In Crossing the Next Meridian, Charles F. Wilkinson, an expert on federal public lands, Native American issues, and the West's arcane water laws explains some of the core problems facing the American West now and in the years to come. He examines the outmoded ideas that pervade land use and resource allocation and argues that significant reform of Western law is needed to combat desertification and environmental decline, and to heal splintered communities. Interweaving legal history with examples of present-day consequences of the laws, both intended and unintended, Wilkinson traces the origins and development of the laws and regulations that govern mining, ranching, forestry, and water use. He relates stories of Westerners who face these issues on a day-to-day basis, and discusses what can and should be done to bring government policies in line with the reality of twentieth-century American life.

In Crossing the Next Meridian, Wilkinson explains to a general audience some of the core problems that face the American West, both now and in the years to come. An expert on federal public lands, Native American issues, and the West's arcane water laws, Wilkinson looks at the outmoded ideas that pervade land use and resource allocation. He argues that significant reform of Western law is needed to combat environmental decline and heal splintered communities. Interweaving legal history with examples of present-day consequences, both intended and unintended, Wilkinson traces the origins and development of Western laws and regulations. He relates stories of Westerners who face these issues on a day-to-day basis and discusses what can and should be done to bring government policies in line with the reality of twentieth-century American life. His examination seeks a middle ground between those who champion unrestricted growth and those who advocate complete preservation.

Generally considered the least lively and most bleak of casts, gray is the taint of vagueness and uncertainty. Marking the threshold region where luminous life seems suspended but death has not yet darkened the horizon, it belongs to an evasive and evanescent world, carrying the tint of smoke, fog, ashes, and dust. As the ambiguous space of thought and remembrance where things blend and blur, gray measures the difference between distance and proximity, shading into tinges of hesitation, hues of taciturnity, tones of time past and lost. Thus it may also be the spectral medium of literature itself—that grainy gas of language. Written with a lead pencil akin to those found in Nabokov, Rilke, Svevo, Poe, and Dickinson, The Gray Book chronicles the vicissitudes of such equivocal articulation—registering the graphite traces it leaves behind but also recording the dwindling span of its life. The book situates itself in a region beyond criticism but this side of literature, characterized by forgetting and finitude, and investigating important yet seemingly inaccessible "gray areas" in texts as old as those of Homer, and as recent as those of Beckett. Loosely arranging these literary finds according to a revision of the four elements, The Gray Book distances itself from tradition and treats not water but tears, not fire but vapor, not earth but grain, not air but clouds. The narrative thus construed, proceeding in the meandering movements of volatile thought rather than in the prudent steps of a treatise, appears gradually affected by its subject. Themes and facts previously confined to the realm of quoted texts leak into the narrative itself. The border between fiction and fact slowly dissolves as the book approaches the curious void that the author locates at the heart of "gray literature." Shaped by an omnipresent though increasingly unreliable narrator, The Gray Book may thus ultimately yield a poetics cast in the form of a ghost story.

Reconciling explosive growth with often majestic landscape defines New Geographies of the American West. Geographer William Travis examines contemporary land use changes and development patterns from the Mississippi to the Pacific, and assesses the ecological and social outcomes of Western development. Unlike previous "boom" periods dependent on oil or gold, the modern population explosion in the West reflects a sustained passion for living in this specific landscape. But the encroaching exurbs, ranchettes, and ski resorts are slicing away at the very environment that Westerners cherish. Efforts to manage growth in the West are usually stymied at the state and local levels. Is it possible to improve development patterns within the West's traditional anti-planning, pro-growth milieu, or is a new model needed? Can the region develop sustainably, protecting and managing its defining wildness, while benefiting from it, too? Travis takes up the challenge , suggesting that functional and attractive settlement can be embedded in preserved lands, working landscapes, and healthy ecologies.

This book investigates the function of topographical names and descriptions in a variety of narratives, poems, and philosophical or theoretical texts, primarily from the 19th and 20th centuries, but including also Plato and the Bible. Topics include the initiating efficacy of speech acts, ethical responsibility, political or legislative power, the translation of theory from one topographical location to another, the way topographical delineations can function as parable or allegory, and the relation of personification to landscape.

The late Edmond Jabes was a major voice in French poetry in the latter half of this century. An Egyptian Jew, he was haunted by the question of place and the loss of place in relation to writing. He focused on the space of the book, seeing it as the true space in which exile and the promised land meet in poetry and in question. Jabes's mode of expression has been variously described: a new and mysterious kind of literary work - as dazzling as it is difficult to define, cascading aphorisms, a theater of voices in a labyrinth of forms. The manner of his writing embodies the meaning of his writing. Jabes's book is a manifesto not only of his own poetry, but of the most advanced critical poetry written during this century, one in which he engages in dialogue with some of its outstanding philosophers (Blanchot, Levinas, and Derrida)

Now a major motion picture starring Nicolas Cage and directed by Gabe Polsky. In his National Book Award–winning novel Augustus, John Williams uncovered the secrets of ancient Rome. With Butcher’s Crossing, his fiercely intelligent, beautifully written western, Williams dismantles the myths of modern America. It is the 1870s, and Will Andrews, fired up by Emerson to seek “an original relation to nature,” drops out of Harvard and heads west. He washes up in Butcher’s Crossing, a small Kansas town on the outskirts of nowhere. Butcher’s Crossing is full of restless men looking for ways to make money and ways to waste it. Before long Andrews strikes up a friendship with one of them, a man who regales Andrews with tales of immense herds of buffalo, ready for the taking, hidden away in a beautiful valley deep in the Colorado Rockies. He convinces Andrews to join in an expedition to track the animals down. The journey out is grueling, but at the end is a place of paradisal richness. Once there, however, the three men abandon themselves to an orgy of slaughter, so caught up in killing buffalo that they lose all sense of time. Winter soon overtakes them: they are snowed in. Next spring, half-insane with cabin fever, cold, and hunger, they stagger back to Butcher’s Crossing to find a world as irremediably changed as they have been.

This volume consists of fourteen pieces selected by Levinas himself in 1987 from a large body of uncollected essays.

This is the definitive analysis of art as a social and perceptual system by Germany's leading social theorist of the late 20th century. It combines three decades of research in the social sciences, phenomenology, evolutionary biology, cybernetics, and information theory with an intimate knowledge of art history, literature, aesthetics, and contemporary literary theory.

In this work, begun during the German occupation, the eminent French poet and philosopher began to turn away from the small, perfect poem toward a much more open form, a kind of prose poem that recounted its own process of coming into being along with the final result.