In Untold Futures, J. K. Barret locates models for recovering the variety of futures imagined within some of our most foundational literature. These poems, plays, and prose fictions reveal how Renaissance writers embraced uncertain potential to think about their own present moment and their own place in time. The history of the future that Barret reconstructs looks beyond futures implicitly dismissed as impossible or aftertimes defined by inevitability and fixed perspective. Chapters on Philip Sidney’s Old Arcadia, Edmund Spenser’s The Faerie Queene, William Shakespeare’s Titus Andronicus, Antony and Cleopatra, and Cymbeline, and John Milton’s Paradise Lost trace instead a persistent interest in an indeterminate, earthly future evident in literary constructions that foreground anticipation and expectation. Barret argues that the temporal perspectives embedded in these literary texts unsettle some of our most familiar points of reference for the period by highlighting an emerging cultural self-consciousness capable of registering earthly futures predicated on the continued sameness of time rather than radical ruptures in it. Rather than mapping a particular future, these writers generate imaginative access to a range of futures. Barret makes a strong case for the role of language itself in emerging conceptualizations of temporality.

A decade ago, Tim Low journeyed to the remote northernmost tip of Australia. Instead of the pristine rain forests he expected, he found jungles infested with Latin American carpet grass and feral cattle. That incident helped inspire Feral Future, a passionate account of the history and implications of invasive species in that island nation, with consequences for ecological communities around the globe. Australia is far from alone in facing horrific ecological and economic damage from invading plants and animals, and in Low's capable hands, Australia's experiences serve as a wake-up call for all of us. He covers how invasive species like cane toads and pond apple got to Australia (often through misguided but intentional introductions) and what we can do to stop them. He also covers the many pests that Australia has exported to the world, including the paperbark tree (Melaleuca) that infests hundreds of thousands of acres in south Florida.

Why can’t you understand those people who think so differently from you? Why have we failed to meaningfully address climate change despite 40 years of clear climate science? Why are so many of our systems of social support failing us? At the root of the answers to these questions lies the extraordinary power of story. The world is built upon stories - stories we believe about ourselves and others, narratives about “the way things are”, and myths that define our relationship to the world around us. Many of the stories and narratives that we subconsciously believe have led us down the dark path to rising inequality, food insecurity, unprecedented levels of polarisation, and ecological instability on a planetary scale. And because it was us - humans - who collectively authored these stories, it is us who have the power to change them. An entertaining and inspiring rallying cry, A Future Untold urges us to return to the most fundamental driver of human behaviour and culture setting – story. Drawing heavily from her experience in environmental advocacy, activism, political communications, spoken word, and the entrepreneurial sector, New Zealand National Poetry Slam champion Alina Siegfried (AKA Ali Jacs) translates the fundamentals of narrative change into authentic stories, entertaining anecdotes, new myths for humanity, and a handful of powerful poems to provide a call to action for everyday citizens who believe that we can build a better future together.

In Untold Futures, J. K. Barret locates models for recovering the variety of futures imagined within some of our most foundational literature. These poems, plays, and prose fictions reveal how Renaissance writers embraced uncertain potential to think about their own present moment and their own place in time. The history of the future that Barret reconstructs looks beyond futures implicitly dismissed as impossible or aftertimes defined by inevitability and fixed perspective. Chapters on Philip Sidney’s Old Arcadia, Edmund Spenser’s The Faerie Queene, William Shakespeare’s Titus Andronicus, Antony and Cleopatra, and Cymbeline, and John Milton’s Paradise Lost trace instead a persistent interest in an indeterminate, earthly future evident in literary constructions that foreground anticipation and expectation. Barret argues that the temporal perspectives embedded in these literary texts unsettle some of our most familiar points of reference for the period by highlighting an emerging cultural self-consciousness capable of registering earthly futures predicated on the continued sameness of time rather than radical ruptures in it. Rather than mapping a particular future, these writers generate imaginative access to a range of futures. Barret makes a strong case for the role of language itself in emerging conceptualizations of temporality.

In this second book in the Lynburn Legacy, the sorcerous roots of Sorry-in-the-Vale have been exposed. Now no one in the town is safe, and everyone has to choose sides. Will the townspeople (magical and not) become "owned" by the sorcerers who believe it is their right to rule? Or will it continue in a more modern vein, with the presence of the sorcerers playing a quieter--and much less violent--role. If Kami Glass has anything to say about it, evil will not win. Despite having given up her own piece of magic, she is determined to do everything she can to make a difference. And whether they want to or not, her circle of friends (and potential boyfriends) will not be able to help but follow her and go along with her unusual schemes and battle tactics.

"Originally published as Back to the future issues #1-5"--Indicia.

The past, present, and possible future of the agency designed to act as "the world's environmental conscience." The United Nations Environmental Programme (UNEP) was founded in 1972 as a nimble, fast, and flexible entity at the core of the UN system--a subsidiary body rather than a specialized agency. It was intended to be the world's environmental conscience, an anchor institution that established norms and researched policy, leaving it to other organizations to carry out its recommendations. In this book, Maria Ivanova offers a detailed account of UNEP's origin and history. Ivanova counters the common criticism that UNEP was deficient by design, arguing that UNEP has in fact delivered on much (though not all) of its mandate.