From the Stacks: November 10, 2006

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Thereby Hangs a Tale's first print issue, 'The Expat Issue,' features the weird and hilarious tales born of encounters with the unfamiliar. There's 'Bad Luck,' a story about a chance meeting in New Zealand between a taxi driver, his Vietnamese wife, and two juvenile delinquents. 'Unbound' is an American woman's account of life in India, accompanied by photo-illustrations of the many hairstyles she adopted while trying to fit in. And 'How to Strip' offers a humorous guide narrated by stripper Viva Las Vegas. It was Thereby's last page that captured my heart: a profile of tiny Rebecca Panikpak Idlout Library in Nunavut, Canada, north of the Arctic Circle, which serves as a beacon to wandering explorers seeking to check their email. -- Evelyn Hampton

You may not know who Paolo Pellegrin is, but he may change the way you see the world. That's according to a profile of this innovative photojournalist in the November issue of Photo District News, or PDN, the monthly magazine for professional photographers. In 'Paolo Pellegrin and The Future of Photojournalism,' Edgar Allen Beem explains that the trend over the past 20 years favoring packed, layer-heavy photos is about to end. Look for simpler photos embracing reduction and exclusion, like Pellegrin's signature close-up portraits of mourners at the wake of Pope John Paul II. -- Jenna Fisher

With all the buzz about how climate change is affecting humans and the land, the impact on oceans is often overlooked. The Autumn issue of Blueplanet, a publication of the Ocean Conservancy, looks at how climate and ocean interact in both positive and negative ways. In 'Pumping Iron,' Andrew Myers looks at the peculiar phenomenon of desert sands landing in oceans via dust storms. The carbon-dioxide-hungry phytoplankton that result have led some to conclude that a little sand in the sea could cure the planet's atmospheric woes. But some experts are warning against such ocean 'fertilization,' calling it 'waste disposal.' Says one Ocean Conservancy director: 'Let's not trade the hell we know for the one we don't.' -- Rachel Anderson

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