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�Cover illustration by Joe McKendry
from One Times Square (see p. )
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Fall–Winter 2011 · Books that matter for people who care
D A V I D R . G O D I N E · P U B L I S H E R
Publisher’s Note
O , I have become accustomed to being greeted with thesalutation: “Oh, so you’re the one who publishes all those beautiful books!”I take it, of course, as a compliment and am gratified that anyone evenknows, or appreciates, the difference between a mass market paperback andone produced to our standards. But as a student of the subject, I am all tookeenly aware that publishing history is littered with beautiful books thatfailed. Aldus Manutius’s first and only crack at an illustrated book, theHyp-nerotomachia Poliphili of , sold so poorly that Aldus was compelled tobeseech the Doge of Venice for a tax break twelve years after the fact. Thegreat English publisher William Pickering issued Oliver Byrne’s Elements ofEuclid in , a striking book that failed entirely, remaindered less than adecade later. And the first, and probably the greatest, of the modern livresdes peintres, Parallèlement, illustrated by Pierre Bonnard, was a total bust forthe young and visionary publisher Ambroise Vollard. Today all three volumesare of course recognized as landmarks and cost as much as a small house.
For a publisher, unlike an author, it is probably not such a good idea tobe too much ahead of your time, and it is certainly safer to be interestingthan to be beautiful. This catalogue is full of genuinely interesting titles, titlesthat present and expand upon a topic to the point where the reader not onlyunderstands the subject thoroughly, but will, in time, consider the bookindispensable. In Writing the Garden, Elizabeth Barlow Rogers’s considera-tion of garden writing leaves no writer of any merit unexamined; SuzanneGreenberg and Barbara Norfleet, two old pros, take on the subject of wel-fare, how it was recorded and analyzed, and demonstrate how the founda-tions of social security, universal health care, and criminal justice were laidin this country. Joe McKendry, in a brilliant follow-up to Beneath the Streetsof Boston, his award-winning exposé of Boston’s subway system, describesand depicts the history of Times Square in One Times Square, and DouglasAdkins turns a searchlight on one of the greatest ocean racing yachts inAmerican history, tracing a trajectory of fame and obscurity, surprisingwins and heartbreaking losses that began ninety years ago. And not to beoutdone by the illustrated books, our literary titles on this list include newliterature in translation from the Swedish and Chinese, and a Black Sparrowtitle by Don Share, poet and senior editor of Poetry.
Interesting, no? And so, if I had my choice I would rather be greeted by,“So you’re the one who publishes all those interesting books!” than by asalute to beauty, which, after all, doth fade. � D ·R ·G
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Writing the Garden
by Elizabeth Barlow Rogers
G , more than most outdoor activities, has
always attracted a cult of devotedly literate practition-
ers; people who like to dig, it would appear, also like to write.
And many of them write exceedingly well. In this thoughtful,
personal, and embracing consideration of garden writing,
garden historian Elizabeth Barlow Rogers selects and discusses
the best of these writers. Shemakes her case by picking delight-
ful examples that span two centuries, arranging the writers by
what they did and how they saw themselves: nurserymen, for-
agers, conversationalists, philosophers, humorists, etc.Her dis-
cussions and appreciations of these diverse personalities are
enhanced and supported by informed appraisals of their tal-
ents, obsessions, and idiosyncrasies, and by extensive extracts
from their writings. Rogers provides historical background,
anecdotal material, and insight into how these garden writers
worked. And wherever appropriate, she illustrates her story
with images from their books, so you can not only read what
they wrote but also see what they were describing. Since gar-
dens are by their very nature ephemeral, these visual clues
from the pages of their books, many reproduced in color, are
as close as we will come to the originals.
What makesWriting the Garden such a joy to read is that it
is not simply a collection of extracts, but real discussions and
examinations of the personalities who made their mark on
how we design, how we plant, and how we think about what is
for many one of life’s lasting pleasures. Starting with “Women
in the Garden” (Jane Loudon, Frances Garnet Wolseley, and
Gertrude Jekyll) and concluding with “Philosophers in the
Garden” (Henry David Thoreau, Michael Pollan, and Allen
Lacy), this is a book that encompasses the full sweep of the
best garden writing in the English language.
Writing the Garden is co-published by the New York Society
Library and the Foundation for Landscape Studies in asso-
ciation with David R. Godine, Publisher.
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E B R is
the president of the Foundation for
Landscape Studies. A resident of New
York City since , Rogers was the
first person to hold the title of Cen-
tral Park Administrator, and she was
the founding president of the Central
Park Conservancy. The co-author of
Romantic Gardens: Nature, Art, and
Landscape Design (Godine, ),
Rogers has won numerous awards for
her work as a writer and landscape
preservationist.
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Writing the Gardena literary conversationacross two centuriesby Elizabeth BarlowRogers
preface byMark Bartlett
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Faith, Hope & Charity ,
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by Suzanne Greenberg & Barbara Norfleet
D last decades of the nineteenth century, our
country’s expanding wealth and influence moved pro-
gressive thinkers to evaluate the role of public institutions in
providing for the welfare of a growing population.A burgeon-
ing interest in issues as diverse as criminality among the poor,
the health of immigrants, overcrowding in slums, and the
education of the disabled spurred the development of new
means to investigate, document, and analyze their living con-
ditions with an eye toward improving their lives.
Among the figures who became preoccupied with issues of
social welfare was Francis GreenwoodPeabody, aHarvard edu-
cator who brought the reform agenda to students via the col-
lege’s Department of Social Ethics. A chief tool in Peabody’s
didactic arsenal was the Social Ethics Collection, a wide-rang-
ing assemblage of photographs, maps, and charts that docu-
mented living conditions, educational institutions, charitable
organizations, and hospitals across the US and Europe.
Capitalizing on rapid improvements in cameras and film,
photographers (many of them all but forgotten) provided
Peabody with his materials, taking what we would now call a
documentary approach.While less overtly ideological than the
work of journalists like Jacob Riis, the , images that
Peabody amassed recorded not only slums, sickness, and
sweatshops, but also the factories of forward-thinking compa-
nies like NCR and Heinz and the progressive educational
institutions like the Tuskegee and Hampton institutes.
Long considered outdated, the Social Ethics Collection had
been consigned to cabinetswhenBarbaraNorfleet and Suzanne
Greenberg took a renewed interest in the images as part of our
larger historical record and as works of art. Faith, Hope &
Charity explores the role of Peabody’s collection in compelling
people of wealth and influence – in the church, in business, in
universities – to become interested and invested in the welfare
of the less fortunate, restoring to view an unknown but vivid
part of our ongoing national debate on issues of social welfare
and social justice.
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FA ITH, HOPE & CHAR ITYSocial Reform and Photography, 1885–1910
by Suzanne Greenberg and Barbara Norfleet
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Holdouts!
by Andrew Alpern & Seymour Durst
A inches wide and feet deep owned
by a taxi driver whose asking price killed a developer’s
plans for a huge apartment house.
An empty - by -foot site in the middle of a Wall Street
office building created by the site’s former use as an outhouse
at the end of the eighteenth century.
A two-story building surrounded by a tall apartment house
on Upper Broadway that owes its continued existence to the
timing of Prohibition.
These snapshots are of holdouts that got in the way. They
appear whenever urban densities make land valuable and
wherever a profitmotive exists to trigger change.Holdouts are
often thought of as David versus Goliath battles, but is David
the little homeowner who doesn’t want to abandon his hearth
to the big heartless developer? Or is David the harried builder
who has invested huge sums of money in buying up ninety
percent of the land needed for development – whose benefits
would be enjoyed by thousands of citizens – but whose plans
are thwarted by the one landowner who controls the critical
land parcel without which the project is doomed?
What motivates a holdout? What are the problems when a
holdout gets in the way? What impacts do holdouts have on
how new buildings are planned and designed? What happens
when a new structure has to be constructed next to, around, or
even above an existing one that can’t be removed? How have
holdouts been dealt with over the years?
Holdouts! depicts with vivid clarity the colorful personali-
ties and outrageous actions that emerge in these stark con-
frontations. It describes epic battles that have been fought to
erect buildings in New York. More than illustrations and
photographs show the holdouts before, during, and after the
construction they delayed. This unique pictorial history will
delight architecture buffs, New Yorkers, urban historians,
indeed anyone interested in the sometimes hectic, sometimes
pathetic, and sometimes hilarious struggles of individuals
against real estate developers whose projects are so essential to
the continuing economic viability of our large cities.
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Animal Fables from Aesopadapted & illustratedby Barbara McClintock
C twentieth anniversary of this classic
depiction of Aesop on stage, here, in all their wisdom
and humor, are the best of these timeless fables, selected and
adapted by Barbara McClintock and illustrated in her inim-
itable nineteenth-century anthropomorphic style.
This collection contains the artist’s interpretations of nine
fables, including such familiar ones as “The Fox and the
Grapes,” and a fine selection of lesser-known examples, “The
Wolf and the Lamb” and “The Crow and the Peacocks.”All are
revitalized by McClintock’s uncanny ability to capture
humanity, with all its strengths and weaknesses, in the expres-
sions of her exquisitely drawn costumed creations. Filled with
the delicacy of line and color that has come to be her trade-
mark, these images are bound to please readers of all ages as
well as collectors of fables for another generation.
The graceful full-color illustrations are both delicate and
theatrical. . . . The whole feel of this book is in the tradition
of La Fontaine: gay, witty, full of charm and foible.
New York Times
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One Times Square
written & illustrated by Joe McKendry
A of the non-stop bustle of modern Times
Square stands One Times Square, the former headquar-
ters of the New York Times and the skyscraper – now all but
invisible behind billboards – that gave the square its name in
. Around it, a once-humble district of carriage houses
and coal merchants at the intersection of Broadway and Sev-
enthAvenue evolved into“The Crossroads of theWorld.”Here
impresarios and real-estate moguls vied to outdo each other
as they built theaters and hotels, penny arcades and restau-
rants, dime museums and office towers in an unending cycle
of reinvention and reimagination.
More than any other public space in New York City, Times
Square is the place where Americans have gathered, in good
times and in bad, to catch up on the latest news, to mark his-
toric occasions, or just to meet a few friends. From the Stock
Market crash in – when the building’s iconic “Zipper”
provided up-to-the-minute information – to the celebrations
marking the end of the Second World War, to annual New
Year’s Eve festivities with the iconic descending lighted ball,
the square and its tower have been an integral part of our his-
tory.
One Times Square explores the story of this fascinating
intersection, starting when Broadway was a mere dirt path
known as Bloomingdale Road, through the district’s decades
of postwar decay, to its renewal as a glittering tourist-friendly
media mecca. McKendry’s meticulous, lush watercolors take
readers behind the famous Camel billboard to find out how it
blew smoke rings over the square for years, to the top of the
Times Tower to see how the New Year’s ball has made its
descent for over years, and onto construction sites as
buildings grow up around One Times Square to dwarf what
once ranked among the tallest buildings in the world.
Reminiscent of David Macaulay . . . but with a style and
sensibility all [his] own. Jennifer Schrader, Boston Globe
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Winner of the Massachusetts
Book Honor Award
ONE TIMES SQUAREONE TIMES SQUAREONE TIMES SQUAREA CENTURY
OF CHANGE AT TH
E CROSSROADS OF THE W
ORLD
Written &Illustrate
d by JOEMcKEND
RY
�
To Kill a Child
by Stig Dagermantranslated from the Swedish by Steven Hartman
with a preface by Alice McDermott
S D (‒) is regarded as the most
talented young writer of the Swedish post-war generation.
By the s, his fiction, plays, and journalism had catapulted
him to the forefront of Swedish letters, with critics comparing
him toWilliam Faulkner, Franz Kafka, and Albert Camus. His
suicide at the age of thirty-one was a national tragedy. This
selection, containing a number of new translations of Dager-
man’s stories never before published in English, is unified by
the theme of the loss of innocence. Often narrated from a
child’s perspective, the stories give voice to childhood’s tender
state of receptiveness and joy tinged with longing and loneli-
ness. The title story, “Att döda ett barn” (“To Kill A Child”), is
the most famous of Dagerman’s short stories and among the
most anthologized and oft-read stories in Sweden.
Dagerman wrote with beautiful objectivity. Instead of emo-
tive phrases, he uses a choice of facts, like bricks, to construct
an emotion. Graham Greene
Grass Soupby Zhang Xianliang
translated from the Chinese by Martha Avery
Z X , one of China’s greatest living writ-
ers, spent twenty-two years in Chinese prisons and labor
camps until his “rehabilitation” in . Through most of
those years he kept a diary of his experiences. InGrass Soup he
explores the systematic degradation that his brief diary entries
both recorded and concealed. The world he shows us is one in
which an ill-considered poem title can mean the firing squad,
in which learning how to boil a toad or steal plant roots can
mean survival. Like Solzhenitsyn’s One Day in the Life of Ivan
Denisovich, this“extraordinary, terrifying”document describes
not only how far humanity can fall, but also how “the human
spirit can prevail, even in hell” (Ian Buruma,The Independent).
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23
verbamundiINTERNATIONAL LITERATURE SERIES
translated from the Swedish by Steven Hartman, preface by Alice McDermott
Stig DAGERMANTo Kill a Child
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Wishboneby Don Share
W a reader first encounteringDon Share’s
work is the electric energy of his lines, their contempo-
rary music and movement. Reading Wishbone, Share’s third
book, is akin to picking up the one clear station still transmit-
ting, the frenetic static of the world replaced by a strong signal
broadcast. Share’s poems are contrapuntal ripostes to the
Babel of the present, a voice not above the noise, but speaking
from its midst in a self-possessed language that muscles a new
way into meaning. The poems take place in America’s back-
yards and byways, intensive care rooms and airports, haunted
by fathers and Fathers, informed by philosophy, the Judeo-
Christian tradition, and pop culture. One finds the poet there
too, less his portrait than a self-deprecating likeness in the
crowd (the Renaissance master in the corner of the canvas)
decrying and defending, his “umbrella out and Cubs cap on
. . . curiously Odyssean in the Loop,” and always at the ready.
Don Share’s work is compressed as a haiku, intent as a tanka,
witty as a sonnet, witless as a song, relentless as an exposé,
patter without pretension . . . his elegant poetry, exposed as
a haiku, expansive as a renga, boisterous as a bridge, happy
as Delmore Schwartz with Lou Reed and vice versa, vivacious
as the living day . . . built out of attention, music and sight.
David Shapiro
The poet’s awareness of how daily life refuses to cohere into
a consoling pattern is beautifully mirrored by his conviction
that language itself signals a fall from grace and unity and
emotional wholeness. Tom Sleigh
Share is one of the more gifted craftsmen we have writing in
America today. Erin Belieu, Boston Review
[Don Share] is sage and deeply hilarious. Ed Park
Few poets manage such dexterous and fresh music.
Alice Fulton
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Don Share is senior editor of Poetry
magazine in Chicago. His books in-
clude Squandermania (Salt Publish-
ing, ),Union (Zoo Press, ),
and Seneca in English (Penguin
Classics, ). His critical edition
of Basil Bunting’s poems is forth-
coming from Faber and Faber, as well
as Bunting’s Persia from Flood Edi-
tions. His translations of Miguel
Hernández, collected in I Have Lots
of Heart (Bloodaxe Books, ),
were awarded the Times Literary
Supplement Translation Prize, the
Premio Valle Inclán, and the P.E.N./
New England “Discovery” Award.
�
Dorade
by Douglas Adkinsforeword by Llewellyn Howland III
T , quite simply, the definitive history of the boat gen-
erally considered the greatest ocean racing yacht of the
twentieth century. It begins with Roderick Stephens, Sr. whose
“deep and abiding faith in his sons’ talents, character and good
sense” led him to invest his reputation and fortune to help Olin
Stephens, then little more than a teenager, and Olin's brother
Rod, design and build an ocean racer to compete against the
finest offshore yachts of the day.
The result wasDorade, a -foot yawl launched in May
into the teeth of the Great Depression. Lightly built, with spar-
tan accommodations and berths like coffins, she performed
well in her shakedown summer. But it was the Transat-
lantic Race, which, under Olin’s command, she won in sixteen
days and an hour, beating the next (and much larger) boat by
two days, a winner on corrected time by over four days, that
set her name firmly in the annals of yachting history – and
changed forever the face of ocean racing yacht design.
In the eight decades since her launching she has been actively
raced and restored under the ownership of a host of colorful
and devoted characters on both coasts. A common sight off
San Francisco and Seattle, a frequent racer in the Solent and
Mediterranean, and now back east to race again off Newport,
she has outlived her modest and beloved designer andmost of
her owners. She has crossed the Atlantic to England and the
Pacific to Hawaii numerous times, suffered collisions, lapses
of good judgment, and misguided improvements. She has
endured repairs and restorations,witnessed love affairs, heart-
break, and even death. This is her story, from stem to stern,
nautical history at its best and related with affection, accuracy,
and eloquence by a sailor who has sutured together the many
strands, both verbal and visual, of a great yacht’s life. And
what a life it has been! As she ghosted past the Lizard that
morning of Tuesday, July , to shock the yachting world
with her Transatlantic win, Dorade was first to finish and has
remained first ever since.
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DoradeThe History of an Ocean Racing Yacht
BY DOUGLAS ADKINS
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