This final volume in the author's trilogy, which began with Stirring the Mud and Entering the Stone gives nature writing a human dimension and throws light on the mysterious and overlooked wonders on beaches as far-flung as Morocco, St. Croix, or Alaska, and as familiar as California and Cape Cod.

Edited by John Wilks, this is a fine selection of both poetry and short fiction that represents the very best writing from 12 weeks of The NOT The Whittaker Prize 2013. Contributors from the UK, Canada, Australia and the USA

In this exhilarating work, Barbara Hurd explores some of the most extraordinary places on earth, from sacred caves in India to secret caves in Arizona. With passionately informed prose, Hurd makes these strange dark spaces come to light, illuminating the natural history and spiritual territory of caves as powerfully as Kathleen Norris portrayed the Dakotas. Entering the Stone provides an awe-inducing tour through a fragile and beautiful subterranean world.

In these nine evocative essays, Barbara Hurd explores the seductive allure of bogs, swamps, and wetlands. Hurd's forays into the land of carnivorous plants, swamp gas, and bog men provide fertile ground for rich thoughts about mythology, literature, Eastern spirituality, and human longing. In her observations of these muddy environments, she finds ample metaphor for human creativity, 9imagination, and fear.

The Hatteras Caper intertwines the beauty of the Outer Banks of North Carolina and the adventures of a self-made humanitarian. As Ray Leggett of Bear Grass, North Carolina, struggles with the stress of a pregnancy with his fiancée, Stacey, things go wrong with his life. He fails to make the East Carolina University golf team, flunks out of college, and finally joins the Marine Corps. He is sent to Vietnam, but he returns injured. Seeking peace, Ray goes to Canada in search of a golf team buddy only to find a dismal scenario. To return to North Carolina, Ray becomes a crewman on a yacht sailing south. His life is changed forever when he absconds with a cache of money, which he finds onboard the yacht. On Cape Hatteras, Ray becomes a newspaper reporter, gravedigger, and a body hauler as he carefully manages his fortune. Several romances and a health scare later, he invests in a bankrupt golf course. Stacey had married another man, but is now a widow and finds Ray on Hatteras. After their love is rekindled, an intriguing secret about the money is revealed.

Missing Persons is a memoir about dealing with death in a culture that gives no help. As the last of her family, Greene’s losses are stark, first her aunt, then her mother, in quick succession. She is as ill-equipped for the challenges of caring for a dying person at home as she is for the other losses, long repressed, that rise to confront her at this time: the suicide of her younger brother, the death of her father. As the professional identity on which she’s based her selfhood comes to feel brittle and trivial, she is catapulted into questions of “who am I?” and “what have I done with my life?” The memoir is structured as an account of her mother's and aunt’s final days and the year that follows, a year in which she reconstructs her life. This is a powerful story about family, what it means to have one, to lose one, never to have made one, and what, if anything, might take its place. It’s the story of a vexed mother-daughter relationship that mellows with age. It is also a search for home, as the very landscape shifts around her and the vast orchards are dug up and paved over for tract housing, strip malls, freeways, and the Santa Clara Valley, once known as the Valley of Heart’s Delight, is transformed to “Silicon.”

Death affects all aspects of life, it touches our emotions and influences our identity. Presenting a kaleidoscope of informative views of death, dying and human response, this book reveals how different disciplines contribute to understanding the theme of death. Drawing together new and established scholars, this is the first book among the studies of emotion that focuses on issues surrounding death, and the first among death studies which focuses on the issue of emotion. Themes explored include: themes of grief in the ties that bind the living and the dead, funerals, public memorials and the art of consolation, obituaries and issues of war and death-row, use of the internet in dying and grieving, what people do with cremated remains, new rituals of spiritual care in medical contexts, themes bounded and expressed through music, and more.

With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States. The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

Reflecting on how a student’s parents met because of a fly ball to center field in a summer softball game, author Robert Root wondered how the lives of that student’s parents and of the student himself would have changed had the batter bunted or struck out. Haunted by this pure example of happenstance, he began to ponder his own existence, dependent in part on geology (the Niagara Escarpment) and history (the Erie Canal). He wondered how happenstance had influenced the course of his parents’ lives, in particular their marriages (they married and divorced each other twice), and consequently the shaping of his identity. Happenstance investigates the effects of that phenomenon and choice on one man’s life. Root explores this theme in interwoven strands of narrative, interpretation, and reflection. One strand, “The Hundred Days,” follows his attempt to write one hundred journal entries, each about a different day in his life, to recover memories of specific moments or collections of moments. In the strand headed “Album,” he examines and interprets old family photographs in light of the way he reads them in the present, as someone now privy to a family secret that directed his and his siblings’ lives without their knowledge. Interspersed among these brief interpretations and narratives are reflections on happenstance and choice, a sequence contemplating their effect on his life and perhaps on all our lives. Through juxtaposition and accumulation, the book’s incremental unraveling of meaning imitates the process of unexpected epiphanies and gradual self-discovery in anyone’s life. By revisiting individual days, giving voice to photographs that mutely preserve family moments, and reflecting on the way happenstance and choice determine the directions lives take, Robert Root generates a meditation on identity anchored in an album in words and images of a mid-twentieth-century life.

"A breath, a gust, a positive whoosh of fresh air. Made me laugh, made me think, made me cry. " Adrian Plass In the last decade, atheism has leapt from obscurity to the front pages: producing best-selling books, making movies, and plastering adverts on the side of buses. There's an energy and a confidence to contemporary atheism: many people now assume that a godless scepticism is the default position, indeed the only position for anybody wishing to appear educated, contemporary, and urbane. Atheism is hip, religion is boring. Yet when one pokes at popular atheism, many of the arguments used to prop it up quickly unravel. The Atheist Who Didn't Exist is designed to expose some of the loose threads on the cardigan of atheism, tug a little, and see what happens. Blending humour with serious thought, Andy Bannister helps the reader question everything, assume nothing and, above all, recognise lazy scepticism and bad arguments. Be an atheist by all means: but do be a thought-through one.