Building on the success of the Journey Prize-shortlisted title story, the stories of How Does a Single Blade of Grass Thank the Sun? present an updated and whimsical new take on what it means to be Canadian. Lau alludes to the personal and political histories of a number of young Asian Canadian characters to explain their unique perspectives of the world, artfully fusing pure delusion and abstract perception with heartbreaking reality. Correspondingly, the book’s title refers to an interview with Chinese basketball star Yao Ming, who when asked about the Shanghai Sharks, the team that shaped his formative sporting years, responded, “How does a single blade of grass thank the sun?” Lau’s stories feature the children and grandchildren of immigrants, transnational adoptees and multiracial adults who came of age in the 1990s—all struggling to find a place in the Western world and using the only language they know to express their hopes, fears and expectations.

"If you've ever wondered how a messed up kid like you or me might master the wisdom of Zen, One Blade of Grass is the adventure for you. It's great company—and after reading it, you might recognize that you're further along than you imagined." —David Hinton, editor and translator of The Four Chinese Classics and author of The Wilds of Poetry One Blade of Grass tells the story of how meditation practice helped Henry Shukman to recover from the depression, anxiety, and chronic eczema he had had since childhood and to integrate a sudden spiritual awakening into his life. By turns humorous and moving, this beautifully written memoir demystifies Zen training, casting its profound insights in simple, lucid language, and takes the reader on a journey of their own, into the hidden treasures of life that contemplative practice can reveal to any of us. "This heartfelt and beautifully written memoir provides one of the most insightful, informative, and honest accounts of Zen practice yet to appear in English." —Stephen Batchelor, author of After Buddhism

A thought experiment in future-shock survivalism' Robert MacFarlane 'Gripping ... of all science fiction's apocalypses, this is one of the most haunting' Financial Times WITH AN INTRODUCTION BY ROBERT MACFARLANE A post-apocalyptic vision of the world pushed to the brink by famine, John Christopher's science fiction masterpiece The Death of Grass includes an introduction by Robert MacFarlane in Penguin Modern Classics. At first the virus wiping out grass and crops is of little concern to John Custance. It has decimated Asia, causing mass starvation and riots, but Europe is safe and a counter-virus is expected any day. Except, it turns out, the governments have been lying to their people. When the deadly disease hits Britain, society starts to descend into barbarism. As John and his family try to make it across country to the safety of his brother's farm in a hidden valley, their humanity is tested to its very limits. A chilling psychological thriller and one of the greatest post-apocalyptic novels ever written, The Death of Grass shows people struggling to hold on to their identities as the familiar world disintegrates - and the terrible price they must pay for surviving. John Christopher (1922-2012) was the pen name of Samuel Youd, a prolific writer of science fiction. His novels were popular during the 1950s and 1960s, most notably The Death Of Grass (1956), The World in Winter (1962), and Wrinkle in the Skin (1965), all works depicting ordinary people struggling in the midst of apocalyptic catastrophes. In 1966 he started writing science-fiction for adolescents; The Tripods trilogy, the Prince in Waiting trilogy (also known as the Sword of the Spirits trilogy) and The Lotus Caves are still widely read today. Ifyou enjoyed The Death of Grass, you might like John Wyndham's The Day of the Triffids, also available in Penguin Modern Classics.

"If you want to write good short stories," Lao She once observed, "you have to give it everything you’ve got. The world will allow the existence of a very imperfect novel, but it won’t be that polite with a short story. Art, after all, is not like a pig—the fatter the better." Lao She’s stories proved to be very good indeed, moving and delighting readers for many years and establishing him as a master of classic modern fiction. Thankfully we now have access to a rich collection of his short stories in superb English translations. These stories showcase the varied facets of Lao She’s impressive talent and draw us effortlessly into his world-and we emerge the better for it. This is a writer eternally immersed in and fascinated by the kaleidoscope of humankind. The stories are characterized by humor and by intensely sympathetic explorations of human relationships. Some of them are unsettling. Many are poignant. Most of them make us laugh. All evoke the color and energy of life, for Lao She is also a connoisseur of the everyday with a keen appreciation of the concrete detail. A plate of steaming dumplings, the gleam of gold-capped front teeth, rickshaws dragging along alleys, punishing winter winds, rolls of bright silk, a pair of chopsticks—these things are the stuff of Lao She’s fiction and the essence of his metaphors, and he cherishes such little details of life more than the abstractions of politics or philosophy.

Selected for the Notable Social Studies 2022 List Named to ALA Notable Children's Books 2022 In this Own Voices Native American picture book story, a modern Wabanaki girl is excited to accompany her grandmother for the first time to harvest sweetgrass for basket making. Musquon must overcome her impatience while learning to distinguish sweetgrass from other salt marsh grasses, but slowly the spirit and peace of her surroundings speak to her, and she gathers sweetgrass as her ancestors have done for centuries, leaving the first blade she sees to grow for future generations. This sweet, authentic story from a Maliseet mother and her Passamaquoddy husband includes backmatter about traditional basket making and a Wabanaki glossary.

What is Life? Where did it come from? Why does it end?

SIMPLE questions often help us to understand problems better; and I think it indispensable, at the beginning of this work, to ask a question which appears simple in the extreme: "What is grazing?" The answer is generally as follows: "Causing grass to be eaten by an animal." That is correct! But here is another answer which, to my mind, is more realistic: "Causing the grass and the animal to meet." Since this book is almost exclusively concerned with grazing by cattle, I propose the following definition to the reader, requesting him to allow it to become well impressed upon his mind: Grazing is the meeting of cow and grass. It is by satisfying as far as possible the demands of both parties that we will arrive at a rational grazing, which will provide us with maximum productivity on the part of the grass while at the same time allowing the cow to give optimum performance. [From the Introduction]

A novel of letters. A book of wonders. A story of love, loss, and life on Earth. It begins in the pre-internet age with a letter left at the front desk of a hotel in Iceland. The recipient, Martha Geddes, is a neophyte journalist from New York, the sender, James Weaver, a young ecologist from Vancouver. Over the years, while James roams the world and Martha stays close to home, they share their love for the oddities, surprises, and marvels of nature through letters. When tragedy occurs, words from a distance may not be enough to help a friend find the way back from the darkness. A compelling historical fiction. A romance unlike any you've read before. A love letter to the planet. Every Blade of Grass takes the reader on an unforgettable journey through grief and loss to a reawakening to life. A life-affirming new novel from the best-selling author of Icefields, Salamander, and the Perilous Realm Trilogy.