Homeward Bound Or Jack Wilson S Return From Sea By M M Pollard

A terrifying 1930s ghost story set in the haunting wilderness of the far north. January 1937. Clouds of war are gathering over a fogbound London. Twenty-eight year old Jack is poor, lonely and desperate to change his life. So when he's offered the chance to join an Arctic expedition, he jumps at it. Spirits are high as the ship leaves Norway: five men and eight huskies, crossing the Barents Sea by the light of the midnight sun. At last they reach the remote, uninhabited bay where they will camp for the next year. Gruhuken. But the Arctic summer is brief. As night returns to claim the land, Jack feels a creeping unease. One by one, his companions are forced to leave. He faces a stark choice. Stay or go. Soon he will see the last of the sun, as the polar night engulfs the camp in months of darkness. Soon he will reach the point of no return - when the sea will freeze, making escape impossible. And Gruhuken is not uninhabited. Jack is not alone. Something walks there in the dark...

Our Landscape Heritage provides an overview of the history and ecological makeup of the landscapes of New Brunswick to help ecological seekers starting out with basic knowledge about geology, soils, climate, and vegetation, to better understand why plants and animals are today distributed as they are. Part I outlines the rationale and history of ecological land classification (ELC) in New Brunswick, and presents basic scientific concepts and facts that help the reader to interpret the information that follows. Part II, Portrait of New Brunswick Ecoregions and Ecodistricts presents a detailed look at the variety and distribution of ecosystems across the geographic expanse of New Brunswick. Each of the seven chapters of Part II provides a high level description of the ecoregion, followed by detailed descriptions of each ecodistrict within the ecoregion.--Includes text from document.

"This book presents a synthesis of published information on mountain pine beetle (Dendroctonus ponderosae Hopkins [Coleoptera: Scolytidae]) biology and management with an emphasis on lodgepole pine (Pinus contorta Dougl. ex Loud. var. latifolia Engelm.) forests of western Canada. Intended as a reference for researchers as well as forest managers, the book covers three main subject areas: mountain pine beetle biology, management, and socioeconomic concerns. The chapters on biology cover taxonomy, life history and habits, distribution, insect-host tree interactions, development and survival, epidemiology, and outbreak history. The management section covers management strategy, survey and detection, proactive and preventive management, and decision support tools. The chapters on socioeconomic aspects include an economic examination of management programs and the utilization of post-beetle salvage timber in solid wood, panelboard, pulp and paper products."--Publisher's description.

Old Picture Books : With other Essays on Bookish Subjects In papers brought together in this volume the reader is asked to look at the woodcuts to two old Italian Bibles, at the beautiful cuts which make the Florentine Miracle Plays or Rappresentazioni so highly esteemed, at the illustrations to French editions of the 'Hours of the Blessed Virgin,' and at some examples of the curious transformations and vicissitudes which old wood blocks and the designs for them went through ere yet either clichés or photographic processes had been invented. The reproductions which accompany these and other articles will give a better idea of these Old Picture Books to those who do not already know them than could be conveyed by any verbal descriptions. Here it may suffice to emphasise one or two points which are often overlooked. In the first place, it may have been noticed that not only do we speak of woodcuts, a common enough word, but also of woodcutters, a term which, until Sir Martin Conway used it in the title of his 'The Woodcutters of the Netherlands,' where it was ridiculed at the time as suggesting the stalwart workmen who cut down trees, was hardly ever employed in this sense. It cannot be denied that the use of the word sometimes lands us in incongruities of phrase; but inasmuch as there is no evidence of the graver having been used in woodcuts before the eighteenth century, it is clearly wrong to speak of the early craftsmen as engravers, and it is only fair in estimating their performance to remember that they worked with no better tool than a knife. As regards the material they used, it was no doubt as a rule wood; but experts are agreed—I know not on what evidence—that instead of the blocks cut across the grain adopted by the modern engraver, they used wood sawn perpendicularly down the grain, as in an ordinary plank. It is certain, however, that in addition to wood some soft kind of metal, spoken of in one place (the list of border-cuts in one of Du Pré's 'Horae') as cuivre, or copper, but generally identified with pewter, was also used. This use of metal encouraged in some of the French 'Books of Hours,' notably in those of Philippe Pigouchet, a finer and closer method of work than we can believe was at that time possible on wood; but the general handling was precisely the same, and it is often only when we see a thin line bending instead of breaking, as wood did, that we know for certain that the craftsman was working on metal. For this reason the term woodcut is often applied to metal cuts worked in the style of wood as well as to woodcuts properly so called, and though doubtless reprehensible, the confusion is not nearly so misleading as that between cuts and engravings.