Canals reached their zenith in the eighteenth century during the Industrial Revolution, before the arrival of the railways usurped their position, whereupon a number of them fell into disrepair and disuse. For many years forgotten, canals and waterways have enjoyed an enormous resurgence in popularity as the recent leisure industry has placed them once more at the forefront of a lively community. This fascinating book delves into the murkiest criminal cases to occur or be associated with the canals and waterways of Britain, including many high-profile murders, and considering other crimes such as pick-pocketing, robberies, drunkenness and assaults. Also looking at the use of canal crime in film and literature, this illustrated history offers a chilling glimpse into the criminal past.
“Wonderfully written…Mr. Owen writes about water, but in these polarized times the lessons he shares spill into other arenas. The world of water rights and wrongs along the Colorado River offers hope for other problems.” —Wall Street Journal An eye-opening account of where our water comes from and where it all goes. The Colorado River is an essential resource for a surprisingly large part of the United States, and every gallon that flows down it is owned or claimed by someone. David Owen traces all that water from the Colorado’s headwaters to its parched terminus, once a verdant wetland but now a million-acre desert. He takes readers on an adventure downriver, along a labyrinth of waterways, reservoirs, power plants, farms, fracking sites, ghost towns, and RV parks, to the spot near the U.S.–Mexico border where the river runs dry. Water problems in the western United States can seem tantalizingly easy to solve: just turn off the fountains at the Bellagio, stop selling hay to China, ban golf, cut down the almond trees, and kill all the lawyers. But a closer look reveals a vast man-made ecosystem that is far more complex and more interesting than the headlines let on. The story Owen tells in Where the Water Goes is crucial to our future: how a patchwork of engineering marvels, byzantine legal agreements, aging infrastructure, and neighborly cooperation enables life to flourish in the desert—and the disastrous consequences we face when any part of this tenuous system fails.
India is killing the Ganges, and the Ganges in turn is killing India. Victor Mallet traces the holy river from source to mouth, and from ancient times to the present day, to find that the battle to rescue what is arguably the world's most important river is far from lost.
New York Times Bestseller Winner of the Los Angeles Times Book Prize Winner of the J. Anthony Lukas Award "Nimbly splices together history, science, reporting and personal experiences into a taut and cautiously hopeful narrative.… Egan’s book is bursting with life (and yes, death)." —Robert Moor, New York Times Book Review The Great Lakes—Erie, Huron, Michigan, Ontario, and Superior—hold 20 percent of the world’s supply of surface fresh water and provide sustenance, work, and recreation for tens of millions of Americans. But they are under threat as never before, and their problems are spreading across the continent. The Death and Life of the Great Lakes is prize-winning reporter Dan Egan’s compulsively readable portrait of an ecological catastrophe happening right before our eyes, blending the epic story of the lakes with an examination of the perils they face and the ways we can restore and preserve them for generations to come.
An Unspoiled Waterway teeming with fish, its shores a virtual paradise, the Anacostia River figured prominently in the original plans for the new nation's elegant, bustling capital. Instead it quickly became a poster child for America's tragically neglected and abused urban waterways. With a clear eye and sharp pen, accomplished environmental historian John R. Wennersten takes an unsparing look at the historic forces and misguided policies that all but ruined a beautiful river while imposing the burden of pollution unequally on Washington's poorer citizens. Anacostia offers a much needed corrective to the uncritical assumptions of growth for its own sake and the cost it imposes on our waters, our natural resources, and the health of our citizenry. It also demonstrates how thoughtless destruction can be stopped, and rivers restored. Book jacket.
With the Indian Removal Act of 1830, the Choctaw people began their journey over the Trail of Tears from their homelands in Mississippi to the new lands of the Choctaw Nation. Suffering a death rate of nearly 20 percent due to exposure, disease, mismanagement, and fraud, they limped into Indian Territory, or, as they knew it, the Land of the Dead (the route taken by the souls of Choctaw people after death on their way to the Choctaw afterlife). Their first few years in the new nation affirmed their name for the land, as hundreds more died from whooping cough, floods, starvation, cholera, and smallpox. Living in the Land of the Dead depicts the story of Choctaw survival, and the evolution of the Choctaw people in their new environment. Culturally, over time, their adaptation was one of homesteads and agriculture, eventually making them self-sufficient in the rich new lands of Indian Territory. Along the Red River and other major waterways several Choctaw families of mixed heritage built plantations, and imported large crews of slave labor to work cotton fields. They developed a sub-economy based on interaction with the world market. However, the vast majority of Choctaws continued with their traditional subsistence economy that was easily adapted to their new environment. The immigrant Choctaws did not, however, move into land that was vacant. The U.S. government, through many questionable and some outright corrupt extralegal maneuvers, chose to believe it had gained title through negotiations with some of the peoples whose homelands and hunting grounds formed Indian Territory. Many of these indigenous peoples reacted furiously to the incursion of the Choctaws onto their rightful lands. They threatened and attacked the Choctaws and other immigrant Indian Nations for years. Intruding on others’ rightful homelands, the farming-based Choctaws, through occupation and economics, disrupted the traditional hunting economy practiced by the Southern Plains Indians, and contributed to the demise of the Plains ways of life.
Emmy Pérez’s poetry collection With the River on Our Face flows through the Southwest and the Texas borderlands to the river’s mouth in the Rio Grande Valley/El Valle. The poems celebrate the land, communities, and ecology of the borderlands through lyric and narrative utterances, auditory and visual texture, chant, and litany that merge and diverge like the iconic river in this long-awaited collection. Pérez reveals the strengths and nuances of a universe where no word is “foreign.” Her fast-moving, evocative words illuminate the prayers, gasps, touches, and gritos born of everyday discoveries and events. Multiple forms of reference enrich the poems in the form of mantra: ecologist’s field notes, geopolitical and ecofeminist observations, wildlife catalogs, trivia, and vigil chants. “What is it to love / within viewing distance of night / vision goggles and guns?” is a question central to many of these poems. The collection creates a poetic confluence of the personal, political, and global forces affecting border lives. Whether alluding to El Valle as a place where toxins now cross borders more easily than people or wildlife, or to increased militarization, immigrant seizures, and twenty-first-century wall-building, Pérez’s voice is intimate and urgent. She laments, “We cannot tattoo roses / On the wall / Can’t tattoo Gloria Anzaldúa’s roses / On the wall”; yet, she also reaffirms Anzaldúa’s notions of hope through resilience and conocimiento. With the River on Our Face drips deep like water, turning into amistad—an inquisition into human relationships with planet and self.
Qian Xiaohong is born into a sleepy Hunan village, where the new China rush towards development is a mere distant rumour. A buxom, naïve sixteen-year-old, she yearns to leave behind hometown scandal, and joins the mass migration to the bustling boomtown of Shenzhen. There, she must navigate dangerous encounters with ruthless bosses, jealous wives, sympathetic hookers and corrupt policemen as she tries to find her place in the ever-evolving society. Hardship and tragedy are in no short supply as her journey takes her through a grinding succession of dead end jobs. To help her through this confusing maze, Xiaohong finds solace in the close ties she makes with the other migrant girls – the community of her fellow 'northern girls' – who quickly learn to rely on each other for humour and the enjoyment of life's simple pleasures. A beautiful coming-of-age novel, Northern Girls explores the inner lives of a generation of young, rural Chinese women who embark on life-changing journeys in search of something better.
A classic mystery “bubbling with humor, bursting with clues, and switching from petty misdemeanors on the home shores to intrigue and adventure abroad.” —Sheffield Morning Telegraph As “Pudge” Coombe-Peters proved, Moyes had a gift for the kind of dreadful nicknames the British are so good at. This time around it’s “Flutter” Byers, a small-time hood who gets himself killed in a seedy Soho pub (was there, ever, any other kind?). Byers consorted with criminals and owed money all over town; his death should have been little more than a footnote in the history of London gangs. But for some reason, Inspector Tibbett of Scotland Yard believes it’s connected to PIFL, a backwater do-good outfit, currently trying to referee a murderous squabble between two small African nations. And these dark suspicions begin to look more likely when Henry gets word of another assassin’s bullet—headed, this time, for one of PIFL’s earnest, tweedy justice warriors. Praise for Patricia Moyes “The author who put the ‘who’ back in whodunit.” —Chicago Daily News “A new queen of crime . . . her name can be mentioned in the same breath as Agatha Christie and Ngaio Marsh.” —Daily Herald “An excellent detective novel in the best British tradition. Superbly handled.” —Columbus Dispatch “Intricate plots, ingenious murders, and skillfully drawn, often hilarious, characters distinguish Patricia Moyes’ writing.” —Mystery Scene
In the face of a slow but impending apocalypse, what binds three seemingly divergent lives (a writer, a photographer, an old man), isn’t the commonality of a perceived future death, but the layered and complex fabric of how loss, abuse, trauma, and death have shaped their pasts, and how these pasts continue to haunt their present moments, a moment in which time seems to be running out. The writer, traumatized by the violent death of her mother when she was a child, lives alone with her dog and struggles to finish her book. The photographer, stunted by the death of his grandmother and caretaker, struggles to take a single picture and enters into a complicated relationship with the writer. The old man, facing his past in small doses, spends his time watching television and reorganizing the objects in his apartment to stay distracted from the deterioration around him. A depiction of the cycles of abuse and trauma in a prolonged end-time, Imagine a Death examines the ways in which our pasts envelop us, the ways in which we justify horrible things in the name of survival, all of the horrible and beautiful things we are capable of when we are hurt and broken, and the animal (and plant) companions that ground us. Innovative Prose
