Fish and Aquatic Conservation (FAC) in the U.S. Fish & Wildlife Service is the direct descendant of the U.S. Fish Commission, founded in 1871. In 2021, FAC marks its 150th anniversary, the oldest conservation agency in history. To commemorate this milestone, U.S. F&W will publish a compelling history to celebrate the broad-thinking scientists, writers, and artists who led us through the gilded age of American ichthyology into the present day.

This compelling history celebrates the 150th anniversary of the U.S. Fish and Aquatic Conservation, the oldest conservation agency in history.

"The social history of American cities would not be complete without a full account of the rise of community open spaces. Lawson does exactly this by providing a compelling and poetic account of the history and making of urban gardens. Combining solid scholarship with engaging images of the gardens and stories of their makers, this book sheds new light on the value of urban open space. More important, it explains why community gardens need to stand alongside city parks as permanent open spaces. Essential reading for community developers and landscape architects as well as anyone who ventures outside, enthusiasm and shovel in hand, to improve their local environment.—Mark Francis, author of Urban Open Space and Village Homes "The definitive history of the past hundred years of America's experience with community gardens. A labor of love by a garden activist, the book appears at a most appropriate time—today our city dwellers and suburbanites are retreating onto carpets of passive open space tended by homeowner associations and lawn care outfits. Lawson thoughtfully analyzes the weaknesses of community gardens when used as a response to social crises and, by contrast, investigates community gardens as an alternative to today's managed care of open space. Her history clearly presents a way of community living that we can elect if we choose her wisdom."—Sam Bass Warner, Jr, author of To Dwell Is to Garden "An important book about how the urban gardening movement is transforming our landscape and reconnecting us to the land."—Alice Waters, Owner, Chez Panisse

Known as a highly entertaining and controversial filmmaker, John Waters is also an artist and photographer. "John Waters: Change of Life" is a collection of his still photographic works made over the past decade. Includes essays by guest authors and an interview with Waters.

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The time is ten thousand years ago and the place is the shores of Lake Champlain, a land inhabited by Abenaki communities who hunt, gather, and follow the cycles of their unspoiled natural world in relative harmony. Joseph Bruchac, a nationally renowned storyteller and writer of Native American tales, uses this setting not just to spin a compelling adventure yarn but also to re-create with grace, fullness, and clarity the cultural, social, and spiritual systems of these pre-contact Native Americans. In this third novel of his trilogy about the "people of the dawnland," the lake they call Petonbowk -- "the waters between" Vermont's Green Mountains and New York's Adirondacks -- holds both sustenance and danger, and Young Hunter, the "young, broad-shouldered man whose heart was good for all the people," is called upon to confront a dual menace. A "deepseer" or shaman, he must use his full powers first to comprehend the threats and then to defeat them. The lake, it seems, holds a huge water-snake monster that makes it impossible to reap the waters' bountiful harvest of fish and game. And, worse, a tortured outcast, Watches Darkness, has turned against his tribe and is using his deepseer's knowledge to perpetrate horrible acts of senseless evil: he destroys whole villages out of sheer malevolence; he literally eats his victims' hearts to absorb their powers; he kills his own grandmother without remorse. As the tension between hunter and hunted mounts, Bruchac seamlessly weaves stories within the story, the lore that connects the people to each other and to their heritage, so that the novel becomes not just an archetypal battle of good versus evil but a vivid depiction of traditional New England Indian culture in pre-Columbian times. Richly atmospheric, resonant with Native American spirituality, melodious with the rhythms of the Abenaki language, The Waters Between paints both an epic quest and a colorful portrait of "the lives of people living as human beings were told to live by the Talker. Never perfect, often failing, but always growing, always part of something larger than themselves, their varied heartbeats meshing together to make the one great, healthy heartbeat which was the Only People."