Mary Austin's love of the desert is everywhere evident in The Land of Little Rain, a collection of fourteen vignettes about the land and people of the region that today includes Death Valley National Park and the Mojave National Preserve. Part nature essay, personal essay, folk legend, and local history of the California Sierras, this enduring American classic resists classification. Her lyrical observations are infused with a deep understanding of the flora and fauna of the area and an appreciation of the people she encountered and befriended there-Shoshones and Paiutes, Mexican and Chinese immigrants, shepherds, stagecoach drivers, and miners among them. Austin's writings have been compared to the work of Ralph Waldo Emerson, John Muir, and Aldo Leopard, but her poetic sensibility is purely original, winsome, and entirely her own. This Warbler Classics paperback includes the illustrations that appeared in the original edition and a detailed biographical note.
In her autobiography, published in 1932, Austin speaks frankly about her life while also commenting on the events and decisions that formed and influenced her life and writing. A prolific writer, she wrote novels, short stories, essays, plays, and poetry. She was an early advocate for environmental issues as well as the rights of women and minority groups.
Mary Austin's The Land of Little Rain (1903) and Lost Borders (1909), both set in the California desert, make intimate connections between animals, people, and the land they inhabit. For Austin, the two indispensable conditions of her fiction were that the region must enter the story "as another character, as the instigator of plot," and that the story must reflect "the essential qualities of the land." In The Land of Little Rain, Austin's attention to natural detail allows her to write prose that is geologically, biologically, and botanically accurate at the same time that it offers metaphorical insight into human emotional and spiritual experience. In Lost Borders, Austin focuses on both white and Indian women's experiences in the desert, looks for the sources of their deprivation, and finds them in the ways life betrays them, usually in the guise of men. She offers several portraits of strong women characters but ultimately identifies herself with the desert, which she personifies as a woman.
"Finally, a book that does Mary Austin justice in all her complexity and takes her seriously as a challenging and varied writer."—Melody Graulich, coeditor of Exploring Lost Borders "A wonderful wide-angle view of an era in the American West and its literary, artistic, and anthropological figures."—Robert D. Richardson Jr., author of Henry Thoreau: A Life of the Mind
The City is an Ecosystem maps an interdisciplinary, community-engaged response to the great ecological crises of our time—climate change, biodiversity loss, and social inequality—which pose particular challenges for cities, where more than half the world’s population currently live. Across more than twenty chapters, the three parts of the book cover historical and scientific perspectives on the city as an ecosystem; human rights to the city in relation to urban sustainability; and the city as a sustainability classroom at all educational levels inside and outside formal classroom spaces. It argues that such efforts must be interdisciplinary and widespread to ensure an informed public and educated new generation are equipped to face an uncertain future, particularly relevant in the post-COVID-19 world. Gathering multiple interdisciplinary and community-engaged perspectives on these environmental crises, with contemporary and historical case study discussions, this timely volume cuts across the humanities and social and health sciences, and will be of interest to policymakers, urban ecologists, activists, built environment professionals, educators, and advanced students concerned with the future of our cities.
Sammy Mountjoy, artist, rises from poverty and an obscure birth to see his pictures hung in the Tate Gallery. Swept into World War Two, he is taken as a prisoner-of-war, threatened with torture, then locked in a cell of total darkness to wait. He emerges from his cell transfigured from his ordeal, and begins to realise what man can be and what he has gradually made of himself through his own choices. But did those accumulated choices also begin to deprive him of his free will.
Navigating Urban Soundscapes: Dublin and Los Angeles in Fiction offers an innovative analytical framework to explore sound in different media and across two distinct urban soundscapes. Studying a wide range of novels, films, and radio dramas, using Dublin and Los Angeles as case studies, Annika Eisenberg asks how sounds are aestheticised to signify urban space in fiction, and how sounds allow such fictional urban spaces to be navigated, both by auscultators, the characters listening within a work of fiction, and by auditeurs, the implied audience of a fictional work. Eisenberg argues that the concept of “urban sound” is a cultural and aesthetic construct, and in doing so, she shows why aesthetics needs to be front and center in sound studies.