From one of Australia's foremost thinkers, a uniquely broad-ranging 1997 collection of essays on landscape.

Australian-born landscape designer Bernard Trainor has made it his life's work to capture the wild soul of his adopted home of Northern California. Neither a naturalist nor an architect, Trainor uses the tools of both to create stunning large-scale gardens that unfold over many acres. Across airy hilltops, craggy seasides, and other one-of-a-kind tracts, Trainor applies simple, understated frames to rugged natural panoramas, the better to bring them into focus. His understated yet powerful landscapes draw inspiration from local plants, regional history, and the contours of the site. Designed to engage all of the senses—the sound of water, the smell of sage—Trainor's gardens create sensory memories that foster a deep connection to the land. Landprints showcases ten of his most ambitious and inspiring gardens through gorgeous photography and detailed project descriptions.

The dream of building Jerusalem in England's green and pleasant land has long been a quintessential part of English identity and culture: but how did this vision shape the Victorian encounter with the actual Jerusalem in the Middle East? The Holy Land in English Culture 1799-1917 offers a new cultural history of the English fascination with Palestine in the long nineteenth century, from Napoleon's failed Mediterranean campaign of 1799, which marked a new era in the British involvement in the land, to Allenby's conquest of Jerusalem in 1917. Bar-Yosef argues that the Protestant tradition of internalizing Biblical vocabulary - 'Promised Land', 'Chosen People', 'Jerusalem' - and applying it to different, often contesting, visions of England and Englishness evoked a unique sense of ambivalence towards the imperial desire to possess the Holy Land. Popular religious culture, in other words, was crucial to the construction of the orientalist discourse: so crucial, in fact, that metaphorical appropriations of the 'Holy Land' played a much more dominant role in the English cultural imagination than the actual Holy Land itself. As it traces the diversity of 'Holy Lands' in the Victorian cultural landscape - literal and metaphorical, secular and sacred, radical and patriotic, visual and textual - this study joins the ongoing debate about the dissemination of imperial ideology. Drawing on a wide array of sources, from Sunday-school textbooks and popular exhibitions to penny magazines and soldiers' diaries, the book demonstrates how the Orientalist discourse functions - or, to be more precise, malfunctions - in those popular cultural spheres that are so markedly absent from Edward Said's work: it is only by exploring sources that go beyond the highbrow, the academic, or the official, that we can begin to grasp the limited currency of the orientalist discourse in the metropolitan centre, and the different meanings it could hold for different social groups. As such, The Holy Land in English Culture 1799-1917 provides a significant contribution to both postcolonial studies and English social history.

In his new book New Testament scholar Gary Burge offers all Christians a rare exploration into the world of the Bible and how its land, culture, and traditions contribute to a unique understanding of a life with God. Insights into numerous biblical passages reveal how cultural assumptions lie behind countless biblical stories.

Of the Land presents a series of prints and poems that follow the life and work of master silkscreen printer Lou Stovall as he was developing his unique techniques in the 1970s–a period of jazz, protest, and prolific art production in Washington, DC. Stovall’s influence on the silkscreen medium and art community will be part of his lasting legacy.

At the Chautauqua Institution in New York, visitors could walk down Palestine Avenue to "Palestine" and a model of Jerusalem, or along Morris Avenue to a scale model of the "Jewish Tabernacle." At the St. Louis World's Fair of 1904, a replica of Ottoman Jerusalem covered eleven acres, while today, 300 miles to the southeast, a seven-story-high Christ of the Ozarks stands above a modern re-creation of the Holy Land set in the Arkansas hills."--BOOK JACKET.