Shortlisted for the 2018 Irish Times Poetry Now Award In his fifth collection of poems, David Wheatley twins his birthplace and his current home, Ireland and Scotland, to engage issues of globalism, identity, and language. He takes inspiration from the Russian Futurist poet Velimir Khlebnikov, self-nominated President of Planet Earth, who in a state of apocalyptic rapture envisioned a new world culture, its rise and its dramatic undoing. In The President of Planet Earth Wheatley brings an experimental sensibility to bear on questions of land and territory, channelling the messianic aspirations of modernism into subversive comedy. We move between Pictish pre-history, the imaginary South American nation of 'Oblivia', and post-independence referendum Scotland. Wheatley marries classical, Gaelic, Scots and continental traditions. He deploys several styles - prose poetry; concrete poetry; translations from Middle Irish, Latin and French; sestinas and sonnets in Scots - to heady effect. The President of Planet Earth refashions language and the world it shapes, devising a transformative poetics.
It is the year 2123 and the USA and her Allies are celebrating the end of World War Three. They won with the aid of the new Star Wars System, and now Bill Buchanan the President of the USA, will make a world changing speech to the United Nations. He will declare himself the First President of the Earth, and reveal his plan for the future. Along with his Vice President and some of the richest people on Earth, he intends to reverse climate change, and save the ailing planet.The plan involves drastic action. The younger generation however, quickly accept the situation, and there is a huge movement to make the plan work. Sovereign countries will cease to exist and the 12.5 billion people on earth, are to be relocated to the desert regions, and fertile land will be reclaimed to plant trillions of trees.
The impact of The Late Great Planet Earth cannot be overstated. The New York Times called it the "no. 1 non-fiction bestseller of the decade." For Christians and non-Christians of the 1970s, Hal Lindsey's blockbuster served as a wake-up call on events soon to come and events already unfolding -- all leading up to the greatest event of all: the return of Jesus Christ. The years since have confirmed Lindsey's insights into what biblical prophecy says about the times we live in. Whether you're a church-going believer or someone who wouldn't darken the door of a Christian institution, the Bible has much to tell you about the imminent future of this planet. In the midst of an out-of-control generation, it reveals a grand design that's unfolding exactly according to plan. The rebirth of Israel. The threat of war in the Middle East. An increase in natural catastrophes. The revival of Satanism and witchcraft. These and other signs, foreseen by prophets from Moses to Jesus, portend the coming of an antichrist . . . of a war which will bring humanity to the brink of destruction . . . and of incredible deliverance for a desperate, dying planet.
Through 140 drawings, thought experiments, recipes, activist instructions, gardening ideas, insurgences and personal revolutions, artists who spend their lives thinking outside the box guide you to a new worldview; where you and the planet are one. Everything here is new. We invite you to rip out pages, to hang them up at home, to draw and scribble, to cook, to meditate, to take the book to your nearest green space. Featuring Olafur Eliasson, Etel Adnan, Alexis Pauline Gumbs, Jane Fonda & Swoon, Judy Chicago, Black Quantum Futurism Collective, Vivienne Westwood, Cauleen Smith, Marina Abramovic, Karrabing Film Collective, and many more.
"Tender and illuminating. A beautiful debut." --Rebecca Stead, Newbery Medal-winning author of When You Reach Me A heartrending and hopeful debut novel about a nonverbal girl and her passion for space exploration, for fans of See You in the Cosmos, Mockingbird, and The Thing About Jellyfish. Twelve-year-old Nova is eagerly awaiting the launch of the space shuttle Challenger--it's the first time a teacher is going into space, and kids across America will watch the event on live TV in their classrooms. Nova and her big sister, Bridget, share a love of astronomy and the space program. They planned to watch the launch together. But Bridget has disappeared, and Nova is in a new foster home. While foster families and teachers dismiss Nova as severely autistic and nonverbal, Bridget understands how intelligent and special Nova is, and all that she can't express. As the liftoff draws closer, Nova's new foster family and teachers begin to see her potential, and for the first time, she is making friends without Bridget. But every day, she's counting down to the launch, and to the moment when she'll see Bridget again. Because Bridget said, "No matter what, I'll be there. I promise."
Dr. Art's Guide to Planet Earth uses systems thinking to help us understand how our planet works and how we can support rather than disrupt earth's operating system.
In 1977, as twelve-year-old Theo struggles with a science class project on space exploration, questions emerge about why his father never returned from Vietnam and why Theo's mother has been keeping secrets for many years.
Worldwide, half a million people die from air pollution each year-more than perish in all wars combined. One in every five mammal species on the planet is threatened with extinction. Our climate is warming, our forests are in decline, and every day we hear news of the latest ecological crisis. What will it really take to move society onto a more sustainable path? Many of us are already doing the "little things" to help the earth, like recycling or buying organic produce. These are important steps-but they're not enough. In Who Rules the Earth?, Paul Steinberg, a leading scholar of environmental politics, shows that the shift toward a sustainable world requires modifying the very rules that guide human behavior and shape the ways we interact with the earth. We know these rules by familiar names like city codes, product design standards, business contracts, public policies, cultural norms, and national constitutions. Though these rules are largely invisible, their impact across the planet has been dramatic. By changing the rules, Ontario, Canada has cut the levels of pesticides in its waterways in half. The city of Copenhagen has adopted new planning codes that will reduce its carbon footprint to zero by 2025. In the United States, a handful of industry mavericks designed new rules to promote greener buildings, and transformed the world's largest industry into a more sustainable enterprise. Steinberg takes the reader on a series of journeys, from a familiar walk on the beach to a remote village deep in the jungles of Peru, helping the reader to "see" the social rules that pattern our physical reality and showing why these are the big levers that will ultimately determine the health of our planet. By unveiling the influence of social rules at all levels of society-from private property to government policy, and from the rules governing our oceans to the dynamics of innovation and change within corporations and communities-Who Rules the Earth? is essential reading for anyone who understands that sustainability is not just a personal choice, but a political struggle.
We are squandering our planet’s natural capital—its biodiversity, water and soil, and climate stability—at a blistering pace. Major changes must be made to steer our planet and people away from our current, doomed course. Though technology has been one of the drivers of the current trend of unsustainable development, it is also one of the essential tools for remedying it. Earth at Risk maps out the necessary transition to sustainability, detailing the innovations in science and technology, along with law, institutional design, and economics, that can and must be put to use to avert environmental catastrophe. Claude Henry and Laurence Tubiana begin with a measure of the costs of ecological damage—the erosion of biodiversity; air, water, and soil pollution; and the wide-reaching effects of climate change—and then consider the solutions that are either now available or close on the horizon and that may lead to a more sustainable global trajectory. What community-driven or market-based tools can be used to promote sustainable development? How can renewable energy and energy storage advances help us decrease our use of fossil fuels? How can we substitute agroecology for the damaging chemical methods of industrialized agriculture? Is international agreement on climate goals possible? Building on the experience of the most significant climate negotiation of the decade, Earth at Risk shows what a world organized along the principles of sustainability could look like, no matter how optimistic it may seem at the present moment. Though formidable obstacles remain to the realization of this significant transition, Henry and Tubiana present the case for collective initiatives and change that build momentum for implementation and action.
Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.
