A doctor of naturopathic medicine takes readers on a journey through the digestive system, in search of the causes of disease. 140 recipes. Cartoon illustrations throughout.

For centuries, rabbits have been used as a food commodity. And yet even today when there are millions of families keeping rabbits as domestic companions, the parallel perception of those prey animals as commodity remains equally dominant in public discourse. In Nobody Wants to Eat Them Alive, authors Gayane Torosyan and Brian Lowe use semiotic analysis to explore the changes occurring in societal perception of rabbits as commodity animals as juxtaposed to their increasing popularity as domestic companions. The study is based on a preliminary hypothesis that rabbits are increasingly perceived and portrayed in the media as domestic pets similar to cats and guinea pigs, which challenges the parallel narrative that views rabbits as farm animals for their meat and fur, or as subjects of medical tests. Operating within a theoretical framework that considers news media as both a socially constructed reflection of reality and recorder history, the study examines the dynamics of change in numbers of coded new narratives drawn as a convenience sample of one thousand published articles from a database of news and features published worldwide between 1990 and 2011. From commodity to companion, a shift in perspective can herald a dramatic shift in progressive ethical treatment. Thus for rabbits, such a shift signals a trend toward more humane practices and a decline in exploitative practices such as slaughter and laboratory experimentsand perhaps points toward the promising trend of a more humane society in general.

From the 1970s to the 1990s, Italian moviemakers produced the goriest exploitation films ever made, using recurring plot devices of cannibalism and putrefied zombie flesh eaters. Eaten Alive! dissects this outrageous period, setting it within its cultural and cinematic context. With an introduction explaining the origins of the gruesome genre, the book charts every bloody step, from the renowned Pasolini, who employed cannibalism as a satirical metaphor, to shocking "documentaries" such as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project. Informed, irreverent contributions from legends of the modern horror scene round out this fascinating book.

This heartfelt, captivating novel chronicles a year in the life of 14-year-old Max as he struggles with anorexia. Dear Ana, Some days are normal. Some days, everything is OK, and I eat three square meals, pretty much, even if those squares are ridiculously small squares. Some days, I can almost pretend there's nothing wrong. Fourteen-year-old Max doesn't like to eat, and the only one he can confess his true feelings to is Ana---also known as his eating disorder, anorexia. In a journal that his therapist makes him keep, he tells Ana his unfiltered thoughts and fears while also keeping track of his food intake. But Ana's presence has leapt off the page and into his head, as she feeds upon all of his fears and amplifies them. When Max's older brother Robin gives him a geocache box, it becomes a safe place where Max stores his journal, but someone finds it and starts writing to him, signing it with "E." Is it a joke? Could it be the new girl at school, Evie, who has taken an interest in Max? Although Max is unsure of the secret writer's identity, he takes comfort in the words that appear in his journal as they continually confide in one another about their problems. As Max's eating disorder intensifies, his family unit fractures. His parents and brother are stressed and strained as they attempt to deal with the elephant in the room. When Robin leaves home, Max is left with two parents who are on the verge of splitting up. Max thought he could handle his anorexia, but as time goes on, he feels himself losing any semblance of control. Will anorexia continue to rule Max's life, or will he be able to find a way to live around his eating disorder? The Year I Didn't Eat is an unforgettable novel that is haunting, moving, and inspiring.

That’s Why We Don’t Eat Animals uses colorful artwork and lively text to introduce vegetarianism and veganism to early readers (ages six to ten). Written and illustrated by Ruby Roth, the book features an endearing animal cast of pigs, turkeys, cows, quail, turtles, and dolphins. These creatures are shown in both their natural state—rooting around, bonding, nuzzling, cuddling, grooming one another, and charming each other with their family instincts and rituals—and in the terrible conditions of the factory farm. The book also describes the negative effects eating meat has on the environment. A separate section entitled “What Else Can We Do?” suggests ways children can learn more about the vegetarian and vegan lifestyles, such as:“Celebrate Thanksgiving with a vegan feast” or “Buy clothes, shoes, belts, and bags that are not made from leather or other animal skins or fur.” This compassionate, informative book offers both an entertaining read and a resource to inspire parents and children to talk about a timely, increasingly important subject. That's Why We Don't Eat Animals official website: http://wedonteatanimals.com/

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