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Toward the end of her life, Sarah Orne Jewett (1849-1909) made a surprising disclosure. Instead of the critically lauded The Country of the Pointed Firs, Jewett declared her "best story" to be A Marsh Island (1885), a little-known novel. Why? One reason is that it demonstrates Jewett's range. Known primarily for her vignettes, Jewett accomplished in these pages a truly great novel. Undoubtedly, another reason lies in the novel's themes of queer kinship and same-sex domesticity, as enjoyed by the flamboyant protagonist Dick Dale. Written a few years into Jewett's decades-long companionship with Annie Fields, A Marsh Island echoes Jewett's determination to split time between her family home in Maine and Fields's place on Charles Street in Boston. The novel follows the adventures of Dale, a Manhattanite landscape painter in the Great Marsh of northeastern Massachusetts and envisions the latter region's saltmarsh as a figure for dynamic selfhood: the ever-shifting boundaries between land and sea a model for valuing both individuality and a porous openness to the gifts of others. Jewett's works played a major role in popularizing the genre of American regionalism and has garnered praise, both in her time and ours, for her skill in rendering the local landscapes and fishing villages along or near the coasts of New England. Just as Jewett brought attention to the unique beauty and value of the Great marsh region, editor Don James McLaughlin reveals a convergence of regionalism and sexuality in Jewett's work in his introduction. A Marsh Island reminds us that queer kinship has a long tradition of being extended to incorporate queer ecological belonging, and that the meaning of "companionship" itself is enriched when we acknowledge its indebtedness to environment.
Selenium, essential in microscopic doses, can be deadly in larger amounts. Death in the Marsh explains how federal irrigation projects have altered selenium's circulation in the environment, allowing it to accumulate in marshes, killing ecosystems and wildlife, and causing deformities in some animals.
When Mildred and John Teal moved to Sapelo Island, Georgia, in 1955, they stepped back in time to a virtually undeveloped landscape of salt marsh, maritime forest, freshwater ponds, sand dunes, and beaches. Over the course of a four-year stay their careful observations of the island's unique marine ecology and wonderfully varied flora and fauna became the basis for Portrait of an Island. The island's human history dates back more than four thousand years. The lure of Sapelo has drawn many to its shores, including tobacco millionaire R. J. Reynolds, who established the University of Georgia Marine Institute there in the 1950s. Surrounded by sixteen thousand acres of pristine marsh, Sapelo offers researchers and the public a rare opportunity for environmental studies. Now a state game refuge and national estuarine sanctuary, the island remains a special haven where humans and nature quietly and peacefully coexist. Portrait of an Island is essential reading for anyone who treasures tranquility.
The World of the Salt Marsh is a wide-ranging exploration of the southeastern coast—its natural history, its people and their way of life, and the historic and ongoing threats to its ecological survival. Focusing on areas from Cape Hatteras, North Carolina, to Cape Canaveral, Florida, Charles Seabrook examines the ecological importance of the salt marsh, calling it “a biological factory without equal.” Twice-daily tides carry in a supply of nutrients that nourish vast meadows of spartina (Spartina alterniflora)—a crucial habitat for creatures ranging from tiny marine invertebrates to wading birds. The meadows provide vital nurseries for 80 percent of the seafood species, including oysters, crabs, shrimp, and a variety of finfish, and they are invaluable for storm protection, erosion prevention, and pollution filtration. Seabrook is also concerned with the plight of the people who make their living from the coast’s bounty and who carry on its unique culture. Among them are Charlie Phillips, a fishmonger whose livelihood is threatened by development in McIntosh County, Georgia, and Vera Manigault of Mount Pleasant, South Carolina, a basket maker of Gullah-Geechee descent, who says that the sweetgrass needed to make her culturally significant wares is becoming scarcer. For all of the biodiversity and cultural history of the salt marshes, many still view them as vast wastelands to be drained, diked, or “improved” for development into highways and subdivisions. If people can better understand and appreciate these ecosystems, Seabrook contends, they are more likely to join the growing chorus of scientists, conservationists, fishermen, and coastal visitors and residents calling for protection of these truly amazing places.
Toward the end of her life, Sarah Orne Jewett (1849-1909) made a surprising disclosure. Instead of the critically lauded The Country of the Pointed Firs, Jewett declared her "best story" to be A Marsh Island (1885), a little-known novel. Why? One reason is that it demonstrates Jewett's range. Known primarily for her vignettes, Jewett accomplished in these pages a truly great novel. Undoubtedly, another reason lies in the novel's themes of queer kinship and same-sex domesticity, as enjoyed by the flamboyant protagonist Dick Dale. Written a few years into Jewett's decades-long companionship with Annie Fields, A Marsh Island echoes Jewett's determination to split time between her family home in Maine and Fields's place on Charles Street in Boston. The novel follows the adventures of Dale, a Manhattanite landscape painter in the Great Marsh of northeastern Massachusetts and envisions the latter region's saltmarsh as a figure for dynamic selfhood: the ever-shifting boundaries between land and sea a model for valuing both individuality and a porous openness to the gifts of others. Jewett's works played a major role in popularizing the genre of American regionalism and has garnered praise, both in her time and ours, for her skill in rendering the local landscapes and fishing villages along or near the coasts of New England. Just as Jewett brought attention to the unique beauty and value of the Great marsh region, editor Don James McLaughlin reveals a convergence of regionalism and sexuality in Jewett's work in his introduction. A Marsh Island reminds us that queer kinship has a long tradition of being extended to incorporate queer ecological belonging, and that the meaning of "companionship" itself is enriched when we acknowledge its indebtedness to environment.