Explores American music

From a "born storyteller" (Seattle Times), this playful and moving bestselling book of essays invites us into the miraculous and transcendent moments of everyday life. When Brian Doyle passed away at the age of sixty after a bout with brain cancer, he left behind a cult-like following of devoted readers who regard his writing as one of the best-kept secrets of the twenty-first century. Doyle writes with a delightful sense of wonder about the sanctity of everyday things, and about love and connection in all their forms: spiritual love, brotherly love, romantic love, and even the love of a nine-foot sturgeon. At a moment when the world can sometimes feel darker than ever, Doyle's writing, which constantly evokes the humor and even bliss that life affords, is a balm. His essays manage to find, again and again, exquisite beauty in the quotidian, whether it's the awe of a child the first time she hears a river, or a husband's whiskers that a grieving widow misses seeing in her sink every morning. Through Doyle's eyes, nothing is dull. David James Duncan sums up Doyle's sensibilities best in his introduction to the collection: "Brian Doyle lived the pleasure of bearing daily witness to quiet glories hidden in people, places and creatures of little or no size, renown, or commercial value, and he brought inimitably playful or soaring or aching or heartfelt language to his tellings." A life's work, One Long River of Song invites readers to experience joy and wonder in ordinary moments that become, under Doyle's rapturous and exuberant gaze, extraordinary.

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Southwest Book Award, BRLA Notable Book, Sigurd Olson Nature Writing Award Amazon Book Review Best Nonfiction of 2018 2018 Publisher's Weekly Best Books of the Year, Nonfiction 2018 Southwest Books of the Year Outside Magazine Pick for Best Adventure Books of the Season NPR Summer Reading List Pick From one of the last fire lookouts in America comes this sequel to the award-winning Fire Season—a story of calamity and resilience in the world’s first Wilderness. A dozen years into his dream job keeping watch over the Gila Wilderness of New Mexico, Philip Connors bore witness to the wildfire he had always feared: a conflagration that forced him off his mountain by helicopter, and changed forever the forest and watershed he loved. It was merely one of many transformations that arrived in quick succession, not just fire and flood but illness, divorce, the death of a fellow lookout in a freak accident, and a tragic plane crash that rocked the community he called home. At its core an elegy for a friend he cherished like a brother, A Song for the River opens into celebration of a landscape redolent with meaning—and the river that runs through it. Connors channels the voices of the voiceless in a praise song of great urgency, and makes a plea to save a vital piece of our natural and cultural heritage: the wild Gila River, whose waters are threatened by a potential dam. Brimming with vivid characters and beautiful evocations of the landscape, A Song for the River carries the story of the Gila Wilderness forward to the present precarious moment, and manages to find green shoots everywhere sprouting from the ash. Its argument on behalf of things wild and free could not be more timely, and its goal is nothing less than permanent protection for that rarest of things in the American West, a free-flowing river—the sinuous and gorgeous Gila. It must not perish.

Rivers make beautiful music - from the trickle of snowmelt to the burble of a full-flowing stream. Here the famed children's musical ensemble, the Banana Slug String Band, celebrates rivers as a fascinating, ever-changing source of life and joy. The attached CD includes their vibrant rendition of River Song.

DIVDIVTwo ancient tribes on the verge of making peace become foes once more when a double murder jeopardizes a storyteller’s mission /divDIV Eighty centuries ago, in the frozen land that is now Alaska, a clubfooted male child had been left to die, when a woman named K’os rescued him. Twenty years later and no longer a child, Chakliux occupies the revered role as his tribe’s storyteller. In the neighboring village of the Near River people, where Chakliux will attempt to make peace by wedding the shaman’s daughter, a double murder occurs that sends him on a harsh, enthralling journey in search of the truth about the tragic losses his people have suffered, and into the arms of a woman he was never meant to love./divDIV /divDIVSong of the River is the first book of the Storyteller Trilogy, which also includes Cry of the Wind and Call Down the Stars./div/div

Voted Best Indie Book by Kirkus Reviews and awarded a prestigious Blue Star. Ping, an American citizen, returns to Singapore after many years and sees a country transformed by prosperity. Gone are the boatmen and hawkers who once lived along the crowded riverside and in their place rise the gleaming towers of the financial district. Her childhood growing up among the river people had been very different, and leaving her first love Weng, a musician, for America, had been devastating. Now that she is back in Singapore, can she face her former lover and reveal the secret that has separated them for many years? Reviews: “Lim’s affecting, lushly textured historical novel... A fine, deeply felt saga of lives caught up in progress that’s as heartbreaking as it is hopeful.” Kirkus, 5 * Blue Star Review "The River’s Song is a startling work of brilliance that leaves the reader spellbound." kitaab.org “...just as the best novels should be but so rarely are: like immersion in a vivid dream. I couldn’t decide whether to read it slowly in order to savour every word, or to race along, mesmerised by Lim’s dazzling story-telling.” Jill Dawson, British author of The Great Lover, (Richard and Judy’s Bookclub) “...a winning coming of age novel that bridges the years and countries. Here is the buoyancy of sentences and a testimony of resilience.” Krys Lee, award-winning Korean author of The Drifting House “...powerful, deep and moving – draws you in and pulls you along irresistibly. Its heartfelt swell will carry you away to a place of passion and resonant conviction.” Kevin MacNeil, Scottish author of the best-selling The Stornoway Way “A touching story that retrieves Singapore’s fast disappearing past and gives its famous river the depth and colour of a people’s history, and a wonderful rendition of the pipa, on the page, as mother and daughter play their songs from the heart.” Romesh Gunasekera author of Reef, shortlisted for the Booker Prize Singapore Literature Prize Winner and South East Asia Write Award winner Suchen Christine Lim is one of Singapore’s most distinguished writers. In 1992, her third novel, Fistful of Colours, was awarded the Inaugural Singapore Literature Prize. A Bit Of Earth (2000), her fourth novel, and her popular short-story collection, The Lies That Build A Marriage (2007) were later shortlisted for the same prize. Awarded a Fulbright grant in 1997, she is a Fellow of the International Writers Program, University of Iowa, and the first Singapore writer honoured as the university’s International Writer-in-Residence in 2000. A regular guest at Writers' Festivals in Singapore, Malaysia, Philippines, Australia, and UK she has also held writing residencies in Myanmar, the Philippines, South Korea and at the University of Western Australia in Perth. In 2011, she was the Visiting Fellow in Creative Writing at the Nanyang Technological University (NTU), Singapore. In 2012, she won the South East Asia Write Award. In the UK, she has regularly been writer-in- residence at the Arvon Foundation and has tutored at Moniack Mhor in Scotland.

Set in a river boat community in Arkansas in the 1930s, this poignant story chronicles Aiyana Weir's spirited determination to break away from a life, like that of the women around her, defined and dominated by brutal patriarchy. Aiyana's voice, unique, hesitant and uneducated, expresses the turmoil of her inner world through the details and rhythms of her beloved river and charts her secret pursuit of literacy - her only means of escape from the abuse of her father and the indifference of the man to whom she is casually given. Her grandmother, a mythical figure steeped in wisdom and folklore, and her brother, Lyle, are Aiyana's only allies in her struggle for survival and as shameless plans to leave the river.

Denied a place on their ancestral lands, the original Snake River-Palouse people were forced to scatter, and maintaining their cultural identity became increasingly difficult. Still, elders passed down oral histories to their descendants, insisting youngsters listen with rapt attention. Beginning in the 1970s and continuing over three decades, Naxiyamtáma elders¿in particular Mary Jim, Andrew George, Gordon Fisher, and Emily Peone¿chose to share their stories with a research team. The four had ties to the Plateau people¿s leadership families and had lived in the traditional way¿gathering, hunting, and fishing. They hoped to teach American Indian history in a traditional manner and refute inaccuracies. Multiple themes emerged¿a pervasive spirituality tied to the Creator and environment; a covenant relationship and sacred trust to protect and preserve their traditional lands; storytelling as a revered art form that reveals life lessons, and finally, belief in cyclical time and blood memory.

River of Tears is the first ethnography of Brazilian country music, one of the most popular genres in Brazil yet least-known outside it. Beginning in the mid-1980s, commercial musical duos practicing música sertaneja reached beyond their home in Brazil’s central-southern region to become national bestsellers. Rodeo events revolving around country music came to rival soccer matches in attendance. A revival of folkloric rural music called música caipira, heralded as música sertaneja’s ancestor, also took shape. And all the while, large numbers of Brazilians in the central-south were moving to cities, using music to support the claim that their Brazil was first and foremost a rural nation. Since 1998, Alexander Sebastian Dent has analyzed rural music in the state of São Paulo, interviewing and spending time with listeners, musicians, songwriters, journalists, record-company owners, and radio hosts. Dent not only describes the production and reception of this music, he also explains why the genre experienced such tremendous growth as Brazil transitioned from an era of dictatorship to a period of intense neoliberal reform. Dent argues that rural genres reflect a widespread anxiety that change has been too radical and has come too fast. In defining their music as rural, Brazil’s country musicians—whose work circulates largely in cities—are criticizing an increasingly inescapable urban life characterized by suppressed emotions and an inattentiveness to the past. Their performances evoke a river of tears flowing through a landscape of loss—of love, of life in the countryside, and of man’s connections to the natural world.