Gardening in Portland, Oregon.

Rise, Ye Sea Slugs! is a book of many faces. First, it is a book of translated haiku and contains over 900 of these short Japanese poems in the original (smoothly inserted in the main body),with phonetic and literal renditions, as well as the authors English translations and explanations. All but a dozen or two of the haiku are translated for the first time. There is an index of poets, poems and a bibliography. Second, it is a book of sea slug haiku, for all of the poems are about holothurians, which scientists prefer to call sea cucumbers. (The word cucumber is long for haiku and metaphorically unsuitable for many poems, so poetic license was taken.) With this book, the namako, as the sea cucumber is called in Japanese, becomes the most translated single subject in haiku, surpassing the harvest moon, the snow, the cuckoo, butterflies and even cherry blossoms. Third, it is a book of original haiku. While the authors original intent was to include only genuine old haiku (dating back to the 17th century), modern haiku were added and, eventually, Keigu (Gills haiku name) composed about a hundred of his own to help fill out gaps in the metaphorical museum. For many if not most modern haiku taken from the web, it is also their first time in print! Fourth, it is a book of metaphor. How may we arrange hundreds of poems on a single theme? Gill divides them into 21 main metaphors, including the Cold Sea Slug, the Mystic Sea Slug, the Helpless Sea Slug, the Slippery Sea Slug, the Silent Sea Slug, and the Melancholy Sea Slug, giving each a chapter, within which the metaphors may be further subdivided, and adds a 100 pages of Sundry Sea Slugs (scores of varieties including Monster, Spam, Flying, Urban Myth, and Exploding). Fifth, it is a book on haiku. E ditors usually select only the best haiku, but, Gill includes good and bad haiku by everyone from the 17th century haiku master to the anonymous haiku rejected in some internet contest. This is not to say all poems found were included, but that the standard was along more taxonomic or encyclopedic lines: poems that filled in a metaphorical or sub-metaphorical gap were always welcome. Also, Gill shows there is more than one type of good haiku. These are new ways to approach haiku. Sixth, it is a book on translation. There are approximately 2 translations per haiku, and some boast a dozen. These arearranged in mixed single, double and triple-column clusters which make each reading seem a different aspect of a singular, almost crystalline whole. The authors aim is to demonstrate that multiple reading (such as found in Hofstadters Le Ton Beau de Marot) is not only a fun game but a bona fide method of translating, especially useful for translating poetry between exotic tongues. Seventh, it is a book of nature writing, natural history or metaphysics (in the Emersonian sense). Gill tried to compile relevant or interesting (not necessarily both) historical -- this includes the sea slug in literature, English or Japanese, and in folklore -- and scientific facts to read haiku in their light or, conversely, bringor wring out science from haiku. Unlike most nature writers, Gill admits to doing no fieldwork, but sluggishly staying put and relying upon reportsfrom more mobile souls. Eighth, it is a book about food symbolism. The sea cucumber is noticed by Japanese because they eat it; the eating itselfinvolves physical difficulties (slipperiness and hardness) and pleasures from overcoming them. It is also identified with a state of mind, where you are what you eat takes on psychological dimensions not found in the food literature of the West. Ninth, it is a book about Japanese culture. Gill does not set out to explain Japan, and the sea slug itself is silent;but the collection of poems and their explanations, which include analysis by poets who responded to the author's questions as well has historical sources, take us all around the culture, from ancient myths to contemporary dreams. Tenth, it is a book about sea cucumbers. While most species of sea cucumbers are not mentioned and the coverage of the Japanese sea cucumber is sketchy from the scientific point of view, Gill does introduce this animal graced to live with no brain thanks to the smart materials comprising it and blessed for sucking in dirty sediment and pooping it out clean. Eleventh, it is a book about ambiguity. Gill admits there is much that cannot be translated, much he cannot know and much to be improved in future editions, for which purpose he advises readers to see the on-line Glosses and Errata in English and Japanese. His policy is to confide in, rather than slip by the reader unnoticed, in the manner of the invisible modern translator and allow the reader to makechoices or choose to allow multiple possibilities to exist by not chosing.Twelfth, the book is the first of dozens of spin-offs from a twenty-book haiku saijiki (poetic almanac) called In Praise of Olde Haiku (IPOOH, for short) Gill hopes to finish within the decade. Thirteenth. The book is a novelty item. It has a different (often witty) header (caption) on top of each page and copious notes that are rarely academic and oftehumorous.

John Alexander MacNeil is eighty years old. Sharp-tongued and quick-witted, he lives alone in rural Cape Breton, but he still cooks breakfast for his wife, who’s been dead for thirty years. He silently starts to question his own mind after stopping to pick up a hitchhiker — a hitchhiker who turns out to be his neighbour’s mailbox. Everything shifts, though, when Emily, a pregnant teenager, shows up at his house with no place else to go. Determined to help Emily as best as he can, John must also keep the wolves from his door and maintain some semblance of sanity. The Unlikely Redemption of John Alexander MacNeil is a compelling, witty and heartwarming novel by renowned Nova Scotia author Lesley Choyce.

Patrick William Graham Jr. was destined to be small of stature, but that didn't mean he was short on courage. He grew up with a Cherokee tribe and became blood brother to the chief's son, Leaping Wolf. One of Pat's first toys was a hand-carved wooden pistol; when his draw was faster than his father's, he was given a working gun. When tragedy strikes, leaving Pat's father dead and his mother remarried to a man Pat despises, he leaves his tribal home. Out in the world, his small frame makes him an easy target for bullies, predators, and petty men with something to prove. After he kills a man who was riding him for being small, Pat's life changes in ways he can't control. He sells his skills as a gunman. In Mexico, he protects a silver mine from banditos and then helps them to improve their operation. One fateful day, however, on a job rustling cattle, he finds God and a better way to live. Pat is soon welcomed as the youngest Arizona Territorial Ranger, and he puts his skills and talents to the Lord's work. He prevents war with the Indians seven times. But his life isn't all heroics and escapades. Along the way, he also finds a bride, buys a ranch, and works with a family named Earp. Inspired by the stories told to him by his Texas rancher father, songs, and classic Western tales, A Stranger Came to Town is Nolan Fondren's love song to a long-lost time and place.

A bloodthirsty band of Indians wants Cuno dead in this .45-Caliber western from Peter Brandvold... Cuno Massey had always stayed on the good side of the law. But he’d never found himself stuck in the middle of a feud between a weary old rancher and a band of Indians hungry for revenge. With warring braves surrounding the ranch and a doomed man begging for help, Cuno’s the only rider left who stands a chance to save the rancher’s daughter from a savage massacre. Fighting arrows with bullets and tussling with grizzly bears, Cuno’s rescue ride is no pleasure trip. And when his wagon party comes up against a squad of mountain marshals looking to break some rules of their own, Cuno’s got to do what it takes to defend the girl—and himself. Even if it means defying the law and becoming a wanted man…