Artist and naturalist Tony Angell has used Puget Sound's natural diversity as his palette for nearly 50 years. He describes the methods he uses in his art and his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Tony Angell is an illustrator, sculptor, and author of RAVENS, CROWS, MAGPIES, AND JAYS and OWLS. He served for thirty years as Washington State Director of Environmental Education.

Winner of the Pacific Northwest Booksellers Award Bounded on the east by the crest of the Cascade Range and on the west by the lofty east flank of the Olympic Mountains, Puget Sound terrain includes every imaginable topograhic variety. This thoughtful and eloquent natural history of the Puget Sound region begins with a discussion of how the ice ages and vulcanism shaped the land and then examines the natural attributes of the region--flora and fauna, climate, special habitats, life histories of key organisms--as they pertain to the functioning ecosystem. Mankind's effects upon the natural environment are a pervasive theme of the book. Kruckeberg looks at both positive and negative aspects of human interaction with nature in the Puget basin. By probing the interconnectedness of all natural aspects of one region, Kruckeberg illustrates ecological principles at work and gives us a basis for wise decision-making. The Natural History of Puget Sound Country is a comprehensive reference, invaluable for all citizens of the Northwest, as well as for conservationists, biologists, foresters, fisheries and wildlife personnel, urban planners, and environmental consultants everywhere. Lavishly illustrated with over three hundred photographs and drawings, it is much more than a beautiful book. It is a guide to our future.

Essays on the depiction of animals, birds and insects in early medieval material culture, from texts to carvings to the landscape itself. For people in the early Middle Ages, the earth, air, water and ether teemed with other beings. Some of these were sentient creatures that swam, flew, slithered or stalked through the same environments inhabited by their human contemporaries. Others were objects that a modern beholder would be unlikely to think of as living things, but could yet be considered to possess a vitality that rendered them potent. Still others were things half glimpsed on a dark night or seen only in the mind's eye; strange beasts that haunted dreams and visions or inhabited exotic lands beyond the compass of everyday knowledge. This book discusses the various ways in which the early English and Scandinavians thought about and represented these other inhabitants of their world, and considers the multi-faceted nature of the relationship between people and beasts. Drawing on the evidence of material culture, art, language, literature, place-names and landscapes, the studies presented here reveal a world where the boundaries between humans, animals, monsters and objects were blurred and often permeable, and where to represent the bestial could be to holda mirror to the self. Michael D.J. Bintley is Senior Lecturer in Medieval Literature at Canterbury Christ Church University; Thomas J.T. Williams is a doctoral researcher at UCL's Institute of Archaeology. Contributors: Noël Adams, John Baker, Michael D. J. Bintley, Sue Brunning, László Sándor Chardonnens, Della Hooke, Eric Lacey, Richard North, Marijane Osborn, Victoria Symons, Thomas J. Williams

Puget Sound is a magnificent and intricate estuary, the very core of life in Western Washington. Yet it's also a place of broader significance: rivers rush from the Cascade and Olympic mountains and Canada's coastal ranges through varied watersheds to feed the Sound, which forms the southern portion of a complex, international ecosystem known as the Salish Sea. A rich, life-sustaining home shared by two countries, as well as 50-plus Native American Tribes and First Nations, the Salish Sea is also a huge economic engine, with outdoor recreation and commercial shellfish harvesting alone worth $10.2 billion. But this spectacular inland sea is suffering. Pollution and habitat loss, human population growth, ocean acidification, climate change, and toxins from wastewater and storm runoff present formidable challenges. We Are Puget Sound amplifies the voices and ideas behind saving Puget Sound, and it will help engage and inspire citizens around the region to join together to preserve its ecosystem and the livelihoods that depend on it.

Jim Blanchard's work from 1982–2002 intersected with punk rock, grunge, psychedelia, alternative comics, “zine” culture, portraiture, and “girlie” art. The book gathers Blanchard’s art into a cohesive whole; one section assembles the best of Blanchard’s LP covers, posters and flyers from the hardcore punk era through grunge, including iconic Black Flag, Nirvana, and Soundgarden posters. Augmenting the posters are exclusive photographs from the shows, including shots by famed photographer Charles Peterson (Touch Me, I'm Sick).

The book as object, as content, as idea, as interface. What is the book in a digital age? Is it a physical object containing pages encased in covers? Is it a portable device that gives us access to entire libraries? The codex, the book as bound paper sheets, emerged around 150 CE. It was preceded by clay tablets and papyrus scrolls. Are those books? In this volume in the MIT Press Essential Knowledge series, Amaranth Borsuk considers the history of the book, the future of the book, and the idea of the book. Tracing the interrelationship of form and content in the book's development, she bridges book history, book arts, and electronic literature to expand our definition of an object we thought we knew intimately. Contrary to the many reports of its death (which has been blamed at various times on newspapers, television, and e-readers), the book is alive. Despite nostalgic paeans to the codex and its printed pages, Borsuk reminds us, the term “book” commonly refers to both medium and content. And the medium has proved to be malleable. Rather than pinning our notion of the book to a single form, Borsuk argues, we should remember its long history of transformation. Considering the book as object, content, idea, and interface, she shows that the physical form of the book has always been the site of experimentation and play. Rather than creating a false dichotomy between print and digital media, we should appreciate their continuities.

Book art catalog for the 10th Redux Puget Sound Book Artist Annual Membership Exhibition.