From African American to Asian American, indigenous to immigrant, "multiracial" to "mixedblood," the diversity of cultures in this world is matched only by the diversity of stories explaining our cultural origins: stories of creation and destruction, displacement and heartbreak, hope and mystery. With writing from Jamaica Kincaid on the fallacies of national myths, Yusef Komunyakaa connecting the toxic legacy of his hometown, Bogalusa, LA, to a blind faith in capitalism, and bell hooks relating the quashing of multiculturalism to the destruction of nature that is considered "unpredictable" -- amongst more than 35 other examinations of the relationship between culture and nature -- this collection points toward the trouble of ignoring our cultural heritage, but also reveals how opening our eyes and our minds might provide a more livable future. "The Colors of Nature" comes in four alternating-color covers: red, yellow, green, and blue.

An Island in the Stream, a collaboration between Cuban and American writers and scholars, is a diverse collection of ecocritical and literary responses to the natural environment in Cuba and to Cuban environmental culture. The essays explore Cuba's vibrant cultural history with particular attention to literature and the visual and performing arts, which are viewed through such lenses as ecofeminism, postcolonial ecocriticism, multiculturalism, and the nuclear imaginary, among others. American environmentalists have long viewed modern Cuba as a model of progressive environmental thinking. In the 1990s, the Cuban government made sustainability a centerpiece of national policy initiatives. This book explores some of the historical foundations of contemporary sustainability efforts in Cuba, while also describing the contemporary environmental situation in that part of the world. From Jose Marti to Excilia Saldana, from Antonio Nunez Jimenez to Lydia Cabrera, the articles here aim to provide a starting point for others who wish to learn about Cuban environmental thought. The conjunction of scholarly and creative work is a gesture toward the interdependence of humanities research and artistic expression, both of which seek to encourage environmental and cultural mindfulness and sensitivity.

Descended from the great American writer Nathaniel Hawthorne, Alison Deming appropriately begins this philosophical autobiography along the shores of the North Atlantic -- on Grand Manan Island, in the Bay of Fundy. Moving on to Provincetown, Massachusetts, and then to Tucson, Arizona, and Paomoho, Hawaii, Deming describes places that are dear to her because their ways are still shaped by terms nature has set, though less and less so.

With vivid ideas and passion, Deming writes about the importance of nature writing for these peripatetic times. Because people's lives are materially less connected to the natural world, they are also spiritually less connected. Through the arts -- through the story of the captain whose boat honors the Kwakiutl "Wild Woman of the Woods" or the fisherman who sacrifices his catch to save two whales -- people fall again "into harmony with place and each other"; they write the sacred into the real.

I greatly admire Alison Deming's lucid and precise language, her stunning metaphors, her passion, her wild and generous spirit, her humor, her formal cunning. I am taken, as all readers will be, by the knowledge she displays and how she puts this knowledge to a poetic use; but I am equally taken, I am more taken, by the wisdom that lies behind the knowledge. I am amazed, and delighted, by her authority and tenacity. She is of this world; she lives in it, and for better or worse, it is the world she settles for; and she understands that, even if she must rage a little, and sometimes more than a little, she is one of its citizens. Like every original poet, she appears to have sprung full-blown, out of Zeus' head I want to say, but Aphrodite is here as well as Athena, the ocean as well as the mountain. I congratulate her on this fine book., Gerald Stern Alison Hawthorne Deming brings to her first collection of verse the kinds of scrupulous observation and clear-eyed analysis that characterize scientific inquiry as well as a poet's eye for the telling moment.Science and Other Poems establishes astonishing parallels between the mute, inexorable processes of the physical universe and the dark mysteries of the human heart, parallels so clearly wrought and convincing that we wonder why we had not recognised them before. ""Caffe Trieste"" lays bare the unexamined terror and sorrow that underlie the proliferation of faux fifties kitsch, then strips the veil of spacious grace from the decade and reveals it as it was for those who lived it: . . . bombs spread like bacteria on culture plates, when the cost of a family staying together might be Stelanize and high-voltage erasures. They're just American, all shine and no pain. In the chilling ""Alliance, Ohio,"" a mother and daughter suddenly find themselves stranded in a world of predators, a poisonous world charged with sexual threat, where every smile, every gesture, drips with sly menace. Yet moments of dislocation can also be cause for rejoicing, as when a speaker, after surprising a bat in the house, is moved to rapture by the sight of the night sky. Every page of Science and Other Poems is alive with startling juxtapositions, eerie parallels, abrupt shifts of tone, and image after image of crystalline perfection, as in this dazzling evocation of soft-shelled crabs: ""their finely stippled bodies that give to the touch, / translucent as Japanese lanterns."" These poems imbue everything, from the microscopic to the stellar, with wonder. Each instant of illumination, like poetry itself, brings the world alive with ""a faithfulness deeper than seeing.

An Island in the Stream, a collaboration between Cuban and American writers and scholars, is a diverse collection of ecocritical and literary responses to the natural environment in Cuba and to Cuban environmental culture. The chapters explore Cuba's vibrant cultural history with particular attention to literature and the visual and performing arts, which are viewed through such lenses as ecofeminism, postcolonial ecocriticism, multiculturalism, and the nuclear imaginary, among others. American environmentalists have long viewed modern Cuba as a model of progressive environmental thinking. In the 1990s, the Cuban government made sustainability a centerpiece of national policy initiatives. This book explores some of the historical foundations of contemporary sustainability efforts in Cuba, while also describing the current environmental situation in that part of the world. From Jose Marti to Excilia Saldana, from Antonio Nunez Jimenez to Lydia Cabrera, the chapters here aim to provide a starting point for others who wish to learn about Cuban environmental thought. The conjunction of scholarly and creative work is a gesture toward the interdependence of humanities research and artistic expression, both of which seek to encourage environmental and cultural mindfulness and sensitivity.

The Santa Catalina Mountains north of Tucson-whose summit is called Frog Mountain by the Tohono O'odham-offers up to the citizens of the basins below a wilderness in their own backyard. When it was first published in 1987, Frog Mountain Blues documented the creeping sprawl of new development up the Catalinas' foothills. Today, that development is fully visible, but Charles Bowden's prescience of the urgency to preserve and protect a sacred recreational space remains as vivid as ever. Accompanied by Jack W. Dykinga's photographs from the original work, this book continues to convey the natural beauty of the Catalinas and warns readers that this unique wilderness could easily be lost. As Alison Hawthorne Deming writes in the new foreword, ""Frog Mountain Blues continues to be an important book for learning to read this place through the eyes of experience and history, and Bowden remains a sobering voice for facing our failures in protecting what we love in this time of global destruction, for taking seriously the power of language to set ourselves right again with the enormous task of living with purpose and presence and care on the land.

America. Located about 150 miles (241 kilometers) west of Las Vegas near the border of California and Nevada, it straddles an area of about 3,000 square miles (770 square kilometers). A land of extremes and contrasts, it includes Telescope Peak that towers over the valley at 11,049 feet elevation (3,367 meters) and an oasis that provides habitat for the endangered Devils Hole Pupfish (Cyprinodon diabolis). Designated a national monument in 1933 and expanded into a national park in 1994, its rugged yet otherworldly beautiful landscape now attracts more than 1,000,000 visitors per year. Attracted by the distinctive topography and light of Death Valley, Stephen Strom, a renowned professor of astrophysics, began regularly traveling there some thirty-five years ago. His acute eye for abstract, almost pointillist compositions not only reveals the patterns and effects of geologic forces over millennia, but it also takes in the vast, colorful sweep of land and sky as well as the land's myriad details-volcanic cinder cones and sand dunes, dry lakes and salt pans, colorful badlands and canyons, and pine-studded mountains-that give the area its distinctive and varied character. Strom's photographs are complemented by Alison Hawthorne Deming's original sequence of poems, written for this book, that are as luminous and detailed as the images themselves. And Rebecca A. Senf's perceptive essay situates Strom's work within the canon of those photographers who have inspired and mentored him, including Ansel Adams, Harry Callahan, Keith McElroy, Eliot Porter, Frederic Sommer, and Max Yavno. Death Valley: Painted Light is a book unlike any other about a landscape whose topographic relief and sheer beauty are unforgettable.