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A sudden gust of wind takes the Queen's favorite hat and blows it all over London, as the Queen's men give chase.

\" \"With the current war on Earth -\" \"You knew that the loss of deep-rooted native grasses would create a 'dust bowl' that would probably make people sick. [...]it's true, I did encourage aggressive production goals so we could divide the population and initiate the mining operation. The voice of the planet is carried by the wind, and echoed by the combined whispers of her parents and neighbours.

Wind is a special kind of weather, people can t always see it, but it s there. Readers accompany a relatable narrator as they learn all about the wind. Joined by a colorful cast of friends and family, the narrator learns how to have fun on windy days. Colorful illustrations depict scenes of kite flying and fluttering leaves, while accessible text encourages readers of all levels to get involved with reading. This title is a perfect starter book for beginning readers or for reading aloud to younger children. Detailed Table of Contents, Illustrations, Index, Picture Glossary.

This article explores Archaic Wind music (gufeng 古風) and its implications for Sinophone articulations. Gufeng can be categorised as a particular type of music with lyrical, musical, and symbolic references to ancient China that is produced, consumed, and circulated within an online fan community. While the lyrics of gufeng music express a post-loyalist yearning to return to the fictional roots of “Cultural China,” its video adaptations deconstruct the authenticity of such cultural roots in their homoerotic subtext. Exploring the audio-visual texts of the gufeng music, I suggest that it shows a rhizomatic return to ancient China that disorients the routes to the past.

Cet article met en regard trois textes spéculatifs qui, chacun à sa manière, proposent une critique du capitalisme fossile et permettent d’imaginer un futur désarrimé du pouvoir qu’exercent sur nous les énergies fossiles. Tous montrent qu’un simple changement dans notre consommation de combustibles ne suffira pas à établir un futur plus équitable. L’étude s’intéresse d’abord au roman d’Ursula LeGuin, The Word for World is Forest (1974), et montre que l’utopie d’une « Nouvelle Tahiti » qui s’y donne à lire est indissociable d’une vision critique de la logique de la plantation sur laquelle elle se fonde. L’analyse porte ensuite sur Ship Breaker de Paolo Bacigalupi (2010), dont l’intrigue se déroule au milieu des paysages dévastés de la « ceinture pétrochimique » du sud-est des États-Unis. Si le mode dystopique sur lequel est construit ce roman permet de réfléchir à la culture qu’ont produite les énergies fossiles, il ne permet cependant pas son dépassement et conduit finalement le lecteur à une impasse. La dernière partie de l’article porte sur le diptyque que Dominic Boyer et Cymene Howe ont consacré aux énergies éoliennes dans l’isthme de Tehuantepec au Mexique : Wind and Power in the Anthropocene (2019). À la faveur d’une forme d’anthropologie spéculative — ce que Dipesh Chakrabarty appelle une « anthropologie philosophique » — Boyer et Howe problématisent la question des politiques énergétiques, celle d’un futur équitable et la façon dont, dans les systèmes de gouvernance modernes, la pratique du pouvoir est toujours liée à des enjeux énergétiques et ontologiques. Ils font ainsi vaciller la logique même qui régit l’âge de l’Anthropocène, tout en révélant combien les alternatives supposées à la pétro-culture contribuent en réalité à renforcer des formes d’injustice sociale et environnementale à l’échelle mondiale. Au bout du compte, chacun de ces textes permet de commencer, sans toujours y parvenir totalement, à imaginer de nouvelles manières de penser l’impact culturel des énergies fossiles. As a means of imagining a future delinked from conventional articulations of energopower, in this essay I examine three speculative-critical texts that critique fossil capitalism and which demonstrate the ways in which a simple shift in fuel may be insufficient to the task of building a just future. I first read Ursula LeGuin’s 1974 novel The Word for World is Forest  as a critique of the plantation logic immanent to her fictional “New Tahiti” before turning to Paolo Bacigalupi’s 2010 Ship Breaker— set in the blasted landscapes of the southeastern US’s petrochemical belt—in order to consider how the dystopian mode may be productive for thinking about energy cultures, but might ultimately trap the reader in an imaginative impasse. I then look to Dominic Boyer and Cymene Howe’s recent duograph on the wind economies of Mexico’s isthmus of Tehuantepec, Wind and Power in the Anthropocene (2019), which poses questions about energopolitics, just futures, and the imbrications of energy, ontology, and power within systems of modern governance, and which I read as a form of speculative anthropology, or (per historian Dipesh Chakrabarty) “philosophical anthropology.” The duograph posits the possibility of unsettling what both authors understand as the distorted logic of the Anthropocene age, while examining putative alternatives to petroculture that merely reinforce systemic forms of social and environmental injustice on a global scale. I read each text as a possible (although not always successful) means of imagining anew—that is, for opening new horizons for thinking about energy cultures.

\"When Robert Walking Bear's body is found in the Wind River mountains, his death appears to be accidental--except for the fact that he had been hunting for Butch Cassidy's buried loot with a map he had gotten from his grandfather, a map believed to have been drawn by the leader of the Hole in the Wall gang himself. It isn't long before rumors circulate that Robert was murdered by his own cousins to get the map and find the treasure themselves. Despite there being no evidence of foul play, the gossip gains credibility when both Vicky and Father John are contacted by an anonymous Arapaho claiming to have witnessed Robert's killing. When one of Robert's cousins falls prey to another deadly accident, Vicky and Father John are convinced the victim is the witness who confided in them, and the hunt for the killer is on in earnest--before more die in search of Cassidy's cache.\"--Back cover.

This essay shows that contemporary ecocriticism articulates capitalist ideas about the relationship between individual choice and value first explored by Victorian fiction and political economy. Through an analysis of Anthony Trollope's 1882 speculative novel The Fixed Period, which focuses on the politics of population growth, it critically examines the ecological implications of Victorian realist novels' representations of individual agency, social regulation, and decision-making.

\"A mysterious penitent confesses to murder, and then flees the confessional before Father John can identify him. Two months later, Vicky discovers rancher Dennis Carey shot dead in his truck along Blue Sky Highway. With the tragic news comes the exposure of an astonishing secret: the most sacred creature in Native American mythology, a white buffalo calf, was recently born on Carey's ranch. The miraculous animal draws a flood of pilgrims to the reservation, frustrating Vicky and Father John's already difficult investigation as they try to unravel the strange events surrounding both Carey's murder and the recent disappearances of three cowboys. It could be coincidence, given a cowboy's nomadic life, but Vicky doesn't believe in coincidences. And at the back of Father John's mind is the voice from the man in the confessional: I killed a man...\"--Back cover.

Two years ago my father made a makeshift diving board at one end of the pond, far away from the irrigation equipment. [...]she sits down in her favorite chair in the living room and picks out a book from her large bookcase my father made for her. Ally is at the picnic table clearing away the watermelon slices, swatting at the collection of yellow jackets. [...]I stand up, and begin walking toward them.