They say that to really know a person you need to understand their past. If that is true, then Mary Beker did not know her husband at all.

When an elephant saved Sally Henderson's life in Botswana, it was to change her irrevocably. A passion to conserve this majestic species was ignited, and in 1990 she left Australia to join an elephant research project in the wilds of Zimbabwe.What follows is a remarkable journey into the world of Africa's elephants, and a deeply personal memoir of one woman's awakening and the choices she makes to follow her calling.Sally paints a rare and unforgettable portrait of a herd and its matriarchs, and the perils they face in an unforgiving landscape further torn apart by civil strife. But it is the daily pleasures of being in their mighty presence that gives her story its countless wonders.Beautifully written, Silent Footsteps is a love letter to the spirit of Africa and a jubilant portrayal of the lives of elephants.

Poetry. From the waters of Waikīkī, to the forests outside Honolulu, and across the Pacific ocean, the poems in Laurel Nakanishi's debut collection consider the relationships between place and story. In estrangement and intimacy, at home and away, on the surface and in the depths, these poems level a steady gaze on the world and ask, "And yet, what do I really know?" The answer comes in memory and geography, in old songs and moments folded into a larger time. These poems ask us to live deeply on the earth, to attend to the "stories at work in us," and known ourselves anew.

Do you understand how your cardinal memories are the keys to your story development? Or how these very same memories may limit your potential? Lighten Up is more than a coming-of-age memoir. It is an in-depth look at Rodney Laney’s disengagement from his cardinal memories. The book is humorous and provocative as Laney describes his journey into meditation and spirituality. Once you learn how to release the negative emotions attached to the images in your mind, you’ll free yourself from the habitual thoughts and emotions that cause your circular and limiting behavior. And once you release the emotions weighing you down, you’ll actually feel lighter. And maybe your stories will be funnier, as well.

Inspired by Ludwig Wittgenstein and Stanley Cavell, this book is a profoundly original philosophical work put together as a network of quotations, to show that our language is never our own and that ethics can be understood as an effect of our attitude to language. It is a meditation on justice and addresses the question of how to lead a non-violent life and acknowledge the humanity of others following 9/11 and extending right up to the current moment.Using extensive interdisciplinary sources, "Evil and Silence" investigates the nature of evil and the ways to make a life worth living in the face of such a fact of existence. It argues that we must reject the choice of violence as a justified way of life and embrace the creative efforts of nonviolence. The text begins with Socrates argument that it is never just to harm another and ends with Cage s exploration of silence as all the sounds we don t intend. Drawing on his past work in philosophy of language and music, Fleming develops arguments for the logic of nonviolence and the value of silence. He demonstrates that living consistently by way of silence and meaningful sound, understanding the music and language of our lives, is a justified response to the truth and miseries of evil.Links to Musical Illustrations and Scores Mentioned in the TextMozart's "Symphony 40," Beethoven's "Symphony 6," and Ives' "The Unanswered Question" http: //www.leonardbernstein.com/norton_scores.htmMozart's "Symphony 40"Beethoven's "Symphony 6"First page of Wagner's "Tristan und Isolde" http: //www.dlib.indiana.edu/variations/scores/bfk2835/index.htmlFirst page of Wagner's "Parsifal" http: //www.dlib.indiana.edu/variations/scores/baj5813/index.htmlFirst and second pages of Debussy's "Prelude to the Afternoon of a Faun" http: //www.dlib.indiana.edu/variations/scores/bgn9673/index.htmlAn original manuscript page from Schoenberg's Opus 23, "Five Piano Pieces" http: //www.schoenberg.at/scans/Ms23/Ms23/10.jpgThe central tone-row from Berg's "Violin Concerto" (section B) and the last page of "Wozzeck" http: //solomonsmusic.net/wozzeck.htmLast page of Mahler's "Symphony 9" http: //imslp.info/files/imglnks/usimg/5/5d/IMSLP21194-PMLP48640-Symphony_No._9_-_IV.pdfFirst page of Stravinsky's "Petrushka" http: //www.dlib.indiana.edu/variations/scores/aad9501/index.htmlPage from Bernstein's "Mass" http: //www.leonardbernstein.com/mass_scores.htmPage from Tchaikovsky's "Symphony 6" http: //www.leonardbernstein.com/norton_scores.htmCage's "4'33''" manuscript page and precursor materials: http: //solomonsmusic.net/4min33se.htm "