What does it mean to speak Sakha in the city? Words Like Birds, a linguistic ethnography of Sakha discourses and practices in urban far eastern Russia, examines the factors that have aided speakers in maintaining--and adapting--their minority language over the course of four hundred years of contact with Russian speakers and the federal power apparatus. Words Like Birds analyzes modern Sakha linguistic sensibilities and practices in the urban space of Yakutsk. Sakha is a north Siberian Turkic language spoken primarily in the Sakha Republic (Yakutia) in the northeastern Russian Federation. For Sakha speakers, Russian colonization in the region inaugurated a tumultuous history in which their language was at times officially supported and promoted and at other times repressed and discouraged. Jenanne Ferguson explores the communicative norms that arose in response to the top-down promotion of the Russian language in the public sphere and reveals how Sakha ways of speaking became emplaced in villages and the city's private spheres. Focusing on the language ideologies and practices of urban bilingual Sakha-Russian speakers, Ferguson illuminates the changes that have taken place in the first two post-Soviet decades, in contexts where Russian speech and communicative norms dominated during the Soviet era. Weaving together three major themes--language ideologies and ontologies, language trajectories, and linguistic syncretism--this study reveals how Sakha speakers transform and adapt their beliefs, evaluations, and practices to revalorize a language, maintain and create a sense of belonging, and make their words heard in Sakha again in many domains of city life. Like the moveable spirited words, the focus of Words Like Birds is mobility, change, and flow, the tracing of the situation of bilinguals in Yakutsk.

A powerful and poetic immigration story. A girl learns words in a new language to prepare for her move to a new country. But when her family arrives, everyone speaks so fast and “all her words fly away like birds.” The girl waits, and watches, and listens, trying to figure things out. Only, it’s hard. Then one day the girl meets someone who needs her help. And as she makes a new friend, the new words start to come easier — becoming her words, at last. A perfect read-aloud, this poignant story offers a powerful lesson in empathy for children everywhere.

The distinctive and amazing songs and calls of birds: a meditation and a lexicon. “A miraculous little book: a compressed encyclopedia of our fascination with avifauna.” —The Nation “A charming, funny, and eccentric book.” —Times Literary Supplement “An elegant tribute to the beauty of its subject.” —Los Angeles Times Birds sing and call, sometimes in complex and beautiful arrangements of notes, sometimes in one-line repetitions that resemble a ringtone more than a symphony. Listening, we are stirred, transported, and even envious of birds' ability to produce what Shelley called “profuse strains of unpremeditated art.” And for hundreds of years, we have tried to write down what we hear when birds sing. Poets have put birdsong in verse (Thomas Nashe: “Cuckoo, jug-jug, pu-we, to-witta-woo”) and ornithologists have transcribed bird sounds more methodically. Drawing on this history of bird writing, in Aaaaw to Zzzzzd John Bevis offers a lexicon of the words of birds. For tourists in Birdland, there could be no more charming phrasebook. Consulting it, we find seven distinct variations of “hoo” attributed to seven different species of owls, from a simple hoo to the more ambitious hoo hoo hoo-hoo, ho hoo hoo-hoo; the understated cheet of the tree swallow; the resonant kreeaaaaaaaaaaar of the Swainson's hawk; the modest peep peep peep of the meadow pipit. We learn that some people hear the Baltimore oriole saying “here, here, come right here, dear” and the yellowhammer saying “a little bit of bread and no cheese.” Bevis, a poet, frames his lexicons—one for North America and one for Britain and northern Europe—with an evocative appreciation of birds, birdsong, and human attempts to capture the words of birds in music and poetry. He also offers an engaging account of other methods of documenting birdsong—field recording, graphic notation, and mechanical devices including duck calls and the serinette, an instrument used to teach song tunes to songbirds. The singing of birds is nature at its most sublime, and words are our medium for expressing this sublimity. Aaaaw to Zzzzzd belongs in the bird lover's backpack and on the word lover's bedside table, an unexpected and sui generis pleasure.

When Christians collude in crimes against humanity, they betray their citizenship in the kingdom of God, demonstrating that Christ’s Lordship does not rule over every area of their lives. The popular ideology known as Christian Zionism is a prime enabler of such widespread discipleship—failure in western Christianity. As the state of Israel continues to violate international law with colonial settlement in lands captured by warfare, legalized racial discrimination, and the creation of what many have called “the world’s largest open-air prison” in Gaza, Christian Zionists continue their unqualified support for Zionist Israel. Though Israel advertises itself as “the only democracy in the Middle East,” it is actually a rigid ethnocracy—its entire society built on the foundations of Jewish supremacy over a Palestinian underclass. History will eventually judge Christian Zionist support for Israel’s crimes against the Palestinians in the same way people of conscience now condemn the Christian church in the American South for its defense of slavery and hostility towards the civil rights movement. Just as the Southern Baptist church finally repudiated its pro-slavery past, so everyone genuinely devoted to Jesus Christ must repudiate both the ideology and the legacy of Christian Zionism.

This collection is of the love of birds From first flight to last flight and everything in between That the heart can soar on wings that you created and in your dreams. This edition created in A4 format for ease of reading and sharing and contains many more extra poems.

Birds played an important role in the ancient world: as indicators of time, weather, and seasons; as a resource for hunting, medicine, and farming; as pets and entertainment; as omens and messengers of the gods. Jeremy Mynott explores the similarities and surprising differences between ancient perceptions of the natural world and our own.

In this nonfiction picture book for young readers, we learn just why the mother nesting bird stays quiet and still while sitting on her eggs. Shh. . . .

NATIONAL BESTSELLER A Kansas City Star Best Book of the Year "Brilliant, meditative, and full of surprises, wisdom, and wonder."—Ann Lamott, author of Imperfect Birds "I am leaving you all my journals, but you must promise me you won't look at them until after I'm gone." This is what Terry Tempest Williams's mother, the matriarch of a large Mormon clan in northern Utah, told her a week before she died. It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as it was to discover that the three shelves of journals were all blank. In fifty-four short chapters, Williams recounts memories of her mother, ponders her own faith, and contemplates the notion of absence and presence art and in our world. When Women Were Birds is a carefully crafted kaleidoscope that keeps turning around the question: What does it mean to have a voice?

This is a bilingual collection of humorous and serious poems about family, nature, and celebrations by a renowned Mexican American poet.

The translation and explanation of genus and species names yield markers to help us identify birds in the field as well as remember distinctive traits. Having a basic understanding of the scientific and common names of birds reveals insights into their color, behavior, habitat, or geography. Knowing that Cyanocitta means “blue chatterer” and cristata means “crested, tufted” or that Anas means “a duck” and clypeata means “armed with a shield” tells you just about everything you need to identify a Blue Jay or a Northern Shoveler. In this portable reference book, James Sandrock and Jean Prior explain the science and history behind the names of some 450 birds of the Upper Midwest states of Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North and South Dakota, Ohio, and Wisconsin. Since many of these birds occur throughout the United States, this handbook can also be used by birders in other parts of the country. The authors examine the roots, stems, and construction of scientific names from their classical Latin and Greek or other linguistic origins. The translations of these words and insights into their sources yield quirky, tantalizing facts about the people, geography, habitat, and mythology behind bird names. Each entry also includes the bird’s common name as well as local or regional names. Beginning birders confused by scientific names as well as more experienced birders curious about such names will find that the book opens unexpected connections into linguistic, historical, biological, artistic, biographical, and even aesthetic realms. Highlighting the obvious and not-so-obvious links between birds and language, this practical guide continues a long scholarly tradition of such books by and for those afoot in the field. Whether you are hiking with binoculars or watching a backyard bird feeder or reading at home, The Scientific Nomenclature of Birds in the Upper Midwest will greatly enhance your appreciation of birds.