Whether chasing gophers (Sisu) or flirting with cowboys at the Buckhorn Bar (Hannah), artist Hannah Hinchman and her dog Sisu are excellent guides to some of the wildest country left in America. Treading carefully near a sandhill crane's nest, testing the ice on the river, and marveling at the seasonal influx of ducks, this pair of curious naturalists takes us into the intimate corners of western Montana, inquiring into all natural phenomena—which Hannah then captures on the page in detailed sketches, notes, and watercolors. If Annie Dillard were an artist, she might have composed a book like this. But few writers, or artists, can bring words and images together like Hannah Hinchman. Insightful, funny, and personal, she not only enables us to enter her own particular patch of the natural world, she also teaches us to see our own, bringing to her work an exceptional unity of hand, eye, and heart.
To artist-writer-naturalist Hannah Hinchman, the blank pages of a journal are a call to awaken the soul, to celebrate being alive in the world, to get to know both the wilderness of our inmost selves and the "unpredictable and potent" natural world. In the richly illustrated pages of this book, she unfolds a myriad of wonders — the pattern of a bee abdomen, varieties of ice forms and sky colors, the joys of a garden — and shows us how to capture them on the page. Hinchman's respect for the miracle of our five senses, and her passion for what they can tell us about the world, is contagious. "Start with a smell, like a crushed marigold leaf, the sea, coal smoke," she advises, and from such raw materials begin to "decant the stuff of life" into journal form, "where it remains fresh, still tasting of its source." Even for one who has no intention of journal-keeping, to delve into Hinchman's own work is to see with new eyes. A Trail Through Leaves is a true gift and inspiration, a treasure-box of ways to write, draw, and be alive to the world. * "This is an important book, brilliantly produced. Its light will linger a long, long time." — John R. Stilgoe, professor in the history of landscape, Harvard University * "[B]oth a rich work of performance art and a personal growth tool with many handles." — Boston Globe
A collection of writings by a groundbreaking political thinker, including excerpts from The Origins of Totalitarianism and Eichmann in Jerusalem She was a Jew born in Germany in the early twentieth century, and she studied with the greatest German minds of her day—Martin Heidegger and Karl Jaspers among them. After the rise of the Nazis, she emigrated to America where she proceeded to write some of the most searching, hard-hitting reflections on the agonizing issues of the time: totalitarianism in both Nazi and Stalinist garb; Zionism and the legacy of the Holocaust; federally mandated school desegregation and civil rights in the United States; and the nature of evil. The Portable Hannah Arendt offers substantial excerpts from the three works that ensured her international and enduring stature: The Origins of Totalitarianism, The Human Condition, and Eichmann in Jerusalem. Additionally, this volume includes several other provocative essays, as well as her correspondence with other influential figures.
Despite such thematic diversity, virtually all the contributors have made an effort to build bridges between interest-driven politics and Arendt's Hellenic/existential politics. Although some are quite critical of the way Arendt develops her theory, most sympathize with her project of rescuing politics from both the foreshortening glance of the philosopher and its assimilation to social and biological processes.
Hannah Josephine Benner Roach (1907-1976) was a distinguished genealogist & also an architect & historian. This volume of selected examples of her published articles represents something of the breadth of her interests & abilities, as well as her meticulous care as a researcher in genealogy. Contents: The Blackwell Rent Roll, 1689; Philadelphia Business Directory, 1690; Taxables in Chestnut, Middle & South Wards Philadelphia, 1754; Taxables in the City of Philadelphia, 1756; Philadelphia¿s Colonial Poor Laws, & Taxables in Chestnut, Walnut & Lower Delaware Wards, Philadelphia, 1767; & Genealogical Gleanings from Dr. Rush¿s Ledger A.
To artist-writer-naturalist Hannah Hinchman, the blank pages of a journal are a call to awaken the soul, to celebrate being alive in the world, to get to know both the wilderness of our inmost selves and the "unpredictable and potent" natural world. In the richly illustrated pages of this book, she unfolds a myriad of wonders — the pattern of a bee abdomen, varieties of ice forms and sky colors, the joys of a garden — and shows us how to capture them on the page. Hinchman's respect for the miracle of our five senses, and her passion for what they can tell us about the world, is contagious. "Start with a smell, like a crushed marigold leaf, the sea, coal smoke," she advises, and from such raw materials begin to "decant the stuff of life" into journal form, "where it remains fresh, still tasting of its source." Even for one who has no intention of journal-keeping, to delve into Hinchman's own work is to see with new eyes. A Trail Through Leaves is a true gift and inspiration, a treasure-box of ways to write, draw, and be alive to the world. * "This is an important book, brilliantly produced. Its light will linger a long, long time." — John R. Stilgoe, professor in the history of landscape, Harvard University * "[B]oth a rich work of performance art and a personal growth tool with many handles." — Boston Globe
Whether chasing gophers (Sisu) or flirting with cowboys at the Buckhorn Bar (Hannah), artist Hannah Hinchman and her dog Sisu are excellent guides to some of the wildest country left in America. Treading carefully near a sandhill crane's nest, testing the ice on the river, and marveling at the seasonal influx of ducks, this pair of curious naturalists takes us into the intimate corners of western Montana, inquiring into all natural phenomena—which Hannah then captures on the page in detailed sketches, notes, and watercolors. If Annie Dillard were an artist, she might have composed a book like this. But few writers, or artists, can bring words and images together like Hannah Hinchman. Insightful, funny, and personal, she not only enables us to enter her own particular patch of the natural world, she also teaches us to see our own, bringing to her work an exceptional unity of hand, eye, and heart.
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