By Alan Weisman, Richard Mabey, Rick Bass, Helen Caldicott, Michelle Benjamin
David Suzuki's lifelong paintings as an environmentalist, naturalist, and scientist have inspired numerous others of their struggle to avoid wasting the planet, 20 such devotees of them have contributed to this inspiring assortment. those reporters, scientists, writers and environmentalists have taken their enthusiasm for Suzuki's philosophy and funneled it into their very own own memories, manifestos, and essays: Rick Bass describes his love for the Yaak Valley in Montana; Richard Mabey takes readers to a moonlit may possibly night in Suffolk; David Helvarg tells u . s . stirring beach reminiscence from his formative years. it doesn't matter what trip those writers take us on, the unifying subject matter in their paintings is usually an analogous: a deep and abiding love of nature — encouraged and shared through David Suzuki.
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Extra info for A Passion for This Earth: Writers, Scientists, and Activists Explore Our Relationship with Nature and the Environment
But it seemed, in that moment of hypersensitivity, to be some inexplicable, supernatural gift. It looked as if “the beyond,” for me, was always going to be just a few hundred yards away. But the eye—that ought to have made me pause. For the religiously inclined, it’s not only the mirror of the soul but a kind of portal to the mysteries beyond evolution. For decades it was thought to be the blind spot in Darwin’s theory. How, even over thousands of millions of years, could any living structure of such extraordinary complexity have been developed by chance mutations?
As Peter aged and the physical toll of his way of life— broken bones from horse accidents, worn-out, arthritic joints from fifty or so years of forking hay or throwing eighty-pound square bales—made it impossible for him to continue ranching, his determination grew: He would find a way to retire without handing his much-loved grass over to men who would only plow it or who would break it into small acreages, each with a different owner, who, he was afraid, would then put too many cattle on it and destroy forever the beauty and purity it had cost him so much to preserve.
The first time was when I was a teenager. indd 42 4/17/08 3:42:29 PM Richard Mabey the hill above our house. It wasn’t a particularly special hill, just a chalk swell that looked out over a wooded valley and a thin winterbourne that, according to local legend, was a woe-water, which flowed only in time of trouble. But I thought it was the most achingly beautiful prospect I had ever seen. It haunted me with some not quite graspable meaning, like the image of the mountain in Close Encounters of the Third Kind.