Devour The Land

Tracing the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politics Devour the Land considers how contemporary photographers have responded to the US military's impact on the domestic environment since the 1970s, a dynamic period for environmental activism as well as for photography. This catalogue presents a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics. Alongside interviews with prominent contemporary artists working in the landscape photography tradition, the images speak to photographers' varied motivations, personal experiences, and artistic approaches. The result is a surprising picture of the ways violence and warfare surround us. Although most modern combat has taken place abroad, the US domestic landscape bears the footprint of armed conflict--much of the environmental damage we live with today was caused by our own military and the expansive network of industries supporting its work. Designed to evoke a field book and to nod toward ephemera produced by earlier artists and activists, the catalogue features works by dozens of photographers, including Ansel Adams, Robert Adams, Dorothy Marder, Alex Webb, Terry Evans, and many more.

First published in 1974, Strangers Devour the Land is recognized as the magnum opus among the numerous books, articles, and films produced by Boyce Richardson over two decades on the subject of indigenous people. Its subject, the long struggle of the Crees of James Bay in northern Quebec--a hunting and trapping people--to defend the territories they have occupied since time immemorial, came to international attention in 1972 when they tried by legal action to stop the immense hydro-electric project the provincial government was proposing to build around them. The Crees argued that the integrity of their vast wilderness was essential to their way of life, but the authorities dismissed such claims out of hand. Richardson, who sat through many months of the trial, mingles the scientific and Cree testimony given in court with his own interviews of Cree hunters, and experiences in gathering information and shooting films, to produce a classic tale of cultures in collision. In a new preface, he reveals that the Crees--now receiving immense sums of money as compensation for the loss of their lands--appear to be doing well, and to be in the process of joining modern, technological culture, while retaining the spiritual base of their traditional lives. Meanwhile, Hydro-Quebec continues to eye additional rivers on the Cree's lands for new dams.

Updated edition of the 1975 account of the Cree Indians of northern Quebec and the James Bay Hydroelectric Project, with discussion of the environmental effects of the dams built to date, and of the effects on the traditional Indian way of life, in particular at Waswanipi, Mistassini, Rupert House, Garden and Lac Trefart.

Beyond its housing estates and identikit high streets there is another Britain. This is the Britain of mist-drenched forests and unpredictable sea-frets: of wraith-like fog banks, druidic mistletoe and peculiar creatures that lurk, half-unseen, in the undergrowth, tantalising and teasing just at the periphery of human vision. How have the remarkably persistent folkloric traditions of the British Isles formed and been formed by the psyches of those who inhabit them? In this sparkling new history, Carolyne Larrington explores the diverse ways in which a myriad of fantastical beings has moulded the nation's cultural history. Fairies, elves and goblins here tread purposefully, sometimes malignly, over an eerie landscape that also conceals brownies, selkies, trows, knockers, boggarts, land-wights, Jack o'Lanterns, Barguests, the sinister Nuckleavee and Black Shuck: terrifying hell-hound of the Norfolk coast with eyes of burning coal. Ranging from Shetland to Jersey and from Ireland to East Anglia, while evoking the Wild Hunt, the ghostly bells of Lyonesse and the dread fenlands haunted by Grendel, this is a book that will captivate all those who long for the wild places: the mountains and chasms where giants lie in wait

For use in schools and libraries only. Examines in English and Spanish the lives of migrant workers moving from south Texas up through the Plains, and the experiences of all ages and sexes

The quest for the land speed record in the 1960s and the epic rivalry between two dynamic American drivers, Art Arfons and Craig Breedlove. "Interesting and complex. . . .The best job I've seen done on the subject so far." -- Craig Breedlove Until the 1950s, the land speed record (LSR) was held by a series of European gentlemen racers such as British driver John Cobb, who hit 394 miles per hour in 1947. That record held for more than a decade, until the car culture swept the U.S. Hot-rodders and drag racers built and souped up racers using car engines, piston aircraft engines and, eventually, jet engines. For this determined and dedicated group, the LSR was no longer an honor to be held by rich aristocrats with industrial backing -- it was brought stateside. In the summer of 1960, the contest moved into overdrive, with eight men contending for the record on Utah's Bonneville Salt Flats. Some men died in horrific crashes, others prudently retired, and by mid-decade only two men were left driving: Art Arfons and Craig Breedlove. By 1965, Arfons and Breedlove had walked away from some of the most spectacular wipeouts in motor sport history and pushed the record up to 400, then 500, then 600 miles per hour. Speed Duel is the fast-paced history of their rivalry. Despite the abundant heart-stopping action, Speed Duel is foremost a human drama. Says author Samuel Hawley, "It is a quintessential American tale in the tradition of The Right Stuff, except that it is not about extraordinary men doing great things in a huge government program. It's about ordinary men doing extraordinary things in their back yards."

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Follows four young dreamers and outcasts through time and space, from 1453 Constantinople to the future, as they discover resourcefulness and hope amidst peril.