What is the bond between the human psyche and the living planet that nurtured us, and all of life, into existence? What is the link between our own mental health and the health of the greater biosphere? In this "bold, ambitious, philosophical essay" (Publishers Weekly), historian and cultural critic Roszak explores the relationships between psychology, ecology, and new scientific insights into systems in nature. Drawing on our understanding of the evolutionary, self-organizing universe, Roszak illuminates our rootedness in the greater web of life and explores the relationship between our own sanity and the larger-than-human world. The Voice of the Earth seeks to bridge the centuries-old split between the psychological and the ecological with a paradigm which sees the needs of the planet and the needs of the person as a continuum. The Earth's cry for rescue from the punishing weight of the industrial system we have created is our own cry for a scale and quality of life that will free us to become whole and healthy. This second edition contains a new afterword by the author.

A Voice for Earth is a collection of poems, essays, and stories that together give a voice to the ethical principles outlined in the Earth Charter. The Earth Charter was adopted in the year 2000 with the mission of addressing the economic, social, political, spiritual, and environmental problems confronting the world in the twenty-first century. Part 1 of the book, "Imagination into Principle," comprises Steven C. Rockefeller's behind-the-scenes summary of how the language for the Earth Charter was drafted. In part 2, "Principle into Imagination," ten writers breathe life into its concepts with their own original work. Contributors include Rick Bass, Alison Hawthorne Deming, John Lane, Robert Michael Pyle, Janisse Ray, Scott Russell Sanders, Lauret Savoy, and Mary Evelyn Tucker. In part 3, "Imagination and Principle into a New Ethic," Leonardo Boff offers a new paradigm created through reflecting on the concept of care in the Earth Charter.

Discusses how humans' psychological and physical well-being is linked to the health of the planet, including issues such as the Anthropic Principle and the Gaia Hypothesis

The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more!

The classic pacifist novel by a major Polish writer, who was nominated for the Nobel Prize At the beginning of the twentieth century the villagers of the Carpathian mountains lead a simple life, much as they have always done. Among them is Piotr, a bandy-legged peasant, who wants nothing more from life than an official railway cap, a cottage, and a bride with a dowry. But then the First World War reaches the mountains and Piotr is drafted into the army. All the weight of imperial authority is used to mould him into an unthinking fighting machine, forced to fight a war he does not understand, for interests other than his own. The Salt of the Earth is a classic war novel and a powerfully pacifist tale about the consequences of war for ordinary men.

At the turn of the nineteenth century, geology—and its claims that the earth had a long and colorful prehuman history—was widely dismissedasdangerous nonsense. But just fifty years later, it was the most celebrated of Victorian sciences. Ralph O’Connor tracks the astonishing growth of geology’s prestige in Britain, exploring how a new geohistory far more alluring than the standard six days of Creation was assembled and sold to the wider Bible-reading public. Shrewd science-writers, O’Connor shows, marketed spectacular visions of past worlds, piquing the public imagination with glimpses of man-eating mammoths, talking dinosaurs, and sea-dragons spawned by Satan himself. These authors—including men of science, women, clergymen, biblical literalists, hack writers, blackmailers, and prophets—borrowed freely from the Bible, modern poetry, and the urban entertainment industry, creating new forms of literature in order to transport their readers into a vanished and alien past. In exploring the use of poetry and spectacle in the promotion of popular science, O’Connor proves that geology’s success owed much to the literary techniques of its authors. An innovative blend of the history of science, literary criticism, book history, and visual culture, The Earth on Show rethinks the relationship between science and literature in the nineteenth century.

My name is Hanna. I am 15. I am Latvian. I live with my mother and grandmother. My father is missing, taken by the Russians. I have a boyfriend and I'm training to be a dancer. But none of that is important any more. Because the Nazis have arrived, and I am a Jew. And as far as they are concerned, that is all that matters. This is my story. "A tragic, harrowing and deeply moving account of the Holocaust from the perspective of an ordinary girl." - The Bookseller

Traces the life of the woman who became known as the "Grandmother of the Glades" for her fight to preserve the Florida Everglades against misuse and development.

The Book of Eador, Abjurations 12:14, is very clear: Suffer ye not the life of a witch. For a thousand years, the Church Knights have obeyed that commandment, sending to the stake anyone who can hear the songs of the earth. There are no exceptions, not even for one of their own. Novice Knight Gair can hear music no one else can, beautiful, terrible music: music with power. In the Holy City, that can mean only one thing: death by fire—until an unlikely intervention gives him a chance to flee the city and escape the flames. With the Church Knights and their witchfinder hot on his heels, Gair hasn't time to learn how to use the power growing inside him, but if he doesn't master it, that power will tear him apart. His only hope is the secretive Guardians of the Veil, though centuries of persecution have almost destroyed their Order, and the few Guardians left have troubles of their own. For the Veil between worlds is weakening, and behind it, the Hidden Kingdom, ever-hungry for dominion over the daylight realm, is stirring. Though he is far from ready, Gair will find himself fighting for his own life, for everyone within the Order of the Veil, and for the woman he has come to love. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.