John Muir can be interpreted to have employed a similar strategy in his earliest conservation advocacy writings as the strategy Ralph Waldo Emerson employed to overcome the public futility of his personal ideals. Like Emerson, Muir came to offset the despair he felt at the political impotence of his conscience with a positive outlook on his potential to embody his subjective ideals both in his personal character and in his contributions to concrete forms of social practice. Muir thus can be (...) shown to have standing in the environmental virtue ethics tradition by dint of his appreciation for the necessity of virtuous political participation in movements for social reform. (shrink)

Life on the road was anything but glamorous for Farm Security Administration photographers traveling through southern Illinois in the mid-1930s. Often their most promising subjects lived at the end of the worst roads, many of which lacked bridges, drainage ditches, or gravel. Outfitted with three government-issue cameras, flashbulbs, tripods, and film-processing chemicals, their job was to help explain America to Americans by seeking out and photographing the one-third of the nation FDR described as ill-housed, ill-clad, and ill-nourished. Featured in this (...) book are more than one hundred photographs from the collection of a quarter of a million taken by FSA photographers between 1935 and 1943. These pictures capture life during the Great Depression as viewed in the coal-mining towns of Herrin, West Frankfort, and Zeigler; the river communities of Shawneetown, Cairo, and Grayville; the farming regions near McLeansboro, Newton, and Harrisburg--more than two dozen southern Illinois county seats, hamlets, and landings. Together they comprise a photographic portrait of the determination, hard work, and capacity to find ways to celebrate life exemplified by the people of southern Illinois during one of the most difficult periods of American history. FSA photographers helped to invent and popularize the documentary style, a type of photography in which pictures and their arrangement carry much of the information in a story. Intended to document the success of a government project, these pictures survived to preserve for later generations the story of the people of southern Illinois and how they endured the difficult times of the Great Depression. (shrink)

50 Voices of Disbelief: Why We Are Atheists presents a collection of original essays drawn from an international group of prominent voices in the fields of academia, science, literature, media and politics who offer carefully considered statements of why they are atheists. Features a truly international cast of contributors, ranging from public intellectuals such as Peter Singer, Susan Blackmore, and A.C. Grayling, novelists, such as Joe Haldeman, and heavyweight philosophers of religion, including Graham Oppy and Michael Tooley Contributions range from (...) rigorous philosophical arguments to highly personal, even whimsical, accounts of how each of these notable thinkers have come to reject religion in their lives Likely to have broad appeal given the current public fascination with religious issues and the reception of such books as The God Delusion and The End of Faith. (shrink)