Edgeland

An upper-middle grade thriller by the New York Times bestselling Nightfall authors–perfect for fans of James Dashner’s Maze Runner books. Thousands of miles south of the island of Bliss, day and night last for 72 hours. Here is one of the natural wonders of this world: a whirlpool thirty miles wide and a hundred miles around. This is the Drain. Anything sucked into its frothing, turbulent waters is never seen again. Wren has spent most of her life on Edgeland, a nearby island where people bring their dead to be blessed and prepared for the afterlife. There the dead are loaded into boats with treasure and sent over the cliff, and into the Drain. Orphaned and alone, Wren dreams of escaping Edgeland, and her chance finally comes when furriers from the Polar north arrive with their dead, and treasure for their dead. With the help of her friend Alec, Wren plans to loot one of the boats before it enters the Drain. But the boat--with Alec and Wren onboard--is sucked into the whirlpool. What they discover beyond the abyss is beyond what anyone could have imagined.

The wilderness is much closer than you think. Passed through, negotiated, unnamed, unacknowledged: the edgelands - those familiar yet ignored spaces which are neither city nor countryside - have become the great wild places on our doorsteps. In the same way the Romantic writers taught us to look at hills, lakes and rivers, poets Paul Farley and Michael Symmons Roberts write about mobile masts and gravel pits, business parks and landfill sites, taking the reader on a journey to marvel at these richly mysterious, forgotten regions in our midst. Edgelands forms a critique of what we value as 'wild', and allows our allotments, railways, motorways, wasteland and water a presence in the world, and a strange beauty all of their own.

The dark will bring your worst nightmares to light in this gripping and eerie survival story, perfect for fans of James Dashner and Neil Gaiman. On Marin’s island, sunrise doesn’t come every twenty-four hours—it comes every twenty-eight years. Now the sun is just a sliver of light on the horizon. The weather is turning cold and the shadows are growing long. Because sunset triggers the tide to roll out hundreds of miles, the islanders are frantically preparing to sail south, where they will wait out the long Night. Marin and her twin brother, Kana, help their anxious parents ready the house for departure. Locks must be taken off doors. Furniture must be arranged. Tables must be set. The rituals are puzzling—bizarre, even—but none of the adults in town will discuss why it has to be done this way. Just as the ships are about to sail, a teenage boy goes missing—the twins’ friend Line. Marin and Kana are the only ones who know the truth about where Line’s gone, and the only way to rescue him is by doing it themselves. But Night is falling. Their island is changing. And it may already be too late.

"Even in our parceled-out, paved-over urban environs, nature is all around us, it is in us. It is us. This is what Rob Cowen discovered after moving to a new home in northern England. After ten years in London, he was suddenly adrift, searching for a sense of connection. He found himself drawn to a square-mile patch of waste ground at the edge of town. Scrappy, weed-filled, this heart-shaped tangle of land was the very definition of overlooked - a thoroughly in-between place that capitalism had no further use for, leaving nature to take its course. Wandering in meadows, woods, hedges, and fields, Cowen found it was also a magical, mysterious place, haunted and haunting, abandoned but wildly alive - and he fell in fascinated love."--Book jacket.

Saskatchewan is the anchor and epitome of the ‘prairie’ provinces, even though half of the province is covered by boreal forest. The Canadian penchant for dividing this vast country into easily-understood ‘regions’ has reduced the Saskatchewan identity to its southern prairie denominator and has distorted cultural and historical interpretations to favor the prairie south. Forest Prairie Edge is a deep-time investigation of the edge land, or ecotone, between the open prairies and boreal forest region of Saskatchewan. Ecotones are transitions from one landscape to another, where social, economic, and cultural practices of different landscapes are blended. Using place history and edge theory, Massie considers the role and importance of the edge ecotone in building a diverse social and economic past that contradicts traditional “prairie” narratives around settlement, economic development, and culture. She offers a refreshing new perspective that overturns long-held assumptions of the prairies and the Canadian west.

Introducing Alfonso Perplexon, hero of the epic fantasy tale Dormia! Alfonso Perplexon is an unusual sleeper. He climbs trees, raises falcons, even shoots deadly accurate arrows, all in his sleep. No one can figure out why. Then one evening a man arrives at Alfonso’s door, claiming to be Alfonso’s long-lost uncle Hill. This uncle tells a fantastical tale: Alfonso’s ancestors hail from Dormia—an ancient kingdom of gifted sleepers—which is hidden in the snowy peaks of the Ural Mountains. According to Hill, Dormia exists thanks to a tree known as the Founding Tree, with roots that pump life into the frozen valley. But the Founding Tree is now dying, and in a matter of days, Dormia faces an icy apocalypse. Dormia’s salvation lies with the Great Sleeper, who possesses the special powers to enter a sleep trance and grow a new Founding Tree. Hill suspects that Alfonso is just such a person. In fact, Alfonso’s sleeping-self has already hatched this tree. Now the question is: Can Alfonso and his uncle deliver it in time? They must hurry, but they also must be careful not to be followed by Dormia’s age-old enemy, the Dragoonya, who are always hunting for one of the secret entryways into Dormia. Alfonso agrees to take the tree to Dormia, and thus begins one of the greatest adventures a twelve-year-old boy could ever wish for. As he woke up from a late afternoon nap, Alfonso blinked open his eyes and discovered that he was perched at the top of a gigantic pine tree – some two-hundred feet above the ground. The view was spectacular. Alfonso could see for miles in every direction and he could even make out his house in the distant hamlet of World’s End, Minnesota. Unfortunately, there was no time to enjoy the view. The small branch that Alfonso stood upon was covered with gleaming snow and creaked dangerously under the pressure of his weight. Icy gusts of wind shook the entire treetop. Alfonso looked down grimly at the ground far below. If he fell, he would most certainly die. “Oh brother,” muttered Alfonso to himself. “Not again.”

Once the playgrounds and raw material for the avantgarde, abandoned places and things—decommissioned military sites, postindustrial spaces, contested and forgotten edgelands—are now just as likely to be seen as assets for entrepreneurs or connoisseurs of the authentically worn-out. This is the age of patina, where the material remains of times past—the fields and factories, test sites, back alleys, machines, and statues—are coveted, adored, mourned, and commemorated, as well as sometimes despised. Through an exploration of a wide range of recent film, photography, art, and writing about place, Landscape as Weapon argues that these abandoned sites are a critical arena for debate about the meaning of space and time under late capitalism.

This volume was first published by Inter-Disciplinary Press in 2016. We are captivated by the monstrous. The monstrous encapsulates a variety of emotions, actions, behaviors, and re-sponses. In general usage it draws attention to the physicality of bodies, the fear and repulsion that have so often driven societal response, and the marginal status of those defined by such terms. Monstrous geographies draw on the unease and uncanniness at the core of the monstrous while shifting the consideration from bodies to places and spaces, away from corporeality and toward the sites or landscapes within which bodies move; away from the mon-strous form of a creature like the Yeti and toward the environment in which the Yeti thrives, an environment that must be monstrous to produce and sustain such a being. Considering such geographies allows for a nuanced under-standing of the places, both real and imagined, subtle and fantastic, that make up our world.