A New York Times Notable Book A stunningly original exploration of the ties that bind us to the beautiful, ancient, astoundingly accomplished, largely unknown, and unfathomably different species with whom we share the world. For as long as humans have existed, insects have been our constant companions. Yet we hardly know them, not even the ones we’re closest to: those that eat our food, share our beds, and live in our homes. Organizing his book alphabetically, Hugh Raffles weaves together brief vignettes, meditations, and extended essays, taking the reader on a mesmerizing exploration of history and science, anthropology and travel, economics, philosophy, and popular culture. Insectopedia shows us how insects have triggered our obsessions, stirred our passions, and beguiled our imaginations.
From the author of lnsectopedia, a powerful exploration of loss, grief, endurance, and the absences that permeate the present. Unconformities are gaps in the geological record, physical evidence of breaks in time. For Hugh Raffles, these holes in history are also fissures in feeling, knowledge, memory, and understanding. In this endlessly inventive, riveting book, Raffles enters these gaps, drawing together threads of geology, history, literature, philosophy, and ethnography to trace the intimate connections between personal loss and world historical events, and to reveal the force of absence at the core of contemporary life. Through deeply researched explorations of Neolithic stone circles, Icelandic lava, mica from a Nazi concentration camp, petrified whale blubber in Svalbard, the marble prized by Manhattan's Lenape, and a huge Greenlandic meteorite that arrived in New York City along with six Inuit adventurers in 1897, Raffles shows how unconformities unceasingly incite human imagination and investigation yet refuse to conform, heal, or disappear. A journey across eons and continents, The Book of Unconformities is also a journey through stone: this most solid, ancient, and enigmatic of materials, it turns out, is as lively, capricious, willful, and indifferent as time itself.
The Amazon is not what it seems. As Hugh Raffles shows us in this captivating and innovative book, the world's last great wilderness has been transformed again and again by human activity. In Amazonia brings to life an Amazon whose allure and reality lie as much, or more, in what people have made of it as in what nature has wrought. It casts new light on centuries of encounter while describing the dramatic remaking of a sweeping landscape by residents of one small community in the Brazilian Amazon. Combining richly textured ethnographic research and lively historical analysis, Raffles weaves a fascinating story that changes our understanding of this region and challenges us to rethink what we mean by "nature." Raffles draws from a wide range of material to demonstrate--in contrast to the tendency to downplay human agency in the Amazon--that the region is an outcome of the intimately intertwined histories of humans and nonhumans. He moves between a detailed narrative that analyzes the production of scientific knowledge about Amazonia over the centuries and an absorbing account of the extraordinary transformations to the fluvial landscape carried out over the past forty years by the inhabitants of Igarapé Guariba, four hours downstream from the nearest city. Engagingly written, theoretically inventive, and vividly illustrated, the book introduces a diverse range of characters--from sixteenth-century explorers and their native rivals to nineteenth-century naturalists and contemporary ecologists, logging company executives, and river-traders. A natural history of a different kind, In Amazonia shows how humans, animals, rivers, and forests all participate in the making of a region that remains today at the center of debates in environmental politics.
The result of Tim Edgar photographing the insect life in his home for three years and examining through a close up lens the creatures that were sharing his domestic space, the book provides a uniquely personal view of the insects and the performances they play out. Through macro photography Edgar is able to capture the fragile nature of the insects and the conflict in the chaotic web they reside in. The photographs are contextualised in the essays by anthropologist Hugh Raffles who discusses the life and death situations in the cobweb and the chaos in the domestic insect world. Close observation of natural science is paired with a sense of intrigue and wonder.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
George Vere Hobart (1867-1926) wrote under the pseudonym Hugh McHugh. His works include: John Henry (1901), Down the Line with John Henry (1901), Back to the Woods (1903), Out for the Coin (1903), I Need the Money (1904), I am from Missouri (1904), You Can Search Me (1905), Get Next! (1905), Skiddoo! (1906), You Should Worry Says John Henry (1914) and It's Up To You (1916).
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
From the author of lnsectopedia, a powerful exploration of loss, grief, endurance, and the absences that permeate the present. Unconformities are gaps in the geological record, physical evidence of breaks in time. For Hugh Raffles, these holes in history are also fissures in feeling, knowledge, memory, and understanding. In this endlessly inventive, riveting book, Raffles enters these gaps, drawing together threads of geology, history, literature, philosophy, and ethnography to trace the intimate connections between personal loss and world historical events, and to reveal the force of absence at the core of contemporary life. Through deeply researched explorations of Neolithic stone circles, Icelandic lava, mica from a Nazi concentration camp, petrified whale blubber in Svalbard, the marble prized by Manhattan's Lenape, and a huge Greenlandic meteorite that arrived in New York City along with six Inuit adventurers in 1897, Raffles shows how unconformities unceasingly incite human imagination and investigation yet refuse to conform, heal, or disappear. A journey across eons and continents, The Book of Unconformities is also a journey through stone: this most solid, ancient, and enigmatic of materials, it turns out, is as lively, capricious, willful, and indifferent as time itself.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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