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Since 1970 in Quebec, there has been immense change for the Cree, who now live with the consequences of Quebec's massive development of the North. Home Is the Hunter presents the historical, environmental, and cultural context from which this recent story grows. Hans Carlson shows how the Cree view their lands as their home, their garden, and their memory of themselves as a people. By investigating the Cree's three hundred years of contact with outsiders, he illuminates the process of cultural negotiation at the foundation of ongoing political and environmental debates. This book offers a way of thinking about indigenous peoples' struggles for rights and environmental justice in Canada and elsewhere.
INTERNATIONAL BESTSELLER A brilliantly plotted psychological crime novel about a missing child and the scandal that erupts in the aftermath with a shocking twist They know who did it. Perhaps not consciously. Perhaps not yet. But they know. When eight-year-old Daisy Mason vanishes from her family’s Oxford home during a costume party, Detective Inspector Adam Fawley knows that nine times out of ten, the offender is someone close to home. And Daisy’s family is certainly strange—her mother is obsessed with keeping up appearances, while her father is cold and defensive under questioning. And then there’s Daisy’s little brother, so withdrawn and uncommunicative . . . DI Fawley works against the clock to find any trace of the little girl, but it’s as if she disappeared into thin air—no one saw anything; no one knows anything. But everyone has an opinion, and everyone, it seems, has a secret to conceal. With a story that feels all too real, Close to Home is the best kind of suspense—the kind that sends chills down your spine and keeps you up late at night, thrilled and terrified.
After years of war, Ulysses finally returns to Ithaca. Rather than the joyous welcome he had hoped for, he finds his palace full of suitors, all scheming to possess his wife, and Penelope is wondering why it has taken him seven years to get home.
In early 1800s England, Jess Beauchene has spent most of her life in hiding and always on the move in an effort to leave her past far behind her. But when she learns the family she thought had died just might be alive and in danger, she knows her secrets can only stay buried for so long. Derek Thornbury loves the past, which has led him to become an expert in history and artifacts. He knows Jess has never liked him, but when she requests his help deciphering the clues laid out in an old family diary, he can't resist the urge to solve the puzzle. As Jess and Derek race to find the hidden artifact before her family's enemies, they learn as much about each other as they do about the past. But can their search to uncover the truth and set history right lead to a future together?
Ever wondered about the mysterious place we all visit when we fall asleep? Robert Louis Stevenson's classic children's poem about dreamland is given new life in this wonderfully illustrated book. Accompanied by Robert Hunter's bold and beautiful illustrations, this picture book will bring the beloved Scottish author's work to a whole new generation of young readers.
It is Ranches, Rowhouses, and Railroad Flats is a delightfully illustrated and readable introduction to the evolution of America's housing forms and the ways that they shape - and limit - the neighborhoods around them.
Subtitle in pre-publication: A home inspector's tips and tricks for finding your perfect home.
The meticulously composed, painterly tableaux of London-based photographer Tom Hunter (born 1965) marry the look and mood of paintings by the likes of Vermeer or Chardin with the sociopolitical concerns of twenty-first-century Britain--specifically, the London borough of Hackney, notorious for its recent gentrification and its consequent disparities between rich and poor. Hunter's 1998 "Woman Reading a Possession Order," which depicts a (real) squatter reading a (real) eviction notice by a window, references Vermeer's 1657 "Girl Reading a Letter at an Open Window," completely sabotaging all the qualities of uplift, privacy and reverie that we relish in Vermeer, with a subversiveness that is both mischievous and acute. When it was first exhibited, this powerful photograph attracted so much press attention that the eviction was withdrawn. Handsomely produced, as befits the gorgeousness of Hunter's images, The Way Home is the second monograph on this much-celebrated photographer.
Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .