Looking for adventure and continuing a process of self-discovery, Janisse Ray has repeatedly set out to immerse herself in wildness, to be wild, and to learn what wildness can teach us. From overwintering with monarch butterflies in Mexico to counting birds in Belize, the stories in Wild Spectacle capture her luckiest moments—ones of heart-pounding amazement, discovery of romance, and moving toward living more wisely. In Ray’s worst moments she crosses boundaries to encounter danger and embrace sadness. Anchored firmly in two places Ray has called home—Montana and southern Georgia—the sixteen essays here span a landscape from Alaska to Central America, connecting common elements in the ecosystems of people and place. One of her abiding griefs is that she has missed the sights of explorers like Bartram, Sacagawea, and Carver: flocks of passenger pigeons, routes of wolves, herds of bison. She craves a wilder world and documents encounters that are rare in a time of disappearing habitat, declining biodiversity, and a world too slowly coming to terms with climate change. In an age of increasingly virtual, urban life, Ray embraces the intentionality of trying to be a better person balanced with seeking out natural spectacle, abundance, and less trammeled environments. She questions what it means to travel into the wild as a woman, speculates on the impacts of ecotourism and travel in general, questions assumptions about eating from the land, and appeals to future generations to make substantive change. Wild Spectacle explores our first home, the wild earth, and invites us to question its known and unknown beauties and curiosities.
Janisse Ray was a babe in arms when a boat of her father’s construction cracked open and went down in the mighty Altamaha River. Tucked in a life preserver, she washed onto a sandbar as the craft sank from view. That first baptism began a lifelong relationship with a stunning and powerful river that almost nobody knows. The Altamaha rises dark and mysterious in southeast Georgia. It is deep and wide bordered by swamps. Its corridor contains an extraordinary biodiversity, including many rare and endangered species, which led the Nature Conservancy to designate it as one of the world’s last great places. The Altamaha is Ray’s river, and from childhood she dreamed of paddling its entire length to where it empties into the sea. Drifting into Darien begins with an account of finally making that journey, turning to meditations on the many ways we accept a world that contains both good and evil. With praise, biting satire, and hope, Ray contemplates transformation and attempts with every page to settle peacefully into the now. Though commemorating a history that includes logging, Ray celebrates “a culture that sprang from the flatwoods, which required a judicious use of nature.” She looks in vain for an ivorybill woodpecker but is equally eager to see any of the imperiled species found in the river basin: spiny mussel, American oystercatcher, Radford’s mint, Alabama milkvine. The book explores both the need and the possibilities for conservation of the river and the surrounding forests and wetlands. As in her groundbreaking Ecology of a Cracker Childhood, Ray writes an account of her beloved river that is both social history and natural history, understanding the two as inseparable, particularly in the rural corner of Georgia that she knows best. Ray goes looking for wisdom and finds a river.
Janisse Ray, award-winning author of Ecology of a Cracker Childhood and Wild Card Quilt, writes an evocative paean to wildness and wilderness restoration with an extraordinary journey into southern Georgia's Pinhook Swamp. Pinhook Swamp acts as a vital watershed and wildlife corridor, a link between the great southern wildernesses of Okefenokee Swamp and Osceola National Forest. Together Okefenokee, Osceola, and Pinhook form one of the largest expanse of protected wild land east of the Mississippi River. This is one of America's last truly wild places, and Pinhook takes us into its heart. Ray comes to know Pinhook intimately as she joins the fight to protect it, spending the night in the swamp, tasting honey made from its flowers, tracking wildlife, and talking to others about their relationship with the swamp. Ray sees Pinhook through the eyes of the people who live there--naturalists, beekeepers, homesteaders, hunters, and locals at the country store. In lyrical, down-home prose, she draws together the swamp's need for restoration and the human desire for wholeness and wildness in our own lives and landscapes.
From the memories of a childhood marked by extreme poverty, mental illness, and restrictive fundamentalist Christian rules, Janisse Ray crafted a “heartfelt and refreshing” (New York Times) memoir that has inspired thousands to embrace their beginnings, no matter how humble, and to fight for the places they love. This new edition updates and contextualizes the story for a new generation and a wider audience desperately searching for stories of empowerment and hope. Ray grew up in a junkyard along U.S. Highway 1, hidden from Florida-bound travelers by hulks of old cars. In language at once colloquial, elegiac, and informative, Ray redeems her home and her people, while also cataloging the source of her childhood hope: the Edenic longleaf pine forests, where orchids grow amid wiregrass at the feet of widely spaced, lofty trees. Today, the forests exist in fragments, cherished and threatened, and the South of her youth is gradually being overtaken by golf courses and suburban development. A contemporary classic, Ecology of a Cracker Childhood is a clarion call to protect the cultures and ecologies of every childhood.
Discusses the loss of fruit and vegetable varieties and the genetically modified industrial monocultures being used today, shares the author's personal experiences growing, saving, and swapping seeds, and deconstructs the politics and genetics of seeds.
This account of rediscovering her Georgia home and its landscapes is “another must-read book” by the author of Ecology of a Cracker Childhood (Tulsa World). Seventeen years after she’d left “for good,” Janisse Ray pointed her truck away from Montana and back to the small southern town where she was born. Wild Card Quilt is the story, by turns hilarious, heartbreaking, and ambitious, of the adventures of returning home. For Ray, a naturalist and an American Book Award–winning author, it is a story of linking the ecology of people with the ecology of place—of recovering lost traditions as she works to restore the fractured ecosystem of her native South. Her story is filled with syrup boils, quilt making, alligator trapping, and the wonderful characters of a place where generations still succeed each other on the land. But her town is also in need of repair, physical and otherwise. This memoir recounts Ray’s journey as she works to save her local school, sets up a writing group at the local hardware store—and struggles with whether she can be an adult in a childhood place. “Alive with good imagery and colorful characters.” —The Atlanta Journal-Constitution “This is nature writing at its best . . . Her book will make you long for home.” —St. Petersburg Times
Why a unicycle? Why a cross-country trip? Why leave a prominent New York magazine and return to the simple life in Kentucky? Reminiscent of classic literary travelogues, Mark Schimmoeller's Slowspoke: A Unicyclist's Guide to America takes readers on an inward, emotional journey as he inches across landscapes and communities from North Carolina to Arizona. Schimmoeller became inspired by his unicycle as an adolescent. It taught him that rushing--whether down the driveway or toward adulthood--would cause a fall, and so, instead of accepting the speeding, straight line that de-fines modern American life, he adopted his single wheel's wayward rhythms. Written with poise and humor, Slowspoke is more than a cross-country trip on a unicyc≤ it's a meditation on a playful, recalcitrant slowness that is increasingly rare in a culture obsessed with acceleration. At times ach-ing and other times joyful, Schimmoeller intersperses recollections of his journey with vignettes of his present-day, off-the-grid homesteading with his wife in Kentucky and their efforts to save an old-growth forest. Schimmoeller's personal journey will resonate with anyone who has slowed down to experience life at a unicycle's speed or who longs to do so, who has fallen in love or searched for it, or who has treasured tall trees or mourned their loss.
Presenting stunning reproductions of oil paintings by landscape artist Philip Juras, this exhibition catalogue offers a glimpse of the presettlement southern wilderness as late eighteenth-century naturalist William Bartram would have experienced it during his famed travels through the region. Juras's work combines direct observation with historical, scientific, and natural history research to depict, and in some cases reimagine, landscapes as they appeared in the 1770s. Juras spent years researching Bartram and revisiting important sites the naturalist wrote about in his celebrated Travels. Juras's paintings recreate the lost southern frontier for contemporary viewers in much the same way that nineteenth century American landscape painters like Albert Bierstadt and Thomas Moran brought the western frontier to the consciousness of the rapidly industrializing East. Juras's work explores many of the important and imperiled ecosystems that remain in the South today. These little-known, remnant natural communities, depicted in well-researched and meticulous paintings, are further illuminated by essays placing them in the context of Bartram's legacy and the American landscape movement. The catalogue features more than sixty reproductions of Juras's paintings. Presented with essays by the artist as well as Dorinda Dallmeyer, director of the Environmental Ethics Certificate Program at the University of Georgia; Holly Koons McCullough, director of Collections and Exhibitions at the Telfair Museum of Art; and Janisse Ray, lauded poet and environmental advocate, the catalogue provides readers with a rare glimpse of the Southern frontier before its essence was irrevocably altered by European settlement.
Discusses the loss of fruit and vegetable varieties and the genetically modified industrial monocultures being used today, shares the author's personal experiences growing, saving, and swapping seeds, and deconstructs the politics and genetics of seeds.
From the memories of a childhood marked by extreme poverty, mental illness, and restrictive fundamentalist Christian rules, Janisse Ray crafted a “heartfelt and refreshing” (New York Times) memoir that has inspired thousands to embrace their beginnings, no matter how humble, and to fight for the places they love. This new edition updates and contextualizes the story for a new generation and a wider audience desperately searching for stories of empowerment and hope. Ray grew up in a junkyard along U.S. Highway 1, hidden from Florida-bound travelers by hulks of old cars. In language at once colloquial, elegiac, and informative, Ray redeems her home and her people, while also cataloging the source of her childhood hope: the Edenic longleaf pine forests, where orchids grow amid wiregrass at the feet of widely spaced, lofty trees. Today, the forests exist in fragments, cherished and threatened, and the South of her youth is gradually being overtaken by golf courses and suburban development. A contemporary classic, Ecology of a Cracker Childhood is a clarion call to protect the cultures and ecologies of every childhood.
This account of rediscovering her Georgia home and its landscapes is “another must-read book” by the author of Ecology of a Cracker Childhood (Tulsa World). Seventeen years after she’d left “for good,” Janisse Ray pointed her truck away from Montana and back to the small southern town where she was born. Wild Card Quilt is the story, by turns hilarious, heartbreaking, and ambitious, of the adventures of returning home. For Ray, a naturalist and an American Book Award–winning author, it is a story of linking the ecology of people with the ecology of place—of recovering lost traditions as she works to restore the fractured ecosystem of her native South. Her story is filled with syrup boils, quilt making, alligator trapping, and the wonderful characters of a place where generations still succeed each other on the land. But her town is also in need of repair, physical and otherwise. This memoir recounts Ray’s journey as she works to save her local school, sets up a writing group at the local hardware store—and struggles with whether she can be an adult in a childhood place. “Alive with good imagery and colorful characters.” —The Atlanta Journal-Constitution “This is nature writing at its best . . . Her book will make you long for home.” —St. Petersburg Times
Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - ‘the eccentric’ - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. HOUSE OF PSYCHOTIC WOMEN is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and a celebration of female madness, both onscreen and off. This critically-acclaimed publication is packed with rare images that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, Paranormal Activity, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let’s Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more. Prior to this ebook edition, Kier-La's highly acclaimed book has already been issued twice in hardcover and twice in paperback, garnering extensive press coverage. Endorsement including the following: “God, this woman can write, with a voice and intellect that’s so new. The truth in the most deadly unique way I’ve ever read.” – Ralph Bakshi, director of ‘Fritz the Cat’, ‘Heavy Traffic’, ‘Lord of the Rings’, etc. “Fascinating, engaging and lucidly written: an extraordinary blend of deeply researched academic analysis and revealing memoir.” – Iain Banks, author of ‘The Wasp Factory’
Looking for adventure and continuing a process of self-discovery, Janisse Ray has repeatedly set out to immerse herself in wildness, to be wild, and to learn what wildness can teach us. From overwintering with monarch butterflies in Mexico to counting birds in Belize, the stories in Wild Spectacle capture her luckiest moments—ones of heart-pounding amazement, discovery of romance, and moving toward living more wisely. In Ray’s worst moments she crosses boundaries to encounter danger and embrace sadness. Anchored firmly in two places Ray has called home—Montana and southern Georgia—the sixteen essays here span a landscape from Alaska to Central America, connecting common elements in the ecosystems of people and place. One of her abiding griefs is that she has missed the sights of explorers like Bartram, Sacagawea, and Carver: flocks of passenger pigeons, routes of wolves, herds of bison. She craves a wilder world and documents encounters that are rare in a time of disappearing habitat, declining biodiversity, and a world too slowly coming to terms with climate change. In an age of increasingly virtual, urban life, Ray embraces the intentionality of trying to be a better person balanced with seeking out natural spectacle, abundance, and less trammeled environments. She questions what it means to travel into the wild as a woman, speculates on the impacts of ecotourism and travel in general, questions assumptions about eating from the land, and appeals to future generations to make substantive change. Wild Spectacle explores our first home, the wild earth, and invites us to question its known and unknown beauties and curiosities.
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