A SCHOLARLY BOOK REPOSITORY15 start with D start with D
Ellen Wohl has thought about these questions, and In Dead Wood, she takes us through the afterlife of trees, describing the importance of standing and downed dead wood in forests, in rivers, along beaches, in the open ocean, and even at the deepest parts of the seafloor. Downed wood in the forest provides habitat for diverse plants and animals, and the progressive decay of the wood releases nutrients into the soil. Wood in rivers provides critical habitat for stream insects and fish and can accumulate in logjams that divert the river repeatedly across the valley floor, creating a floodplain mosaic that is rich in habitat and biodiversity. Driftwood on the beach helps to stabilize shifting sand, creating habitat for plants and invertebrates. Fish such as tuna congregate at driftwood in the open ocean. As driftwood becomes saturated and sinks to the ocean floor, collections of sunken wood provide habitat and nutrients for deep-sea organisms. Far from being an unsightly form of waste that needs to be cleaned from forests, beaches, and harbors, dead wood is a critical resource for many forms of life.
Dead Wood follows the afterlives of three trees: a spruce in the Colorado Rocky Mountains that remains on the floodplain after death; a redcedar in Washington that is gradually transported downstream to the Pacific; and a poplar in the Mackenzie River of Canada that is transported to the Arctic Ocean. With these three trees, Wohl encourages readers to see beyond landscapes, to appreciate the ecological processes that drive rivers and forests and other ecosystems, and demonstrates the ways that the life of an ecosystem carries on even when individual members of that system have died. Readers will discover that trees can have an exceptionally rich afterlife—one tightly interwoven with the lives of humans and ecosystems.
It is a remarkable story of life, death, and revival—told here for the first time in all its stunning color and bleak grays. The Death and Life of Monterey Bay begins in the eighteenth century when Spanish and French explorers encountered a rocky shoreline brimming with life—raucous sea birds, abundant sea otters, barking sea lions, halibut the size of wagon wheels,waters thick with whales. A century and a half later, many of the sea creatures had disappeared, replaced by sardine canneries that sickened residents with their stench but kept the money flowing. When the fish ran out and the climate turned,the factories emptied and the community crumbled. But today,both Monterey’s economy and wildlife are resplendent. How did it happen?
The answer is deceptively simple: through the extraordinary acts of ordinary people. The Death and Life of Monterey Bay is the biography of a place, but also of the residents who reclaimed it. Monterey is thriving because of an eccentric mayor who wasn’t afraid to use pistols, axes, or the force of law to protect her coasts. It is because of fishermen who love their livelihood, scientists who are fascinated by the sea’s mysteries, and philanthropists and community leaders willing to invest in a world-class aquarium. The shores of Monterey Bay revived because of human passion—passion that enlivens every page of this hopeful book.
Selenium, essential in microscopic doses, can be deadly in larger amounts. Death in the Marsh explains how federal irrigation projects have altered selenium's circulation in the environment, allowing it to accumulate in marshes, killing ecosystems and wildlife, and causing deformities in some animals.
Daniel weaves his narrative with newspaper and firsthand accounts, interviews and survivors, official reports, and over 140 contemporary photographs. The story of the common refugee who suffered most of the effects of the flood emerges alongside the details of the massive rescue and relief operation—one of the largest ever mounted in the United States. The title, Deep’n as It Come, is a phrase from Cora Lee Campbell’s early description of he approaching water, which, Daniel writes, “moved at a pace of some fourteen miles per day,” and in its movement and sound, “had the eeriness of a full eclipse of t he sun, unsettling, chilling.”
“The contradictions of sorrow and humor. . . death and salvation, despair and hope, calm and panic—all reveal the human dimension” in this compassionate and unforgettable portrait of common people confronting a great natural disaster.
If humankind were given a mandate to do everything in our power to undermine the earth's functioning, we could hardly do a better job than we have in the past thirty years on the world's oceans, both by what we are putting into it-millions of tons of trash and toxic materials-and by what we are taking out of it-millions of tons of wildlife. Yet only recently have we begun to understand the scale of those impacts.
Defying Ocean's End is the result of an unprecedented effort among the world's largest environmental organizations, scientists, the business community, media, and international governments to address these marine issues. In June 2003, in the culmination of a year-long effort, they met specifically to develop a comprehensive and achievable agenda to reverse the decline in health of the world's oceans.
As conservation organizations begin to expand their focus from land issues to include a major focus on preservation of the sea, it is increasingly apparent that we have to approach marine conservation differently and at much larger scale than we have to date. What's also clear is the magnitude and immediacy of the growing ocean concerns are such that no one organization can handle the job alone.
Defying Ocean's End is a bold step in bringing the resources needed to bear on this vast problem before it is too late. It offers a broad strategy, a practical plan with priorities and costs, aimed at mobilizing the forces needed to bring about a "sea change" of favorable attitudes, actions, and outcomes for the oceans-and for all of us.
Covering an immense geographical range, Michael Welland wanders from the Sahara to the Atacama, depicting the often bizarre adaptations of plants and animals to these hostile environments. He also looks at these seemingly infertile landscapes in the context of their place in history—as the birthplaces not only of critical evolutionary adaptations, civilizations, and social progress, but also of ideologies. Telling the stories of the diverse peoples who call the desert home, he describes how people have survived there, their contributions to agricultural development, and their emphasis on water and its scarcity. He also delves into the allure of deserts and how they have been used in literature and film and their influence on fashion, art, and architecture. As Welland reveals, deserts may be difficult to define, but they play an active role in the evolution of our global climate and society at large, and their future is of the utmost importance. Entertaining, informative, and surprising, The Desert is an intriguing new look at these seemingly harsh and inhospitable landscapes.
Remote desert locations, including the Chihuahuan Desert of northern Mexico, southern Texas, New Mexico, and Arizona, draw adventurers of all kinds, from the highly skilled and well prepared to urban cowboys who couldn't lead themselves (much less a horse!) to water. David Alloway's goal in this book is to help all of them survive when circumstances beyond their control strand them in the desert environment. In simple, friendly language, enlivened with humor and stories from his own extensive experience, Alloway here offers a practical, comprehensive handbook for both short-term and long-term survival in the Chihuahuan and other North American deserts.
Now back in print, Joseph Wood Krutch’s Burroughs Award–winning The Desert Year is as beautiful as it is philosophically profound. Although Krutch—often called the Cactus Walden—came to the desert relatively late in his life, his curiosity and delight in his surroundings abound throughout The Desert Year, whether he is marveling at the majesty of the endless dry sea, at flowers carpeting the desert floor, or at the unexpected appearance of an army of frogs after a heavy rain.
Krutch’s trenchant observations about life prospering in the hostile environment of Arizona’s Sonoran Desert turn to weighty questions about humanity and the precariousness of our existence, putting lie to Western denials of mind in the “lower” forms of life: “Let us not say that this animal or even this plant has ‘become adapted’ to desert conditions. Let us say rather that they have all shown courage and ingenuity in making the best of the world as they found it. And let us remember that if to use such terms in connection with them is a fallacy then it can only be somewhat less a fallacy to use the same terms in connection with ourselves.”
This edition contains 33 exacting drawings by noted illustrator Rudolf Freund. Closely tied to Krutch’s uncluttered text, the drawings tell a story of ineffable beauty.
The vision of a garden shared peacefully by humans and animals is a familiar, but elusive, landscape trope. Whether threatened by habitat destruction or climate change, displaced by urbanization or invasive species, poisoned by industrial toxins, or hunted to extinction, many wild animals have failed to thrive in the company of people. There is growing scientific consensus that we are in the midst of the sixth great extinction in earth history—and the first caused by human activities.
What agency can landscape architects and garden designers have in conserving or restoring wildlife diversity? Designing Wildlife Habitats gathers essays by designers, scientists, and historians to explore how they might better collaborate to promote zoological biodiversity and how scientific ambitions might be expressed in culturally significant and historically informed design. Established conservation practices within ecology have begun to shape landscape architecture, and current initiatives in ecosystem services, restoration ecology, and designer-generated ecological experiments provide an enlarged role for landscape architects in the creation of productive habitats. Design has become increasingly instrumental to both the appearance and the ecological function of landscapes.
The rapidly disappearing wetlands that once spread so abundantly across the American continent serve an essential and irreplaceable ecological function. Yet for centuries, Americans have viewed them with disdain. Beginning with the first European settlers, we have thought of them as sinkholes of disease and death, as landscapes that were worse than useless unless they could be drained, filled, paved or otherwise "improved." As neither dry land, which can be owned and controlled by individuals, nor bodies of water, which are considered a public resource, wetlands have in recent years been at the center of controversy over issues of environmental protection and property rights.
The confusion and contention that surround wetland issues today are the products of a long and convoluted history. In Discovering the Unknown Landscape, Anne Vileisis presents a fascinating look at that history, exploring how Americans have thought about and used wetlands from Colonial times through the present day. She discusses the many factors that influence patterns of land use -- ideology, economics, law, perception, art -- and examines the complicated interactions among those factors that have resulted in our contemporary landscape. As well as chronicling the march of destruction, she considers our seemingly contradictory tradition of appreciating wetlands: artistic and literary representations, conservation during the Progressive Era, and recent legislation aimed at slowing or stopping losses.
Discovering the Unknown Landscape is an intriguing synthesis of social and environmental history, and a valuable examination of how cultural attitudes shape the physical world that surrounds us. It provides important context to current debates, and clearly illustrates the stark contrast between centuries of beliefs and policies and recent attempts to turn those longstanding beliefs and policies around. Vileisis's clear and engaging prose provides a new and compelling understanding of modern-day environmental conflicts.
Diverting the Gila explores the complex web of tension, distrust, and political maneuvering to divide and divert the scarce waters of the Gila River. Residents of Florence, Casa Grande, and the Pima Reservation fought for vital access to water rights. Into this political foray stepped Arizona’s freshman congressman Carl Hayden, who not only united the farming communities but also used Pima water deprivation to the advantage of Florence-Casa Grande and Upper Gila Valley growers. The result was the federal Florence-Casa Grande Project that, as legislated, was intended to benefit Pima growers on the Gila River Indian Reservation first and foremost. As was often the case in the West, well-heeled, nontribal political interests manipulated the laws at the expense of the Indigenous community.
Diverting the Gila is the sequel to David H. DeJong’s 2009 Stealing the Gila, and it continues to tell the story of the forerunner to the San Carlos Irrigation Project and the Gila River Indian Community’s struggle to regain access to their water.
The Green River, the most significant tributary of the Colorado River, runs 730 miles from the glaciers of Wyoming to the desert canyons of Utah. Over its course, it meanders through ranches, cities, national parks, endangered fish habitats, and some of the most significant natural gas fields in the country, as it provides water for 33 million people. Stopped up by dams, slaked off by irrigation, and dried up by cities, the Green is crucial, overused, and at-risk, now more than ever.
Fights over the river’s water, and what’s going to happen to it in the future, are longstanding, intractable, and only getting worse as the West gets hotter and drier and more people depend on the river with each passing year. As a former raft guide and an environmental reporter, Heather Hansman knew these fights were happening, but she felt driven to see them from a different perspective—from the river itself. So she set out on a journey, in a one-person inflatable pack raft, to paddle the river from source to confluence and see what the experience might teach her. Mixing lyrical accounts of quiet paddling through breathtaking beauty with nights spent camping solo and lively discussions with farmers, city officials, and other people met along the way, Downriver is the story of that journey, a foray into the present—and future—of water in the West.
How Japanese coastal residents and transnational conservationists collaborated to foster relationships between humans and sea life
Drawing the Sea Near opens a new window to our understanding of transnational conservation by investigating projects in Okinawa shaped by a “conservation-near” approach—which draws on the senses, the body, and memory to collapse the distance between people and their surroundings and to foster collaboration and equity between coastal residents and transnational conservation organizations. This approach contrasts with the traditional Western “conservation-far” model premised on the separation of humans from the environment.
Based on twenty months of participant observation and interviews, this richly detailed, engagingly written ethnography focuses on Okinawa’s coral reefs to explore an unusually inclusive, experiential, and socially just approach to conservation. In doing so, C. Anne Claus challenges orthodox assumptions about nature, wilderness, and the future of environmentalism within transnational organizations. She provides a compelling look at how transnational conservation organizations—in this case a field office of the World Wide Fund for Nature in Okinawa—negotiate institutional expectations for conservation with localized approaches to caring for ocean life.
In pursuing how particular projects off the coast of Japan unfolded, Drawing the Sea Near illuminates the real challenges and possibilities of work within the multifaceted transnational structures of global conservation organizations. Uniquely, it focuses on the conservationists themselves: why and how has their approach to project work changed, and how have they themselves been transformed in the process?
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