With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States. The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States. The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

Return to the earth with beautiful photographs and inspirational text. “Morning altars” are colorful mandalas that combine nature, art, and meditation. Incorporating the natural world into the everyday encourages positive well- being, even with the simplest of the earth’s gifts, such as leaves, flowers, berries, feathers, and stones. These stunning pieces of art are a peaceful and creative avenue to express gratitude for nature, to practice mindfulness, and to add meaning to daily life. In this book, Day Schildkret guides readers through the creation of morning altars, a seven- step process that includes wondering and wandering, place meditation, clearing space, creating, gifting, walking away, and sharing his art with others. Since his first morning altar, Schildkret has built hundreds more. His work has been warmly received on social media and he teaches workshops on altar building, all with the intention of sharing the positivity and beauty they have brought to his life.

The Words is the first volume of the Risale-i Nur and consists of thirty-three independent parts or Words, which explain and prove aspects of the fundamental matters of belief. These consist of such matters as God s existence and unity, the manifestation of the Divine Names and attributes in creation, the resurrection of the dead and the hereafter, prophethood, the miraculousness of the Qur’an, the angels, the immortality of man s spirit, Divine Determining (fate or destiny), together with such questions as the true nature of man and the universe, and man s need to worship God. Each subject is explained with comparisons and allegories, and demonstrated with reasoned arguments and logical proofs. The most profound aspects of the truths of belief, which were formerly studied only by advanced scholars, are explained in such a way that everyone, even those to whom the subject is new, may understand without difficulty. This work answers brilliantly the attacks made on the Qur’an in the name of science and philosophy, and demonstrates the rationality of belief in God and logical absurdity of denial. It shows too that man s happiness and salvation both in this world and the next lie only in belief in God and knowledge of God.

The Words forms the first part of the Risale-i Nur collection, an approximately 6,000-page Qur’anic commentary. In this commentary Bediuzzaman Said Nursi’s main concern is how to save and strengthen one’s religious belief when confronted with the current prevalent materialist philosophy. It does not explain when or why a verse was revealed, but rather the truth that it represents. Subjects discussed are God, resurrection, prophethood, destiny, ego, worship, and how the truth of these matters is revealed through nature. The author also analyzes naturalist and materialist philosophy, as well as scientific theories and findings, and refutes them based on evidence that is clearly apparent in nature itself.

This book summarizes all the topics in the Risale-i Nur, the author's great multivolume commentary on the Qur'an, and provides an outline for the later, more famous and massive treatise. Now available in English, it offers an overview of the material treated in the Risale-i Nur and an opportunity to browse through brief entries such as Flower, Spark, and Whiff, each of which is a keyword linked to a passage in the Qur'an or a figure of speech in a theological argument.

With cue, Siwar Masannat follows up her prize-winning debut with poems that wrestle with intimacy and distance. Departing from love as a force of creation, cue’s intertextual experiments and lyric poems map environmental relations and pose questions about privacy and visibility, love and family, gender, and ecological agency. Masannat responds to artist Akram Zaatari’s excavation of studio portraits by Hashem El Madani. Captured between the 1940s and 1970s in the Lebanese town of Saida, El Madani’s photographs are living artifacts of a transnational modernity. They archive performances of gender and romance that seek to circumvent respectability politics. The private-public, then, emerges as a paradox at the heart of cue’s composition. The desire to commune with and re-transmit the photographs and their stories is accompanied by the speaker’s understanding of how visibility may be coopted and how privacy, at once essential and weaponized, is unevenly enjoyed, opportunistically deployed, and systematically encroached upon.