The northern cod have been almost wiped out. Once the most plentiful fish on the Grand Banks off the coast of Newfoundland, the cod is now on the brink of extinction, and tens of thousands of people in Atlantic Canada have been left without work by a 1992 moratorium on fishing the stock. Today, the Pacific salmon stocks are in similar trouble – victims of the same blind, stupid greed. Angry, accusatory fingers have been pointed at various possible culprits for the collapse of the cod – at the Spanish and Portuguese, who for hundreds of years sent ever-bigger fleets to the Grand Banks; at the factory-freezer trawlers, which “vacuumed” the ocean floor for the prized fish; at those inshore fishermen who circumvented the rules governing the fishery; at the federal Department of Fisheries and Oceans, which is responsible for managing the fishery; at the harp seal, the cod’s competitor for food, whose numbers have exploded in recent years; even at Nature, for lowering the temperature of the ocean. In Lament for an Ocean, the award-winning true-crime writer Michael Harris investigates the real causes of the most wanton destruction of a natural resource in North American history since the buffalo were wiped off the face of the prairies. The story he carefully unfolds is the sorry tale of how, despite the repeated and urgent warnings of ocean scientists, the northern cod was ruthlessly exploited.

Winner of the 2016 Whiting Award One of Publishers Weekly's "Most Anticipated Books of Spring 2016" One of Lit Hub's "10 must-read poetry collections for April" “Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition. His poems are by turns graceful and wonderstruck. His lines are both long and short, his pose narrative and lyric, his diction formal and insouciant. From the outside, Vuong has fashioned a poetry of inclusion.”—The New Yorker "Night Sky with Exit Wounds establishes Vuong as a fierce new talent to be reckoned with...This book is a masterpiece that captures, with elegance, the raw sorrows and joys of human existence."—Buzzfeed's "Most Exciting New Books of 2016" "This original, sprightly wordsmith of tumbling pulsing phrases pushes poetry to a new level...A stunning introduction to a young poet who writes with both assurance and vulnerability. Visceral, tender and lyrical, fleet and agile, these poems unflinchingly face the legacies of violence and cultural displacement but they also assume a position of wonder before the world.”—2016 Whiting Award citation "Night Sky with Exit Wounds is the kind of book that soon becomes worn with love. You will want to crease every page to come back to it, to underline every other line because each word resonates with power."—LitHub "Vuong’s powerful voice explores passion, violence, history, identity—all with a tremendous humanity."—Slate “In his impressive debut collection, Vuong, a 2014 Ruth Lilly fellow, writes beauty into—and culls from—individual, familial, and historical traumas. Vuong exists as both observer and observed throughout the book as he explores deeply personal themes such as poverty, depression, queer sexuality, domestic abuse, and the various forms of violence inflicted on his family during the Vietnam War. Poems float and strike in equal measure as the poet strives to transform pain into clarity. Managing this balance becomes the crux of the collection, as when he writes, ‘Your father is only your father/ until one of you forgets. Like how the spine/ won’t remember its wings/ no matter how many times our knees/ kiss the pavement.’”—Publishers Weekly "What a treasure [Ocean Vuong] is to us. What a perfume he's crushed and rendered of his heart and soul. What a gift this book is."—Li-Young Lee Torso of Air Suppose you do change your life. & the body is more than a portion of night—sealed with bruises. Suppose you woke & found your shadow replaced by a black wolf. The boy, beautiful & gone. So you take the knife to the wall instead. You carve & carve until a coin of light appears & you get to look in, at last, on happiness. The eye staring back from the other side— waiting. Born in Saigon, Vietnam, Ocean Vuong attended Brooklyn College. He is the author of two chapbooks as well as a full-length collection, Night Sky with Exit Wounds. A 2014 Ruth Lilly Fellow and winner of the 2016 Whiting Award, Ocean Vuong lives in New York City, New York.

Contains music.

While our politicians argue, the truth is that climate change is already here. Nobody knows this better than Indigenous peoples who, having developed an intimate relationship with ecosystems over generations, have observed these changes for decades. For them, climate change is not an abstract concept or policy issue, but the reality of daily life.After two decades of working with indigenous communities, Gleb Raygorodetsky shows how these communities are actually islands of biological and cultural diversity in the ever-rising sea of development and urbanization. They are an “archipelago of hope” as we enter the Anthropocene, for here lies humankind’s best chance to remember our roots and how to take care of the Earth.We meet the Skolt Sami of Finland, the Nenets and Altai of Russia, the Sapara of Ecuador, the Karen of Myanmar, and the Tla-o-qui-aht of Canada. Intimate portraits of these men and women, youth and elders, emerge against the backdrop of their traditional practices on land and water. Though there are brutal realities—pollution, corruption, forced assimilation—Raygorodetsky's prose resonates with the positive, the adaptive, the spiritual—and hope.

The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian. After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.

Humanity can make short work of the oceans’ creatures. In 1741, hungry explorers discovered herds of Steller’s sea cow in the Bering Strait, and in less than thirty years, the amiable beast had been harpooned into extinction. It’s a classic story, but a key fact is often omitted. Bering Island was the last redoubt of a species that had been decimated by hunting and habitat loss years before the explorers set sail. As Callum M. Roberts reveals in The Unnatural History of the Sea, the oceans’ bounty didn’t disappear overnight. While today’s fishing industry is ruthlessly efficient, intense exploitation began not in the modern era, or even with the dawn of industrialization, but in the eleventh century in medieval Europe. Roberts explores this long and colorful history of commercial fishing, taking readers around the world and through the centuries to witness the transformation of the seas. Drawing on firsthand accounts of early explorers, pirates, merchants, fishers, and travelers, the book recreates the oceans of the past: waters teeming with whales, sea lions, sea otters, turtles, and giant fish. The abundance of marine life described by fifteenth century seafarers is almost unimaginable today, but Roberts both brings it alive and artfully traces its depletion. Collapsing fisheries, he shows, are simply the latest chapter in a long history of unfettered commercialization of the seas. The story does not end with an empty ocean. Instead, Roberts describes how we might restore the splendor and prosperity of the seas through smarter management of our resources and some simple restraint. From the coasts of Florida to New Zealand, marine reserves have fostered spectacular recovery of plants and animals to levels not seen in a century. They prove that history need not repeat itself: we can leave the oceans richer than we found them.

The Path of the Ocean is the first anthology of representative Polynesian poetry to be offered as a book of poetry rather than as a ethnological or historical document. Guided primarily by literary taste, Marjorie Sinclair has gathered poems from many sources and from translations with many kinds of expertise. She has scrupulously edited the old translations, modernized where necessary, and in some cases has translated or adapted the poetry. The arrangement of the anthology is rough geographic. It begins with Hawaii and travels southward, sometimes to the east and sometimes to the west until finally New Zealand is reached. As the title suggests, a journey that conveys scope, complexity, and deep humanity of the poetic spirit of the Polynesians.

In the middle of the Mojave Desert, Las Vegas casinos use billions of gallons of water for fountains, pirate lagoons, wave machines, and indoor canals. Meanwhile, the town of Orme, Tennessee, must truck in water from Alabama because it has literally run out. Robert Glennon captures the irony—and tragedy—of America’s water crisis in a book that is both frightening and wickedly comical. From manufactured snow for tourists in Atlanta to trillions of gallons of water flushed down the toilet each year, Unquenchable reveals the heady extravagances and everyday inefficiencies that are sucking the nation dry. The looming catastrophe remains hidden as government diverts supplies from one area to another to keep water flowing from the tap. But sooner rather than later, the shell game has to end. And when it does, shortages will threaten not only the environment, but every aspect of American life: we face shuttered power plants and jobless workers, decimated fi sheries and contaminated drinking water. We can’t engineer our way out of the problem, either with traditional fixes or zany schemes to tow icebergs from Alaska. In fact, new demands for water, particularly the enormous supply needed for ethanol and energy production, will only worsen the crisis. America must make hard choices—and Glennon’s answers are fittingly provocative. He proposes market-based solutions that value water as both a commodity and a fundamental human right. One truth runs throughout Unquenchable: only when we recognize water’s worth will we begin to conserve it.

The definitive history of Canadian foreign policy since the 1930s, Canada First, Not Canada Alone examines how successive prime ministers have promoted Canada's national interests in a world that has grown increasingly complex and interconnected. Case studies focused on environmental reform, Indigenous peoples, trade, hostage diplomacy, and wartime strategy illustrate the breadth of issues that shape Canada's global realm. Drawing from extensive primary and secondary research, Adam Chapnick and Asa McKercher offer a fresh take on how Canada positions itself in the world.