The northwestern edge of North America is a final edge to settle on a finite planet. Where does mankind go from here? Where else have we not settled, altered, and consumed? Author Susan Zwinger suspects that we have saved this wild edge for last because its geography is punched, exploded, ground, and drenched. Its forest of enormous trees once created a boundary difficult to penetrate, let alone farm. Yet, today this wildness is under threat, as civilization bores its way into even this remote edge.

"The images and an earlier version of the text ... originally appeared in The last wild wolves, published in 2007 by Greystone Books"--Title page verso.

"Opinionated and iconoclastic, Petersen writes with humor and a well-honed craft that will delight fans of Edward Abbey." -Library Journal (starred review) Twenty-five years ago David Petersen and his wife, Caroline, pulled up stakes, trading Laguna Beach, California, for a snug hand-built cabin in the wilderness. Today he knows that mountain land as intimately as anyone can know his home. Petersen conflates a quarter century into the adventures of four high-country seasons, tracking the rigors of survival from the snowmelt that announces the arrival of spring to the decline and death of autumn and winter that will establish the fertile ground needed for next year's rebirth. In the past we listened to Henry David Thoreau or Aldo Leopold; today it is Petersen's turn. His observations are lyrical, scientific, and from the heart. He reinforces Thoreau's dictum: "in wildness is the preservation of the earth." In prose rich with mystery and soul, his words are a plea for the survival of the remnant wilderness. "Many of us would like to live a life of greater intention and simplicity, but few can and even fewer do. David Petersen is one of those rare human beings among us who lives a wild life with a cultured mind . . . [He] has created a map all of us can follow."-Terry Tempest Williams, author of The Open Space of Democracy

Through text and photographs describes the lives of wolf packs living on the coast of British Columbia.

The work of the mature person is to carry grief in one hand and gratitude in the other and be stretched large by them. As seen on All There Is with Anderson Cooper Noted psychotherapist Francis Weller provides an essential guide for navigating the deep waters of sorrow and loss in this lyrical yet practical handbook for mastering the art of grieving. Describing how Western patterns of amnesia and anesthesia affect our capacity to cope with personal and collective sorrows, Weller reveals the new vitality we may encounter when we welcome, rather than fear, the pain of loss. Through moving personal stories, poetry, and insightful reflections he leads us into the central energy of sorrow, and to the profound healing and heightened communion with each other and our planet that reside alongside it. The Wild Edge of Sorrow explains that grief has always been communal and illustrates how we need the healing touch of others, an atmosphere of compassion, and the comfort of ritual in order to fully metabolize our grief. Weller describes how we often hide our pain from the world, wrapping it in a secret mantle of shame. This causes sorrow to linger unexpressed in our bodies, weighing us down and pulling us into the territory of depression and death. We have come to fear grief and feel too alone to face an encounter with the powerful energies of sorrow. Those who work with people in grief, who have experienced the loss of a loved one, who mourn the ongoing destruction of our planet, or who suffer the accumulated traumas of a lifetime will appreciate the discussion of obstacles to successful grief work such as privatized pain, lack of communal rituals, a pervasive feeling of fear, and a culturally restrictive range of emotion. Weller highlights the intimate bond between grief and gratitude, sorrow and intimacy. In addition to showing us that the greatest gifts are often hidden in the things we avoid, he offers powerful tools and rituals and a list of resources to help us transform grief into a force that allows us to live and love more fully.

Since Silent Spring was published in 1962, the number of texts about the natural world written by women has grown exponentially. The essays in Women Writing Nature: A Feminist View argue that women writing in the 20th century are utilizing the historical connection of women and the natural world in diverse ways. For centuries women have been associated with nature but many feminists have sought to distance themselves from the natural world because of dominant cultural representations which reflect women as controlled by powerful natural forces and confined to domestic spaces. However, in the spirit of Rachel Carson, some writers have begun to invoke nature for feminist purposes or have used nature as an agent of resistance. This collection considers women's writings about the natural world in light of recent and current feminist and ecofeminist theory and finds a variety of approaches and perspectives, both by the scholars and by the authors discussed, culminating with the voices of two women, activist and scientist Joan Maloof and Irish poet Rosemarie Rowley, who both write about the natural world from a feminist perspective.

"A hugely inventive adventure." —Eoin Colfer, New York Times bestselling author of the Artemis Fowl series In a world where animals are slowly fading into extinction, twelve-year-old Kester Jaynes feels as if he hardly exists either. He’s been locked away in a home for troubled children and is unable to speak a word. Then one night, a flock of talking pigeons and a bossy cockroach come to help him escape, and he discovers that he can speak—to them. And the animals need him. Only Kester, with the aid of a stubborn, curious girl named Polly, can help them survive. The animals saved Kester. But can he save them? "When ninety-nine pigeons smash through the windows of Kester's prison and carry him North to the last of the animals…. it's a moment as thrilling as when James flies off in the Giant Peach. Highly recommended" —The Times (UK) “Combines a great fondness for animals with an appreciation of the freakish…. The reserved narrative tone and tender yet peculiar view of animals give this piece its own offbeat flavor.” —Kirkus Reviews “Alternately somber, thrilling, and silly.” —Publishers Weekly