The old buildings and historic places of British Columbia form a kind of "roadside memory," a tangible link with stories of settlement, change, and abandonment that reflect the great themes of BC's history. Michael Kluckner began painting his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell, presenting a compelling argument for stewardship of regional history in the face of urbanization and globalization.

Award-winning author and artist Michael Kluckner takes another look at a city where the only thing that doesn't seem to change is the rapid pace of development. The original Vanishing Vancouver, published in 1990, explored Vancouver's changing landscape by neighbourhood, from the earliest dwellings to the aftershocks of Expo '86. Its light-filled watercolors and well-informed prose spoke to the concerns of rapid expansion versus historical conservation, and it won the accolades of the City of Vancouver book award and the Duthie prize for BC book publishing. Now, on the 20th anniversary of that important book, Kluckner returns to tell the story of the last two and a half decades in this ever-developing city. Vanishing Vancouver: The Last 25 Years explores the origins of our landmark buildings and public spaces, our working harbour, our shops, houses, apartments, urban farms, and gardens, and bears witness to the recent dramatic changes that have taken place in them. Many of these changes are the result of city planning policy -- initiatives that aim for "eco-density" and being "the greenest city" -- and throughout the book Kluckner discusses the tensions that have arisen as a result and asks whether the price we are paying is too high. Vanishing Vancouver: The Last 25 Years is a compelling mix of historical narrative, personal anecdote, and expert, local knowledge. Illustrated with more than 200 new images -- the author's own watercolors and brush-and-ink drawings as well as archival and private photographs, hand-rendered maps, vintage postcards, advertisements, and other ephemera -- this beautiful volume is essential and enjoyable reading for anyone interested in Vancouver's heritage, architecture, and history. Its focus on Vancouver's architecture and current issues make it the perfect complement to Kluckner's Vancouver Remembered, a complete history of the city.

"Daniel Pauly is a friend whose work has inspired me for years." —Ted Danson, actor, ocean activist, and co-author of Oceana "This wonderfully personal and accessible book by the world’s greatest living fisheries biologist summarizes and expands on the causes of collapse and the essential actions that will be required to rebuild fish stocks for future generations.” —Dr. Jeremy Jackson, ocean scientist and author of Breakpoint The world’s fisheries are in crisis. Their catches are declining, and the stocks of key species, such as cod and bluefin tuna, are but a small fraction of their previous abundance, while others have been overfished almost to extinction. The oceans are depleted and the commercial fishing industry increasingly depends on subsidies to remain afloat. In these essays, award-winning biologist Dr. Daniel Pauly offers a thought-provoking look at the state of today’s global fisheries—and a radical way to turn it around. Starting with the rapid expansion that followed World War II, he traces the arc of the fishing industry’s ensuing demise, offering insights into how and why it has failed. With clear, convincing prose, Dr. Pauly draws on decades of research to provide an up-to-date assessment of ocean health and an analysis of the issues that have contributed to the current crisis, including globalization, massive underreporting of catch, and the phenomenon of “shifting baselines,” in which, over time, important knowledge is lost about the state of the natural world. Finally, Vanishing Fish provides practical recommendations for a way forward—a vision of a vibrant future where small-scale fisheries can supply the majority of the world’s fish. Published in Partnership with the David Suzuki Institute

Like many British Columbians in 2017, Claudia Cornwall found herself glued to the news about the disastrous wildfires across the province. Her worry was personal: her cabin at Sheridan Lake had been in the family for sixty years and was now in danger of destruction. Cornwall, a long-time writer, was stricken not just by her own experience, but by the many moving stories she came across about the fires—so she began collecting them. She met with people from BC communities of Sheridan Lake, Ashcroft, Cache Creek, 16 Mile House, Lac La Hache, Quesnel, Williams Lake, Hanceville-Riske Creek and Clinton. She hoped to be a conduit for the voices she heard—for those who fought the fires raging around them, those who were evacuated and displaced, and those who could do nothing but watch as their homes burned. She conducted over fifty hours of interviews with ranchers, cottagers, Indigenous residents, RCMP officers, evacuees, store and resort owners, search and rescue volunteers, firefighters and local government officials. Presented in British Columbia in Flames are stories that illustrate the importance of community. During the 2017 wildfires, people looked after strangers who had no place to go. They shared information. They helped each other rescue and shelter animals. They kept stores open day and night to supply gas, food and comfort to evacuees. This memoir, at once journalistic and deeply personal, highlights the strength with which BC communities can and will come together to face a terrifying force of nature.

The Arctic is thawing. In summer, cruise ships sail through the once ice-clogged Northwest Passage, lakes form on top of the Greenland Ice Sheet, and polar bears swim farther and farther in search of waning ice floes. At the opposite end of the world, floating Antarctic ice shelves are shrinking. Mountain glaciers are in retreat worldwide, unleashing flash floods and avalanches. We are on thin ice—and with melting permafrost’s potential to let loose still more greenhouse gases, these changes may be just the beginning. Vanishing Ice is a powerful depiction of the dramatic transformation of the cryosphere—the world of ice and snow—and its consequences for the human world. Delving into the major components of the cryosphere, including ice sheets, valley glaciers, permafrost, and floating ice, Vivien Gornitz gives an up-to-date explanation of key current trends in the decline of ice mass. Drawing on a long-term perspective gained by examining changes in the cryosphere and corresponding variations in sea level over millions of years, she demonstrates the link between thawing ice and sea-level rise to point to the social and economic challenges on the horizon. Gornitz highlights the widespread repercussions of ice loss, which will affect countless people far removed from frozen regions, to explain why the big meltdown matters to us all. Written for all readers and students interested in the science of our changing climate, Vanishing Ice is an accessible and lucid warning of the coming thaw.

In the postdictatorial era, Latin American cultural production and criticism has been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture. Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

Fragments for a History of a Vanishing Humanism brings together scholars working in prehistoric, classical, medieval, and early modern studies who are developing, from longer and slower historical perspectives, critical post/humanisms that explore: 1) the significance (historical, sociocultural, psychic, etc.) of human expression and affectivity; 2) the impact of technology and new sciences on what it means to be a human self; 3) the importance of art and literature in defining and enacting human selves; 4) the importance of history in defining the human; 5) the artistic plasticity of the human; 6) the question of a human collectivity--what is the value, and peril, of "being human" or "being post/human" together?; and finally, 7) the constructive, and destructive, relations (aesthetic, historical, and philosophical) of the human to the nonhuman. This volume, edited by Myra Seaman and Eileen A. Joy, insists on the always provisional and contingent formations of the human, and of various humanisms, over time, while also aiming to demonstrate the different ways these formations emerge (and also disappear) in different times and places, from the most ancient past to the most contemporary present. The essays are offered as "fragments" because the authors do not believe there can ever be a "total history" of either the human or the post/human as they play themselves out in differing historical contexts. At the same time, the volume as a whole argues that defining what "the human" (or "post/human") is has always been an ongoing, never finished cultural project.