Leaning Into The Wind

Originally published in 1997 by Houghton Mifflin, this is a collection of true stories, essays and poems which tell of the glories and rigours of living close to the land.

"Leaning into the Wind is a series of ten intimate essays in which Susan Allen Toth, who was spent most of her life in Iowa, Minnesota, and Wisconsin, reveals the ways in which weather has challenged and changed her perceptions about herself and the world around her. She describes her ever-growing awareness of and appreciation for how the weather marks the major milestones of her life. Toth explores issues as large as weather and spirituality in "Who Speaks in the Pillar of Cloud?" and topics as small as mosquito in "Things That Go Buzz in the Night." In "Storms," a severe thunderstorm becomes a continuing metaphor for the author's troubles first marriage. Two essays, one from late middle age, ponder how the weather seems different at various stages of life but always provides unexpected opportunities for self-discovery, change, and renewal."--BOOK JACKET.

A finalist for the 1995 Governor General's Literary Award for English-language non-fiction Winner of the Mountain Environment and Culture Award at the 1995 Banff Mountain Book Festival Leaning on the Wind is a love song of the west, sung to the tune of the wild chinook wind. Sid Marty skilfully weaves together the prehistory of Alberta with the experiences of First Nations, miners, early homesteaders and his own family. At the centre of his tale is the Marty homestead, located in the foothills of the Rocky Mountains. Sid looks back through generations of his family and celebrates the feats of wild creatures and wild westerners. The past comes alive in these pages, but so does the present, where you will meet cowboy poets, bull riders, sailplane pilots, desperate chicken farmers, curmudgeonly broncos, a homicidal cow elk, some dubious politicians and several fierce defenders of the earth. Humour and sardonic wit abound, along with abundant affection for the western earth and the people who depend on its bounties and experience its extremes of wind, frost and drought. A western classic, Leaning on the Wind is as evocative today as when it was first published in 1995.

« Andy Goldsworthy est un artiste mondialement reconnu pour son travail éphémère et permanent avec la nature, le LAND ART. Il y a 16 ans, de sa rencontre avec le réalisateur Thomas Riedelsheimer est né le succès mondial Rivers and tides. Entre 2013 et 2016, les deux hommes sont repartis à l'aventure. On découvre comment Andy Goldsworthy s'introduit lui même dans ses œuvres, comment son travail devient à la fois plus fragile et plus personnel, plus sévère et plus difficile, incorporant des machineries massives et des équipes importantes sur de plus gros projets. Ce film est un voyage créatif qui nous mène d'Edimbourg à la réserve d'Ibitipoca au Brésil, du sud de la France à la Nouvelle-Angleterre.»

For forty years, Andy Goldsworthy has worked with an extraordinary range of natural materials, often at their source. On an almost daily basis, he makes works of art using the materials and conditions that he encounters wherever he is, be it the land around his Scottish home, the mountain regions of France or Spain, or the pavements of New York City, Glasgow, or Rio de Janeiro. Out of earth, rocks, leaves, ice, snow, rain, sunlight and shadow he makes artworks that exist briefly before they are altered and erased by natural processes. They are documented in his photographs, and their larger meanings are bound up with the conditions, forces and processes that they embody: materiality, temporality, growth, vitality, permanence, decay, chance, labour and memory. Ephemeral Works features approximately two hundred of these works, selected by Goldsworthy from thousands he has made between 2001 and the present, and arranged in chronological sequence, capturing his creative process as it interacts with material, place, and the passage of time and seasons.

Time, always an element in the work of Andy Goldsworthy, both as a medium and as a metaphor, is celebrated in this book. The text is comprised of Goldsworthy's own diaries.

“Leaning against the wind” (LAW) with a higher monetary policy interest rate may have benefits in terms of lower real debt growth and associated lower probability of a financial crisis but has costs in terms of higher unemployment and lower inflation, importantly including a higher cost of a crisis when the economy is weaker. For existing empirical estimates, costs exceed benefits by a substantial margin, even if monetary policy is nonneutral and permanently affects real debt. Somewhat surprisingly, less effective macroprudential policy and generally a credit boom, with resulting higher probability, severity, or duration of a crisis, increases costs of LAW more than benefits, thus further strengthening the strong case against LAW.

One of the best ways to understand history is through eye-witness accounts. Ting-Xing Ye’s riveting first book, A Leaf in the Bitter Wind, is a memoir of growing up in Maoist China. It was an astonishing coming of age through the turbulent years of the Cultural Revolution (1966 - 1974). In the wave of revolutionary fervour, peasants neglected their crops, exacerbating the widespread hunger. While Ting-Xing was a young girl in Shanghai, her father’s rubber factory was expropriated by the state, and he was demoted to a labourer. A botched operation left him paralyzed from the waist down, and his health deteriorated rapidly since a capitalist’s well-being was not a priority. He died soon after, and then Ting-Xing watched her mother’s struggle with poverty end in stomach cancer. By the time she was thirteen, Ting-Xing Ye was an orphan, entrusted with her brothers and sisters to her Great-Aunt, and on welfare. Still, the Red Guards punished the children for being born into the capitalist class. Schools were being closed; suicide was rampant; factories were abandoned for ideology; distrust of friends and neighbours flourished. Ting-Xing was sent to work on a distant northern prison farm at sixteen, and survived six years of backbreaking labour and severe conditions. She was mentally tortured for weeks until she agreed to sign a false statement accusing friends of anti-state activities. Somehow finding the time to teach herself English, often by listening to the radio, she finally made it to Beijing University in 1974 as the Revolution was on the wane — though the acquisition of knowledge was still frowned upon as a bourgeois desire and study was discouraged. Readers have been stunned and moved by this simply narrated personal account of a 1984-style ideology-gone-mad, where any behaviour deemed to be bourgeois was persecuted with the ferocity and illogic of a witch trial, and where a change in politics could switch right to wrong in a moment. The story of both a nation and an individual, the book spans a heady 35 years of Ye’s life in China, until her eventual defection to Canada in 1987 — and the wonderful beginning of a romance with Canadian author William Bell. The book was published in 1997. The 1990s saw the publication of several memoirs by Chinese now settled in North America. Ye’s was not the first, yet earned a distinguished place as one of the most powerful, and the only such memoir written from Canada. It is the inspiring story of a woman refusing to “drift with the stream” and fighting her way through an impossible, unjust system. This compelling, heart-wrenching story has been published in Germany, Japan, the US, UK and Australia, where it went straight to #1 on the bestseller list and has been reprinted several times; Dutch, French and Turkish editions will appear in 2001.