In 1994, the Pacific island village of Matupit was partially destroyed by a volcanic eruption. This study focuses on the subsequent reconstruction and contests over the morality of exchanges that are generative of new forms of social stratification. Such new dynamics of stratification are central to contemporary processes of globalization in the Pacific, and more widely. Through detailed ethnography of the transactions that a displaced people entered into in seeking to rebuild their lives, this book analyses how people re-make sociality in an era of post-colonial neoliberalism without taking either the transformative power of globalization or the resilience of indigenous culture as its starting point. It also contributes to the understanding of the problems of post-disaster reconstruction and development projects.

New York Times Bestseller Winner of the Los Angeles Times Book Prize Winner of the J. Anthony Lukas Award "Nimbly splices together history, science, reporting and personal experiences into a taut and cautiously hopeful narrative.… Egan’s book is bursting with life (and yes, death)." —Robert Moor, New York Times Book Review The Great Lakes—Erie, Huron, Michigan, Ontario, and Superior—hold 20 percent of the world’s supply of surface fresh water and provide sustenance, work, and recreation for tens of millions of Americans. But they are under threat as never before, and their problems are spreading across the continent. The Death and Life of the Great Lakes is prize-winning reporter Dan Egan’s compulsively readable portrait of an ecological catastrophe happening right before our eyes, blending the epic story of the lakes with an examination of the perils they face and the ways we can restore and preserve them for generations to come.

The Great Death arrived with the man from downriver, the one who came with the light-colored strangers and had little red spots covering his body. Thirteen-year-old Millie and her younger sister, Maura, are fascinated by the guests, but soon sickness takes over their village. As they watch the people they know and love die, the sisters remain unaffected and begin to realize that they will have to find a new home. Alone in the cold Alaskan winter of 1917, struggling to overcome the obstacles nature throws their way, the girls discover that their true strength lies in their love for each other. John Smelcer's spare and beautiful prose shapes the sisters' story with tenderness and skill, presenting a powerful tale of determination, survival, and family.

Most people visit Big Bend National Park and have a wonderful, incident-free vacation. For a tiny number, however, a simple mistake, unpreparedness, or pure bad luck has lead to catastrophe. Massive rescue efforts and fatalities, while rare, do happen at the park. Heat stroke, dehydration, hypothermia, drowning, falls, lightning, and even murder have claimed victims at Big Bend. This book chronicles selected rescues and tragedies that have happened there since the early 1980s. The lessons you learn reading this book may save your life.

/Bronwyn Carlton Death remains one of society's last taboos, a subject few are willin gto acknowledge, let alone discuss. THE BIG BOOK OF DEATH looks the Grim Reaper in the fact and laughs, with tales of outmoded methods of execution, captial punishment, visits to famous cemetaries, body disposal, weird deaths and stupid murders and more. G

A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.