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As the Ice Age came to an end, North America lost a stunning variety of animals. Mammoths, mastodon, llamas, ground-dwelling sloths the size of elephants, beavers the size of bears, pronghorn antelope the size of poodles, and carnivores to chase them—sabertooth cats, dire wolves, American lions and cheetahs; these and many more were gone by 10,000 years ago. Giant Sloths and Sabertooth Cats surveys all these animals, with a particular focus on the Great Basin. The book also explores the major attempts to explain the extinctions. Because some believe that they were due to the activities of human hunters, the author also reviews the archaeological evidence left by the earliest known human occupants of the Great Basin, showing that people were here at the same time and in the same places as many of the extinct animals. 

 
Were these animals abundant in the Great Basin? A detailed analysis of the distinctive assemblages of plants that now live in this region leads to a surprising, and perhaps controversial, conclusion about those abundances. 
 
If you are interested in Ice Age mammals or in the Ice Age archaeology of North America, if you are interested in the natural history of the Great Basin or the ways in which the plants of today’s landscapes might be used to understand the deeper past, you will be fascinated by this book.  

It whispers, it sings, it rocks, and it howls. It expresses the voice of the folk—the open road, freedom, protest and rebellion, youth and love. It is the acoustic guitar. And over the last five decades it has become a quintessential American icon. Because this musical instrument is significant to so many—in ways that are emotional, cultural, and economic—guitar making has experienced a renaissance in North America, both as a popular hobby and, for some, a way of life.

In Guitar Makers, Kathryn Marie Dudley introduces us to builders of artisanal guitars, their place in the art world, and the specialized knowledge they’ve developed. Drawing on in-depth interviews with members of the lutherie community, she finds that guitar making is a social movement with political implications.  Guitars are not simply made—they are born.  Artisans listen to their wood, respond to its liveliness, and strive to endow each instrument with an unforgettable tone. Although professional luthiers work within a market society, Dudley observes that their overriding sentiment is passion and love of the craft. Guitar makers are not aiming for quick turnover or the low-cost reproduction of commodities but the creation of singular instruments with unique qualities, and face-to-face transactions between makers, buyers, and dealers are commonplace.

In an era when technological change has pushed skilled artisanship to the margins of the global economy, and in the midst of a capitalist system that places a premium on ever faster and more efficient modes of commerce, Dudley shows us how artisanal guitar makers have carved out a unique world that operates on alternative, more humane, and ecologically sustainable terms.