Erik is preparing for his first-ever hunting trip when he learns that his parents are being deployed to Iraq. A few days later, Erik is shipped off to North Dakota to live with Big Darrell and Oma, grandparents he barely knows. When Erik rescues a dog that's been stuck by a porcupine, Big Darrell says Erik can't keep him. But Erik has already named her Quill and can't bear to give her up. He decides to run away, taking the dog and a shotgun, certain that they can make it on their own out on the prairie. In this story of adventure and survival, Erik learns about the challenges and satisfactions of living off the land, the power of family secrets, and the pain of losing what you love.
Don't Let's Go to the Dogs Tonight meets Mean Girls in this funny, insightful fish-out-of-water memoir about a young girl coming of age half in a "baboon camp" in Botswana, half in a ritzy Philadelphia suburb. Keena Roberts split her adolescence between the wilds of an island camp in Botswana and the even more treacherous halls of an elite Philadelphia private school. In Africa, she slept in a tent, cooked over a campfire, and lived each day alongside the baboon colony her parents were studying. She could wield a spear as easily as a pencil, and it wasn't unusual to be chased by lions or elephants on any given day. But for the months of the year when her family lived in the United States, this brave kid from the bush was cowed by the far more treacherous landscape of the preppy, private school social hierarchy. Most girls Keena's age didn't spend their days changing truck tires, baking their own bread, or running from elephants as they tried to do their schoolwork. They also didn't carve bird whistles from palm nuts or nearly knock themselves unconscious trying to make homemade palm wine. But Keena's parents were famous primatologists who shuttled her and her sister between Philadelphia and Botswana every six months. Dreamer, reader, and adventurer, she was always far more comfortable avoiding lions and hippopotamuses than she was dealing with spoiled middle-school field hockey players. In Keena's funny, tender memoir, Wild Life, Africa bleeds into America and vice versa, each culture amplifying the other. By turns heartbreaking and hilarious, Wild Life is ultimately the story of a daring but sensitive young girl desperately trying to figure out if there's any place where she truly fits in.
Michael 'Nick' Nichols has for decades created powerful and eloquent images of iconic wildlife species. His vision is to stir the emotions of viewers leading to empathy and conservation. Melissa Harris has provided a sparkling text not just of Nick and his colleagues at work in the field, but one which provides many fascinating insights into the conservation issues related to his photographic quests. Among these are the survival of mountain gorillas during nearly six decades of civil war in their realm, the horrendous elephant slaughter for ivory, and the ethics of trophy hunting, of killing lions for pleasure. This is an illuminating and honest book about some of the world's greatest natural treasures and those who strive to protect them.--George B. Schaller, author of The Serengeti Lion and The Year of the Gorilla A Wild Life is Nichols's story, told with passion and insight by author and photo-editor Melissa Harris. Nichols' story combines a life of adventure, with a conviction about how we can redeem the human race by protecting our wildlife. The book's two central characters are the photographer--who journeys from the American South, via the photographers' co-operative Magnum, to becoming lead wildlife photographer of National Geographic magazine--and the author, who travels with the photographer on assignment in Africa, to gain intimate and deep insight into her subject. Harris's story also draws on meetings with some of the world's leading eco-scientists--including legendary primatologist, Jane Goodall.
". . . Facts, conservation success stories, and profiles of people working hard to find and protect the rarest of . . . species"--Provided by publisher.
Joe the Bouncer seeks the killer of NYC’s most desirable call girls in the newest caper in “a unique and worthwhile series” (CrimeReads) Expulsed Harvard student and ex-Special Forces operative suffering post-traumatic stress syndrome so severe that it turned him to drug and alcohol abuse, Joe Brody is getting his life back together, living with his grandmother in Queens and taking what should be a simple job as a bouncer at a strip club where he can spend most of his night reading the classics. The only catch is that his childhood friend Gio Caprisi, now head of New York’s Italian Mafia, relies on Joe’s extra-legal expertise when things get particularly nasty on the streets — where, in an agreement between Gio and the rest of the city’s biggest crime syndicates, it’s understood that Joe is the sheriff for an industry that doesn’t call the cops. Most recently, New York’s criminal underworld has been shaken by the disappearance of its most successful and desirable call girls, vanishing one by one from the brothels where they’re employed. As a pattern emerges, what might otherwise appear to be a choice to pursue a new life comes to resemble something more troublesome — the work of a serial kidnapper — and when a woman turns up dead, the hunt for the predator behind it all becomes even more urgent. To find the killer, Joe will have to plunge into the seediest fringes of Manhattan and its surrounding boroughs, populated with memorable characters that add humor and heart to this fast-paced caper. There is still sleaze behind the pristine veneer of 21st century New York, and Gordon, whose writing is often compared to Donald E. Westlake and Elmore Leonard, knows all the best places to find it.
This classic history of the rare, threatened, and extinct animals of North America is a dramatic chronicle of man's role in the disappearance of great and small species of our land. "Should be the number one source volume for everyone who embraces the philosophy of conservation".--Roger Tory Peterson. Illustrations throughout.
Ladybugs, birds, dogs, and owls. With a never-ending curiosity for the world around him, Charley Harper developed one of the most recognizable styles of American illustration in the 20th century. With a body of work ranging from advertising and posters to murals and paintings, and a delicate approach to lines and colors, Harper's love of nature led him to create an influential legacy that is now compiled in this definitive monograph. Curated in collaboration with the Charley Harper Art Studio, led by his son Brett Harper, and offering insights into his private life, influences, and professional evolution, this book presents the Harper universe in its totality. A must-read to understand the legacy of this Mid-Century master, who set the basis for modern illustration.
Wild Life documents a nuanced understanding of the wild versus captive divide in species conservation. It also documents the emerging understanding that all forms of wild nature—both in situ (on-site) and ex situ (in captivity)—may need to be managed in perpetuity. Providing a unique window into the high-stakes world of nature conservation, Irus Braverman describes the heroic efforts by conservationists to save wild life. Yet in the shadows of such dedication and persistence in saving the life of species, Wild Life also finds sacrifice and death. Such life and death stories outline the modern struggle to define what conservation should look like at a time when the long-established definitions of nature have collapsed. Wild Life begins with the plight of a tiny endangered snail, and ends with the rehabilitation of an entire island. Interwoven between its pages are stories about golden lion tamarins in Brazil, black-footed ferrets in the American Plains, Sumatran rhinos in Indonesia, Tasmanian devils in Australia, and many more creatures both human and nonhuman. Braverman draws on interviews with more than one hundred and twenty conservation biologists, zoologists, zoo professionals, government officials, and wildlife managers to explore the various perspectives on in situ and ex situ conservation and the blurring of the lines between them.
