Selasa, 29 Maret 2011

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Introduction to Writing Goals and Objectives - A Manual for Recreation Therapy Students and Entry-Level Professionals. By Suzanne Melcher, TRS/CTRS

  • Sales Rank: #121399 in Books
  • Brand: Brand: Venture Pub
  • Published on: 1999-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .20" h x 8.20" w x 10.60" l, .35 pounds
  • Binding: Paperback
  • 58 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

1 of 1 people found the following review helpful.
perfect!
By Gwyn
This book is great for anyone struggling to write goals and objectives. The samples are awesome and I would recommend to all Recreation Therapist.

0 of 0 people found the following review helpful.
Great resource for recreational therapy students
By Bennet Jefferson
Great resource for recreational therapy students, MUST HAVE

0 of 0 people found the following review helpful.
Five Stars
By thusam
Very good

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Minggu, 27 Maret 2011

[D624.Ebook] Ebook Free Stories of Art, by James Elkins

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Stories of Art, by James Elkins

Stories of Art is James Elkins's intimate history of art. Concise and original, this engaging book is an antidote to the behemoth art history textbooks from which we were all taught. As he demonstrates so persuasively, there can never be one story of art. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. But each of us also has our own story of art, a kind of private art history made up of the pieces we have seen, and loved or hated, the effects they had on us, and the connections that might be drawn among them.


Elkins opens up the questions that traditional art history usually avoids. What about all the art not produced in Western Europe or in the Europeanized Americas? Is it possible to include Asian art and Indian art in ‘the story?’ What happens when one does? To help us find answers, he uses both Western and non-Western artworks, tables of contents from art histories written in cultures outside the centre of Western European tradition, and strangely wonderful diagrams of how artworks might connect through a single individual. True multiculturalism may be an impossibility, but art lovers can each create a ‘story of art’ that is right for themselves.

  • Sales Rank: #474697 in eBooks
  • Published on: 2013-10-18
  • Released on: 2013-10-18
  • Format: Kindle eBook

From Booklist
Intrepid, personable, and prolific art historian Elkins shifts his keen gaze from art to art history in this surefooted and amiable disquisition on how the story of art has been told, and why. Elkins assesses the standard text in the field, E. H. Gombrich's often revised The Story of Art, and the vision it promotes of art history as an orderly, chronological progression toward the pinnacle of art, "naturalistic skill," which the moderns then abandoned. Elkins dissects the many pitfalls of this simplistic approach, and envisions provocative alternatives, all the while musing on how to address the many tricky questions art historians confront, especially the challenge of how to integrate non-Western art into the story of Western art, and how to answer urgent questions about race, gender, sexuality, and even language itself. Elkins' smart, knowledgeable, original, and engaging multicultural analysis ultimately celebrates the ongoing conflict between art, which often seeks to defy categorization, and our desire for order and definition, all the while recognizing this irresolvable debate is a wellspring for fresh perspectives on the crucial and fascinating story of creative expression. Donna Seaman
Copyright � American Library Association. All rights reserved

Review
"Using sketches of his own and those of his students to illustrate alternatives to the standard chronology of the historical time line, Elkins proposes a number of throught-provoking ways to organize the stories of art that are not based on a strict adherence to dates, many of which can only be surmised."
-Kirkus Review, August 1, 2002
"Eminently readable and at times outright fun, Stories of Art is a terrific and transparent meditation on what's at stake in the histories of art we all so glibly recite. Instead of writing yet another survey, James Elkins provides the little counter-narrative that rubs up against the monumental survey volumes with a kind of graceful annoyance. The little buzzing bee that worries the elephant."
-Michael Ann Holly, Clark Art Institute
"A much needed, thoughtful, and intelligent reflection on the disciplinary status and cultural function of the history of art. Stories of Art is an invaluable aid in articulating the hidden agenda that informs art history as it is currently constituted, and an indispensable addition to our increasingly self-aware art historical enterprise."
-Keith Moxey, author of The Practice of Persuasion: Paradox and Power in Art History

About the Author
James Elkins is Professor of Art History at the School of the Art Institute of Chicago. He is the author of many books. Among is books are Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge.

Most helpful customer reviews

0 of 1 people found the following review helpful.
informative but dry
By jen
Great book on why we do art history and where it comes from. Very informative and answers questions about categorizing, whilst challenging us with current issues.

0 of 1 people found the following review helpful.
Love it.
By C to the A
Very interesting. It made me think again about the history of art. We are 'trained' to think a certain way...this book offers a healthy alternative.

4 of 8 people found the following review helpful.
Excellent Read
By art junky
I would highly recommend this book to students and instructors of art history.

Elkins succeeds in encouraging readers to have active thoughts about how the practice of art history is being shaped by art-survey texts. In he confronts the disappointments and limitations that these widely used publications bring about by furthering contemplation on their purpose, their beginnings, and their future.

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Senin, 21 Maret 2011

[Q190.Ebook] Free Ebook Mastering Street Photography, by Brian Lloyd Duckett

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Street photography has a tradition dating back over a century, and today's digital world finds it enjoying a renaissance—yet there is little expert advice available. This is a practical guide to capturing the candid moments that reveal life at its most dramatic, absurd, or beautiful. Brian Lloyd Duckett demonstrates how the successful street photographer needs to be an unseen observer, with the camera a mirror of everyday scenes and unaware subjects. A guide to equipment and technical skills leads into lessons in finding inspiration, developing projects, and composing different subjects and scenes—laying the foundations for you to impose your personality on your photography and develop your own distinctive style. The book also addresses such key issues as staying safe and within the law when photographing on the street, and the art of building an audience for your images.

  • Sales Rank: #100701 in Books
  • Published on: 2017-04-01
  • Original language: English
  • Dimensions: 9.75" h x .50" w x 9.75" l,
  • Binding: Paperback
  • 176 pages

About the Author
Brian Lloyd Duckett is the Principal and Course Tutor at Streetsnappers, and a specialist in street photography workshops and tutorials across Europe.

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Sabtu, 19 Maret 2011

[V610.Ebook] Free Ebook [(Quantitative Data Analysis: Doing Social Research to Test Ideas)] [Author: Donald J. Treiman] published on (January, 2009), by Donald J.

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  • Published on: 2009-01-16
  • Number of items: 2
  • Binding: Paperback

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Rabu, 16 Maret 2011

[F325.Ebook] PDF Ebook Deeper than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson

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Deeper than Reason takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation.

  • Sales Rank: #1032842 in Books
  • Published on: 2005-06-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 5.80" h x 1.50" w x 9.30" l, 1.98 pounds
  • Binding: Hardcover
  • 515 pages

Review

"Robinson is the only philosopher of music known to me who seems to have understood that musical experience involves the activation of the motor system and to have grasped this fact's fundamental importance. Deeper than Reason is impressive. Indeed, it is the best philosophical monograph I know on emotion and the arts. Among its many achievements is one most rare: it manages to be both accessible and profound." -- Modern Philology


Deeper than Reason: Emotion and its Role in Literature, Music, and Art, is a product of more then twenty years of research, in which [Robeson] digs deep into the nexus between philosophy, psychology, and aesthetics. This book is well worth reading if one is interested in contemporary theories of emotions or aesthetics. --Metapsychology


About the Author
Jenefer Robinson is in the Department of Philosophy, University of Cincinnati.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Masterful Work on Emotions and Aesthetics
By azonebooks
This may be two books. The first half is a challenging critique of contending views of emotions versus Robinson's own based in psychological and neuro studies. She's persuasive. The second is application of her view to various Arts. Here she's superb in showing that without the appropriate emotional response to a specific piece of music or literature or painting you cannot understand it. These applications demonstrate the value of her theoretical work. The book is invaluable for anyone interested in theories of emotion, and more for their application to the Arts.
Disclosure: I have know Robinson for many years. She is a former president of the American Society of Aesthetics, and a major contributor to theory of emotion and aesthetics.

18 of 18 people found the following review helpful.
An excellent examination of the Paradox of Fiction
By Juneko J. Robinson
Philosopher Jenefer Robinson argues quite convincingly that emotional engagement is necessary for any meaningful understanding of certain genres of art, music, literature, and poetry. According to Robinson, just as individuals who lack emotional understanding display serious social deficits, those who apprehend emotionally charged works from a purely intellectual stance misunderstand the deeper message behind artistic creations. Without that visceral emotional component, we cannot fully apprehend the subtleties of many creative works.

She does a fine job of methodically laying out her argument. Her argument is threefold. From the audience's perspective, Robinson argues that we are naturally inclined to pay attention to things in the environment that may impact our interests, desires, fears, etc. Emotions, then, are bodily responses to the environment, which are either threatening or conducive to these interests.

However, the mechanism is more cyclical than linear in nature. For Robinson, emotions are processes. Non-cognitive appraisals of the environment are caused by "simple perceptions" as well as by complex thoughts and beliefs which, in turn, trigger physiological responses and vice versa.

Moreover, studies indicate that this mental/physiological cycle of responses can occur regardless of the fact that we are cognitively aware that the situation is fictitious. Thus, we can respond emotionally to a work of art because we are capable of vividly imagining emotion in fictitious situations where our interests are at stake. The value of this kind of interaction comes when we reflect upon these experiences and are able learn about the complexities of emotional life that go beyond what our limited vocabulary is capable of articulating.

Secondly, emotion is equally important for the creator of the work. Although Robinson is careful to say that her theory does not apply to certain genres, she nonetheless defends a "new Romantic theory of artistic expression," whereby artists express emotion through their work by way of a persona that experiences the emotion/s depicted in the piece. Building on her theory of emotion, Robinson argues that works of representational works "are able to express an emotion by articulating the way the world appears to a person in that emotional state" (Robinson, 2005, 275).

But this oversimplifies Robinson's argument. She fully recognizes that in many works of art, there are "layers of personae" that allow emotions to be expressed through fiction by way of narrators, via the way that narrators depict the characters, and through the self-expression of the characters themselves, while others--particularly conceptual pieces--resist application of her theory.

Finally, Robinson explores how the very structure of the medium, particularly in literature and music, guides the audience to certain emotional responses to developments in plot and character. The fourth part of the book is devoted entirely to an analysis of the role of emotion in music appreciation and will likely have both lovers of Brahms, as well as new comers to his works, revisiting these pieces, book in hand.

Lovers of Henry James' The Ambassadors, Tolstoy's Anna Karenina, Edith Wharton's The Reef, Shakespeare's Macbeth, and Ian McEwan's Atonement, will enjoy seeing these works analyzed here and those not familiar with them will likely wish to read these works afterwards. Robinson provides especially vivid examples of literary works that lend credence to her argument. Although one wishes that there were more depictions of the visual arts, the one painting selected, a haunting landscape by Caspar David Friedrich, is an excellent choice.

My criticisms are few and relatively minor. While she is correct that many audience members may have felt angry at being manipulated into finding the shooting of a character "amusing," Robinson's brief assessment of Quentin Tarantino's film Pulp Fiction is a bit disappointing. Controversial and often cutting edge pieces, such as Pulp Fiction, frequently arouse ire and attention precisely because they express emotional incongruity in ways that challenge how we traditionally view and make sense out of such depictions. Robinson's quick disposal of the Tarantino example missed an excellent opportunity to discuss further the complexities of emotions that seem diametrically opposed, but that nonetheless exist simultaneously.

One also wishes that the attention paid to each of the arts was a bit more balanced in terms of length (e.g. painting is treated in five pages, sculpture and architecture are conflated into two pages, etc.) and, as such, these sections are less satisfying than the sections on literature and music.

These minor points notwithstanding, it is still a thought-provoking joy to read and would make excellent required reading in a classroom setting. Robinson deftly illustrates the historical landscape of aesthetic theory, and emotion theory from philosophical, psychological, behaviorist, and neuro-physiological perspectives, and the book is surprisingly ambitious in the sheer number of thinkers whose works are discussed over the course of the book. In addition, the book is well-organized with chapter conclusions that bring us back to the previous premises and conclusions and tie everything up to that point together. As a philosopher, free-lance artist, and former paraprofessional psychiatric social worker, I found Deeper Than Reason to be a well-balanced, careful analysis that is appealing on many levels. Robinson has written a fascinating study of the role of emotions in the arts that will be highly attractive to both serious students of philosophy, emotion theory and the arts, as well as educated lay persons. Her style is both economical and engaging and she has managed to articulate what many of us have already felt at an intuitive level; without emotional engagement, some works of art simply cannot be understood. As such, Deeper Than Reason is a welcome arrival on the landscape of the philosophy of art and emotion theory.

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Sabtu, 12 Maret 2011

[A799.Ebook] Free Ebook Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering Massachusetts Institute of Technology

Free Ebook Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering Massachusetts Institute of Technology

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Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering  Massachusetts Institute of Technology

Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering Massachusetts Institute of Technology



Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering  Massachusetts Institute of Technology

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Clinical Engineering Handbook (Biomedical Engineering), by Joseph Dyro B.S. Electrical Engineering  Massachusetts Institute of Technology

As the biomedical engineering field expands throughout the world, clinical engineers play an evermore-important role as translators between the medical, engineering, and business professions. They influence procedure and policy at research facilities, universities, as well as private and government agencies including the Food and Drug Administration and the World Health Organization. The profession of clinical engineering continues to seek its place amidst the myriad of professionals that comprise the health care field.

The Clinical Engineering Handbook meets a long felt need for a comprehensive book on all aspects of clinical engineering that is a suitable reference in hospitals, classrooms, workshops, and governmental and non-governmental organization. The Handbook’s thirteen sections address the following areas: Clinical Engineering; Models of Clinical Engineering Practice; Technology Management; Safety Education and Training; Design, Manufacture, and Evaluation and Control of Medical Devices; Utilization and Service of Medical Devices; Information Technology; and Professionalism and Ethics. The Clinical Engineering Handbook provides the reader with prospects for the future of clinical engineering as well as guidelines and standards for best practice around the world. From telemedicine and IT issues, to sanitation and disaster planning, it brings together all the important aspects of clinical engineering.

* Clinical Engineers are the safety and quality faciltators in all medical facilities.

* The most definitive, comprehensive, and up-to-date book available on the subject of clinical engineering.

* Over 170 contributions by leaders in the field of clinical engineering.

  • Sales Rank: #691874 in Books
  • Published on: 2004-09-10
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.02" h x 1.50" w x 8.50" l, 3.95 pounds
  • Binding: Hardcover
  • 696 pages

Review
13 sections, 142 chapters, 694 pages, 116 contributors! This is a comprehensive overview of the history and state of the art of clinical engineering written by an international group of generally well-known contributors to the field.

For brevity’s sake I shall give an overview of the major sections of this text. Section one covers clinical engineering history, roles, models (academic, regional, military), job descriptions, and careers. Section two gives an overview of worldwide practices in clinical engineering, with example chapters covering the practice in several countries, such as Estonia, Paraguay and Japan. Section three gives an overview of healthcare technology management topics, covering good manufacturing practices, outsourcing, maintenance and repair, etc. There are several useful forms and flowcharts to be found here. Section four reviews management styles, finances, personnel matters, skills needed, and quality assurance. Section five reviews several topics involving safety, such as risk management, best practices, accidents, and special cases involving electrical safety and electromagnetic interference. Section six reviews the education and training of clinical engineers, including reviews of practices in North America and Germany, internships, BET licensing, the use of workshops and distance education, etc. Section seven reviews the design, manufacture, evaluation and control of medical devices. It includes some useful material on human factors, liability, and Institutional Review Boards. Medical Devices, Utilization and Service is the title of section eight. This section reviews devices commonly used in different sections of the hospital (e.g. anesthesiology and perinatology) and as well discusses troubleshooting techniques. Section nine reviews information sources, transmission, and processing. Included are sections on PACS, Telemedicine, Wireless Medical Telemetry, Virtual Instruments, and the effects of the HIPA Act. Section ten reviews several topics often relegated to environmental and plant engineers, such as HVAC, Electrical Power considerations, Radiation Safety, Sanitation, Construction and Renovation, Water Systems, and Disaster Planning. Section eleven reviews Medical Device Standards, Regulations, and the Law. This is mandatory reading for all engineering involved in medicine. It covers JCAHO Accreditation, AAMI and ANSI standards, the FDA and other regulatory agencies, liability law, and ISO standards. Section twelve briefly reviews professionalism and ethics in clinical engineering practice, and gives some examples of professional organizations in New England and in Germany. Section thirteen, the final part of the text, briefly addresses some potential future trends in clinical engineering practice and some of the trends that may affect it.

To reiterate: this is an exceedingly comprehensive handbook. The field of clinical engineering (worldwide) is very well described here. While the level of each individual chapter varies considerably (from one page summaries to multiple page well-documented and illustrated chapters) this text overall will be very useful as a reference text for practitioners and students of clinical engineering. Many individual chapters will serve as teaching material for lectures in clinical and bioengineering courses.

The page count and purchase price of this text were obtained from the Academic Press web site, and may not be accurate as of the publication date. (This review was based upon page proofs.)

The editor and each author are to be congratulated for their contribution to the literature in this field.

Reviewed by:
Paul H. King, Vanderbilt University

__________________________________________________

The Clinical Engineering Handbook makes an excellent resource, particularly to someone newly entering or thinking about entering the field. It provides a good background to the wide array of tasks, programs, innovations and challenges to the clinical engineering profession...Overall, the handbook is well written and the breakdown into very specific chapters makes referencing easy. - ACCE News, Nov./Dec. 2004
__________________________________________________

"The Clinical Engineering Handbook makes an excellent resource, particularly to someone newly entering or thinking about entering the field. It provides a good background to the wide array of tasks, programs, innovations, and challenges to the clinical engineering profession." - Journal of Clinical Engineering, June 2005

From the Back Cover
A volume in the Biomedical Engineering Series


� The most up-to-date book available on the subject of clinical engineering.
� Over 170 contributions by leaders in the field of clinical engineering.
� Advocacy efforts and professional stature will be enhanced by the publication of this definitive, comprehensive text on clinical engineering.



As the biomedical engineering field expands throughout the world, clinical engineers play an evermore-important role as translators between the medical, engineering, and business professions. They influence procedure and policy at research facilities, universities, as well as private and government agencies including the Food and Drug Administration and the World Heath Organization. The profession of clinical engineering continues to seek its place amidst the other professionals that comprise the health care team.

The Handbook of Clinical Engineering meets a long felt need for a comprehensive book on all aspects of clinical engineering that will be suitable as a reference in the hospital, classroom, workshop as well as governmental and non-governmental organizations. The Handbook’s thirteen sections address the following areas: Clinical Engineering; Models of Clinical Engineering Practice; Technology Management; Safety Education and Training; Design, Manufacture, and Evaluation and Control of Medical Devices; Utilization and Service of Medical Devices; Professionalism and Ethics. The Handbook of Clinical Engineering provides the reader with prospects for the future of clinical engineering as well as guideline and standards for best practice around the world. From Telemedicine and IT issues, to sanitation and disaster planning, it brings together all the important aspects of clinical engineering.


Related titles:

Enderle, Blanchard, Bronzino; Introduction to Biomedical Engineering, 01222386604, 1999.

About the Author
By Dr. Joseph Dyro

Most helpful customer reviews

0 of 0 people found the following review helpful.
Review notification
By Pavel Jirousek
This handbook is a valuable resource and an extensive collection of information covering diverse range of topics essential for clinical engineers. See detailed review of the book published in Biomedical Instrumentation & Technology, Vol. 39 (3), p. 220 (May/June 2005).

1 of 1 people found the following review helpful.
Great book, covers a wide range of subjects
By Emile Salhab
Really interesting book specially for clinical engineers it discusses a a wide range of issues from the OR to the Biomedical department.

1 of 1 people found the following review helpful.
Clinical Enginnering
By Nazif Ilker Sezdi
Actually, I was expecting theorytical and literal information, but instead, I found more informations in article form about site experiences.
This may be more helpfull for some people.

Thanks,

Nazif Ilker Sezdi

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Jumat, 04 Maret 2011

[D349.Ebook] Download Ebook Trespassing Across America: One Man's Epic, Never-Done-Before (and Sort of Illegal) Hike Across the Heartland, by Ken Ilgunas

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Trespassing Across America: One Man's Epic, Never-Done-Before (and Sort of Illegal) Hike Across the Heartland, by Ken Ilgunas

Now that President Donald Trump has revived the Keystone XL pipeline that was rejected by former President Obama, Trespassing Across America is the book to help us understand the kaleidoscopic significance of the project. Told with sincerity, humor, and wit, Ilgunas's story is both a fascinating account of one man’s remarkable journey along the pipeline's potential path and a meditation on climate change, the beauty of the natural world, and the extremes to which we can push ourselves—both physically and mentally.
 
It started as a far-fetched idea—to hike the entire length of the proposed route of the Keystone XL pipeline. But in the months that followed, it grew into something more for Ken Ilgunas. It became an irresistible adventure—an opportunity not only to draw attention to global warming but also to explore his personal limits. So in September 2012, he strapped on his backpack, stuck out his thumb on the interstate just north of Denver, and hitchhiked 1,500 miles to the Alberta tar sands. Once there, he turned around and began his 1,700-mile trek to the XL’s endpoint on the Gulf Coast of Texas, a journey he would complete entirely on foot, walking almost exclusively across private property.

Both a travel memoir and a reflection on climate change, Trespassing Across America is filled with colorful characters, harrowing physical trials, and strange encounters with the weather, terrain, and animals of America’s plains. A tribute to the Great Plains and the people who live there, Ilgunas’s memoir grapples with difficult questions about our place in the world: What is our personal responsibility as stewards of the land? As members of a rapidly warming planet? As mere individuals up against something as powerful as the fossil fuel industry? Ultimately, Trespassing Across America is a call to embrace the belief that a life lived not half wild is a life only half lived.

  • Sales Rank: #131954 in Books
  • Brand: Blue Rider Press
  • Published on: 2017-02-07
  • Released on: 2017-02-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.20" h x .61" w x 5.50" l, .60 pounds
  • Binding: Paperback
  • 288 pages
Features
  • Blue Rider Press

Review
"A combination of Thoreau, John Steinbeck, and Ian Frazier . . . an unforgettable read.” —Men's Journal

“A timely and riveting book . . . written by a courageous young man struggling with the chaos he is inheriting from his elders . . . The book mirrors its young author: impulsive, tenacious, reflective and, amazingly, cautious . . . a welcome message of resistance and hope.” —Evaggelos Vallianatos, Huffington Post

“[A] fascinating and breezy new effort . . . [Ilgunas] does a masterful job weaving the details of his daily travels into a work of prose that is difficult to put down . . . a very good book from a writer we should hope has many more waiting to come out.” —Bruce Andriatch, The Buffalo News
 
“Ilgunas is something of an heir to Bill Bryson in his ability to find humor and irony in random encounters on the road. But he also brings to his work a John McPhee-like talent for placing big-picture environmental issues into an accessible narrative that’s both entertaining and perceptive. Woven into this narrative are profound insights both about the beauty of the natural world and our alternately loving, twisted and exploitative relationship with it. Ilgunas’s writing is funny, self-knowing and often moving.” —Joanna O’Sullivan, Asheville Citizen-Times
 
“[A] compelling book . . . outlines a journey that started about a pipeline and became much more.” —Melanie Wilkinson, York News-Times
 
“A rich, perceptive book, an amusing and interesting tale beautifully mixed with thoughtful insights into Ilgunas himself as well as the world that he was seeing more closely than most people ever do . . . at times funny, and at other times philosophical and even poetic.” —Linda C. Brinson, Greensboro News & Record

“One of the great adventure stories of modern times.” —Vick Mickunas, Dayton Daily News

“When Ken Ilgunas sets out to walk the proposed route of the Keystone XL pipeline from Alberta to Texas, he knows he is heading into the heartland of the debate about climate change. What he can’t yet know is that, by confronting the challenges of this epic journey, he will emerge renewed, emboldened and filled with hope. An exhilarating adventure." —Candace Savage, author of Prairie: a Natural History and A Geography of Blood

“You could argue that a cross-country pipeline is itself a trespass—through watersheds, communities, lives—so moments when various authorities challenge Ilgunas’s route work as tiny cosmic jokes. But this is not heavy book. Trespassing Across America is a delight. In the end, walking across the country turns out not to be about you, but about the country and all the land and people that make it one." —Robert Sullivan, author of Rats and The Thoreau You Don’t Know


From the Hardcover edition.

About the Author
Ken Ilgunas has worked as an elementary school tutor, an Alaskan tour guide, and a backcountry ranger at the Gates of the Arctic National Park. He has hitchhiked 10,000 miles across North America and paddled 1,000 miles across Ontario in a birch-bark canoe. Ilgunas has a B.A. from SUNY Buffalo in history and English, and an M.A. in liberal studies from Duke University. The author of the travel memoir Walden on Wheels, he is from Wheatfield, New York.


From the Hardcover edition.

Excerpt. © Reprinted by permission. All rights reserved.
***This excerpt is from an advance uncorrected proof***

Copyright © 2016 Ken Ilgunas

Escape from Prudhoe Bay

Deadhorse, Alaska

Fall 2011

I can say this from experience: There’s nothing like washing spoon after spoon in the middle of the night in a silent kitchen at a working camp three hundred miles north of the Arctic Circle that makes you think about the direction your life is headed in.

A year before I threw on a backpack and set off on a hike across North America, I found myself driving a mud-caked van full of bed linens to a working camp in Alaska called Deadhorse, where I was to assume the position of camp dishwasher.

It was a 250-mile ride up the gravel and dirt Dalton Highway that links the interior of the state to the Prudhoe Bay oil fields along the Arctic Ocean coast. It was late and dark, yet the storm clouds zipping from one end of the sky to the other still held within them a curious pink-red hue. Between the time lapse–like passage of the clouds and the deathly still tundra plain (where the wind has no trees to shake or leaves to scatter), I felt as if I were entering some disturbing, unworldly, goat-headed netherworld.

“This place is just weird,” said Liam, a cook in the passenger’s seat, looking up at the clouds.

“I was thinking the same thing,” I said.

Deadhorse houses about three thousand oil-field laborers who live at the work camp for a month at a time before they fly back to wherever’s home for a week or two. In Deadhorse, there are no churches, schools, families or anything that would make it resemble a normal American town. It is a cold, lifeless, cheerless (and nearly femaleless) place where nobody in his right mind would ever want to live—an assertion that would insult no one, as it is held most ardently by those who call themselves permanent residents.

I pulled into the Deadhorse Camp parking lot and carefully stepped out into fifty-mile-per-hour winds, placing my feet into the mud-gravel ground with all of my weight for fear that my handful of linens and I would capsize with the next heavy gust.

How I found myself in Deadhorse is worth a story of its own, but suffice it to say, I was desperate and needed money. I’d moved up to Alaska with the intention of turning a series of blog essays (from my web site, regrettably named The Spartan Student) into a book about a few years of my life during which I lived in a van so that I could afford grad school. But after a series of disappointments, I had to set my sights on the much more practical task of eking out a living.

Deadhorse Camp is a steely rectangular Halliburton housing unit that runs entirely on diesel fuel. I worked alongside four coworkers all my age, cooking and cleaning for about fifty oil-field workers who stayed at our camp. Oddly enough, three of us had college degrees in English—a degree that clearly did nothing to prepare us for the duties of succeeding in the professional world but did, however, empower us to have impassioned forty-five-minute conversations about whether the film Scream does or does not fit within the horror genre.

I was given one side of a red-and-white outdoor Travco trailer that was outfitted with giant skis so it could be dragged over the ice in winter. The manager encouragingly referred to it as my “writing studio,” but the desk, which had been glued to the wall decades before, fell off the moment I placed my laptop on it.

Coworkers shared the communal shower with the tourists and pipeline workers. Because, as we were told, water cost thirty-five cents a gallon, it was no surprise that the water flowed from the shower nozzle at an exasperating dribble. The water pressure being so slight, I had to stand directly beneath it. Whenever I turned to wash a different part of my body, I’d accidentally nudge the hot-cold dial, which was hyper sensitive, so much so that a millimeter adjustment to the left or right would send either a boiling, skin-melting trickle onto my shoulders or a polar, heart-stopping slush.

I didn’t mind my accommodations at all. In fact, I was plenty amused with the novelty of the camp and its eccentric drabness, but the work—the work!—was depressing. I’d come into the kitchen at six p.m. (the “dish shift”) and scrub the bottoms of burned soup pots, dip my hand into sink drains to pluck out handfuls of slippery vegetables, and cram heavy black industrial trash bags into polar bear–proof dumpsters. I’d set up the salad bar, slice the bread, arrange the dessert rack, fold used cardboard, and clean up the kitchen for the morning cook. There once was a time when I was a student, a park ranger, an adventurer. And now look at me. Dishwasher.

“It sounds like your inner Odysseus is lost at sea,” said Liam, Deadhorse’s thirty-year-old prize chef. I’d just let out a sigh for the third time in an hour while trying to use a wire brush to scrub dried specks of mashed potato off the rim of a large metal stirring bowl.

Oh, Liam. How I liked Liam! Every evening we’d work alongside each other. He’d cook, I’d clean, and we’d talk. Our conversations were the only thing I looked forward to. Liam was a few years older than I was. He was extremely well-read and the sort of person who knows all the names of Homer’s Greek characters and who could apply his erudition to everyday issues, like the way he assigned some of the few female Deadhorse oil-field laborers with personality-revealing names such as “Circe” and “Calypso.” Liam was one of those rare people you come across in life who you want to stuff into a sack and carry with you wherever you go.

My Deadhorse stay was supposed to last only a couple of weeks, but it would turn into a couple of months. Over the course of the summer, I’d gone from the glorified title of writer-in-residence, to tour guide, to dishwasher, as if I were on some cruel, Scrooge-like, time-traveling tour, visiting my jobs of yesteryear, each demanding less skill and responsibility than the last.

I cursed more. I told crass, tasteless jokes. I wore smelly, stained, soup-splattered shirts. I spent my nights drinking Pabst and watching TV series after TV series, and the beginnings of a paunch steadily strained the elastic in my black kitchen pants. I knew things were going from pathetic to thinking, Maybe Cymbalta is right for me? when I dropped a tray of turkey lunch meat onto the floor, and instead of cursing, I just stared at the meat sprawled across the linoleum in deadly silence.

“We need to get out,” Liam said. “We need to see the ocean.”

Our plan was to walk five miles to the Sagavanirktok (or Sag) River and paddle north three miles to the Arctic Ocean in lightweight inflatable kayaks called packrafts. We’d then paddle west for a few miles along the coast before heading back to Deadhorse, where we needed to be back in time for our kitchen shifts the next morning.

We put on dry suits, strapped light backpacks around our shoulders, and hiked out over the flat, firm, easy-on-the-feet tundra. The fall foliage was colored with squash yellows, apple reds, and pumpkin oranges. Most of the birds had migrated south, but there were vestiges of summer swarms of flying life: snowy owls, loons, floating gulls, flocks of geese, and a clatter of ravens. Off to the north—through Liam’s binoculars—we saw a golden eagle on the ground flapping its wings at a ghost-white arctic fox that was obnoxiously running laps around it.

We inflated the packrafts and let the Sag—swift and powerful at these northern latitudes—carry us to the Arctic Ocean. The ocean, though, wasn’t a mere couple of miles away as Liam thought it was. Behind every bend in the river, we expected to see the chilly gray expanse of the ocean, but the river continued to meander northward with no end in sight.

Our leisurely paddle downriver was brought to a halt when we caught sight of something big and white and round. Liam and I pulled over to the bank instinctively.

“Do you see that?” I asked.

He took out his binoculars.

“I don’t know what it is, but it’s big and it’s moving,” Liam said nervously.

We were unarmed except for a canister of bear spray, and we had no strategy for dealing with a polar bear except to (1) Wait for it to get within twenty feet so we could drizzle it with a puff of cayenne or (2) Drop everything and hopelessly scamper across the empty tundra, which, with each passing second, appeared to be the far more sensible option.

I frantically deflated my raft and sloppily strapped it to the outside of my pack with frozen hands covered in wet sand. The polar bear continued its swim toward us, my heart leaping every time I looked up and saw that it was getting closer. It was only a matter of seconds before we would have to drop everything and enthusiastically commit to our coldly Darwinian “whoever’s fastest wins” option number two, but the bear turned out to be nothing more than a drifting seagull leisurely floating down the Sag. (One’s depth perception, we learned, cannot be trusted on this flat, lunar, North Slope landscape.)
Okay, no polar bear, thank God, but we had other problems to deal with. For one, because of the rushed, slapdash nature of our adventure, we didn’t think to bring any sleeping bags or tents. And because we were so far north and well past the northern tree line, there was no wood to start a fire. And after looking at my GPS, I saw that we had a twelve-mile hike back to Deadhorse, which would actually be more like fifteen when you factor in all the ponds, lakes, and tundra bogs we’d have to walk around. And our biggest problem: we would have to walk through the vigilantly monitored, hyper-secure Prudhoe Bay oil field—the largest oil field in North America that, before drilling started in 1977, held twenty-five billion barrels of oil. Hiking through the oil field is strictly prohibited, and while we had no desire to break the law, there was no way we could get around Prudhoe Bay. We’d have to sneak through. We’d have to trespass.

We had walked a mile southwest, or what we thought was southwest, and when I looked down and picked up my pack that I’d set down a moment before, I wasn’t sure which direction we’d come from and which direction we were supposed to head. I did a 360. And then another 360. I was spinning.

The land around us was perfectly flat. The sky was an overcast gray. Everything, up and down, left and right, looked exactly the same. I frantically spun and spun and spun, seeking a hill, a distant building, or a blotch of sunshine behind the clouds that might bring some sense to this senselessly unvarying plains landscape. But there was nothing. I pulled out my GPS, and it gave a different directional reading each time I looked at it. Twisting in circles, my compass seemed to be just as disoriented as I was. The plains, which I’d thought to be the epitome of monotony and tranquility, turned out to be as mysterious and menacing as the core of a smoldering volcano.

Sit down, Ken, I told myself. Calm down.

But in addition to panic, I felt something else: the jolt of a raw encounter with an unforgiving wilderness, the exuberance of having a firsthand experience with the world, a wild gush of emotions that made me feel, though scared and panicky, overflowing with life.

I sat down and made myself eat a sandwich. My compass needle ceased its spinning, and I was finally able to locate the bland southwesterly direction we needed to head toward.

Hours passed. Night replaced day and a frosty mist clung to my facial hair. On the edge of a lake in front of us stood a giant bull caribou bearing a curled crown of antlers that were orbited by two batlike short-eared owls, both of which—after the caribou had regally trotted off and disappeared into the fog—came to inspect us, hovering silently above our heads like kites.

The distant horizon was speckled with the lights of oil camps and roadway lamps. In front of us was one such oil camp, a small metallic facility with about a dozen outdoor lights. We were all whispers now, wary of being caught and having to deal with the possibility of an interrogation, a fine for trespassing, or something worse. It was close to midnight, so we thought we could slip by undetected. As we neared the building, we saw some humanlike movement. A spotlight clicked on. Whoever was manning the light drew figure eights onto the tundra until he trained the spotlight directly on us.

“We’re screwed,” I whispered.

“Just stay still,” Liam said. “If they come near, just lie on the ground.”

“What? I don’t know, man. Maybe it would be better if we just gave in if they’ve already caught us.”

I was equal parts disturbed by and admiring of Liam’s composure. How was he not nervous? We stood still for minutes—two mannequins frozen in midstride whispering out of the corners of our mouths—until we decided that the guy with the spotlight was probably too far away to see us. We started hiking again, lengthening our strides and adding an alarmed briskness to our gaits. We reached an industrial road and placed our footsteps in sync with each other’s to reduce the volume of our boots’ crunch over the gravel. We ducked under a pipeline and continued on.

There were lights everywhere in all directions. White lights, orange lights, red lights, blinking lights, the lights of trucks prowling from facility to facility. They knew we were out there. Because of the depth perception problem, we couldn’t tell which lights were close and which were far away. The buzz of machines was everywhere: beeps, honks, and whirring engines that had us swiveling our heads every few moments.

Looking over the facilities, I thought that there was something disturbing about this place, this barren coastal plain. I’d felt it ever since I’d come up here and more so now that I was walking through the oil fields. The place made me think of the film Black Narcissus, set in the Himalayas in an old palace that a few well-meaning nuns were trying in vain to transform into a school. The wind from the mountains drove the nuns mad. It never stopped. It moved into their rooms, invading, molesting, reminding them, like a ghost, that this place is and always will be a place of kings and queens, jewels and perfumes, self-indulgence and debauchery, and that you can either accept that or die trying to change it.

That’s how I felt about Deadhorse. That we shouldn’t be there. That this place was meant to be still and silent, unbothered and undeveloped. The giant drills, the mud-spattered trucks, the rusty oil barrels, the big diesel-run complex. It bore a special brand of ugliness—the ugliness of a place existing in complete disharmony with its surroundings. The oil was finite and Deadhorse was temporary. We’ll make a mess of the area for a few decades then leave the corrugated mess to the cold and wind forever after. And we are not real inhabitants—just suckerfish along for the ride, desperately clinging to the belly of the great oil-filled beast.

The Inuit, who once lived along these shores, built homes from the earth, kayaks from skins, clothes from fur. They lived and died here for thousands of years, leaving not the slightest blemish on the land. Surely they didn’t view the coastal plain the way the oilman does. Here, the Inuit’s eye was probably drawn to caribou browsing amid a near-endless field of ripe cotton grass, the ecstatic leap of an ocean fish, the braided sinew of a perfectly crafted bow. I’m guessing, but everything they saw must have glistered brightly with the beauty of sustainability, which is the same thing as the beauty of belonging: They knew that this place was their home and would always be their home, that their livelihoods were in harmony with the land—a sensation unknown to most all of us. We, on the other hand, don’t belong up here. At least not in this way. A place like this could drive a man mad.
Atop a pingo—a mound of earth-covered ice—the silhouette of an arctic fox appeared. It tilted its head back and unleashed a cackling howl. I strode past it, keeping an eye on it, worried that its screams would draw the eyes of prowling oilmen. When I looked forward, I saw Liam pumping his arms, running as fast as he could over land he couldn’t see beneath him. I mimicked Liam’s sprint until I got to where he was and dived behind another pingo.

“Why are we running?” I whispered between breaths.

“There’s a truck following us with a spotlight,” he said. “You didn’t see it?”
We heard the growl of the truck just behind the pingo, slowly prowling past while sweeping the spotlight over the land.

This is it, I thought. All they have to do is get out and look over this pingo, and we’re caught.

In truth, if we were caught, we probably wouldn’t have received more than a slap on the wrist, but without thinking about it, I suppose we wanted to be scared, nervous, and panicky as we trespassed across forbidden lands. To those sound in spirit, this trip would likely have been considered unpleasant, but for those in existential despair, such unpleasantness can function as a restorative distraction, a resuscitating shock, a defibrillator charge to the soul.

The oilmen never spotted us, and we continued on through night and fog, around lakes, and across the other waist-high branch of the Sag until we staggered into Deadhorse Camp.
The trip was a disaster, but I thought: What would I do to have the life of the hiker? It was more than just a form of escape. On a hike, the days pass with the wind, the sun, the stars; movement is powered by a belly of food and water, not a noxious tankful of fossil fuels. On a hike, you’re less a job title and more a human being. Our commute, our shift, our shows: How quickly does the routine—masquerading as life—block from our view the grand vistas of possibility. A periodic hike not only stretches the limbs but also reminds us: Wow, there’s a big old world out there.

“This is the best experience I’ve had in a long time,” said Liam.

“I know,” I said. “Me. too.”

Invigorated by our hike, the kitchen conversations between Liam and me began to take on a tone of fanatical zeal. As the purposeless are wont to do, Liam and I continued to fantasize about grandeur, high adventure, true purpose. (At this moment, kitchen crews everywhere are plotting to take over the world.) Disgusted with what the oil industry had turned the Arctic coast into, we discussed putting a team of radical environmentalists together to commit acts of environmental terrorism. Liam would be the cook, I would be the letter-to-the-editor guy, and Liam “knew a guy” who might know a thing or two about explosives. These discussions would always begin in a spirit of whimsical and good-humored facetiousness, but would, by the end, take on an unsettling seriousness as we delved into the particulars: So do you or do you not know a guy?

The Keystone XL Pipeline had become a hot topic during our nightly discussions. We’d read that protestors were performing acts of civil disobedience to oppose the pipeline that, if approved, would transport 830,000 barrels of tar-sands oil every day across the continent and help expand the already expansive tar sands of northern Alberta.

There was something about being up in Deadhorse that made the idea of the 1,700-mile pipeline particularly upsetting. Here we were at ground zero of American oil development. We saw the industrial squalor, the depraved lifestyles, the sad, empty eyes of the workers. We felt the emptiness within ourselves. This place was an Ayn Rand wasteland, the epitome of our country’s wrongheaded conception of “progress.” The thought of creating more such places, more such jobs, and more such planet-warming greenhouse gases defied, in our eyes, all the tenets of good sense and reason.

We wondered: If we totally buy into the evidence and civilization-ending projections of global warming, what is our duty as citizens of this earth? Is donating to the Sierra Club enough? Is our responsibility fulfilled if we vote for the right politician and bike to work on sunny days? Or is something more required? Physical action? Violence? Terrorism? If the planet is, in fact, being slowly strangled to death, isn’t it our duty to do everything in our power to stop the perpetrators? What’s the most that one person can do?

“What if we hike the Keystone XL?” Liam asked out of the blue.

“You mean across country? Across private property? Across the whole continent?” I asked.

“Yeah,” he said. “Just like we did in Prudhoe Bay.”

Liam’s idea was crazy but not an “I hope I won’t have to find a way to get accepted into a gang in federal prison for being a terrorist” kind of crazy. I felt a shock—a ground-trembling lightning bolt that coursed through me, leaving in its aftermath a flurry of jitters that bordered on the erotic. Some deep, inner part of me recognized the brilliance of Liam’s idea with a startling immediacy. I hadn’t begun to consciously rationalize why, but some farseeing part of me knew then and there that I was going to—no, had to—hike the Keystone XL.

Everything began to make sense. Being in Deadhorse. The nighttime hike out of Prudhoe Bay. This crazy period of my life could only end with a crazy conclusion. I dropped the mixing bowl into the sink, looked at Liam, and said—with what must have been almost frightening excitement—“We must

Most helpful customer reviews

4 of 4 people found the following review helpful.
An American Masterpiece! The exhilarating (and horrifying) account of a young man’s wondrous 136-day adventure of a lifetime.
By Denny Hatch
At age 29, Ken Ilgounas—a so-so student, career hitchhiker, Alaska tour guide and drifter—suddenly saw the XL pipeline as “the perfect symbol of the twenty-first century. It was a war zone where environmentalists were pitted against industry, where the hopes for our future clashed with the habits of our past.”

So he decided to hike the length of it—walk 1,195 miles from Hardisty, Alberta to Port Arthur, Texas. He has produced a truly brilliant kaleidoscopic portrait of America and our neighbor to the North. Here are unforgettable images, brushes with danger and death, and parade of motley characters. Many are salt of the earth. Others might be called Epsom salts.

One of the many benefits you’ll gain—painlessly and pleasurably—from TRESPASSING ACROSS AMERICA is deep knowledge of energy, fossil fuels and climate change. When Ilgunas started out, he assumed he would be virulently disparaging of big oil. He writes:

“Was I anti-oil? The tar sands and the Keystone XL struck me as a pretty terrible idea. But how could I be anti-oil when all of my gear, clothes and food were made with, made of, and transported by oil? I was wearing nylon pants and a polyester shirt, which were materials made from oil. Oil was in my pack, my shoes, my trekking poles. I’d originally wanted to travel the XL without using any oil. But where would I, for instance, get shoes that weren’t shipped with oil. How could I get food without any trace of oil? I could bring a rifle and hunt rabbits and deer, but what oil-run machine had cut the wood for the stock? What fuel ran the furnace that shaped the barrel? Where did the lead come from? Oil was everywhere and in everything.”

Another gift Ken Ilgunas gives the reader is a slew of easy-to-understand quickie factoids that you can gleefully drop at dinner parties. For example:

• I didn’t know this at the time, but there are 150,000 miles of oil pipelines in the United States alone. Add gas pipelines, and we have more than 1.7 million miles of pipes. These are our veiled veins, silently moving fossil fuels beneath the ground like blood beneath skin.

• Currently, there are 1.4 billion cows on Earth whose farts make up the world’s largest source of methane, a greenhouse gas 105 times more potent than carbon dioxide. A 2006 United Nations Food and Agriculture Organization report found that cows generate 18 percent of the world’s greenhouse gases—more than worldwide transportation.

Cows were a big part of Ilgunas’ struggle with nature. He had to deal with thousands of cows in his footslog across the plains of two giant continents:

“To me, cows were not docile bovine creatures that they were to most people, but, potentially a swarming herd of ill-tempered water buffalo that could fend off a pride of lions with their organ-rending horns and flank-to-flank formations. The very last thing I wanted was to end up on the news as the cultural spectacle of the latest person killed by an amiable animal in the once-every-few-years ‘Man killed by goat’ story.”

Etched in your memory will be mental images of Ilgunas’ lurid descriptions of what oil exploration does to the ecosystem such as this $200 sightseeing flight he splurged on for an overview of Fort McMurray, Alberta.

“But the autumnal wonderland came to an abrupt end as we approached and then passed over an enormous tailings pond—a lifeless gray sea of sludge, the liquid residue of the bitumen-to-oil refining process. The ponds, which are more accurately described as lakes, bore no sign of bird, wind ripple, or fish. They were still, silent, dead. And they were everywhere. After the refining process, the oil industry creates these giant man-made lakes to store all the toxic fluids. As of 2010, the tailings ponds covered about seventy square miles of northern Alberta, with some ponds as big as 7,500 acres, or half the size of Manhattan. Migrating ducks are known to rest on the ponds, and because the ponds have killed thousands of them, the oil industry had placed scarecrows (dubbed ‘bit-u-men’} wearing orange HAZMAT suits in the middle of them. Beyond the pond was one of the pits, a breathtaking mud crater that was of such breadth it almost stretched to the edge of the viewable earth.”

Above all, you savor dozens of delicious cameo portraits of myriad characters—some wonderfully warm, others not so. One of my favorites:

“When freezing, saturated, and exhausted, I got to Antlers, Oklahoma, (which boasts of being the Deer Capital of the World), I went straight to the local pizzeria and changed into my dry clothes in the bathroom before ordering myself a supreme pizza. A family with two little girls, who’d seen me come in, was curious what I was doing in Antlers. So they came over and asked. I told them tales of charging moose, stampeding cows, and crazy Nebraskan cops. I left out the dilapidated homes, crazy dogs, and strange men walking toward me at night, thinking that I had a good reason to remember the better side of Oklahoma. The girls posed for pictures with me, saying they were going to talk about my trip with their class, and the grandfather left ten dollars on the table, went to the register, and paid for my pizza.”

In short, you will adore TRESPASSING ACROSS AMERICA as will everyone you recommend it to. It is life changing.

In my opinion, every citizen of the world should read it.

Denny Hatch
dennyhatrch@yahoo.com

3 of 3 people found the following review helpful.
Really enjoyed this gentleman's descriptions of his adventures
By lost in montana
Really enjoyed this gentleman's descriptions of his adventures. He gives the opinions of people from many walks of life regarding the pipeline without bias. The issues are complicated and the author takes into consideration just how the pipelines existence or non-existence impacts lives. An entertaining author who makes you think.

0 of 0 people found the following review helpful.
I LOVED this book!
By Christine J. Fairman
I love books about long walks, a la Colin Fletcher, so I suspected I would like this book. I didn't like this book. I LOVED this book! It is a terrific book about Ken's adventures on his long walk, but so much more. The underlying theme is climate change and the XL Pipeline. It's not all heavy-duty scientific facts and doomsday predictions. Ken discusses climate change and the pipeline's pros and cons in a matter that is based around the people's lives who live near the pipeline or are going to make a lot of money working on the pipeline. So many times during the book I had to stop and think, "Wow, that was really meaningful." Ken's insights are really worth remembering and passing along. No matter how you feel about climate change, you might want to read this book. Really entertaining and enlightening. Now I'm off to get his first book, "Walden on Wheels."

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