Published to wide acclaim, this beautiful meditation on the fate of grassland birds has been praised for its profound wisdom and lyrical grace. Herriot, in a narrative that is at once intimate and informative, argues for the essential nature of these tiny creatures. He invites us into the unique world of dedicated scientists, passionate naturalists and such historical figures as 19th-century botanist John Macoun, the last naturalist to see the Great Plains in its pre-settlement grandeur. Grass, Sky, Song is a blending of personal experience, history, philosophy and scientific research. Filled with evocative “sidebar” descriptions of threatened birds, from the sharp-tailed grouse to the chestnutcollared longspur, this graceful book demonstrates why Trevor Herriot is regarded as one of Canada’s finest non-fiction writers.

Western Canada’s natural environment faces intensifying threats from industrialization in agriculture and resource development, social and cultural complicity in these destructive practices, and most recently the negative effects of global climate change. The complex nature of the problems being addressed calls for productive interdisciplinary solutions. In this book, arts and humanities scholars and literary and visual artists tackle these pressing environmental issues in provocative and transformative ways. Their commitment to environmental causes emerges through the fields of environmental history, environmental and ecocriticism, ecofeminism, ecoart, ecopoetry, and environmental journalism. This indispensable and timely resource constitutes a sustained cross-pollinating conversation across the environmental humanities about forms of representation and activism that enable ecological knowledge and ethical action on behalf of Western Canadian environments, yet have global reach. Among the developments in the contributors’ construction of environmental knowledge are a focus on the power of sentiment in linking people to the fate of nature, and the need to decolonize social and environmental relations and assumptions in the West.

Shortgrass Song is the saga of young Caleb Holcomb as he makes his way through life in an epic as big as Texas itself. Caleb's adventures take him through Civil War battles, buffalo hunts, Indian wars and barroom shoot-outs. On his way he meets: Snake Woman--the Comanche slave woman who kidnaps him as a child in an attempt to regain her rightful place in the tribe. Kicking Dog--the renegade Arapaho who rampages through the West scalping victims from Texas to Montana. Marisol--the Mexican beauty who bears Caleb's children and wins his love. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

As well as Ken's battle against the odds to achieve his dream, 'Green Grass of Wyoming' shows a boy's growth into maturity, taking his first steps in love. This classic story is aimed at the 9+ age group.

One of the Greatest Poems in American Literature Walt Whitman (1819-1892) was considered by many to be one of the most important American poets of all time. He had a profound influence on all those who came after him. “Song of Myself”, a portion of Whitman’s monumental poetry collection “Leaves of Grass”, is one of his most beloved poems. It was through this moving piece that Whitman first made himself known to the world. One of the most acclaimed of all American poems, it is written in Whitman’s signature free verse style, without a regular form, meter, or rhythm. His lines have a mesmerizing chant-like quality, as he sought to make poetry more appealing. Few poems are as fun to read aloud as this one. Considered to be the core of his poetic vision, this poem is an optimistic and inspirational look at the world in 1855. It is exhilarating, epic, and fresh in its brilliant and fascinating diction and wordplay as it tries to capture the unique meaning of words of the day, while also embracing the rapidly evolving vocabularies of the sciences and the streets. Far ahead of its time, it was considered by many social conservatives to be scandalous and obscene for its depiction of sexuality and desire, while at the same time, critics hailed the poem as a modern masterpiece. This first version of “Song of Myself” is far superior to the later versions and will delight readers with the playfulness of its diction as it glorifies the self, body, and soul. “I am large, I contain multitudes,”

Writing in Dust is the first sustained study of prairie Canadian literature from an ecocritical perspective. Drawing on recent scholarship in environmental theory and criticism, Jenny Kerber considers the ways in which prairie writers have negotiated processes of ecological and cultural change in the region from the early twentieth century to the present. The book begins by proposing that current environmental problems in the prairie region can be understood by examining the longstanding tendency to describe its diverse terrain in dualistic terms—either as an idyllic natural space or as an irredeemable wasteland. It inquires into the sources of stories that naturalize ecological prosperity and hardship and investigates how such narratives have been deployed from the period of colonial settlement to the present. It then considers the ways in which works by both canonical and more recent writers ranging from Robert Stead, W.O. Mitchell, and Margaret Laurence to Tim Lilburn, Louise Halfe, and Thomas King consistently challenge these dualistic landscape myths, proposing alternatives for the development of more ecologically just and sustainable relationships among people and between humans and their physical environments. Writing in Dust asserts that “reading environmentally” can help us to better understand a host of issues facing prairie inhabitants today, including the environmental impacts of industrial agriculture, resource extraction, climate change, shifting urban–rural demographics, the significance of Indigenous understandings of human–nature relationships, and the complex, often contradictory meanings of eco-cultural metaphors of alien/invasiveness, hybridity, and wildness.

Step into a world where laughter blooms like wildflowers and the unexpected springs forth like a bubbling fountain. "GRASS FART in Donegal Bay," a delightful tale that invites you on a journey filled with giggles, heart, and a touch of the absurd. In the picturesque embrace of Donegal Bay, a secret lurks within the emerald blades of grass. These unassuming plants, guardians of the land, possess a peculiar trait—a penchant for emitting pungent farts. This unexpected ability sets off a chain of hilarious and enjoyable events that will leave you chuckling and gasping for breath. Meet the Cow family, a quartet of endearing characters who find themselves entangled in the grassy farts' mischievous antics. Mr Cow, the ever-patient patriarch, Cowpea, the adventurous young calf, Cowma, the sassy matriarch, and Sir Bartholomew Bumblestink, the family's esteemed elder, are each as unique as the farts themselves. From the Great Gas Showdown, a battle of flatulence that echoes across the bay, to the forbidden Seaweed Tango, a dance that threatens to unleash a symphony of farts, each chapter is a treasure trove of humour and heart. The Cow family's quest for the tastiest grass brings them closer together, forging bonds that are both touching and hilarious. "GRASS FART in Donegal Bay" is more than just a children's book; it's a celebration of the unexpected, a reminder that even the most ordinary things can lead to extraordinary adventures. With its unique concept, engaging characters, and a perfect blend of comedy and warmth, this book is a delightful escape for both young and old. So, why wait? Embark on a journey filled with laughter, friendship, and the occasional whiff of something unexpected. "GRASS FART in Donegal Bay" is available now in both paperback and eBook formats. Join Mr Cow and his family on their unforgettable adventure and discover the magic hidden within the grasses of Donegal Bay.

More adventures from one of Canada's premier editors and storytellers Canada is a country rich in stories, and few take as much joy as Douglas Gibson in discovering them. As one of the country's leading editors and publishers for 40 years, he coaxed modern classics out of some of Canada's finest minds, and then took to telling his own stories in his first memoir, Stories About Storytellers. Gibson turned his memoir into a one-man stage show that eventually played almost 100 times, in all ten provinces, from coast to coast. As a literary tourist, he discovered even more about the land and its writers and harvested many more stories, from distant past and recent memory, to share. Now in Across Canada by Story, Gibson brings new stories about Robertson Davies, Jack Hodgins, W.O. Mitchell, Alistair MacLeod, and Alice Munro, and adds lively portraits of Al Purdy, Marshall McLuhan, Margaret Laurence, Guy Vanderhaeghe, Margaret Atwood, Wayne Johnson, Linwood Barclay, Michael Ondaatje, and many, many others. Whether fly fishing in Haida Gwaii or sailing off Labrador, Douglas Gibson is a first-rate ambassador for Canada and the power of great stories.

Progressions presents another batch of erudite and entertainingessays on a variety of topics covering Saskatchewan’s literarydevelopment, as well as tributes to some of the major con-tributors to that history, and a pictorial glimpse into the past.Writers stopped using typewriters, and even moved beyond theKaypro computer box for their compositions. The SaskatchewanSchool of the Arts was shut down, ending the Fort San writingexperience. But the Sage Hill Writing Experience quickly rose toreplace it. Saskatchewan literary presses really found their feet andpublished important and lasting books. A wave of new writersjoined the founders of the province’s literary tradition. Respondingto this growth in the community, the Saskatchewan Book Awards,and the Saskatchewan Festival of Words in Moose Jaw came intobeing. The Saskatchewan writing community stormed out of the20th Century in a frenzy of creativity and accomplishment.Essay contributors to Volume 2 include Dave Margoshes, JeanetteLynes, Aritha Van Herk, Alison Calder and seven more. The elevenessays include such topics as “To House or House Not: The NewSaskatchewan Women Poets”, “Contemporary Nature Writing inSaskatchewan”, “Fort San/Sage Hill” and “Brave and FoolishNonconformists”. In addition, literary tributes are offered for:Caroline Heath, Pat Krause, Martha Blum and Max Braithwaite.

Ornithologies of Desire develops ecocritical reading strategies that engage scientific texts, field guides, and observation. Focusing on poetry about birds and birdwatching, this book argues that attending to specific details about the physical world when reading environmentally conscious poetry invites a critical humility in the face of environmental crises and evolutionary history. The poetry and poetics of Don McKay provide Ornithologies of Desire with its primary subject matter, which is predicated on attention to ornithological knowledge and avian metaphors. This focus on birds enables a consideration of more broadly ecological relations and concerns, since an awareness of birds in their habitats insists on awareness of plants, insects, mammals, rocks, and all else that constitutes place. The book’s chapters are organized according to: apparatus (that is, science as ecocritical tool), flight, and song. Reading McKay’s work alongside ecology and ornithology, through flight and birdsong, both challenges assumptions regarding humans’ place in the earth system and celebrates the sheer virtuosity of lyric poetry rich with associative as well as scientific details. The resulting chapters, interchapter, and concordance of birds that appear in McKay’s poetry encourage amateurs and specialists, birdwatchers and poetry readers, to reconsider birds in English literature on the page and in the field.