travelers by hulks of old cars. In language at once colloquial, elegiac, and informative, Ray redeems her home and her people, while also cataloging the source of her childhood hope: the Edenic longleaf pine forests, where orchids grow amid wiregrass at the feet of widely spaced, lofty trees. Today, the forests exist in fragments, cherished and threatened, and the South of her youth is gradually being overtaken by golf courses and suburban development. A contemporary classic, Ecology of a Cracker Childhood is a clarion call to protect the cultures and ecologies of every childhood.

Formed by the confluence of the Ocmulgee and Oconee Rivers, the Altamaha is the largest free-flowing river on the East Coast and drains its third-largest watershed. It has been designated as one of the Nature Conservancy's seventy-five Last Great Places because of its unique character and rich natural diversity. In evocative photography and elegant prose, Altamaha captures the distinctive beauty of this river and offers a portrait of the man who has become its improbable guardian. Few people know the Altamaha better than James Holland. Raised in Cochran, Georgia, Holland spent years on the river fishing, hunting, and working its coastal reaches as a commercial crabber. Witnessing a steady decline in blue crab stocks, Holland doggedly began to educate himself on the area's environmental and political issues, reaching a deep conviction that the only way to preserve the way of life he loved was to protect the river and its watershed. In 1999, he began serving as the first Altamaha Riverkeeper, finding new purpose in protecting the river and raising awareness about its plight with people in his community and beyond. At first Holland used photography to document pollution and abuse, but as he came to appreciate and understand the Altamaha in new ways, his photographs evolved, focusing more on the natural beauty he fought to save. More than 230 color photographs capture the area's majestic landscapes and stunning natural diversity, including a generous selection of some the 234 species of rare plants and animals in the region. In their essays, Janisse Ray offers a profile of Holland's transformation from orphan and troubled high school dropout to river advocate, and Dorinda G. Dallmeyer celebrates the biological richness and cultural heritage that the Altamaha offers to all Georgians.

Looking for adventure and continuing a process of self-discovery, Janisse Ray has repeatedly set out to immerse herself in wildness, to be wild, and to learn what wildness can teach us. From overwintering with monarch butterflies in Mexico to counting birds in Belize, the stories in Wild Spectacle capture her luckiest moments—ones of heart-pounding amazement, discovery of romance, and moving toward living more wisely. In Ray’s worst moments she crosses boundaries to encounter danger and embrace sadness. Anchored firmly in two places Ray has called home—Montana and southern Georgia—the sixteen essays here span a landscape from Alaska to Central America, connecting common elements in the ecosystems of people and place. One of her abiding griefs is that she has missed the sights of explorers like Bartram, Sacagawea, and Carver: flocks of passenger pigeons, routes of wolves, herds of bison. She craves a wilder world and documents encounters that are rare in a time of disappearing habitat, declining biodiversity, and a world too slowly coming to terms with climate change. In an age of increasingly virtual, urban life, Ray embraces the intentionality of trying to be a better person balanced with seeking out natural spectacle, abundance, and less trammeled environments. She questions what it means to travel into the wild as a woman, speculates on the impacts of ecotourism and travel in general, questions assumptions about eating from the land, and appeals to future generations to make substantive change. Wild Spectacle explores our first home, the wild earth, and invites us to question its known and unknown beauties and curiosities.

Discusses the loss of fruit and vegetable varieties and the genetically modified industrial monocultures being used today, shares the author's personal experiences growing, saving, and swapping seeds, and deconstructs the politics and genetics of seeds.

Tales of horror, madness, and death, tales of fantasy and morality: these are the works of South American master storyteller Horacio Quiroga. Author of some 200 pieces of fiction that have been compared to the works of Poe, Kipling, and Jack London, Quiroga experienced a life that surpassed in morbidity and horror many of the inventions of his fevered mind. As a young man, he suffered his father's accidental death and the suicide of his beloved stepfather. As a teenager, he shot and accidentally killed one of his closest friends. Seemingly cursed in love, he lost his first wife to suicide by poison. In the end, Quiroga himself downed cyanide to end his own life when he learned he was suffering from an incurable cancer. In life Quiroga was obsessed with death, a legacy of the violence he had experienced. His stories are infused with death, too, but they span a wide range of short fiction genres: jungle tale, Gothic horror story, morality tale, psychological study. Many of his stories are set in the steaming jungle of the Misiones district of northern Argentina, where he spent much of his life, but his tales possess a universality that elevates them far above the work of a regional writer. The first representative collection of his work in English, The Decapitated Chicken and Other Stories provides a valuable overview of the scope of Quiroga's fiction and the versatility and skill that have made him a classic Latin American writer.