In their own way, the works of Sarah Hughes are political statements on the current global situation which everyone says is worse than the mood. But in art, the mood is the situation. Included here are images of works commissioned for Christchurch Art gallery in 2008.
The conceptualization and execution of Repowering Cities are terrific, and provides readers with a deep understanding of why, how, and to what effect cities have mobilized to mitigate the effects of climate change.―Michael J. Rich, Emory University, coauthor of Collaborative Governance for Urban Revitalization City governments are rapidly becoming society's problem solvers. As Sara Hughes shows, nowhere is this more evident than in New York City, Los Angeles, and Toronto, where the cities' governments are taking on the challenge of addressing climate change. Repowering Cities focuses on the specific issue of reducing urban greenhouse gas (GHG) emissions, and develops a new framework for distinguishing analytically and empirically the policy agendas city governments develop for reducing GHG emissions, the governing strategies they use to implement these agendas, and the direct and catalytic means by which they contribute to climate change mitigation. Hughes uses her framework to assess the successes and failures experienced in New York City, Los Angeles, and Toronto as those agenda-setting cities have addressed climate change. She then identifies strategies for moving from incremental to transformative change by pinpointing governing strategies able to mobilize the needed resources and actors, build participatory institutions, create capacity for climate-smart governance, and broaden coalitions for urban climate change policy.
In her first collection of poems, Sara Pirkle Hughes explores the role memory plays in shaping identity and a person's perception of the past. The book's title, The Disappearing Act, posits that time is a magician causing every moment in a person's life to disappear, and every poem in the collection is the poet's attempt to recapture what has vanished, while also acknowledging the inherent paradox of writing about the past. The fallible nature of memory makes it impossible to preserve an experience free of distortion. Born and raised in Georgia, Hughes uses the Southern tradition of storytelling as a jumping off point to examine her own personal history as well as family stories. However, nearly every poem in this award-winning collection incorporates formal elements, often fusing narrative with restrictive structures such as sonnets, pantoums, and villanelles.
While scuba diving off the Florida Keys, Morgan Swift and her class discover a sunken ship filled with Spanish treasure and then discover they are being watched and are in serious danger.
The reader joins forces with Morgan Swift, the lovely, hip, and adventurous new science teacher at Langford High, to recover the stolen statue of an ancient river goddess.
When twenty-five-year-old Judith Jones began working as a secretary at Doubleday's newly opened Paris office in 1949, she was tasked with wading through manuscripts in the slush pile until one caught her eye. She read the book in one sitting, then begged her boss to consider publishing it. A year later, Anne Frank: The Diary of a Young Girl became a bestseller. ... Over more than half a century as an editor at Knopf, Jones became a legend, nurturing future literary icons such as Sylvia Plath, Anne Tyler, and John Updike. At the forefront of the cookbook revolution, she published the who's who of food writing: Edna Lewis, M.F.K. Fisher, Claudia Roden, Madhur Jaffrey, James Beard, and, most famously, Julia Child. ... Now, her astonishing career is explored for the first time. Based on exclusive interviews, never-before-seen personal papers, and years of research, The Editor tells the riveting behind-the-scenes narrative of how stories are made, finally bringing to light the audacious life of one of our most influential tastemakers"--
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