David Sobel’s follow-up to Nature Preschools and Forest Kindergartens walks readers through the nitty-gritty facts of running a nature-based program. Organized around nine themes, each chapter begins with an overview from the author, followed by case studies from diverse early childhood programs, ranging from those that serve at-risk children to public preschools to university farm programs to Waldorf schools. Sample newsletters in each chapter show how real programs have tackled tough questions and sticky situations. The programs featured in these newsletters are from across the United States: Maryland, New York, Massachusetts, Wisconsin, Alabama, Connecticut, Illinois, Vermont, California, Michigan, Rhode Island, Louisiana, and Indiana.

David Sobel's follow-up to Nature Preschools and Forest Kindergartens walks readers through the nitty-gritty facts of running a nature-based program. Organized around nine themes, each chapter begins with an overview from the author, followed by case studies from diverse early childhood programs, ranging from those that serve at-risk children to public preschools to university farm programs to Waldorf schools. Sample newsletters in each chapter show how real programs have tackled tough questions and sticky situations. The programs featured in these newsletters are from across the United States: Maryland, New York, Massachusetts, Wisconsin, Alabama, Connecticut, Illinois, Vermont, California, Michigan, Rhode Island, Louisiana, and Indiana.

The Upside of Down Between: The Sky Above, and the Mud Below By: Joel Bernard We are facing a critical juncture in our societal order. Weather conditions are forcing communities into life altering scenarios. Regions of the country will no longer be capable of sustaining human activity. Mankind is at a tipping point, and we will have to decide whether to continue ignoring nature’s warnings or live with the consequences. The Upside of Down explores the changes to social order caused by climate disruption and the need to plan for the necessity of population relocation and our ability to provide help to displaced communities.

A vivid, engaging account of the artists and artworks that sought to make sense of America's first total war, Grand Illusions takes readers on a compelling journey through the major historical events leading up to and beyond US involvement in WWI to discover the vast and pervasive influence of the conflict on American visual culture. David M. Lubin presents a highly original examination of the era's fine arts and entertainment to show how they ranged from patriotic idealism to profound disillusionment. In stylishly written chapters, Lubin assesses the war's impact on two dozen painters, designers, photographers, and filmmakers from 1914 to 1933. He considers well-known figures such as Marcel Duchamp, John Singer Sargent, D. W. Griffith, and the African American outsider artist Horace Pippin while resurrecting forgotten artists such as the mask-maker Anna Coleman Ladd, the sculptor Gertrude Vanderbilt Whitney, and the combat artist Claggett Wilson. The book is liberally furnished with illustrations from epoch-defining posters, paintings, photographs, and films. Armed with rich cultural-historical details and an interdisciplinary narrative approach, David Lubin creatively upends traditional understandings of the Great War's effects on the visual arts in America.

Battery Park City is a special place, and superlatives have come easily to those who have written about it. It is one of the most significant "new towns" ever built in America, constructed by private developers on landfill, with an infrastructure financed by the sale of bonds by a state-created public benefit corporation. Its successful mix of attractive office and residential buildings has been the major contributor to the revitalization of New York City's downtown. It's also paid off literally. The Battery Park City Authority, the public benefit corporation that was the driving force behind the entire development is in the black and, indeed, generates more than $100 million a year in profit without the City or State having a cent invested in the venture. The development is even rich culturally. It's bookended on its south end by The Museum of Jewish Heritage, which has the most important collection memorializing the Holocaust outside of Washington D. C.'s Holocaust Museum, and on the north by the new home of Stuyvesant High School, which most years sends more graduates to Harvard than any other high school in America. Amidst parks, sculpture and apartments providing homes for almost 10,000 people, most of whom walk to work, stands the New York Mercantile Exchange and the imposing World Financial Center. Within the shouting distance of young children on scooters and adolescents on skateboards are long town cars, waiting to whisk executives to their next appointment. But if anything truly merits superlatives, it's the public amenities that grace this "city" extending out into the water from lower Manhattan. On a summer Sunday, its long and graceful esplanade hosts thousands of bikers, hikers and people out for a stroll along the Hudson River. The area is thronged at lunchtime. And after work on any pleasant afternoon, Battery Park City's yacht cove is ringed with workers unwinding after a busy day and its harbor side restaurants are crowded with diners enjoying the spectacular view. The city's financial powerhouses charter yachts with names such as "Royal Princess" and "Excalibur," anchored in the cove, for business-promoting cocktail and dinner parties. But you don't have to be rich and powerful to enjoy what the development has to offer. The indoor concerts under the high-arching crystal vault filled with palm trees and bright flowers, part of the World Financial Center just behind the cove, are free and open to the public. Signs on the esplanade caution bikers and skaters to "Yield to Pedestrians." But one of the marvels of Battery Park City is that the whole development actually does that. Here in the heart of Manhattan, on the island that the automobile long ago conquered, the public spaces have been planned for people on foot. The spaces are broad and open, the streets just wide enough to provide necessary vehicular access. Already, although building continues on its several empty lots, Battery Park City has become one of New York City's landmarks, attracting foreign visitors as well as tourists from around America as one of Gotham's must-see sights. As with any landmark, it now seems to own the space it occupies. Despite the evident newness of everything in the development, its component parts are beginning to take on an air of inevitability. But the truth is that there was nothing inevitable about the development of Battery Park City. Every element of it was a battleground over which politicians and planners fought. In fact, this marvelous and extremely valuable asset to America's greatest city might just as easily have remained under water. That's the point of this book. There's something deceptively inevitable about land, steel and concrete. With the passage of time it becomes harder and harder to imagine that the land wasn't there, that the

16 songs: Corey Harris - "High Fever Blues" * Mississippi John Hurt - "Louis Collins" * Cats and Jammers - "Love Come Back to Me" * Bill Frisell - "Brother" * Muleskinner - "Knockin' on Your Door" * Ricky Skaggs - "Amanda Jewell" * Tom Russell - "The Sky Above, the Mud Below" * Edgar Meyer, Bela Fleck and Mike Marshall - "Travis" * Dama - "Sangisangy" * Patty Larkin - "Wolf at the Door" * Paulo Bellinati - "Embaixador" * Janis Ian - "At Seventeen" * Steve Tilston - "And So It Goes" * D'Gary - "Andriry" * Catie Curtis - "I Still Want To" * Duncan Sheik - "Barely Breathing."

Short, immaculately dressed, and shockingly foul-mouthed, Joseph E. Levine (1905--1987) was larger than life. He rose from poverty in Boston's West End to become one of postwar Hollywood's most prolific independent promoters, distributors, and producers. Alternately respected and reviled, this master of movie promotion was responsible for bringing films as varied as Godzilla: King of the Monsters! (1956), Hercules (1958), The Graduate (1967), The Lion in Winter (1968), and A Bridge Too Far (1977) to American audiences . In the first biography of this controversial pioneer, A. T. McKenna traces Levine's rise as an influential packager of popular culture. He explores the mogul's pivotal role in many significant industry innovations from the 1950s to the 1970s, examining his use of saturation release tactics and bombastic advertising campaigns. Levine was also a trailblazer in promoting European art house cinema in the 1960s. He made Federico Fellini's 81⁄2 (1963) a hit in America, feuded with Jean-Luc Godard over their production of Contempt (1963), and campaigned aggressively for Sophia Loren to become the first actress to win an Oscar for a foreign language performance for her role in Two Women (1960). Despite his significant accomplishments and prominent role in shaping film distribution and promotion in the post-studio era, Levine is largely overlooked today. McKenna's in-depth biography corrects misunderstandings and misinformation about this colorful figure, and offers a sober assessment of his contributions to world cinema. It also illuminates Levine's peculiar talent for movie- and self-promotion, as well as his extraordinary career in the motion picture business.

Meet Hawkeye Starbuck, a stubborn, easygoing rodeo cowboy with a heart of gold. When he learns that his friend Big Sade and her band of strumpets have fled Pistol Springs in terror, he quickly recruits his old friend, the Harpie, to roar after them deep in the dark woods of the Lochsa country. They are on unfriendly ground, but Hawkeye is determined to set things right.

Brutally raped and left pregnant and half dead, Ashley Bloodworth wants to find the three men who tortured her. She persuades P. I. Dagny Taggart Jamison to take the case after promising that she merely wants to know who fathered her twins. Dagny must find each man and get a DNA sample. But there is a catch: the assault took place ten years ago.

Arnold Toynbee once wrote of what he called "the overwhelming sense of sin that pervades human history." In this anthology of short fiction, underground cult novelist H. A. Covington explores the darkest realms of the supernatural and of the human heart. Cold Earth is a laconically unamazed tale of murder and ghostly retribution from beyond the grave, told in the powerful yet simple words of a Norse saga. Old Asgrim tells of a brutal soldier of Oliver Cromwell who made a bargain with the Devil. In Mick The Cutler, a young man tries to save the woman he loves from a terrible evil that only he can see. A genteel private school is haunted by a century-old crime in The Wheelbarrow. In Whisper Her Name On The Wind a young woman risks all to save the people of her village from massacre, and learns that no good deed ever goes unpunished. In Bringing Mary Home, a murderer finds not only the law but a vengeance-seeking I.R.A. gunman on his trail. The Stranger is an ancient immortal wizard who battles a cult and the demon they summon for the life and soul of a young girl. In The Madman and Marina, a 1930s secret policeman in the Soviet Union finds forgiveness and redemption for a terrible betrayal. Other Voices, Darker Rooms is a must-read for everyone who reads before bedtime and doesn't care whether or not they sleep when they turn out the light.