Dissatisfaction with nature flows throughout Western civilization, as deep as its blood, as abiding as its bones. Convinced to the marrow that something is deeply wrong with nature, . . . the Western world tries to remake it into something better." For Priscilla Stuckey, this is a fundamental and heartbreaking misconception: that nature can be fixed, exploited, or simply ignored. Modern societies try to bend nature to human will instead of engaging in give–and–take with a living, breathing land community. Using her personal experiences as the cornerstone, Stuckey explores the depth of relationship possible with the birch tree in our backyard, the nearby urban creek, the dog who settles on our bed each night. Drawing inspiration from sources as varied as ancient philosophers and contemporary biologists, Stuckey challenges readers to enact a different story of nature, one in which people and place are not separate, where other creatures respond to human need, and where humans and all others together create the world. With the eloquence of the great nature writers before her, Stuckey encourages us to open ourselves to the unlimited possibilities of a truly connected life.
Dissatisfaction with nature flows throughout Western civilization, as deep as its blood, as abiding as its bones. Convinced to the marrow that something is deeply wrong with nature, . . . the Western world tries to remake it into something better." For Priscilla Stuckey, this is a fundamental and heartbreaking misconception: that nature can be fixed, exploited, or simply ignored. Modern societies try to bend nature to human will instead of engaging in give–and–take with a living, breathing land community. Using her personal experiences as the cornerstone, Stuckey explores the depth of relationship possible with the birch tree in our backyard, the nearby urban creek, the dog who settles on our bed each night. Drawing inspiration from sources as varied as ancient philosophers and contemporary biologists, Stuckey challenges readers to enact a different story of nature, one in which people and place are not separate, where other creatures respond to human need, and where humans and all others together create the world. With the eloquence of the great nature writers before her, Stuckey encourages us to open ourselves to the unlimited possibilities of a truly connected life.
Priscilla Stuckey shines a brilliant light on the relationship we long to cultivate with the deepest wellsprings of our wisdom and love . . . This is a groundbreaking book, written with extraordinary clarity, beauty, and radical honesty." —Gail D. Storey, author of I Promise Not to Suffer: A Fool for Love Hikes the Pacific Crest Trail, winner of the National Outdoor Book Award In an age of materialism, language of spirit or spirits seems at best suspect and at worst alien or naïve. When Priscilla Stuckey begins hearing Bear’s voice, she is a writer and religious studies professor in her fifties. Though she enjoys communing with trees and birds and the land, she intellectually knows better than to try talking directly with spirit. Yet searching for the truth of her own identity leads her directly toward what she is most skeptical of. As Stuckey opens to her spirit animal helper and his affectionate, jovial wisdom, she begins to realize the slow dawning of faith. Tamed by a Bear shows one person responding to the call of her heart, which is also the call of Earth to all human beings today: to listen to a more–than–human wisdom so people can address the social and environmental crises facing the world. At this moment, when the future of life on Earth as we know it hangs in the balance—threatened by climate change, species extinctions, and extreme economic inequality—the key to survival is found in answering one question: How can humans live more peaceably and sustainably with the rest of nature? The heart–opening conversations between Bear and Stuckey suggest a reinvigorating of nature–spirituality in everyday life. Their dialogues show an educated, thoughtful person grappling with her skepticism about Earth spirits and gradually saying yes to a call from beyond her intellectual understanding.
The questions that drive Priscilla Long's Fire and Stone are the questions asked by the painter Paul Gauguin in the title of his 1897 painting: Where Do We Come From? What Are We? Where Are We Going? These questions look beyond everyday trivialities to ponder the essence of our origins. Using her own story as a touchstone, Long explores our human roots and how they shape who we are today. Her personal history encompasses childhood as an identical twin on a dairy farm on the Eastern Shore of Maryland; the turmoil, social change, and music of the 1960s; the suicide of a sister; and a life in art in the Pacific Northwest. Here, memoir extends the threads of the writer's individual and very personal life to science, to history, and to ancestors, both literary and genetic, back to the Neanderthals. Long uses profoundly poetic personal essays to draw larger connections and to ask compelling questions about identity. Framed by four distinctive sections, Fire and Stone transcends genre and evolves into a sweeping elegy on what it means to be human.
“The single best book ever written on the Kennedy assassination” -- Thomas Mallon, author of Mrs. Paine's Garage: And the Murder of John F. Kennedy “It is not at all easy to describe the power of Marina and Lee . . . It is far better than any other book about Kennedy . . . Other books about the Kennedy assassination are all smoke and no fire. Marina and Lee burns.” —New York Times Book Review Marina and Lee is an indispensable account of one of America’s most traumatic events and a classic work of narrative history. In her meticulous—at times even moment by moment—account of Oswald’s progress toward the assassination of JFK, Priscilla Johnson McMillan takes us inside Oswald’s fevered mind and his manic marriage. Only a few weeks after the birth of their second child, Oswald’s wife, Marina, hears of Kennedy’s death and discovers that Lee's rifle is missing from the garage where it was stored. She knows that her husband has killed the President. McMillan came to the story with a unique knowledge of the two main characters. In the 1950s, she worked for Kennedy and had known him well for a time. Later, working in Moscow as a journalist, she interviewed Lee Harvey Oswald during his attempt to defect to the Soviet Union. When she heard his name again on November 22, 1963, she said, “My God! I know that boy!” Marina and Lee was written with the complete and exclusive cooperation of Oswald’s Russian-born wife, Marina Prusakova, whom McMillan debriefed for seven months in the immediate aftermath of the President’s assassination and her husband’s nationally televised execution at the hands of Jack Ruby. The truth is far more compelling, and unsettling, than the most imaginative conspiracy theory. Marina and Lee is a human drama that is outrageous, heartbreaking, tragic, fascinating—and real.
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