Ivory

Half of Tanzania's elephants have been killed for their ivory since 2007. A similar alarming story can be told of the herds in northern Mozambique and across swathes of central Africa, with forest elephants losing almost two-thirds of their numbers to the tusk trade. The huge rise in poaching and ivory smuggling in the new millennium has destroyed the hope that the 1989 ivory trade ban had capped poaching and would lead to a long-term fall in demand. But why the new upsurge? The answer is not simple. Since ancient times, large-scale killing of elephants for their tusks has been driven by demand outside Africa's elephant ranges - from the Egyptian pharaohs through Imperial Rome and industrialising Europe and North America to the new wealthy business class of China. And, who poaches and why do they do it? In recent years lurid press reports have blamed mass poaching on rebel movements and armed militias, especially Somalia's Al Shabaab, tying two together two evils - poaching and terrorism. But does this account stand up to scrutiny? This new and ground-breaking examination of the history and politics of ivory in Africa forensically examines why poaching happens in Africa and why it is corruption, crime and politics, rather than insurgency, that we should worry about.

Parts of crossed-leg chairs and richly decorated fragments of bone and ivory excavated at Kenchreai, the Eastern port of Corinth, include scenes of an emperor and a miniature ivory Corinthian arcade that decorated luxurious furniture produced in late Roman Egypt.

The irreverent, brilliant memoirs of the legendary filmmaker James Ivory In Solid Ivory, a carefully crafted mosaic of memories, portraits, and reflections, the Academy Award–winning filmmaker James Ivory, a partner in the legendary Merchant Ivory Productions and the director of A Room with a View, Howards End, Maurice, and The Remains of the Day, tells stories from his remarkable life and career as one of the most influential directors of his time. At times, he touches on his love affairs, looking back coolly and with unexpected frankness. From first meeting his collaborator and life partner, Ismail Merchant, at the Indian Consulate in New York to winning an Academy Award at age eighty-nine for Call Me by Your Name; from seeing his first film at age five in Klamath Falls, Oregon, to memories of Satyajit Ray, Jean Renoir, The New Yorker magazine’s film critic Pauline Kael (his longtime enemy), Vanessa Redgrave, J. D. Salinger, George Cukor, Kenneth Clark, Bruce Chatwin, Ruth Prawer Jhabvala, and Merchant—Ivory writes with invariable fluency, wit, and perception about what made him who he is and how he made the movies for which he is known and loved. Solid Ivory, edited by Peter Cameron, is an utterly winning portrait of an extraordinary life told by an unmatched storyteller.

All who seek the elusive Ivory-billed Woodpecker rely on this elegant treatise from 1942, an extensive profile of the species' characteristics and habits that includes its original distribution patterns; the history of its disappearance; and its feeding, nesting, and breeding habits. 20 halftones, 17 tables, 22 other illustrations.

Now available in paper, The Ivory Tower and Harry Potter is the first book-length analysis of J. K. Rowling's work from a broad range of perspectives within literature, folklore, psychology, sociology, and popular culture. A significant portion of the book explores the Harry Potter series' literary ancestors, including magic and fantasy works by Ursula K. LeGuin, Monica Furlong, Jill Murphy, and others, as well as previous works about the British boarding school experience. Other chapters explore the moral and ethical dimensions of Harry's world, including objections to the series raised within some religious circles. In her new epilogue, Lana A. Whited brings this volume up to date by covering Rowling's latest book, Harry Potter and the Order of the Phoenix.

Merchant-Ivory: Interviews gathers together for the first time interviews made over the past five decades with director James Ivory (b. 1928), producer Ismail Merchant (1936–2005), and screenwriter Ruth Prawer Jhabvala (b. 1927). Beginning with their earliest work in India, and ending with James Ivory’s last film, The City of Your Final Destination (2009), the book traces their career, while offering valuable insights into their creative filmmaking process. The volume serves as a corrective to the prevailing critical orthodoxy attached to Merchant-Ivory’s work, which tends to regard them as being solely concerned with historically accurate costumes and settings. As independent filmmakers, they have developed an idiosyncratic approach that resists facile classification. Merchant-Ivory have insisted on maintaining their independence. More importantly, this book shows how Merchant-Ivory have always taken considerable care in casting their films, as well as treating actors with respect. This is a deliberate policy, designed to bring out one of the triumvirate’s principal thematic concerns, running throughout their work—the impact of the “clash of cultures” on individuals. Partly this has been inspired by their collective experiences of living and working in different cultures. They do not offer any answers to this issue; rather they believe that their task is simply to raise awareness; to make filmgoers conscious of the importance of cultural sensitivities that assume paramount significance in any exchange, whether verbal or nonverbal.

Ivory is big business, and in some parts of Africa elephants have been hunted almost to extinction in the quest for it. The losses to African economies have been catastrophic. Now there is an international ban on the trade and conservation is. the principal goal. This should be a matter for rejoicing, but nothing is quite so simple. The authors of this book have looked at the overall statistics, including those for countries where the elephant population is stable. They have considered the multiplicity of economic and social functions fulfilled by ensuring that elephant herds survive, tourism, a variety of ecological purpose. and, finally, as a source of ivory. They show how the careful management of elephants as a resource can best serve African interests. This book is at the cutting edge of economic thinking and provides a model for the consideration of the difficult relationship between people and wildlife. Originally published in 19990

‘masterly account of the massacre of the African elephant’ The Spectator It is more than a thousand years since the exploitation of the elephant began, when they were most commonly used as war elephants. However, it is only in the last hundred years, with the coming of the ‘great white hunters’ and their special elephant guns, that the very existence of the African elephant has been threatened. ?With an update by John Hanks, WWF’s former leading elephant scientist, this new edition of Blood Ivory tells the story of how the professional hunting fraternity was the first to realise the threat to the elephant and how it kick-started the whole conservation movement. It is not a story with a happy ending, however. It is a tale of war: colonialists against traditional practices and customs; newly independent African countries against each other; poachers and smugglers against any kind of constraint. Robin Brown draws on his depth of knowledge and understanding of Africa and his career as a leading wildlife film-maker to paint a vivid picture of hunting’s impact on Africa’s elephant population, vividly portraying the powerful personalities of those involved on both sides of the massacre.