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In 1987 Gudrun Pausewang responded to the Chernobyl disaster by constructing her anti-nuclear novel "Die Wolke", around a fictitious accident in a real German nuclear power station at Grafenrheinfeld, Pausewang did not find it easy to write such a horrific scenario: "Um ein Haar hatte ich etwa nach der Halfte aufgehort weiterzuschreiben", she writes, and yet she completed the novel. The book is part of a series and contains the text of "Die Wolke", an introduction on the background to the incident, notes and a follow-up section in German, the "Arbeitsteil", which is intended to enhance language skills.

From 2000 to 2007, Jay Wolke photographed in the south of Italy to capture the complexity of a region that is colloquially known as Il mezzogiorno. What he found in this historic and often troubled landscape was an elaborate set of physical, social, and political forces manifested in an extraordinary tapestry of visual information.Both referential and suggestive, Wolke’s pictures reveal the marks of a long line of invaders, conquerors, and occupiers from the Greeks to the Spanish to the Camorra. Architectural and structural adaptations and “resignations” are evident in every scene and serve as the photographer’s focus. Although the landscape is marred by layers of dysfunction and greed, we can’t help but view it through the lens of the timeless belief in the bel paese—the beautiful country.

When Jay Wolke made these photographs in the late 1980s and early 1990s, there were two major centers for gambling in the United States: Las Vegas, Nevada and Atlantic City, New Jersey. He was fascinated with the accentuated layers and intersections of people, artifice, architecture, and landscape, charged with expectation and aspiration. Wolke's images expose the symbols of desire alongside the realities of uncertainty and deception. The project has now become both a time capsule and an index of the contemporary, addressing larger themes that are every bit as meaningful today as they were thirty years ago.

When Jay Wolke made these photographs in the late 1980s and early 1990s, there were two major centers for gambling in the United States: Las Vegas, Nevada and Atlantic City, New Jersey. He was fascinated with the accentuated layers and intersections of people, artifice, architecture, and landscape, charged with expectation and aspiration. Wolke's images expose the symbols of desire alongside the realities of uncertainty and deception. The project has now become both a time capsule and an index of the contemporary, addressing larger themes that are every bit as meaningful today as they were thirty years ago.

From 2000 to 2007, Jay Wolke photographed in the south of Italy to capture the complexity of a region that is colloquially known as Il mezzogiorno. What he found in this historic and often troubled landscape was an elaborate set of physical, social, and political forces manifested in an extraordinary tapestry of visual information.Both referential and suggestive, Wolke’s pictures reveal the marks of a long line of invaders, conquerors, and occupiers from the Greeks to the Spanish to the Camorra. Architectural and structural adaptations and “resignations” are evident in every scene and serve as the photographer’s focus. Although the landscape is marred by layers of dysfunction and greed, we can’t help but view it through the lens of the timeless belief in the bel paese—the beautiful country.

Dave Foreman and Howie Wolke identify America's 368 remaining wilderness areas by state and region. They describe for each the diversity of its flora and fauna, threats of industrial exploitation or commercial development, and legal status as a protected area. With practical information and a sense of urgency, The Big Outside is both a guide and an inspiration for all those interested in seeing and preserving what's left of wild America. Illustrations.