In this book, geologists Jan Zalasiewicz and Mark Williams consider the deep history of oceans, how and when they may have formed on the young Earth - topics of intense current research - how they became salty, and how they evolved through Earth history.

Stories about the occult, folk religions, superstition, and spiritual customs in Russia by one of the most essential twentieth-century writers of short fiction and essays. Though best known for her comic and satirical sketches of pre-Revolutionary Russia, Teffi was a writer of great range and human sympathy. The stories on otherworldly themes in this collection are some of her finest and most profound, displaying the acute psychological sensitivity beneath her characteristic wit and surface brilliance. Other Worlds presents stories from across the whole of Teffi’s long career, from her early days as a literary celebrity in Moscow to her post-Revolutionary years as an émigré in Paris. In the early story “A Quiet Backwater,” a laundress gives a long disquisition on the name days of the flora and fauna and on the Feast of the Holy Ghost, a day on which “no one dairnst disturb the earth.” The story “Wild Evening” is about the fear of the unknown; “The Kind That Walk,” a penetrating study of antisemitism and of xenophobia; and “Baba Yaga,” about the archetypal Russian witch and her longing for wildness and freedom. Teffi traces the persistent influence of the ancient Slavic gods in superstitions and customs, and the deep connection of the supernatural to everyday life in the provinces. In “Volya,” the autobiographical final story, the power and pain of Baba Yaga is Teffi’s own.

Translated to English, this collection of contemporary Chinese poetry examines humanity’s relationship with nature and the ecological crisis. Influenced by both the “gray, sinister sea” near the village where Yi Lu grew up during the Cultural Revolution, and the beauty of the sea in the books she read as a child, Sea Summit is a collection of paradox and questioning. The sea is an impossible force to the poet: it is both a majestic presence that predates man, and something to carry with us wherever we go, to be put “by an ancient rattan chair,” so we can watch “its waves toss” from above. Exploring the current ecological crisis and our complicated relationship to the wildness around us, Yi Lu finds something more complex than a traditional nature poet might in the mysterious connection between herself and the forces of nature represented by the boundless ocean. Translated brilliantly by the acclaimed poet Fiona Sze-Lorrain, this collection of poems introduces an important contemporary Chinese poet to English-language readers. Praise for Sea Summit “Yi Lu is a theatre scenographer, and her poems brim with the imagistic tendencies we might expect from a visual artist. More specifically, her poetic style fits that of a theatrical set designer. Within the poetry of Sea Summit, the images are like set pieces. They play supporting roles as they help to tell the speaker’s stories. . . . Sensitive and poignant poetry.” —The Literary Review “A compilation of over twenty years of work. . . . Yi’s poetry shows the world as staggeringly simultaneous, from a crowded conference room in the middle of the city to the titular wave rising under the incredible volume of the ocean. . . . This collection is a great introduction to Yi Lu, already one of the most widely read poets in China.” —The Los Angeles Review “With this selection of more than 80 of her ecologically conscious lyric poems, Yi receives a generous introduction to English readers. The pastoral is Yi’s mode of choice, and the poems here take as their subject matter the natural world as well as the human experience of it. . . . Sze-Lorrain’s steadfast translations, presented en-face, make accessible one of China’s most famous woman poets.” —Publishers Weekly

Oceans were long thought to exist in all corners of the Solar System, from carbonated seas percolating beneath the clouds of Venus to features on the Moon's surface given names such as "the Bay of Rainbows” and the "Ocean of Storms." With the advent of modern telescopes and spacecraft exploration these ancient concepts of planetary seas have, for the most part, evaporated. But they have been replaced by the reality of something even more exotic. For example, although it is still uncertain whether Mars ever had actual oceans, it now seems that a web of waterways did indeed at one time spread across its surface. The "water" in many places in our Solar System is a poisoned brew mixed with ammonia or methane. Even that found on Jupiter's watery satellite Europa is believed similar to battery acid. Beyond the Galilean satellites may lie even more "alien oceans." Saturn's planet-sized moon Titan seems to be subject to methane or ethane rainfall. This creates methane pools that, in turn, become vast lakes and, perhaps, seasonal oceans. Titan has other seas in a sense, as large shifting areas of sand covering vast plains have been discovered. Mars also has these sand seas, and Venus may as well, along with oceans of frozen lava. Do super-chilled concoctions of ammonia, liquid nitrogen, and water percolate beneath the surfaces of Enceladus and Triton? For now we can only guess at the possibilities. 'Alien Seas' serves up part history, part current research, and part theory as it offers a rich buffet of "seas" on other worlds. It is organized by location and by the material of which various oceans consist, with guest authors penning specific chapters. Each chapter features new original art depicting alien seas, as well as the latest ground-based and spacecraft images. Original diagrams presents details of planetary oceans and related processes.

Is there a future after death and what does this future look like? What kind of life can we expect, and in what kind of world? Is there another, hopefully better world than the one we live in? The articles collected in this volume, all written by leading experts in the field, deal with the question how ancient Jewish and Christian authors describe “otherworldly places and situations”. They investigate why various forms of texts were created to address the questions above, how these texts functioned, and how they have to be understood. It is shown how ancient descriptions of the “otherworld” are taking over and reworking existing motifs, forms and genres, but also that they mirror concrete problems, ideas, experiences, and questions of their authors and the first readers.

A definite look at the state of science fiction studies today that surveys the field from Hugo Gernsbach to the present.

The Vaqueiros de Alzada, a cattle-herding people in the Asturian mountains of Spain, have one of the highest suicide rates in Europe—and an attitude toward death that gives this statistic unusual meaning. This World, Other Worlds considers death among the Vaqueiros as a central cultural fact which reveals local ideas about the origin and destiny of humans, the relations of humans and animals, the configuration of the universe, and the nature of society. Interested chiefly in the conceptual and meaningful aspects of death, María Cátedra focuses on the cultural resources with which the Vaqueiros confront their own mortality—how they experience death and what this reveals about the way they see this world and other worlds. Applying sensitive ethnographic insight to a rich body of oral testimony, Cátedra discloses an unsuspected symbolic universe native to the Vaqueiros. Death is seen here in close, coherent relation to pain, age, and suffering; sickness and suicide, one must understand the cultural valuation of different ways of dying and the conditions under which suicides take place. To understand what it means to be a Vaqueiro is to understand how suicide can be perceived by a people as acceptable. A groundbreaking work in European ethnography, This World, Other Worlds takes symbolic analysis to a new level. In its illumination of local conceptions of death, grace, and sainthood, the book also makes a substantial contribution to the anthropology of religion.