After moving with her family to Pleasant View, Illinois, in 1978, ten-year-old Addy Dawson forms a close friendship with Elizabeth "Cricket" Mitchell, a girl with a special gift and a father who resentment about her mother's death in childbirth dominates their relationship.

The Acadian Deportation is told through the eyes of twelve-year-old Fidèle, in the new English version of this Hackmatack Award-winning novel by author Diane Carmel Léger. The Lookout Tree, an English translation of the Acadian bestseller La butte à Pétard, is a testament to the will of the Acadian people, determined to not only survive the two decades of the Deportation, but reunite and rebuild afterward.

For half a century Bob Frakes pursued his "Forest Lookout Tower" hobby. All the time he collected papers, pictures, stories and friends. He was urged to put his memories down in a book and not let them be forgotten. "Remembering Missouri's Lookout Towers - A Place above the Trees" is finished. It contains history. What preceded and created a need for the towers? It has stories. What is the goat doing on the top steps? It has technical information. What is the difference between an LS-40 and a MC-39? It has interviews. Those who worked the towers remember. It has submissions. Individuals who lived the life share their thoughts on themselves, what it was like and relatives. Others share their technical knowledge on fire finders, dispatch maps, the forest today, map projects, dozers, etc. And of course, there are the pictures. The book contains over 300 images. Some are archival and one of a kind and many are in color. You can take a tower trip and never leave your living room. You will also find tower names, towers moved, Bucksnort Foodstand, tower mysteries, Smokey Bear, the Royal Order of Squirrels, wood towers, steel towers, lookouts not towers, drone shots, and much more. Missouri is often cited as the nation's #1 conservation success story. Come examine this part of the story as to how it got that way.

A page-turning memoir about a young woman's grueling, revelatory summers working alone in a remote lookout tower and her eyewitness account of the increasingly unpredictable nature of wildfire in the Canadian north. While growing up in Peace River, Alberta, Trina Moyles heard many stories of Lookout Observers--strange, eccentric types who spent five-month summers alone, climbing 100-foot high towers and watching for signs of fire in the surrounding boreal forest. How could you isolate yourself for that long? she wondered. "I could never do it," she told herself. Craving a deeper sense of purpose, she left northern Alberta to pursue a decade-long career in global humanitarian work. After three years in East Africa, and newly engaged, Trina returned to Peace River with a plan to sponsor her fiance, Akello's, immigration to Canada. Despite her fear of being alone in the woods, she applied for a seasonal lookout position and got the job. Thus begins Trina's first summer as one of a handful of lookouts scattered throughout Alberta, with only a farm dog, Holly--labeled "a domesticated wolf" by her former owners--to keep her company. While searching for smoke, Trina unravels under the pressure of a long-distance relationship--and a dawning awareness of the environmental crisis that climate change is producing in the boreal. Through megafires, lightning storms, and stunning encounters with wildlife, she learns to survive at the fire tower by forging deep connections with nature and with an extraordinary community of people dedicated to wildfire detection and combat. In isolation, she discovers a kind of self-awareness--and freedom--that only solitude can deliver. Lookout is a riveting story of loss, transformation, and belonging to oneself, layered with an eyewitness account of the destructive and regenerative power of wildfire in our northern forests.

Will a girl's increasingly fantastical descriptions of her secret tree fort lure her older sister away from her book?

This controversial, eye-opening book by Elizabeth McGreevy suggests a different perception of Mountain Cedars (also called Ashe Junipers). It digs into the politics, history, economics, culture, and ecology surrounding these trees in the Hill Country of Texas from the 1700s to the present. Since the 1920s, reporters, writers, scientists, landowners, politicians, and cedar fever victims have characterized the trees as a non-native, water-hogging, grass-killing, toxic, useless species to justify its removal. The result has been a glut of Mountain Cedar tall tales. Yet before the 1890s, people highly respected Mountain Cedars. The Mountain Cedars they reported were large timber trees with strong, decay-resistant heartwood. Most were cut down and sold to boost the young Hill Country economy. The clearcutting of old-growth forests and dense woodlands and the continuous overgrazing of prairies that followed led to mass soil degradation and erosion. Acting as nature's bandage, Mountain Cedars morphed into pioneering bushes and spread across degraded soils. This book tracks down the origins of the tall tales to determine what is true, what is false, and what is somewhere in between. Through a series of revelations, the author replaces anti-cedar sentiments with a more constructive, less emotional approach to Hill Country land management.

What was your earliest childhood artwork that received recognition? When did you first consider yourself a professional artist? How has your studio's location influenced your work? How do you choose titles? Do you have a favorite color? Joe Fig asked a wide range of celebrated artists these and many other questions during the illuminating studio visits documented in Inside the Artist's Studio—the follow-up to his acclaimed 2009 book, Inside the Painter's Studio. In this remarkable collection, twenty-four painters, video and mixed-media artists, sculptors, and photographers reveal highly idiosyncratic production tools and techniques, as well as quotidian habits and strategies for getting work done: the music they listen to; the hours they keep; and the relationships with gallerists and curators, friends, family, and fellow artists that sustain them outside the studio.