'An anthology to treasure and return to' ELINOR CLEGHORN 'Uniquely compelling, dynamic and powerful' LUCY JONES 'Deeply affecting' TOM SHAKESPEARE 'Promises to change the landscape of nature writing' LIZZIE HUXLEY-JONES A first-of-its-kind anthology of nature writing by authors living with chronic illness and physical disability WITH A FOREWORD BY SAMANTHA WALTON Through twenty-five pieces, the writers of Moving Mountains offer a vision of nature that encompasses the close up, the microscopic, and the vast. From a single falling raindrop to the enormity of the north wind, this is nature experienced wholly and acutely, written from the perspective of disabled and chronically ill authors. Moving Mountains is not about overcoming or conquering, but about living with and connecting, shifting the reader's attention to the things easily overlooked by those who move through the world untroubled by the body that carries them. Contributors: Isobel Anderson, Kerri Andrews, Polly Atkin, Khairani Barokka, Victoria Bennett, Feline Charpentier, Cat Chong, Eli Clare, Dawn Cole, Lorna Crabbe, Kate Davis, Carol Donaldson, Alec Finlay, Jamie Hale, Jane Hartshorn, Hannah Hodgson, Sally Huband, Rowan Jaines, Dillon Jaxx, Louise Kenward, Abi Palmer, Louisa Adjoa Parker, Alice Tarbuck, Nic Wilson

WINNER OF THE GUARDIAN FIRST BOOK AWARD Once we thought monsters lived there. In the Enlightenment we scaled them to commune with the sublime. Soon, we were racing to conquer their summits in the name of national pride. In this ground-breaking, classic work, Robert Macfarlane takes us up into the mountains: to experience their shattering beauty, the fear and risk of adventure, and to explore the strange impulses that have for centuries lead us to the world's highest places.

A fascinating exploration of the symbolism of mountains in the mythologies, religions, literature, and art of cultures around the world.

In recent years there has been a growing recognition that a mature analysis of scientific and technological activity requires an understanding of its spatial contexts. Without these contexts, indeed, scientific practice as such is scarcely conceivable. Making Space for Science brings together contributors with diverse interests in the history, sociology and cultural studies of science and technology since the Renaissance. The editors aim to provide a series of studies, drawn from the history of science and engineering, from sociology and sociology and science, from literature and science, and from architecture and design history, which examine the spatial foundations of the sciences from a number of complementary perspectives.

The story of ‘The Mountains Within’ is prototypical of the people who grew into first-ever consciousness of their own identities from the obscurity of innumerable socio-cultural microcosms that had existed at the subterranean level for centuries and millennia over the length and breadth of India before the Independence. The story moves from present to past to future with the main protagonist’s grand-daughter setting out to reconstruct the life story of her grand-father she admires. The story is contemporary and relevant to a whole lot of Indians who finished their journeys of existence at the beginning of the new millennium. As they sit back, vacuous and dazed after the ‘retirement’, they cannot help ruminating over the past vis-à-vis their own lives. No matter how objective their self-appraisal, they cannot escape being dubbed a generation of ineffectual crusaders who fell from grace by succumbing to hypocrisies both personal and collective. They cannot exonerate themselves from the stigma of making a mess of a newly liberated country through moral turpitude and lack of individual will. They cannot face up to the younger generation of today and convince them they had no role to play in the fabrication of myths such ‘Mera Bharat Mahaan’. There are no Nuremberg Trials for the crimes we commit within our minds and souls. However, if history is continuity between the past and the present, then ‘The Mountains Within’ does leave some doors open for Nuremberg Trials of the mind and the souls for these Indians.

Throughout the longue dureé of Western culture, how have people represented mountains as landscapes of the imagination and as places of real experience? In what ways has human understanding of mountains changed – or stayed the same? Mountain Dialogues from Antiquity to Modernity opens up a new conversation between ancient and modern engagements with mountains. It highlights the ongoing relevance of ancient understandings of mountain environments to the postclassical and present-day world, while also suggesting ways in which modern approaches to landscape can generate new questions about premodern responses. It brings together experts from across many different disciplines and periods, offering case studies on topics ranging from classical Greek drama to Renaissance art, and from early modern natural philosophy to nineteenth-century travel writing. Throughout, essays engage with key themes of temporality, knowledge, identity, and experience in the mountain landscape. As a whole, the volume suggests that modern responses to mountains participate in rhetorical and experiential patterns that stretch right back to the ancient Mediterranean. It also makes the case for collaborative, cross-period research as a route both for understanding human relations with the natural world in the past, and informing them in the present.

Reproduction of the original.

Mount Geumgang, also known as the Diamond Mountains, is perhaps the most famous and emotionally resonant site on the Korean Peninsula, a magnificent range of rocky peaks, waterfalls, and lagoons, dotted with pavilions and temples. Since ancient times, it has inspired cultural pride, spurred spiritual and artistic pilgrimages, and engendered an outpouring of creative expression. Yet since the partition of Korea in 1945 situated it in the North, Mount Geumgang has remained largely inaccessible to visitors, shrouded in legend, loss, and longing. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Diamond Mountains: Travel and Nostalgia in Korean Art is the first book in English to explore the pictorial representations of this grand and varied landscape. The special exhibition it accompanies, organized by Soyoung Lee, Curator in the Department of Asian Art, examines the evolution of Diamond Mountains imagery from the golden age of Korean true-view painting in the eighteenth century to the present day. Even today, when a profusion of Instagram photos can make the world’s most obscure sites and geographical oddities seem familiar, the Diamond Mountains portrayed here in album leaves, scrolls, and screens will be a revelation to many.

Simpson offers a biography of her mother, one of the first female journalists in New Mexico who was known for her informative, influential, and inspiring writing.

In Lost on the Mountain Laya Whisten sat and watched the life fade from her husband Cal as he was dying with scarlet fever. She was left to run a 2000 acre spread, called the Swinging W Ranch. Shed made a solemn promise to herself when Cal died that she would never get married again and she had kept that promise for 8 years. Until she met sheriff Cole Walters, of Butte Montana. She had risen on a cold December morning, made a circle on the window pane to see out, finding a menagerie of snow and ice cycles everywhere. She was headed to her cabin in the mountain and knew she had to get there before nightfall. She spent every winter there gather stray cattle, holding them in the barn until she could bring them back down the mountain during the spring. She saddled Nick, her favorite horse and headed into the timber line. When she was about three miles from home the snow became heavier making it difficult to see where she was going. She had heard a whimper coming from a bush near the trail. She slid off her hoarse to investigate and found it to be a baby wolf. The little wolf refused to let her pick him up until she had fed him several biscuits from her saddle bag. They formed a bond of love, which would last on through the years. He protected her, and found her, when she was lost in a blinding snow storm in the mountains. Her and the wolf pup encountered a grizzly bear on the way back to the cabin, as they were coming from sheltering Nick in the barn when they first arrived. During the night as she dozed in her rocking chair in front of the fireplace, she awoke to a noise outside the cabin. Thinking the grizzly had returned, she grabbed the gun from over the fireplace and silently eased to the window. She saw a silhouette of a man over the saddle of his horse. Laya found a bullet lodged in his right shoulder and knew that she had to get it out. She later finds out he is sheriff Cole Walters of Beatue, Montana and he had been chasing the outlaw who had burned his home three years earlier, with his wife and child trapped inside. Both died in the fire. Cole fell in love with Laya the minute he opened his eyes and saw her sitting by his bed waiting for him to regain consciousness. Even stressed from her administration of taking the bullet from his shoulder, she was the most beautiful person Cole had ever laid eyes on. It took a long time to win Laya over and return his love, but Cole refused to give up. He had to have her.