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Beautifully illuminated with drawings and paintings by noted artist Mary Frank, Williams, one of the West's most intense and lyrical writers, invokes the lure and drama of the landscape. This is an incandescent meditation--in word and image--on the physical vastness and beauty of the desert and the spiritual place one woman finds for herself there.
Like the Song of Songs, Terry Tempest Williams's Desert Quartet submerges its reader in a highly erotic landscape. And both use that landscape-a garden in the Song and a desert in Desert Quartet-to create eros in the text. Yet while the Song of Songs uses metaphor to transform the body of the beloved into a garden of delights, Desert Quartet uses personification to transform the desert landscape into a passionate lover. In the Song of Songs, the body becomes the landscape where seduction takes place; in Desert Quartet, the landscape becomes the body which seduces. Both works also invite allegorical readings; however, the one represents pre-modern allegory and the other (post)modern allegory. Finally, both texts mirror the landscape they describe. The reader must wander through the texts in the same way the texts wander through the settings' natural terrain. Neither has a "coherent" linear plot nor argues a monolithic point. Perhaps this meandering discourse is, as some feminist critics would argue, indicative of women's ways of seeing and speaking, ways that often make men uncomfortable.
In her writings, Terry Tempest Williams repeatedly invites us as readers into engagement and conversation with both her and her subject matter, whether it is nature or society, environment or art. From her evocation, in Desert Quartet: An Erotic Landscape, of an eroticism of place that defines erotic as "in relation," to the spiritual connectivity and familial bonds she explores in Refuge: An Unnatural History of Family and Place and the political engagement she urges in The Open Space of Democracy, much of her work is about relationship, connection, and community. Like much good writing, her books invite readers into thoughtful dialogue with the text. Frequently in demand for workshops, lectures, and other speaking venues and well known as an environmental activist, Williams has a public persona and voice almost indistinguishable from her written ones. Thus, the interviews she has often granted--in print, on the radio, on the Web--seamlessly elaborate the ideas and extend the explorations of her written texts. They also tell us much about the genesis, context, and intent of her books. With her distinctive, impassioned voice and familiar felicity of language, she talks about wilderness and wildlife, place and eroticism, art and literature, democracy and politics, family and heritage, Mormonism and religion, writing and creativity, and other subjects that engage her agile mind. The set of interviews gathered and introduced by Michael Austin in A Voice in the Wilderness represent the span of Terry Tempest Williams's career as a naturalist, author, and activist.
In her writings, Terry Tempest Williams repeatedly invites us as readers into engagement and conversation with both her and her subject matter, whether it is nature or society, environment or art. From her evocation, in Desert Quartet: An Erotic Landscape, of an eroticism of place that defines erotic as "in relation," to the spiritual connectivity and familial bonds she explores in Refuge: An Unnatural History of Family and Place and the political engagement she urges in The Open Space of Democracy, much of her work is about relationship, connection, and community. Like much good writing, her books invite readers into thoughtful dialogue with the text. Frequently in demand for workshops, lectures, and other speaking venues and well known as an environmental activist, Williams has a public persona and voice almost indistinguishable from her written ones. Thus, the interviews she has often granted--in print, on the radio, on the Web--seamlessly elaborate the ideas and extend the explorations of her written texts. They also tell us much about the genesis, context, and intent of her books. With her distinctive, impassioned voice and familiar felicity of language, she talks about wilderness and wildlife, place and eroticism, art and literature, democracy and politics, family and heritage, Mormonism and religion, writing and creativity, and other subjects that engage her agile mind. The set of interviews gathered and introduced by Michael Austin in A Voice in the Wilderness represent the span of Terry Tempest Williams's career as a naturalist, author, and activist.
Compositional Process in Elliott Carter’s String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter’s five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book’s narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter’s place as the leading American modernist. Each of Carter’s five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.
Ibn Saud grew up living the harsh traditional life of the desert nomad, then during his adolescence in Kuwait, studied the ways of great imperial powers. Thus equipped between 1902 and 1930 he fought and won a series of astonishing military victories over a enemies much more powerful than him, and transformed himself into a revered king and elder statesman, courted by world leaders such as Churchill and Roosevelt. Saudi Arabia, the country he created is a staunch ally of the West but it is also the birthplace of Osama bin Laden and fifteen of the 9/11 hijackers. The question that looms is whether the Kingdom, as it now stands, will survive the vicissitudes of time.
Elisabeth Frink (1930-93) was a leading British sculptor and printmaker whose work is distinguished by her commitment to naturalistic forms and themes. This new edition of the catalogue raisonné of her sculpture documents her complete sculptural output in a single volume for the first time, and includes new texts by a range of critics and writers.
In the spring of 1983 Terry Tempest Williams learned that her mother was dying of cancer. That same season, The Great Salt Lake began to rise to record heights, threatening the Bear River Migratory Bird Refuge and the herons, owls, and snowy egrets that Williams, a poet and naturalist, had come to gauge her life by. One event was nature at its most random, the other a by-product of rogue technology: Terry's mother, and Terry herself, had been exposed to the fallout of atomic bomb tests in the 1950s. As it interweaves these narratives of dying and accommodation, Refuge transforms tragedy into a document of renewal and spiritual grace, resulting in a work that has become a classic.