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In Children and Other Wild Animals, bestselling novelist Brian Doyle (Mink River, The Plover) describes encounters with astounding beings of every sort and shape. These true tales of animals and human mammals (generally the smaller sizes, but here and there elders and jumbos) delightfully blur the line between the two.
 
In these short vignettes, Doyle explores the seethe of life on this startling planet, the astonishing variety of our riveting companions, and the joys available to us when we pause, see, savor, and celebrate the small things that are not small in the least.
 
Doyle’s trademark quirky prose is at once lyrical, daring, and refreshing; his essays poignant but not pap, sharp but not sermons, and revelatory at every turn. Throughout there is humor and humility and a palpable sense of wonder, with passages of reflection so true and hard earned they make you stop and reread a line, a paragraph, a page.
 
Children & Other Wild Animals gathers previously unpublished work with selections that have appeared in Orion, The Sun, Utne Reader, High Country News, and The American Scholar, as well as Best American Essays (“The Greatest Nature Essay Ever”) and Best American Nature and Science Writing (“Fishering”). “The Creature Beyond the Mountain,” Doyle’s paean to the mighty and mysterious sturgeon of the Pacific Northwest, won the John Burroughs Award for Outstanding Nature Essay. As he notes in that tribute to all things “sturgeonness”:
 
“Sometimes you want to see the forest and not the trees. Sometimes you find yourself starving for what’s true, and not about a person but about all people. This is how religion and fascism were born, but it’s also why music is the greatest of arts, and why stories matter, and why we all cannot help staring at fires and great waters.”

From the big picture to the smallest detail, Richard Collins fashions a rousing memoir about the modern-day lives of cowboys and ranchers. However, Cowboy is a Verb is much more than wild horse rides and cattle chases. While Collins recounts stories of quirky ranch horses, cranky cow critters, cow dogs, and the people who use and care for them, he also paints a rural West struggling to survive the onslaught of relentless suburbanization.

A born storyteller with a flair for words, Collins breathes life into the geology, history, and interdependency of land, water, and native and introduced plants and animals. He conjures indelible portraits of the hardworking, dedicated people he comes to know. With both humor and humility, he recounts the day-to-day challenges of ranch life such as how to build a productive herd, distribute your cattle evenly across a rough and rocky landscape, and establish a grazing system that allows pastures enough time to recover. He also intimately recounts a battle over the endangered Gila topminnow and how he and his neighbors worked with university range scientists, forest service conservationists, and funding agencies to improve their ranches as well as the ecological health of the Redrock Canyon watershed.

Ranchers who want to stay in the game don’t dominate the landscape; instead, they have to continually study the land and the animals it supports. Collins is a keen observer of both. He demonstrates that patience, resilience, and a common-sense approach to conservation and range management are what counts, combined with an enduring affection for nature, its animals, and the land. Cowboy is a Verb is not a romanticized story of cowboy life on the range, rather it is a complex story of the complicated work involved with being a rancher in the twenty-first-century West.

Bluegrass has found an unlikely home, and avid following, in the Czech Republic. The music’s emergence in Central Europe places it within an increasingly global network of communities built around bluegrass activities.
 
Lee Bidgood offers a fascinating study of the Czech bluegrass phenomenon that merges intimate immersion in the music with on-the-ground fieldwork informed by his life as a working musician. Drawing on his own close personal and professional interactions, Bidgood charts how Czech bluegrass put down roots and looks at its performance as a uniquely Czech musical practice. He also reflects on “Americanist” musical projects and the ways Czech musicians use them to construct personal and social identities. Bidgood sees these acts of construction as a response to the Czech Republic’s postsocialist environment but also to US cultural prominence within our global mediascape.