Ever since Gilgamesh cut down the ancient cedar forests of Mesopotamia, civilizations and empires have foundered and collapsed in the wake of widespread deforestation. Today, with three-quarters of the world’s original forests gone and the pace of cutting, clearing, processing, and pulping ever accelerating, Jensen and Draffan lay bare the stark scenario we face unless deforestation is slowed and stopped—a scenario which will affect not only people, but the non-human fabric of life itself. Strangely like War is a story of corruption and killing: the genocide of indigenous peoples and the systematic destruction of our ecosystem. It is essential reading for anyone wanting to understand the relationship between deforestation and the current ecological crisis we face, and a valuable source of information for forest and anti-globalisation adtivists.

Jensen and Draffan look at the way machine readable devices that track our identities and purchases have infiltrated our lives and have come to define our culture.

"One of the best and most disturbing war novels in years." —The Wall Street Journal “War porn,” n. Videos, images, and narratives featuring graphic violence, often brought back from combat zones, viewed voyeuristically or for emotional gratification. Such media are often presented and circulated without context, though they may be used as evidence of war crimes. War porn is also, in Roy Scranton’s searing debut novel, a metaphor for the experience of war in the age of the War on Terror, the fracturing and fragmentation of perspective, time, and self that afflicts soldiers and civilians alike, the global networks and face-to-face moments that suture our fragmented lives together. In War Porn three lives fit inside one another like nesting dolls: a restless young woman at an end-of-summer barbecue in Utah; an American soldier in occupied Baghdad; and Qasim al-Zabadi, an Iraqi math professor, who faces the US invasion of his country with fear, denial, and perseverance. As War Porn cuts from America to Iraq and back again, as home and hell merge, we come to see America through the eyes of the occupied, even as we see Qasim become a prisoner of the occupation. Through the looking glass of War Porn, Scranton reveals the fragile humanity that connects Americans and Iraqis, torturers and the tortured, victors and their victims.

Derrick Jensen takes no prisoners in The Culture of Make Believe, his brilliant and eagerly awaited follow-up to his powerful and lyrical A Language Older Than Words. What begins as an exploration of the lines of thought and experience that run between the massive lynchings in early twentieth-century America to today's death squads in South America soon explodes into an examination of the very heart of our civilization. The Culture of Make Believe is a book that is as impeccably researched as it is moving, with conclusions as far-reaching as they are shocking.

In an age marked by seemingly unstoppable environmental collapse and the urgent quest for solutions, environmental philosopher Derrick Jensen, the voice of the growing deep ecology movement, reveals for us new seeds of hope. Here for the first time in The Derrick Jensen Reader are collected generous selections from his prescient, unflinching books on the problem of civilization and the path to true resistance. In the acclaimed A Language Older Than Words, Jensen dissects his own abusive childhood to examine the pathology of Western culture and shares with us the power and beauty of an alliance with the natural world. He continues to use the lens of his own experience as well as the wisdom of philosophers, activists, and teachers to expose oppression and call us to action in his other early works, Listening to the Land, A Culture of Make Believe, Strangely Like War, and Walking on Water. We see his analysis deepen when he asks us to accept that the only moral response to biocide is resistance in the two-volume Endgame, a truth he explores further in Thought to Exist in the Wild, What We Leave Behind, the graphic novel As The World Burns, and in his two novels, Songs of the Dead and Lives Less Valuable. And in Dreams, Jensen's latest work, he leads us still further toward his vision for a healed planet, freeing us to see beyond the limits of our present culture to a future luminous with meaning.

Whereas Volume 1 of Endgame presents the problem of civilization, Volume 2 of this pivotal work illustrates our means of resistance. Incensed and hopeful, impassioned and lucid, Endgame leapfrogs the environmental movement's deadlock over our willingness to change our conduct, focusing instead on our ability to adapt to the impending ecological revolution.

This polemical book examines the concept of sustainability and presents a critical exploration of its all-pervasive influence on society, arguing that sustainability, manifested in several guises, represents a pernicious and corrosive doctrine that has survived primarily because there seems to be no alternative to its canon: in effect, its bi-partisan appeal has depressed critical engagement and neutered politics. It is a malign philosophy of misanthropy, low aspirations and restraint. This book argues for a destruction of the mantra of sustainability, removing its unthinking status as orthodoxy, and for the reinstatement of the notions of development, progress, experimentation and ambition in its place. Al Gore insists that the ‘debate is over', while musician K.T. Tunstall, spokesperson for ‘Global Cool', a campaign to get stars to minimize their carbon footprint, says ‘so many people are getting involved that it is becoming really quite uncool not to be involved’. This book will say that it might not be cool, but it is imperative to argue against the moralizing of politics so that we can start to unpick the contemporary world of restrictive, sustainable practices.