A Dump A Garden And One S Worth

Sait Faik may well be named "the Turkish Chekhov." In Turkey, critics and readers regard him as their finest short story writer. Since his death in 1954 at the age of forty-eight, his stature has grown on the strength of his narrative art, which is both realistic and whimsical with a poetic touch. Süha Oguzertem, a premier authority on Turkish fiction, writes in his introduction to Sleeping in the Forest that "As an anti-bourgeois writer and fierce democrat, Sait Faik has always sided with the underdog" and that no characters remain " 'common' or 'ordinary' once they enter Sait Faik's stories; his piercing gaze and thoughtful vision transform them lovingly into unique beings." Sait Faik's fiction ranges from the realistic to the surrealistic, from the romantic to the modern, from the cynical to the compassionate. With virtuosic skill, he captures the spirit and the spleen of the city of Istanbul and its environs. In evoking the mystery of that great metropolis through such ordinary characters as Armenian fishermen, Greek Orthodox priests, and the disillusioned and disfranchised, he creates for us a marvelous microcosm of tragicomedy. Few writers, in Turkey or elsewhere, command Sait Faik's mastery of the ironic. Sleeping in the Forest features twenty-two stories, an excerpt from a novella, and fifteen poems rendered into English by some of the best-known translators of Turkish literature. Sait Faik's chiaroscuro world is brought into focus by an introductory essay on utopian poetics and lyrical stylistics of this great Turkish writer. The book is a stimulating exploration into Turkish mood and milieu.

In October, 2000, the author and his wife moved from California to Costa Rica to begin a new life in a new country. Martin had a theory that retiring to a foreign country would present so many challenges as to make it impossible to fall into a rut, to become bored, and eventually depressed as happens to so many retirees. It appears as though his theory was a correct one. At Home in Costa Rica: An Adventure in Living the Good Life is the story of how Martin and Robin gradually adapted to their new country, and tells a fascinating tale of the trials and tribulations of learning a new way of life and a new language, of making unusual friends, of building homes, of rehabilitating animals, of surviving the machinations of alien institutions bureaucracies, of adjusting their first-world pace and needs to those of an emerging country, and much more. Told in an anecdotal style, based on letters they've been sending home for three and a half years, At Home in Costa Rica is filled with funny and touching stories about re-learning how to live in one of the most beautiful, peaceful, and stable Democracies in the world. The book is ideal for anyone who has either gone through this wonderful and at times trying process, for anyone who is contemplating living the expatriate's life, or for anyone who enjoys reading about life in other countries.

Nature has been a recurrent theme in arts and philosophy for several decades. Nature is experienced in variety of contexts; artists have been enacting with nature as phenomena, material, space, environment, or simply as a place or an idea. In philosophy this is evidenced by an increasing interest in environmental ethics and aesthetics, as well as in philosophy of biology and metaphysics. In the 1960s, new affinities between art and nature developed and became among the characteristics of contemporary art. Environmental approaches became essential and artists were engaging the public closely with social and physical spaces. Generating processes rather than creating objects, both in nature as well as in the urban landscape, artists reintroduced art into nature and nature into art and opened up new ways of engaging environment, creating non-permanent artworks which produced a new understanding of creativity that following generations are still exploring. The distinction between art and nature became increasingly blurred at the same time as the ancient dichotomy of culture and nature became controversial. With the rise of environmental ethics in the 1970s, philosophers began discussing nature as an independent source of moral values, rather than a mere stage for moral life deriving its value from relations among humans. It has both been suggested that nature might have independent moral value, much like persons are thought to have such value, or that nature can be an active participant in a morally virtuous life. Both aesthetics of nature and environmental ethics have become established fields in contemporary philosophy with their distinct bibliography to draw on. But even if distinct, and properly so, these two new fields might be more closely related than often suggested. The aim of this collection is to bring together different trends in thinking about nature and value that are distinctive of these changing moods in art and philosophy and to juxtapose them with some other ways of thinking about these issues, such as economics and religion. The authors include Holmes Rolston III, Antje von Graevenitz, Roger Pouivet, Eric Palazzo and Emily Brady. The essays and artworks in this volume derive from the conference Nature in the Kingdom of Ends held in Selfoss, Iceland, on June 11th and 12th 2005.

This book attempts to set out the fundamental principles to become a great gardener with careful observation and practical experience. "A garden is for its owner's pleasure."

This book is a printed edition of the Special Issue "Sustainable Agriculture–Beyond Organic Farming" that was published in Sustainability