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Winner of the 2017 Virginia Marie Folkins Award, Association of King County Historical Organizations (AKCHO)Winner of the 2017 Hal K. Rothman Book Prize, Western History Association Seattle would not exist without animals. Animals have played a vital role in shaping the city from its founding amid existing indigenous towns in the mid-nineteenth century to the livestock-friendly town of the late nineteenth century to the pet-friendly, livestock-averse modern city. When newcomers first arrived in the 1850s, they hastened to assemble the familiar cohort of cattle, horses, pigs, chickens, and other animals that defined European agriculture. This, in turn, contributed to the dispossession of the Native residents of the area. However, just as various animals were used to create a Euro-American city, the elimination of these same animals from Seattle was key to the creation of the new middle-class neighborhoods of the twentieth century. As dogs and cats came to symbolize home and family, Seattleites’ relationship with livestock became distant and exploitative, demonstrating the deep social contradictions that characterize the modern American metropolis. Throughout Seattle’s history, people have sorted animals into categories and into places as a way of asserting power over animals, other people, and property. In The City Is More Than Human, Frederick Brown explores the dynamic, troubled relationship humans have with animals. In so doing he challenges us to acknowledge the role of animals of all sorts in the making and remaking of cities.
The essays, poetry, and visual art collected here consider the more-than-human cultures of our multispecies world. At a time when humanity's impact has put our planet's ecosystems into great jeopardy, the book explores literary, sonic, and visual imaginaries that feature encounters between and across a variety of living creatures: beetles and bisons, people and pigeons, trees and spiderwebs, vegetables and violets, orchards and octopi, vampires and tricksters. Offering a wide range of critical and creative contributions to Human Animal Studies, Critical Plant Studies and the Nonhuman Turn, the volume seeks to foster new ways of imagining a more »response-able« coexistence on our shared Earth.
More-than-Human Sociology is a call for a bolder, more creative sociology. Olli Pyyhtinen argues that to make sociology responsive to life in the 21st century we need a new sociological imagination, one that addresses connectivity, understands the world in which we live as both a human and non-human world, and is sensitive to the multiple scales on which things exist. A fresh and innovative take on the promise of sociology, this book will appeal to scholars and students both within sociology and the social sciences more broadly.
All alone: an idiot boy, a runaway girl, a severely retarded baby, and twin girls with a vocabulary of two words between them. Yet once they are mysteriously drawn together this collection of misfits becomes something very, very different from the rest of humanity. This intensely written and moving novel is an extraordinary vision of humanity's next step. First published in 1952, More Than Human won the Retro Hugo Award for Best Novel.
Socio-environmental crises are currently transforming the conditions for life on this planet, from climate change, to resource depletion, biodiversity loss and long-term pollutants. The vast scale of these changes, affecting land, sea and air have prompted calls for the ‘ecologicalisation’ of knowledge. This book adopts a much needed ‘more-than-human’ framework to grasp these complexities and challenges. It contains multidisciplinary insights and diverse methodological approaches to question how to revise, reshape and invent methods in order to work with non-humans in participatory ways. The book offers a framework for thinking critically about the promises and potentialities of participation from within a more-than-human paradigm, and opens up trajectories for its future development. It will be of interest to those working in the environmental humanities, animal studies, science and technology studies, ecology, and anthropology.
A group of wildcat planetary prospectors plant their flag on a distant new world, rich in land, resources... and the greatest archaeological discovery in history, an ancient complex of impossible proportions carved deep within the living rock, a mind-numbing labyrinth of passages, ramps, bridges, and galleries that seems to extend limitlessly. But as the exploration of the leviathan dead city proceeds deeper and deeper, the members of the team slowly begin to lose their grip on reality, and madness gives way to fear as the explorers begin to disappear. Something else lives within the necropolis, a faceless horror as deadly and merciless as space itself, a lethal terror that has waited centuries to awake... and destroy. At long last, Dark Horse Books heralds the return to graphic fiction of the heavyweight champion of modern science-fiction/horror, Aliens! Features the top-flight creative team of writer John Arcudi, penciller Zach Howard, and inker Mark Irwin.
After the Ape - Stephen Volk "The notion of 'what happened next?' following a classic monster movie - probably the biggest and best - was an intriguing one to me," says Stephen Volk, "and not only the initial considerations of public health issues. "Somehow kicking this off and shadowing its development was reading somewhere that King Kong was Hitler's favourite film. Why? "Anyway the ape is not the monster in this tale. Far from it." The Nonesuch - Brian Lumley Brian Lumley reveals "readers who attended the KeoghCons in Torquay, Devon, will immediately recognize the only slightly disguised location in which this story is set... two previous tales in this sequence ('The Thin People' and 'Stilts') were narrated first-person by the protagonist, an unfortunate fellow who, where weird or unconventional collisions are concerned, appears to be accident prone - in spades! And being a recovering alcoholic hasn't much helped his case, because pink elephants just don't compare with the creatures he's wont to bump into. "The earlier tales are alluded to, but briefly, which barely interferes with the pace of the current story. As to why I wrote this one: it's simply that I have a fondness for trilogies, let alone outré encounters . . ."

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