Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Laura J. Martin examines ecological restoration’s long history. Since the early 1900s, restorationists have confronted vexing philosophical questions: Which states of nature should be restored? Who should choose? Is human-designed wilderness really wild? Restoration work leads us to reimagine nature and the nature of environmental justice.

What is it like to be completely alone, attempting to face your experience with only nature for company? Author Vajragupta has been doing just that every year for 25 years. Here he recounts how solitary retreats have changed him, how he fell in love with the places he stayed in and the creatures there. He reflects on how the outer world and his inner world began to speak more deeply to each other. Also includes an 'A-to-Z' guide of how to do your own solitary retreat.

"Some of the material in this book appeared previously, in a different form, in the journal Nature"--T.p. verso.

Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.

Named one of the best books of 2015 by The Economist A provocative exploration of the “new ecology” and why most of what we think we know about alien species is wrong For a long time, veteran environmental journalist Fred Pearce thought in stark terms about invasive species: they were the evil interlopers spoiling pristine “natural” ecosystems. Most conservationists and environmentalists share this view. But what if the traditional view of ecology is wrong—what if true environmentalists should be applauding the invaders? In The New Wild, Pearce goes on a journey across six continents to rediscover what conservation in the twenty-first century should be about. Pearce explores ecosystems from remote Pacific islands to the United Kingdom, from San Francisco Bay to the Great Lakes, as he digs into questionable estimates of the cost of invader species and reveals the outdated intellectual sources of our ideas about the balance of nature. Pearce acknowledges that there are horror stories about alien species disrupting ecosystems, but most of the time, the tens of thousands of introduced species usually swiftly die out or settle down and become model eco-citizens. The case for keeping out alien species, he finds, looks increasingly flawed. As Pearce argues, mainstream environmentalists are right that we need a rewilding of the earth, but they are wrong if they imagine that we can achieve that by reengineering ecosystems. Humans have changed the planet too much, and nature never goes backward. But a growing group of scientists is taking a fresh look at how species interact in the wild. According to these new ecologists, we should applaud the dynamism of alien species and the novel ecosystems they create. In an era of climate change and widespread ecological damage, it is absolutely crucial that we find ways to help nature regenerate. Embracing the new ecology, Pearce shows us, is our best chance. To be an environmentalist in the twenty-first century means celebrating nature’s wildness and capacity for change.

Roz the robot discovers that she is alone on a remote, wild island with no memory of where she is from or why she is there, and her only hope of survival is to try to learn about her new environment from the island's hostile inhabitants.