"Explores the evolution of garden inspired jewelry with 375 full-color photographs from the nineteenth century to present day displaying important pieces from world famous jewelers, including Cartier, Tiffany, Mauboussin, Bulgari, Chanel, and Christian Dior"--Provided by publisher.

'TRULY INSPIRING' Mail on Sunday Now familiar to millions of Gardeners' World fans as Longmeadow (the home of Nigel & Nellie), this is the story of Monty & Sarah Don's early days there. THE JEWEL GARDEN is the story of the garden that bloomed from the muddy fields around the Dons' Tudor farmhouse, a perfect metaphor for the Monty and Sarah's own rise from the ashes of a spectacular commercial failure in the late '80s . At the same time THE JEWEL GARDEN is the story of a creative partnership that has weathered the greatest storm, and a testament to the healing powers of the soil. Monty Don has always been candid about the garden's role in helping him to pull back from the abyss of depression; THE JEWEL GARDEN elaborates on this much further. Written in an optimistic, autobiographical vein, Monty and Sarah's story is truly an exploration of what it means to be a gardener.

The Poetics of Plants in Spanish American Literature examines the defining role of plants in cultural expression across Latin America, particularly in literature. From the colonial georgic to Pablo Neruda’s Canto general, Lesley Wylie’s close study of botanical imagery demonstrates the fundamental role of the natural world and the relationship between people and plants in the region. Plants are also central to literary forms originating in the Americas, such as the New World Baroque, described by Alejo Carpentier as “nacido de árboles.” The book establishes how vegetal imaginaries are key to Spanish American attempts to renovate European forms and traditions as well as to the reconfiguration of the relationship between humans and nonhumans. Such a reconfiguration, which persistently draws on indigenous animist ontologies to blur the boundaries between people and plants, anticipates much contemporary ecological thinking about our responsibility towards nonhuman nature and shows how environmental thinking by way of plants has a long history in Latin American literature.

A musical celebration of the garden, from chaff to grass, and all of its lowly weeds, herbs, and creatures Sylvia Legris’s Garden Physic is a paean to the pleasures and delights of one of the world’s most cherished pastimes: Gardening! “At the center of the garden the heart,” she writes, “Red as any rose. Pulsing / balloon vine. Love in a puff.” As if composed out of a botanical glossolalia of her own invention, Legris’s poems map the garden as body and the body as garden—her words at home in the phytological and anatomical—like birds in a nest. From an imagined love-letter exchange on plants between garden designer Vita Sackville-West and Harold Nicolson to a painting by Agnes Martin to the medicinal discourse of the first-century Greek pharmacologist Pedanius Dioscorides, Garden Physic engages with the anaphrodisiacs of language with a compressed vitality reminiscent of Louis Zukofsky’s “80 Flowers.” In muskeg and yard, her study of nature bursts forth with rainworm, whorl of horsetail, and fern radiation—spring beauty in the lines, a healing potion in verse.

Plato’s Timaeus and the Biblical Creation Accounts argues that the creation of the world in Genesis 1 and the story of the first humans in Genesis 2-3 both draw directly on Plato’s famous account of the origins of the universe, mortal life and evil containing equal parts science, theology and myth. This book is the first to systematically compare biblical, Ancient Near Eastern and Greek creation accounts and to show that Genesis 1-3 is heavily indebted to Plato’s Timaeus and other cosmogonies by Greek natural philosophers. It argues that the idea of a monotheistic cosmic god was first introduced in Genesis 1 under the influence of Plato’s philosophy, and that this cosmic Creator was originally distinct from the lesser terrestrial gods, including Yahweh, who appear elsewhere in Genesis. It shows the use of Plato’s Critias, the sequel to Timaeus, in the stories about the Garden of Eden, the intermarriage of "the sons of God" and the daughters of men, and the biblical flood. This book confirms the late date and Hellenistic background of Genesis 1-11, drawing on Plato’s writings and other Greek sources found at the Great Library of Alexandria. This study provides a fascinating approach to Genesis that will interest students and scholars in both biblical and classical studies, philosophy and creation narratives. .

Since the discovery over one hundred years ago of a body of Mesopotamian poetry preserved on clay tablets, what has come to be known as the Epic of Gilgamesh has been considered a masterpiece of ancient literature. It recounts the deeds of a hero-king of ancient Mesopotamia, following him through adventures and encounters with men and gods alike. Yet the central concerns of the Epic lie deeper than the lively and exotic story line: they revolve around a man’s eternal struggle with the limitations of human nature, and encompass the basic human feelings of lonliness, friendship, love, loss, revenge, and the fear of oblivion of death. These themes are developed in a distinctly Mesopotamian idiom, to be sure, but with a sensitivity and intensity that touch the modern reader across the chasm of three thousand years. This translation presents the Epic to the general reader in a clear narrative.