Woven Shades of Green: An Anthology of Irish Nature Literature contains a wealth of literature from authors whose work focuses on the ever-changing natural world and beauty of Ireland. The anthology's collection features a range of literature that reflects that change beginning with the work of Irish monks and continuing with essays, novel excerpts, works of well-known writers like Yeats and Synge, modern Irish nature poetry, prose, philosophical nature writing, and a comprehensive list of environmental organizations in Ireland.
Woven Shades of Green is an annotated selection of literature by authors who focus on the natural world and the beauty of Ireland. It begins with the Irish monks and their largely anonymous nature poetry, written at a time when Ireland was heavily forested. A section follows devoted to the changing Irish landscape, through both deforestation and famine, including the nature poetry of William Allingham, and James Clarence Mangan, essays from Thomas Gainford and William Thackerary, and novel excerpts from William Carleton and Emily Lawless. The anthology then turns to the nature literature of the Irish Literary Revival, including Yeats and Synge, and an excerpt from George Moore’s novel The Lake. Part four shifts to modern Irish nature poetry, beginning with Patrick Kavanaugh, and continuing with the poetry of Seamus Heaney, Eavan Boland, and others. Finally, the anthology concludes with a section on various Irish naturalist writers, and the unique prose and philosophical nature writing of John Moriarty, followed by a comprehensive list of environmental organizations in Ireland, which seek to preserve the natural beauty of this unique country. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
For award-winning architect Gil Schafer, the most successful houses are the ones that celebrate the small moments of life—houses with timeless charm that are imbued with memory and anchored in a distinct sense of place. Essentially, Schafer believes a house is truly successful when the people who live there consider it home. It’s this belief—and Schafer’s rare ability to translate his clients’ deeply personal visions of how they want to live into a physical home that reflects those dreams—that has established him as one of the most sought-after, highly-regarded architects of our time. In his new book, A Place to Call Home Schafer follows up his bestselling The Great American House, by pulling the curtain back on his distinctive approach, sharing his process (complete with unexpected, accessible ideas readers can work into their own projects) and taking readers on a detailed tour of seven beautifully realized houses in a range of styles located around the country—each in a unique place, and each with a character all its own. 250 lush, full color photographs of these seven houses and other never-before-seen projects, including exterior, interior, and landscape details, invite readers into Schafer’s world of comfortable classicism. Opening with memories of the childhood homes and experiences that have shaped Schafer’s own history, A Place to Call Home gives the reader the sense that for Schafer, architecture is not just a career but a way of life, a calling. He describes how the many varied houses of his youth were informed as much by their style as by their sense of place, and how these experiences of home informed his idea of classicism as a set of values that he applies to many different kinds of architecture in places as varied as the ones he grew up in. Because while Schafer is absolutely a classical architect, he is in fact a modern traditionalist, and A Place to Call Home showcases how he effortlessly interprets traditional principles for a multiplicity of architectural styles within contemporary ways of living. Sections in Part I include the delicate balance of modern and traditional aesthetics, the juxtaposition of fancy and simple, and the details that make each project special and livable. Schafer also delves into what he refers to as “the spaces in between,” those often overlooked spaces like closets, mudrooms, and laundry rooms, explaining their underappreciated value in the broader context of a home. Part of Schafer’s skill lies in the way he gives the minutiae of a project as much attention as the grand aesthetic gestures, and ultimately, it’s this combination that brings his homes to life. Part II of the book is the story of seven houses and the places they inhabit—each with a completely different character and soul: a charming cottage completely rebuilt into a casual but gracious house for a young family in bucolic Mill Valley, California; a reconstructed historic 1930s Colonial house and gardens set in lush woodlands in Connecticut; a new, Adirondack camp-inspired house for an active family perched on the edge of Lake Placid with stunning views of nearby Whiteface Mountain; an elegant but family-friendly Fifth Avenue apartment with a panoramic view of Central Park; a new timber frame and stone barn situated to take advantage of the summer sun on a lovely, rambling property in New England; a new residence and outbuildings on a 6,000 acre hunting preserve in Georgia, inspired by the historic 1920s and 1930s hunting plantation houses in the region; and Schafer’s own, deeply personal, newly-renovated and surprisingly modern house located just a few feet from the Atlantic Ocean in coastal Maine. In Schafer’s hands, the stories of these houses are irresistibly readable. He guides the reader through each of the design decisions, sharing anecdotes about the process and fascinating historical background and contextual influences of the settings. Ultimately, the houses featured in A Place to Call Home are more than just beautiful buildings in beautiful places. In each of them, Schafer has created a dialogue between past and present, a personalized world that people can inhabit gracefully, in sync with their own notions of home. Because, as Schafer writes in the book, he designs houses “not for an architect’s ego, but [for] the beauty of life, the joys of family, and, not least, a heartfelt celebration of place.”
This book takes a fresh look at the most disliked tree in Britain and Ireland, explaining the reasons it was introduced and why it became ubiquitous in the archipelagos of northwest Europe. Sitka spruce has contributed to the Pacific Coast landscapes of North America for over ten millennia. For the Tlingit First Nation it is the most important tree in terms of spiritual relationships, art, and products in daily use such as canoes, containers, fish-traps and sweet cakes. Since the late nineteenth century it has also been the most important tree to the timber industry of west coast North America. The historical background to the modern use of Sitka spruce is explored. The lack of cultural reference may explain negative public response when treeless uplands in the UK and Ireland were afforested with introduced conifer species, particularly Sitka spruce, following two World Wars. The multipurpose forestry of today recognizes that Sitka spruce is the most important tree to the timber industry and to a public which uses its many products but fails to recognize the link between growing trees and bought goods. The apparently featureless and wildlife-less Sitka spruce plantations in UK uplands are gradually developing recognizable ecological features. Sitka spruce has the potential to form temperate rain forests this century as well as to produce much-needed goods for society. The major contribution of Sitka spruce to landscapes and livelihoods in western North America is, by contrast, widely accepted. But conserving natural, old-growth forests, sustaining the needs of First Nations, and producing materials for the modern timber industry will be an intricate task.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Talents are given to us by our Lord. These talents are not necessarily just for ourselves. What can you give to others? Spinners can give their talent of spun yarns to weavers. Weavers are able to give many gifts to others. What are you wearing? What is on your bed? Do you need a basket to carry things in? Does your floor need a rug for comfort? What about your walls? For example, a tapestry for beauty may be woven or just worn for warmth if you live in a cold environment. All of the above are woven by machinery but can be handwoven. At the end of this book is a list of other books by weavers. They can be obtained in libraries, bookstores, online stores, etc. Possibly the best way would be an e-book. This book is meant to inspire those who read it to want to learn how to make useful things.
With the multitude of green choices available, how can moms determine what will be best for their families—and the environment? Terra Wellington has the answers. This user-friendly and invaluable resource is packed with hundreds of easy green how-tos including: • Shopping: Get the most bang for your buck by purchasing organic foods that would otherwise have high pesticide residue, like apples, grapes, green peppers, peaches, and pears. • Kitchen: Save money and water by scraping—not rinsing— dishes before putting them in the dishwasher. Today's models are so efficient that rinsing is not necessary. • Home office: Screensavers don't save energy. Instead have the computer switch to sleep mode when idle.
