Recent scholarship on the Amazon has challenged depictions of the region that emphasize its natural exuberance or represent its residents as historically isolated peoples stoically resisting challenges from powerful global forces. The contributors to this volume follow this lead by situating the discussion of the Amazon and its inhabitants at the intersections of identity politics, debates about socioeconomic sovereignty, and processes of place making. ø Editing Eden focuses on case studies from Amazonian Brazil, Colombia, and Ecuador regarding the themes of indigeneity, community making, development politics, and the transcendence of indigenous/nonindigenous divides. Portraits of the Amazon emerge through an analysis of indigenous identity as a product of multiple sources, including state policies toward Amazonian populations, the views of foreign ecotourists, the agendas of nongovernmental organizations (NGOs), and accounts of journalists. At the same time, indigenous and nonindigenous Amazonians challenge the representations constructed for and about them by integrating anthropologists and other nonlocals into their reciprocal systems of gift giving, or by utilizing NGO or ecotourist dollars to support their own cultural agendas. Editing Eden offers insights from leading anthropologists of the region, providing perspectives on the Amazon beyond the counterfeit paradise but short of El Dorado.

REVIEWS MUST read!, May 6, 2008 By G.P. - See all my reviews This is definitely a must read for anyone, Doors fan or not. It's one of the best bios I've read. No 'fluff' here. Paul tells it like it is, and has had an amazing life. His time with the Doors is well documented but he doesn't get enough credit for being THE Doors official photographer and filmmaker. You'll read about his time spent with the Doors, not to mention being one of Morrison's pals. Be prepared to read stories you've never read before. Even if you're not a Doors fan, the book is still a great read. Paul's life was and still is interesting to say the least. You'll be amazed at some of the people Paul knows and worked with. Everything is covered here including his adventures in Thailand, his ranch in New Mexico and his career in the movie industry. I give this book two thumbs up. Check it out! I read Paul's book and it was a big surprise. As a huge Doors fan, I'm aware of his well known photographic and film work for the band and his close relationship with them (mainly with Jim and Ray since the UCLA Days). In the meantime there are lots of details in this book who will delight the fans, details of journeys, partnership, work and so on.... But... Paul's life was much more than Jim and the boys "momento" ( Jim and the "blue lady" at the book's cover is just one of the highlights of the all experience). . Hold your breath. you will be on board of a fantastic trip into childhood, family, friends, girls, party, cinema, music, "sex, drugs and rock n'roll", cars, jail, joy, death, love, etc, .... Rui

Christians are making all kinds of choices about good and evil without even considering what Jesus said and did. These decisions are resulting in divisions among Christian brothers and sisters, and even destruction of spiritual lives.

Two years have passed since Shaide's reunion with Amari. Now both promising members of Eden's Ceraph Order, the two continue their adventure alongside Aton, Lucy, Reno, Rayn, Celeste, and Lania. The carefree days of their youth are coming to an end, and war is on their doorstep, whether they are aware of it or not. The jungle nation of Pandora is being threatened by sinister forces, and somewhere deep in the southern reaches of Alastair, a new force is awakening with a plan of its own, and our heroes seem to be right in the middle of it. The corruption is spreading, and time is running out. This is an adventure our heroes may not all survive... Continue the Adventure now in Eternal Knights of Eden II: Angels Fall

Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience? Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking—all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing. Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the isolated, withdrawn Emily Dickinson. Well-versed in poststructuralist, feminist, and new textual criticism, Rowing in Eden uncovers the process by which the conventional portrait of Emily Dickinson was drawn and offers readers a chance to go back to original letters and poems and look at the poet and her work through new eyes. It will be of great interest to a wide audience in literary and feminist studies.

In the shadow of the Vietnam War, a significant part of an entire generation refused their assigned roles in the American century. Some took their revolutionary politics to the streets, others decided simply to turn away, seeking to build another world together, outside the state and the market. West of Eden charts the remarkable flowering of communalism in the 1960s and ’70s, fueled by a radical rejection of the Cold War corporate deal, utopian visions of a peaceful green planet, the new technologies of sound and light, and the ancient arts of ecstatic release. The book focuses on the San Francisco Bay Area and its hinterlands, which have long been creative spaces for social experiment. Haight-Ashbury’s gift economy—its free clinic, concerts, and street theatre—and Berkeley’s liberated zones—Sproul Plaza, Telegraph Avenue, and People’s Park—were embedded in a wider network of producer and consumer co-ops, food conspiracies, and collective schemes. Using memoir and flashbacks, oral history and archival sources, West of Eden explores the deep historical roots and the enduring, though often disavowed, legacies of the extraordinary pulse of radical energies that generated forms of collective life beyond the nuclear family and the world of private consumption, including the contradictions evident in such figures as the guru/predator or the hippie/entrepreneur. There are vivid portraits of life on the rural communes of Mendocino and Sonoma, and essays on the Black Panther communal households in Oakland, the latter-day Diggers of San Francisco, the Native American occupation of Alcatraz, the pioneers of live/work space for artists, and the Bucky dome as the iconic architectural form of the sixties. Due to the prevailing amnesia—partly imposed by official narratives, partly self-imposed in the aftermath of defeat—West of Eden is not only a necessary act of reclamation, helping to record the unwritten stories of the motley generation of communards and antinomians now passing, but is also intended as an offering to the coming generation who will find here, in the rubble of the twentieth century, a past they can use—indeed one they will need—in the passage from the privations of commodity capitalism to an ample life in common.

Scholarly proposals are presented for the pre-biblical origin in Mesopotamian myths of the Garden of Eden story. Some Liberal PhD scholars (1854-2010) embracing an Anthropological viewpoint have proposed that the Hebrews have recast earlier motifs appearing in Mesopotamian myths. Eden's garden is understood to be a recast of the gods' city-gardens in the Sumerian Edin, the floodplain of Lower Mesopotamia. It is understood that the Hebrews in the book of Genesis are refuting the Mesopotamian account of why Man was created and his relationship with his Creators (the gods and goddesses). They deny that Man is a sinner and rebel because he was made in the image of gods and goddesses who were themselves sinners and rebels, who made man to be their agricultural slave to grow and harvest their food and feed it to them in temple sacrifices thereby ending the need of the gods to toil for their food in the city-gardens of Edin in ancient Sumer.

In her perceptive chronicle of everyday life on an Arkansas plantation, Harriet Bailey Bullock Daniel sheds light on the plantation economy, medical practices, religion, slavery, and sex roles in the period from 1849 until Daniel's marriage in 1872. The work is a rich mixture of mundane details surrounded by momentous events, and Daniel's sure grasp of both provides enjoyment and enlightenment for any reader.

A cloudy fog rose abruptly out of the ground about fifty feet in front of them. A magnificently handsome figure in its midst gradually took shape. He didn't send his thoughts to them the same way Adam and Eve talked with their thoughts, but used spoken verbiage. “My greetings to you...” That was as far as he got. Raphael and Uriel drew their swords from sheaths that were hidden in a fold of their tunics, readying for a charge. They obviously knew this person and braced for battle. For the first time, Eve experienced confusion. She didn't know what it was like to flee. She just knew she had to leave quickly. She lifted into the sky and when she had attained a good height, she darted toward the palace. She was aware of someone at her side. It was Uriel. He didn't speak to her thoughts, but his expression was grim.