Most of us never think about how we get from one place to another. For most people, putting one foot in front of the other requires no thought at all. Yet the fact that we and other species are able to do so is one of the great triumphs of evolution. To truly understand how life evolved on Earth, it is crucial to understand movement.ÊRestless CreaturesÊmakes the bold new argument that the true story of evolution is the story of locomotion, from the first stirrings of bacteria to the amazing feats of Olympic athletes. By retracing the four-billion-year history of locomotion, evolutionary biologist Matt Wilkinson shows how the physical challenges of moving from place to placeÑwhen coupled with the implacable logic of natural selectionÑoffer a uniquely powerful means of illuminating the living world. Whales and dolphins look like fish because they have been molded by the constraints of underwater locomotion. The unbending physical needs of flight have brought bats, birds, and pterodactyls to strikingly similar anatomies. Movement explains why we have opposable thumbs, why moving can make us feel good, how fish fins became limbs, and even whyÑclassic fiction notwithstandingÑthere are no flying monkeys nor animals with wheels. Even plants arenÕt immune from locomotionÕs long reach: their seeds, pollen, and very form are all determined by their aptitude to disperse. From sprinting cheetah to spinning maple fruit, soaring albatross to burrowing worm, crawling amoeba to running humanÑall are the way they are because of how they move. There is a famous saying: Ònothing in biology makes sense unless in the light of evolution.Ó As Wilkinson makes clear: little makes sense unless in the light of locomotion. A powerful yet accessible work of evolutionary biology,ÊRestless CreaturesÊis the essential guide for understanding how life on Earth was shaped by the simple need to move from point A to point B.

First published by Etana Editions, Helsinki, 2016.

With playfulness and ingenuity in the tradition of Douglas Adams, the Cuban science fiction master Yoss delivers a space opera of intergalactic proportions withSuper Extra Grande, the winner of the 20th annual UPC Science Fiction Award in 2011.

A “wide-ranging, witty, and astonishingly learned” scientific and cultural history of the concept of the capacity to act in nature (London Review of Books). Today, a scientific explanation is not meant to ascribe agency to natural phenomena: we would not say a rock falls because it seeks the center of the earth. Even for living things, in the natural sciences and often in the social sciences, the same is true. A modern botanist would not say that plants pursue sunlight. This has not always been the case, nor, perhaps, was it inevitable. Since the seventeenth century, many thinkers have made agency, in various forms, central to science. The Restless Clock examines the history of this principle, banning agency, in the life sciences. It also tells the story of dissenters embracing the opposite idea: that agency is essential to nature. The story begins with the automata of early modern Europe, as models for the new science of living things, and traces questions of science and agency through Descartes, Leibniz, Lamarck, and Darwin, among many others. Mechanist science, Jessica Riskin shows, had an associated theology: the argument from design, which found evidence for a designer in the mechanisms of nature. Rejecting such appeals to a supernatural God, the dissenters sought to naturalize agency rather than outsourcing it to a “divine engineer.” Their model cast living things not as passive but as active, self-making machines. The conflict between passive- and active-mechanist approaches maintains a subterranean life in current science, shaping debates in fields such as evolutionary biology, cognitive science, and artificial intelligence. This history promises not only to inform such debates, but also our sense of the possibilities for what it means to engage in science—and even what it means to be alive. Praise for The Restless Clock “A wonderful contribution—and much needed corrective—to the history of European ideas about life and matter.” —Evelyn Fox Keller, author of The Mirage of a Space between Nature and Nurture “Engrossing and illuminating.” —Nature “A sweeping survey of the search for answers to the mystery of life. Riskin writes with clarity and wit, and the breadth of her scholarship is breathtaking.” —Times Higher Education (UK)

The most successful and controversial Cuban Science Fiction writer of all time, Yoss (aka José Miguel Sánchez Gómez) is known for his acerbic portraits of the island under Communism. In his bestselling A Planet for Rent, Yoss pays homage to Ray Bradbury’s The Martian Chronicles and 334 by Thomas M. Disch. A critique of Cuba in the nineties, after the fall of the Soviet Union and the dissolution of the Warsaw Pact, A Planet for Rent marks the debut in English of an astonishingly brave and imaginative Latin American voice. Praise for Yoss “One of the most prestigious science fiction authors of the island.” —On Cuba Magazine "A gifted and daring writer." —David Iaconangelo "José Miguel Sánchez [Yoss] is Cuba’s most decorated science fiction author, who has cultivated the most prestige for this genre in the mainstream, and the only person of all the Island’s residents who lives by his pen.” —Cuenta Regresiva Born José Miguel Sánchez Gómez, Yoss assumed his pen name in 1988, when he won the Premio David Award in the science fiction category for Timshel. Together with his peculiar pseudonym, the author's aesthetic of an impentinent rocker has allowed him to stand out amongst his fellow Cuban writers. Earning a degree in Biology in 1991, he went on to graduate from the first ever course on Narrative Techniques at the Onelio Jorge Cardoso Center of Literary Training, in the year 1999. Today, Yoss writes both realistic and science fiction works. Alongside these novels, the author produces essays, Praise for, and compilations, and actively promotes the Cuban science fiction literary workshops, Espiral and Espacio Abierto. When he isn’t translating, David Frye teaches Latin American culture and society at the University of Michigan. Translations include First New Chronicle and Good Government by Guaman Poma de Ayala (Peru, 1615); The Mangy Parrot by José Joaquín Fernandez de Lizardi (Mexico, 1816), for which he received a National Endowment for the Arts Fellowship; Writing across Cultures: Narrative Transculturation in Latin America by Ángel Rama (Uruguay, 1982), and several Cuban and Spanish novels and poems.

Mother deer tuck their fawns in for the night; sea otters wrap themselves up in a blanket of seaweed to avoid being carried away by the tides. This delicately illustrated and informative sleepy-time book gives children insight into what 16 different animals do at bedtime. Full color.

A core principle of modern science holds that a scientific explanation must not attribute will or agency to natural phenomena.The Restless Clock examines the origins and history of this, in particular as it applies to the science of living things. This is also the story of a tradition of radicals—dissenters who embraced the opposite view, that agency is an essential and ineradicable part of nature. Beginning with the church and courtly automata of early modern Europe, Jessica Riskin guides us through our thinking about the extent to which animals might be understood as mere machines. We encounter fantastic robots and cyborgs as well as a cast of scientific and philosophical luminaries, including Descartes and Leibnitz, Lamarck and Darwin, whose ideas gain new relevance in Riskin's hands. The book ends with a riveting discussion of how the dialectic continues in genetics, epigenetics, and evolutionary biology, where work continues to naturalize different forms of agency.The Restless Clock reveals the deeply buried roots of current debates in artificial intelligence, cognitive science, and evolutionary biology.