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'Rhythm and pattern follow with precision the rich tonality of Lucas's visual and aural perceptions, delivered with just enough tension to allow a line to run free or a word to drop and hang alone where it dances, or stops.' --Amanda Joy, author of Cordite 'Lucas's collection shines with a clear intelligence and keen observation of the everyday, landscape, place, art, love and grief. The poems, evocative and moving, also sit so lightly on the page.' --Lucy Dougan, Philip Mead and Marcella Polain, Mary Gilmore Award Judges 2014 'Lucas's poems are composed of vivid bursts of colour.' --Cassandra Atherton, author of Exhumed Rose Lucas won the 2014 Mary Gilmore Award for Poetry (awarded by the Association for the Study of Australian Literature) for her previous collection, Even in the Dark (2013). [Subject: Poetry]
A poetry debut that’s “a lush, lyrical book about a world where women are meant to carry things to safety and men leave decisively” (Henri Cole). Luminous and electric from the first line to the last, Allison Adair’s debut collection navigates the ever-shifting poles of violence and vulnerability with a singular incisiveness and a rich imagination. The women in these poems live in places that have been excavated for gold and precious ores, and they understand the nature of being hollowed out. From the midst of the Civil War to our current era, Adair charts fairy tales that are painfully familiar, never forgetting that violence is often accompanied by tenderness. Here we wonder, “What if this time instead of crumbs the girl drops / teeth, her own, what else does she have”? The Clearing knows the dirt beneath our nails, both alone and as a country, and pries it gently loose until we remember something of who we are, “from before . . . from a similar injury or kiss.” There is a dark beauty in this work, and Adair is a skilled stenographer of the silences around which we orbit. Described by Henri Cole as “haunting and dirt caked,” her unromantic poems of girlhood, nature, and family linger with an uncommon, unsettling resonance. Winner of the 2019 Max Ritvo Poetry Prize Praise for The Clearing “A dark and bodily nod to folk- and fairy-tale energy.” —Boston Globe “The poems in Adair’s debut draw on folklore and the animal world to assert feminist viewpoints and mortal terror in lush musical lines, as when “A fat speckled spider sharpens / in the shoe of someone you need.” —New York Times Book Review, “New & Noteworthy Poetry” “Like Grimms’ fairy tales, Adair’s poems are dark without being bleak, hopeless, or disturbing. Readers will find the collections lush language and provocative imagery powerfully resonant.” —Publishers Weekly (Starred Review)
A captivating personal inquiry into the art of architecture, the craft of building, and the meaning of modern work “A room of one’s own: Is there anybody who hasn’t at one time or another wished for such a place, hasn’t turned those soft words over until they’d assumed a habitable shape?” When Michael Pollan decided to plant a garden, the result was the acclaimed bestseller Second Nature. In A Place of My Own, he turns his sharp insight to the craft of building, as he recounts the process of designing and constructing a small one-room structure on his rural Connecticut property—a place in which he hoped to read, write, and daydream, built with his own two unhandy hands. Invoking the titans of architecture, literature, and philosophy, from Vitruvius to Thoreau, from the Chinese masters of feng shui to the revolutionary Frank Lloyd Wright, Pollan brilliantly chronicles a realm of blueprints, joints, and trusses as he peers into the ephemeral nature of “houseness” itself. From the spark of an idea to the search for a perfect site to the raising of a ridgepole, Pollan revels in the infinitely detailed, complex process of creating a finished structure. At once superbly written, informative, and enormously entertaining, A Place of My Own is for anyone who has ever wondered how the walls around us take shape—and how we might shape them ourselves. Praise for A Place of My Own “A glorious piece of prose . . . Pollan leads readers on his adventure with humor and grace.”—Chicago Tribune “[Pollan] alternates between describing the building process and introducing informative asides on various aspects of construction. These explanations are deftly and economically supplied. Pollan’s beginner status serves him well, for he asks the kind of obvious questions about building that most readers will want answered.” —The New York Review of Books “By shrewdly combining just the right mix of personal reflection, architectural background, and nuts-and-bolts detail, Michael Pollan enables us to see, feel, and understand what goes into the building of a house. The result is a captivating and informative adventure.”—John Berendt, author of Midnight in the Garden of Good and Evil “An utterly terrific book . . . an inspired meditation on the complex relationship between space, the human body and the human spirit.”—Francine du Plessix Gray “A tour de force.”—Phillip Lopate
In Motherless Tongues, Vicente L. Rafael examines the vexed relationship between language and history gleaned from the workings of translation in the Philippines, the United States, and beyond. Moving across a range of colonial and postcolonial settings, he demonstrates translation's agency in the making and understanding of events. These include nationalist efforts to vernacularize politics, U.S. projects to weaponize languages in wartime, and autobiographical attempts by area studies scholars to translate the otherness of their lives amid the Cold War. In all cases, translation is at war with itself, generating divergent effects. It deploys as well as distorts American English in counterinsurgency and colonial education, for example, just as it re-articulates European notions of sovereignty among Filipino revolutionaries in the nineteenth century and spurs the circulation of text messages in a civilian-driven coup in the twenty-first. Along the way, Rafael delineates the untranslatable that inheres in every act of translation, asking about the politics and ethics of uneven linguistic and semiotic exchanges. Mapping those moments where translation and historical imagination give rise to one another, Motherless Tongues shows how translation, in unleashing the insurgency of language, simultaneously sustains and subverts regimes of knowledge and relations of power.
Clutter: it’s not just the piles of junk in your closet. It’s also the nagging thoughts, endless to-do lists, and calendar full of obligations. It’s the fears and worries that cycle through your mind on repeat, and the sticky emotional energy that you pick up from the people around you. It’s the sense of panicky suffocation you feel when you contemplate all that you “have” to accomplish in a day, a week, or a lifetime. For almost thirty years, Stephanie Bennett Vogt has been teaching the art of clearing clutter at every level: physical, energetic, mental, and emotional. Her unique “slow-drip” approach to clearing is a welcome antidote to popular binge-cleaning methods that leave you feeling exhausted and overwhelmed. With her practical tips and step-by-step guidance, you’ll learn how to identify the root causes of clutter, create a personalized clutter-clearing plan, and break the endless cycle of clutter accumulation. Completely revised and updated with even more inspiring stories, helpful exercises, and insightful advice, Your Spacious Self: Clear the Clutter and Discover Who You Are, 10th Anniversary Edition is the ultimate guide to transforming your home and life.
“Thought-provoking, encouraging, and inspiring” (Gretchen Rubin) reflections on the power of travel to transform our daily lives—from the iconoclastic travel writer, scholar, and author of Vagabonding For readers who dream of travel, yearn to get back out on the road, or want to enrich a journey they’re currently on, The Vagabond’s Way explores and celebrates the life-altering essence of travel all year long. Each day of the year features a meditation on an aspect of the journey, anchored by words of wisdom from a variety of thinkers—from Stoic philosopher Seneca and poet Maya Angelou to Trappist monk Thomas Merton and Grover from Sesame Street. Iconoclastic travel writer and scholar Rolf Potts embraces the ragged-edged, harder-to-quantify aspects of travel that inevitably change travelers’ lives for the better in unexpected ways. The book’s various sections mirror the phases of a trip, including • dreaming and planning the journey: “All life-affecting journeys—and the unexpected wonders they promise—become real the moment you decide they will happen.” • embracing the rhythms of the journey: “The most poignant experiences on the road occur in those quiet moments when we recognize beauty in the ordinary.” • finding richer travel experiences: “Developing an instinct to venture beyond the obvious on the road allows you to see places as mysteries to be investigated.” • expanding your comfort zone: “No moment of instant gratification can compare to savoring an experience that has been earned by enduring the adversity that comes with it.” The Vagabond’s Way encourages you to sustain the mindset of a journey, even when you aren’t able to travel, and affirms that travel is as much a way of being as it is an act of movement.
In the second book of the Amansun the Dragon Prince Trilogy, Return to Argonathe, Amansun must continue on his quest to prove himself and complete the task he was sent out on. Though he has already faced many adversaries and obstacles, Amansun now faces some of the most dangerous foes to be found in the lands to the East. With the help of some old allies, along with new friends he meets along the way, Amansun fights his way through one challenge after the other, as he attempts to reclaim his families kingdom at Argonathe at the feet of the Granite Mountains. Making his way from Eladrias Castle, where he has fallen for Princess Lyleth, he must pass through the Lost Hills, Darkwood Forest, and the Eastern Plains, encountering dangerous creatures and beasts along the way. While Amansun travels East, the Under Lord, seeking vengeance for his losses at the Battle of Three Kings, sends out one of his most dangerous creatures to put an end to the Dragon Prince and his quest.
Western Canada’s natural environment faces intensifying threats from industrialization in agriculture and resource development, social and cultural complicity in these destructive practices, and most recently the negative effects of global climate change. The complex nature of the problems being addressed calls for productive interdisciplinary solutions. In this book, arts and humanities scholars and literary and visual artists tackle these pressing environmental issues in provocative and transformative ways. Their commitment to environmental causes emerges through the fields of environmental history, environmental and ecocriticism, ecofeminism, ecoart, ecopoetry, and environmental journalism. This indispensable and timely resource constitutes a sustained cross-pollinating conversation across the environmental humanities about forms of representation and activism that enable ecological knowledge and ethical action on behalf of Western Canadian environments, yet have global reach. Among the developments in the contributors’ construction of environmental knowledge are a focus on the power of sentiment in linking people to the fate of nature, and the need to decolonize social and environmental relations and assumptions in the West.