Search results for ""author jacob"

Louisville native John Jacob Niles (1892--1980) is considered to be one of our nation's most influential musicians. As a composer and balladeer, Niles drew inspiration from the deep well of traditional Appalachian and African American folk songs. At the age of sixteen Niles wrote one of his most enduring tunes, "Go 'Way from My Window," basing it on a song fragment from a black farm worker. This iconic song has been performed by folk artists ever since and may even have inspired the opening line of Bob Dylan's "It Ain't Me Babe."In I Wonder as I Wander: The Life of John Jacob Niles, the first full-length biography of Niles, Ron Pen offers a rich portrait of the musician's character and career. Using Niles's own accounts from his journals, notebooks, and unpublished autobiography, Pen tracks his rise from farm boy to songwriter and folk collector extraordinaire. Niles was especially interested in documenting the voices of his fellow World War I soldiers, the people of Appalachia, and the spirituals of African Americans. In the 1920s he collaborated with noted photographer Doris Ulmann during trips to Appalachia, where he transcribed, adapted, and arranged traditional songs and ballads such as "Pretty Polly" and "Black Is the Color of My True Love's Hair."Niles's preservation and presentation of American folk songs earned him the title of "Dean of American Balladeers," and his theatrical use of the dulcimer is credited with contributing to the popularity of that instrument today. Niles's dedication to the folk music tradition lives on in generations of folk revival artists such as Jean Ritchie, Joan Baez, and Oscar Brand. I Wonder as I Wander explores the origins and influences of the American folk music resurgence of the 1950s and 1960s, and finally tells the story of a man at the forefront of that movement.

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Jacob Kaplan was a dynamic field archaeologist and an original researcher of the Pottery Neolithic and Chalcolithic periods in the Levant. This volume contains a selection of Kaplan's unpublished fieldwork as well as a broad survey of the thoughts, theories, and considerations that have placed his work at the forefront of Israeli archaeology.Kaplan played an important role in shaping the archaeological sequence of the late prehistory of Israel, especially due to his discovery and description in the early 1950s of the Wadi Rabah culture—a major entity in the late Pottery Neolithic period. On a broader scale, Kaplan incorporated the Pottery Neolithic and Chalcolithic periods in Israel into the sequences of the late prehistory of the Levant and touched on the question of the end of the Neolithic period—one of the most intensive, creative, and transformative eras in human history. His views on some of the basic chronological and cultural issues of these periods endure to this very day. This two-volume collection accords Kaplan the full recognition he deserves as an original, leading investigator of the late prehistory of Israel.

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This title is inspired by the courage of a young woman, known variously as "Khwezi" and "the complainant", who took a principled decision to lay a charge of rape against Jacob Zuma, a man who was to her a father-figure, a family friend, a comrade, and the Deputy President of South Africa. She took on the fight against considerable odds. Zuma is one of the most popular and powerful political leaders of his time. She could not have known, however, the immense strength she would need to face the prolonged public attacks on her. As the Zuma supporters spat the words "Burn the Bitch" outside the courtroom, the young woman faced an interrogation inside. Her accusers, and the judge, concurred that having worn a kanga that evening, the complainant had, like so many other women, "asked for it'. This title speaks truth to power - not just male power, but political power, religious and cultural power, imperial and military power. By using the trial of Jacob Zuma as a mirror, the title reveals the hidden yet public forms of violence against women in their homes, marriages, churches and political organisations. Caught in the crossfire of the nation's political succession battle, the young woman refused to back down. By speaking out, she amplified the muffled screams of many other women who have been raped by those who parade their power in the corridors of parliament, government, corporations, and religious and traditional institutions. Crushed and conquered by the mechanics of power, she was forced by a so-called free country to flee into exile. We hope that in reading the story of this trial and seeing the particular ways in which women can be subjugated by power, South Africans will have the opportunity to reflect on, and demand better of, the kind of leaders and leadership they deserve.

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In recent decades Giorgio Agamben, Alain Badiou, and Slavoj Žižek have shown the centrality of Paul to western political and philosophical thought and made the Apostle a central figure in left-wing discourses far removed from traditional theological circles. Yet the recovery of Paul beyond Christian theology owes a great deal to the writings of the Jewish rabbi and philosopher Jacob Taubes (1923–1987). Pauline Ugliness shows how Paul became an effective tool for Taubes to position himself within European philosophical debates of the twentieth century. Drawing on Nietzsche’s polemical readings of the ancient apostle as well as Freud’s psychoanalysis, Taubes developed an imaginative and distinct account of political theology in confrontations with Carl Schmitt, Theodor Adorno, Hans Blumenberg, and others. In a powerful reconsideration of the apostle, Taubes contested the conventional understanding of Paul as the first Christian who broke definitively with Judaism and drained Christianity of its political potential. As a Jewish rabbi steeped in a philosophical tradition marked by European Christianity, Taubes was, on the contrary, able to emphasize Paul’s Jewishness as well as the political explosiveness of his revolutionary doctrine of the cross. This book establishes Taubes’s account of Paul as a turning point in the development of political theology. Løland shows how Taubes identified the Pauline movement as the birth of a politics of ugliness, the invention of a revolutionary criticism of the ‘beautiful’ culture of the powerful that sides instead with the oppressed.

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A look at the mass forces that swept Jacob Zuma to power in 2009—and put an end to the elite politics of the Thabo Mbeki era—this trenchant and provocative study defines the new configuration of power in South Africa. Illuminating such topics as the new black elite, the role of Julius Malema, the cartoons of Zapiro, and the fortunes of COPE, the discussion stimulates ideas, provokes discussion, creates controversy, and helps to define a new democracy.

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This volume begins with the premise that the deepest respect is shown through honest critique. One of the greatest problems in understanding the influence of the author on cities and planning is that she has for much of the past five decades been "Saint Jane, the housewife" who upended urban renewal and gave us back our cities. Over time, she has become a saintly stick figure, a font of simple wisdom for urban health that allows many to recite her ideas and few to understand their complexity. The author has been the victim of her own success. This book gives this important thinker the respect she deserves, reminding planning professionals of the full range and complexity of her ideas and offering thoughtful critiques on the unintended consequences of her ideas on cities and planning today. It also looks at the international relevance – or lack thereof – of her work, with essays on urbanism in Abu Dhabi, Argentina, China, the Netherlands, and elsewhere.

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Part biography and part microhistory, Jacob Green’s Revolution focuses on two key figures in New Jersey’s revolutionary drama—Jacob Green, a radical Presbyterian minister who advocated revolution, and Thomas Bradbury Chandler, a conservative Anglican minister from Elizabeth Town who was a leading loyalist spokesman in America. Both men were towering intellects who were shaped by Puritan culture and the Enlightenment, and both became acclaimed writers and leading figures in New Jersey—Green for the rebelling colonists, Chandler for the king. Through their stories, this book examines the ways in which religion influenced reform during a pivotal time in American history.

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Part biography and part microhistory, Jacob Green’s Revolution focuses on two key figures in New Jersey’s revolutionary drama—Jacob Green, a radical Presbyterian minister who advocated revolution, and Thomas Bradbury Chandler, a conservative Anglican minister from Elizabeth Town who was a leading loyalist spokesman in America. Both men were towering intellects who were shaped by Puritan culture and the Enlightenment, and both became acclaimed writers and leading figures in New Jersey—Green for the rebelling colonists, Chandler for the king. Through their stories, this book examines the ways in which religion influenced reform during a pivotal time in American history.

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Before publishing his pioneering book How the Other Half Lives - a photojournalistic investigation into the poverty of New York's tenement houses - Jacob Riis (1849-1914) spent his first years in the United States as an immigrant and itinerant laborer, barely surviving on his carpentry skills until he landed a job as a muckraking reporter. These early experiences provided Riis with an empathy for the lives of immigrants that would shine through in his iconic photos. With Rediscovering Jacob Riis, Bonnie Yochelson and Daniel Czitrom place Jacob Riis' images in historical context. In the first half of their book, Czitrom explores Riis' reporting and activism within the gritty specifics of Gilded Age New York: its new immigrants, its political machines, its fiercely competitive journalism, its evangelical reformers, and its labor movement. Czitrom shows that though Riis argued for charity, not sociopolitical justice, the empathy that drove his work continues to inspire urban reformers today. In the second half of the book, Yochelson describes Riis' photographic practice: his initial reliance on amateur photographers to take the photographs he needed, his own use of the camera, and then his collecting of photographs by professionals documenting social reform efforts for government agencies and charities. She argues that while Riis is rightly considered a revolutionary in the history of photography, he was not a photographic artist. Instead, Riis was a writer and lecturer who first harnessed the power of photography to affect social change. As staggering inequality continues to be a hot political topic, this book, illustrated with nearly seventy of Riis' photographs, will serve as a stunning reminder of what has changed, and what has not.

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This is the first academic biography of the scientist and politician Jacob Moleschott (1822-1893). Based on a vast range of primary sources in German, Italian, Dutch, French, and Latin, it not only sheds new light on the history of materialism in the natural sciences, but also shows the deep entanglement of science, politics, and popularization in 19th-century Europe. Applying new methods from cultural history and the history of science, Laura Meneghello focuses on processes of knowledge circulation, transnational mobility, and the role of translation in 19th-century science.

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Converse in the Spirit is a comparative study of the writings of William Blake and the German visionary philosopher Jacob Boehme. It argues that the relationship between Blake and Boehme was a meeting of like minds that transcended place and time, that each regarded himself as part of a community of vision, and aspiration, and believed that any predominant form ofthought and understanding was only partial.

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The wrenching events of the Civil War transformed not only the United States but also the men unexpectedly called on to lead their fellow citizens in this first modern example of total war. Jacob Dolson Cox, a former divinity student with no formal military training, was among those who rose to the challenge. In a conflict in which “political generals” often proved less than competent, Cox, the consummate citizen general, emerged as one of the best commanders in the Union army. During his school days at Oberlin College, no one could have predicted that the intellectual, reserved, and bookish Cox possessed what he called in his writings the “military aptitude” to lead men effectively in war. His military career included helping secure West Virginia for the Union; jointly commanding the left wing of the Union army at the critical Battle of Antietam; breaking the Confederate supply line and thereby helping to precipitate the fall of Atlanta; and holding the defensive line at the Battle of Franklin, a Union victory that effectively ended the Confederate threat in the West. At a time when there were few professional schools other than West Point, the self-made man was the standard for success; true to that mode, Cox fashioned himself into a Renaissance man. In each of his vocations and avocations—general, governor, cabinet secretary, university president, law school dean, railroad president, historian, and scientist—he was recognized as a leader. Cox’s greatest fame, however, came to him as the foremost participant historian of the Civil War. His accounts of the conflict are to this day cited by serious scholars and serve as a foundation for the interpretation of many aspects of the war.

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Who are the Jews? Where did they come from? What is the connection between an ancient Jewish priest in Jerusalem and today's Israeli sunbather on the beaches of Tel Aviv? This book answers these questions.

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The wrenching events of the Civil War transformed not only the United States but also the men unexpectedly called on to lead their fellow citizens in this first modern example of total war. Jacob Dolson Cox, a former divinity student with no formal military training, was among those who rose to the challenge. In a conflict in which “political generals” often proved less than competent, Cox, the consummate citizen general, emerged as one of the best commanders in the Union army. During his school days at Oberlin College, no one could have predicted that the intellectual, reserved, and bookish Cox possessed what he called in his writings the “military aptitude” to lead men effectively in war. His military career included helping secure West Virginia for the Union; jointly commanding the left wing of the Union army at the critical Battle of Antietam; breaking the Confederate supply line and thereby helping to precipitate the fall of Atlanta; and holding the defensive line at the Battle of Franklin, a Union victory that effectively ended the Confederate threat in the West. At a time when there were few professional schools other than West Point, the self-made man was the standard for success; true to that mode, Cox fashioned himself into a Renaissance man. In each of his vocations and avocations—general, governor, cabinet secretary, university president, law school dean, railroad president, historian, and scientist—he was recognized as a leader. Cox’s greatest fame, however, came to him as the foremost participant historian of the Civil War. His accounts of the conflict are to this day cited by serious scholars and serve as a foundation for the interpretation of many aspects of the war.

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This is the only collection of papers of an African American woman held in slavery.Although millions of African American women were held in bondage over the 250 years that slavery was legal in the United States, Harriet Jacobs (1813-97) is the only one known to have left papers testifying to her life. Her autobiography, ""Incidents in the Life of a Slave Girl"", holds a central place in the canon of American literature as the most important slave narrative by an African American woman.Born in Edenton, North Carolina, Jacobs escaped from her owner in her mid-twenties and hid in the cramped attic crawlspace of her grandmother's house for seven years before making her way north as a fugitive slave. In Rochester, New York, she became an active abolitionist, working with all of the major abolitionists, feminists, and literary figures of her day, including Frederick Douglass, Lydia Maria Child, Amy Post, William Lloyd Garrison, Susan B. Anthony, Harriet Beecher Stowe, Fanny Fern, William C. Nell, Charlotte Forten Grimke, and Nathan Parker Willis.Jean Fagan Yellin has devoted much of her professional life to illuminating the remarkable life of Harriet Jacobs. Over three decades of painstaking research, Yellin has discovered more than 900 primary source documents, approximately 300 of which are now collected in two volumes. These letters and papers written by, for, and about Jacobs and her activist brother and daughter provide for the thousands of readers of Incidents - from scholars to schoolchildren - access to the rich historical context of Jacobs' struggles against slavery, racism, and sexism beyond what she reveals in her pseudonymous narrative. Accompanied by a CD containing a searchable PDF file of the entire contents, this collection is an essential launching point for future scholarship on Jacobs' life and times.

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Louis Jacobs was Britain’s most gifted Jewish scholar. A Talmudic genius, outstanding teacher and accomplished author, cultured and easy-going, he was widely expected to become Britain’s next Chief Rabbi. Then controversy struck. The Chief Rabbi refused to appoint him as Principal of Jews’ College, the country’s premier rabbinic college. He further forbade him from returning as rabbi to his former synagogue. All because of a book Jacobs had written some years earlier, challenging from a rational perspective the traditional belief in the origins of the Torah. The British Jewish community was torn apart. It was a scandal unlike anything they had ever previously endured. The national media loved it. Jacobs became a cause celebre, a beacon of reason, a humble man who wouldn’t be compromised. His congregation resigned en masse and created a new synagogue for him in Abbey Road, the heart of fashionable 1960s London. It became the go-to venue for Jews seeking reasonable answers to questions of faith. A prolific author of over 50 books and hundreds of articles on every aspect of Judaism, from the basics of religious belief to the complexities of mysticism and law, Louis Jacobs won the heart and affection of the mainstream British Jewish community. When the Jewish Chronicle ran a poll to discover the Greatest British Jew, Jacobs won hands down. He said it made him feel daft. Reason To Believe tells the dramatic and touching story of Louis Jacobs’s life, and of the human drama lived out by his family, deeply wounded by his rejection.

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It’s no secret that authors have a love-hate relationship with Hollywood. The oft-repeated cliché that “the book was better than the movie” holds true for more reasons than the average reader will ever know. When asked about selling their book rights to Hollywood authors like to joke that they drive their manuscripts to the border of Arizona and California and toss them over the fence, driving back the way they came at breakneck speed. This is probably because Hollywood just doesn’t “get it.” Its vision for the film or TV series rarely seems to match the vision of the author. And for those rare individuals who’ve had the fortune of sitting across the desk from one of the myriad, interchangeable development execs praising the brilliance of their work while ticking off a never-ending list of notes for the rewrite, the pros of pitching their work to Hollywood rarely outweigh the cons.Stephen Jay Schwartz has sat on both sides of that desk—first as the Director of Development for film director Wolfgang Petersen, then as a screenwriter and author pitching his work to the film and television industry. He’s seen all sides of what is known in this small community as “Development Hell.” The process is both amusing and heartbreaking. Most authors whose work contains a modicum of commercial potential eventually find themselves in “the room” taking a shot at seeing their creations re-visualized by agents, producers or development executives. What they often discover is that their audience is younger and less worldly as themselves. What passes for “story notes” is often a mishmash of vaguely connected ideas intended to put the producer’s personal stamp on the project.Hollywood Versus The Author is a collection of non-fiction anecdotes by authors who’ve had the pleasure of experiencing the development room firsthand—some who have successfully managed to straddle the two worlds, seeing their works morph into the kinds of feature films and TV shows that make them proud, and others who stepped blindsided into that room after selling their first or second novels. All the stories in this collection illustrate the great divide between the world of literature and the big or small screen. They underscore the insanity of every crazy thing you’ve ever heard about Hollywood. For insiders and outsiders alike, Hollywood Versus The Author delivers the goods.With contributions by Michael Connelly, Lawrence Block, Max Allan Collins, Alan Jacobson, Andrew Kaplan, Tess Gerritsen, James Brown, Peter James, Rob Roberge, Lee Goldberg, Naomi Hirahara, T. Jefferson Parker, Diana Gould, Joshua Corin, and Alexandra Sokoloff

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This volume offers a critical edition and translation of Jacob of Serugh’s Homily on the Apostle Thomas and the Resurrection of Our Lord that focuses on John 20:19–28. The introduction describes the twenty-nine manuscripts that preserve the homily, details the construction of a stemma, presents case studies of editorial decisions based on neo-Lachmannian principles, and explains the systems of punctuation, orthography, and diacritical points. It also draws attention to the reception of the homily by attending to the producers and users of the manuscripts as well as the homily’s transmission in exegetical, liturgical, and hagiographical collections. The apparatus and appendices highlight paratextual marginalia, excerpts of the homily in the Syriac “Masora,” the incorporation of the homily into a liturgical rite, additions to the homily, and section divisions in manuscript witnesses. Overall, the volume seeks to navigate between employing a neo-Lachmannian editorial praxis and addressing the interests of material philology.

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Best remembered today for his blockbuster documentary series The Ascent of Man, Jacob Bronowski spent decades explaining scientific ideas to laypersons on television and radio. A true Renaissance man, Bronowski was not only a scientist, but a philosopher and a poet. In this first-ever biography, author Timothy Sandefur examines the extraordinary accomplishments and fascinating range of thought of this brilliant man. As Sandefur documents, the extent of Bronowki's interests and achievements is staggering. He revolutionized the study of William Blake, invented smokeless coal, and proved Australopithecus africanus was an ancestor of humans. He was a close friend of Leo Szilard (inventor of the atomic bomb) and William Empson (the prominent poet). He won the British equivalent of an Emmy for a radio play he wrote, sparked the "Two Cultures" controversy of the 1960s, led the mission sent to assess the effects of the atomic bomb at Hiroshima and Nagasaki, and cofounded the Salk Institute for Biological Studies with Jonas Salk. A marvelously eloquent and compelling speaker, Bronowski spent the last half of his life teaching the possibilities of humanism, freedom, science, and peace. This thoroughly researched and eloquently written biography will spark renewed interest in one of the great public intellectuals of the twentieth century.

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In this study, Andrew Tobolowsky offers a new approach to biblical descriptions of the tribes of Israel as the "sons of Jacob". He reveals how shifting assumptions about early Israelite history and the absence of references to Jacob in most accounts of the tribes make it unlikely that this understanding was part of early tribal discourse. Instead, drawing on extensive similarities between the role Jacob's children plays in the biblical narrative and the role that shared descent from figures such as Hellen and Herakles play in the construction of ancient Greek histories, Andrew Tobolowsky concludes that the "tribal-genealogical" concept was first developed in the late Persian period as a tool for the production of a newly integrated, newly coherent account of a shared ethnic past: the first continuous biblical vision of Israelite history from Adam to the fall of Jerusalem and beyond.

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Reveals new and previously unknown biographical material about an important figure in nineteenth-century American architecture and music. Jacob Wrey Mould is not a name that readily comes to mind when we think of New York City architecture. Yet he was one-third of the party responsible for the early development of the city’s Central Park. To this day, his sculptural reliefs, tile work, and structures in the Park enthrall visitors. Mould introduced High Victorian architecture to NYC, his fingerprint most pronounced in his striking and colorful ornamental designs and beautiful embellishments found in the carved decorations and mosaics at the Bethesda Terrace. Resurfacing the forgotten contributions of Mould, Hell on Color, Sweet on Song presents a study of this nineteenth-century American architect and musical genius. Jacob Wrey Mould, whose personal history included a tie to Africa, was born in London in 1825 and trained there as an architect before moving to New York in 1852. The following year, he received the commission to design All Souls Unitarian Church. Nicknamed “the Church of the Holy Zebra,” it was the first building in America to display the mix of colorful materials and medieval Italian inspiration that was characteristic of High Victorian Gothic architecture. In addition to being an architect and designer, Mould was an accomplished musician and prolific translator of opera librettos. Yet anxiety over money and resentment over lack of appreciation of his talents soured Mould’s spirit. Unsystematic, impractical, and immune from maturity, he displayed a singular indifference to the realities of architecture as a commercial enterprise. Despite his personal shortcomings, he influenced the design of some of NYC’s revered landmarks, including Sheepfold, the Metropolitan Museum of Art, the American Museum of Natural History, the City Hall Park fountain, and the Morningside Park promenade. From 1875 to 1879, he worked for Henry Meiggs, the “Yankee Pizarro,” in Lima, Peru. Resting on the foundation of Central Park docent Lucille Gordon’s heroic efforts to raise from obscurity one of the geniuses of American architecture and a significant contributor to the world of music in his time, Hell on Color, Sweet on Song sheds new light on a forgotten genius of American architecture and music. Funding for this book was provided by: Furthermore: a program of the J. M. Kaplan Fund

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The definitive study of the images made by a pioneer journalist and photographer who passionately advocated for America’s urban poor Danish-born Jacob A. Riis (1849–1914) found success in America as a reporter for the New York Tribune, first documenting crime and later turning his eye to housing reform. As tenement living conditions became unbearable in the wake of massive immigration, Riis and his camera captured some of the earliest, most powerful images of American urban poverty. This important publication is the first comprehensive study and complete catalogue of Riis’s world-famous images, and places him at the forefront of early-20th-century social reform photography. It is the culmination of more than two decades of research on Riis, assembling materials from five repositories (the Riis Collection at the Museum of the City of New York, the Library of Congress, the New-York Historical Society, the New York Public Library, and the Museum of South West Jutland, Denmark) as well as previously unpublished photographs and notes. In this handsome volume, Bonnie Yochelson proposes a novel thesis—that Riis was a radical publicist who utilized photographs to enhance his arguments, but had no great skill or ambition as a photographer. She also provides important context for understanding how Riis’s work would be viewed in turn-of-the-century New York, whether presented in lantern slide lectures or newspapers. Published in association with the Museum of the City of New YorkExhibition Schedule:Museum of the City of New York (10/07/15–03/20/16)Library of Congress, Washington D.C. (April–September 2016)

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'What do we seek through millions of pages? Still hopefully turning the pages -- oh, here is Jacob's room.' Who is Jacob Flanders? Virginia Woolf's third novel, published in 1922 alongside James Joyce's Ulysses and T.S. Eliot's The Waste Land, follows this elusive title character from a sunlit childhood on the Cornwall coast to adventures in Cambridge, London, and Athens. Women fall in love with Jacob; young men desire his company and conversation. But Woolf keeps her scornful, charming protagonist at a distance, enveloping Jacob in mystery as he enters adulthood and the Great War thunders across Europe. A daring work that reimagines every element of the traditional novel, Jacob's Room tells a new story for a new century. In 1922, Lytton Strachey pronounced Jacob's Room 'a most wonderful achievement—more like poetry, it seems to me, than anything else, and as such I prophesy immortal.' One hundred years after its publication, Woolf's first full-length work of experimental fiction pulls us into the inexhaustible mysteries of intimacy and mortality.

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New to the Vintage Classics Woolf series, this is Woolf's groundbreaking experimental novel.Jacob's Room is Virginia Woolf's first truly experimental novel. It is a portrait of a young man, tracing his life from childhood, to Cambridge University, and to his early adult life in artistic London. Jacob always yearns for something greater, and embarks on a voyage to the Mediterranean before the war begins and his fate is forever altered. Impressionistic in style, the narrative is as inspired now as it was when it first appeared.'A remarkable achievement' New Statesman

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A timely revisitation of renowned urbanist-activist Jane Jacobs' lifework, What We See invites thirty pundits and practitioners across fields to refresh Jacobs' economic, social and urban planning theories for the present day. Combining personal and professional observations with meditations on Jacobs' insights, essayists bring their diverse experience to bear to sketch the blueprints for the living city. The book models itself after Jacobs' collaborative approach to city and community building, asking community members and niche specialists to share their knowledge with a broader community, to work together toward a common goal of building the 21st-century city. The resulting collection of original essays expounds and expands Jacobs' ideas on the qualities of a vibrant, robust urban area. It offers the generalist, the activist, and the urban planner practical examples of the benefits of planning that encourages community participation, pedestrianism, diversity, environmental responsibility, and self-sufficiency. Bob Sirman, director of the Canada Council for the Arts, describes how built form should be an embodiment of a community narrative. Daniel Kemmis, former Mayor of Missoula, shares an imagined dialog with Jacobs, discussing the delicate interconnection between cities and their surrounding rural areas. And Roberta Brandes Gratz?urban critic, author, and former head of Public Policy of the New York State Preservation League?asserts the importance of architectural preservation to environmentally sound urban planning practices. What We See asks us all to join the conversation about next steps for shaping socially just, environmentally friendly, and economically prosperous urban communities.

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WITH INTRODUCTIONS BY LAWRENCE NORFOLK AND ELISABETH BRONFENJacob's Room is Virginia Woolf's first truly experimental novel. It is a portrait of a young man, tracing his life from childhood, to Cambridge University, and to his early adult life in artistic London. Jacob always yearns for something greater, and embarks on a voyage to the Mediterranean before the war begins and his fate is forever altered. Impressionistic in style, the narrative is as inspired now as it was when it first appeared.

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