Search results for ""david r. godine publisher inc""

Novelist Robert Olmstead journeys back to his youth on his grandfather’s New Hampshire dairy farm to confront the ghosts that continue to afflict him in this coming-of-age memoir. Robert Olmstead has peopled his fiction with the rough-hewn farmers, loggers, and hired hands of rural New England mountain towns where getting drunk, getting into fights, and getting thrown out of bars are the normal rites of passage. In Stay Here with Me, Olmstead lays bare the acute pain of his father’s alcoholism and the decline of his grandfather, the family patriarch. With delicate sensuality, he also traces the flowering of his first love for a woman who “walks like light would walk if it could.” Authentic, intimate, and intense, Stay Here with Me is about growing up and leaving home and about the acts of rebellion that free the body even as they bind the soul to a place forever. This Nonpa

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The complete guide to achieving classical type and book design with a keyboard and screen.How do we absorb the lessons of the printing tradition’s hot metal past and bring them to the digital era? Distinguished designer Mark Argetsinger guides the reader through every aspect of modern book design and production — from the choosing the proper typeface and leading of type to the choice of paper and specifications for binding. Chapters include “The Classical Tradition,“ “A Short History of Typographical Variations,“ “Desktop Publishing,“ “Composition,“ and “OpenType Fonts and Font Editing.“Illustrated with over 425 images and diagrams, many in color, Argetsinger discusses and delineates typography as a discipline, situating it among other art forms. Two appendices cover the history of cast-type ornaments and of Greek typography. Throughout there is special reference to the historical printers’ grammars—from Moxon to De Vinne—that serve as a present-day apprenticeship in the traditions of classical typography. Whether a novice or an expert, readers will gain a deeper appreciation for text, and all its rules of form, that can make words on a page a joy to the eye.

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BOSTON GLOBE BESTSELLER • LOS ANGELES TIMES BESTSELLER • BOSTON.COM BOOKCLUB SELECTION A celebration and meditation on the season for drinking hot chocolate, spotting a wreath on a neighbor’s door, experiencing the change in light of shorter days. All aspects of Winter, from the meteorological to the mythological, are captured in this masterful essay, told in wise and luminous prose that pushes back the dark. Winter begins with the shortest day of the year before nightfall. As in her companion volume, Summer Solstice, the author meditates on both the dark and the light and what this season means in our lives.“Winter tells us,” Nina MacLaughlin says, “more than petaled spring, or hot-grassed summer, or fall with its yellow leaves, that we are mortal. In the frankness of its cold, in the mystery of its deep-blue dark, the place in us that knows of death is tickled, focused, stoked. The angels sing on the doorknobs and others sing from the abyss. The sun has been in retreat since June, and the heat inside glows brighter in proportion to its absence. We make up for the lost light in the spark that burns inside us.” If Winter is a time you love for its memories and traditions, if you love writing that takes your breath away with lyrical leaps across time and space, Winter Solstice is an unforgettable book you’ll cherish.

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For nearly three decades, Richard Buckner has been traveling the byways of America, often alone and with little more than his guitars and notebooks. Now he’s sharing what he saw, felt, and found.Long admired for his impressionistic and elliptical lyrics, Buckner has more recently found himself pulling off the road to furiously write longer, fuller pieces. Here is a collection of his story-like poems gathered by haunting the public and private fringes of America: fifty studies wrung from thin motel walls and passing hallway echoes; from exchanges overheard between happy hour and closing time; from casually caustic conversations in junker parking lots and hash house booths; and from lost opportunities and vague chance meetings—but also from distant narrators caught staring off to recall what refuses to be forgotten. he’d swallowed her youth in sips so small she wouldn’t notice until it was eventually but-remembered on dark afternoonsWith titles such as “One More Last One,” “Everyone is driven unknowingly to their urges,” and simply “Work,” these are Buckner’s singular reports from a revelatory road. reappraising past decisions in renewable review, demanded by the weight of explanations that can still determine what drove you elsewhere then, now with no-where left to wait. Black Sparrow Press is proud to bring this remarkable debut work of prose-poetry to readers.“During a career spent crisscrossing the country, Buckner has seen plenty. In all those hotels between here and there, at those bars and truck stops and lounges, he would sit and listen . . . Buckner puts that power of observation to good use.”—NPR’s Morning Edition“Cuttings from the Tangle is not the work of a road-weary musician dabbling in another form. This book confirms a truth hinted at all these years in the language of his lyrics: Buckner is a writer.”—Literary Hub

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A stirring memoir of a young, single woman's laborious struggle to save her family’s New England apple farm from going under during the Great Depression. The Orchard is an exquisitely beautiful and poignant memoir of a young woman’s single-handed struggle to save her New England farm in the depths of the Great Depression. Discovered by the author’s daughter after the author’s death, it tells the story of Adele “Kitty” Robertson, young and energetic, but unprepared by her Radcliffe education for the rigors of apple farming in those bitter years of the early 1930s. Alone at the end of a country road, with only a Great Dane for company, plagued by debts, broken machinery, and killing frosts, Kitty revives the old orchard after years of neglect. Every day is a struggle, but every day she is also rewarded by the beauty of the world and the unexpected kindness of neighbors and hired workers. Animated by quiet courage and simple goodness, The Orchard is a deeply moving celebration of decency and beauty in the midst of grim prospects and crushing poverty. In addition to a foreword and epilogue by Betsy Robertson Cramer, the author's daughter, this Nonpareil edition includes a new afterword by award-winning author Jane Brox.

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“Beguiling and informative”—Wall Street JournalLearn to see art as an artist does. Discover how a painting’s composition or a sculpture’s spatial structure influence the experience of what you’re seeing. With an artist as your guide, viewing art becomes a powerfully enriching experience that will stay in your mind long after you’ve left a museum.A visit to view art can be overwhelming, exhausting, and unrewarding. Lincoln Perry wants to change that. In fifteen essays—each framed around a specific theme—he provides new ways of seeing and appreciating art. Drawing heavily on examples from the European traditions of art, Perry aims to overturn assumptions and asks readers to re-think artistic prejudices while rebuilding new preferences. Included are essays on how artists “read” paintings, how scale and format influence viewers, how to engage with sculptures and murals, as well as guides to some of the great museums and churches of Europe.Seeing Like an Artist is for any artist, art-lover, or museumgoer who wants to grow their appreciation for the art of others.

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The first biography of George Rickey, one of the greatest kinetic sculptors of the 20th century. His moving blades, squares, triangles, and circles can be found in museums and public spaces around the world, from bucolic landscapes to the streets of New York City. Now, here is the story of his life, his times, and his vision of balance that created something new―sculpture that is defined by movement.Before his death in 2002, George Rickey created more than 3,000 moving sculptures, including hundreds of major outdoor installations. His “useless machines,” as he called them, achieved complete rotation, used multiple variations of the pendulum, and delighted viewers with the joyride effects of conical movement. George Rickey: A Life in Balance follows the life of a renowned artist―first a painter, then a sculptor―who found inspiration all around him―as a child visiting the Singer Sewing Machine factory managed by his father, in his adventurous youth in the London and Paris art studios of the 1920s, as an engineer in the Army Air Corps during World War II, and later as a pioneer in academic art programs around the United States when he embarked on the sculpture he became famous for.But this is not only the story of a single artist’s creativity and achievement but of Rickey’s life in the larger context of the twentieth century: from Depression-era America to the upheaval of World War II, from the rise of New York as the world’s art capital at mid-century to the tumultuous 1960s, when Rickey emerged as an international figure rubbing elbows with Alexander Calder, David Smith, Christo, and many others. It is also the story of an exceptional marriage and of Rickey’s charismatic, devoted wife, Edith Leighton, who managed her husband’s career and reputation in the high-powered art circles of New York, Berlin, and Los Angeles.Belinda Rathbone (author of The Boston Raphael and Walker Evans: A Biography) has captured the spirit of an artist and his world in this deeply researched and engrossing biography. George Rickey: A Life in Balance is for any reader fascinated by the lives of artists, the creation of enduring art, or twentieth century modernism. Includes 30 photographs that document Rickey’s life and work.

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“Beautifully alive.”—Wall Street JournalWinner of the 2022 Distinguished Book Award from The Society of Colonial WarsA tour through the original thirteen colonies in search of historical sites and their stories in America’s founding. Obscure, well-known, off-the-beaten path, and on busy city streets, here are taverns, meeting houses, battlefields, forts, monuments, homes which all combine to define our country—the places where daring people forged a revolution. There is always something new to be found in America’s past that also brings greater clarity to our present and the future we choose to make as a nation. Author-artist Adam Van Doren traveled from Maine to Georgia in that spirit. There are thirty-seven landmarks included, with fifteen additional locations noted in brief. From the Bunker Hill monument in Massachusetts to the Camden Battlefield Site in South Carolina, this is a tour of an American cultural landscape with a curious, perceptive, and insightful guide. The reader steps inside cabins at Valley Forge where nearly two thousand soldiers perished during a cruel winter, meets the chef at Philadelphia’s City Tavern where the menu is based on 18th century fare, seeks out the Swamp Fox in Georgia, visits the homes of Alexander Hamilton, John and Abigail Adams, the Joseph Webb House on the Connecticut River where French general Rochambeau made plans with Washington, and much more. An unvarnished view, we also see Philipsburg Manor, in Sleepy Hollow, New York, where Blacks were once held as slaves to work in the Hudson River Valley. For armchair travelers and anyone fascinated by Americana, Van Doren (The House Tells the Story: Homes of the American Presidents) has created an unforgettable journey through history. We see the Founders—both their stunning achievements and chilling moral failures—where they lived, fought, and agreed on a common purpose, to create a nation whose future—and legacy—is continually evolving.

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The full, inside story of how the discovery of a previously unknown painting by Raphael, the Italian Renaissance master, went from media sensation to career-destroying scandal.On the eve of its centennial celebrations in December, 1969, the Boston Museum of Fine Arts announced the acquisition of an unknown and uncatalogued painting attributed to Raphael. Boston’s coup made headlines around the world. Soon afterward, an Italian art sleuth began investigating the details of the painting’s export from Italy, challenged the museum’s right to ownership. Simultaneously, experts on both sides of the Atlantic lined up to debate the artwork’s very authenticity.While these contests played themselves out on the international stage, the crisis deepened within the museum as its charismatic director, Perry T. Rathbone, faced the most challenging crossroads of his thirty-year career. The facts about the forces that converged on the museum, and how the

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Summer is fireflies and sparklers. Fat red tomatoes sliced thin and salted. Lemonade and long dreamy days. The treasures of the season are gone much too soon — but they’re captured here, in loving sensuous prose that’s both personal and universal, for you to find any time of year.Experience the most evocative tribute to the meaning of the season, a season whose magical feeling stays with us even in winter. Where does that feeling come from? What is summer made of? The smell of cut grass behind the gasoline of a lawnmower. A crown you’ve made of flowers. Blackberry bush prickers. First hot dog off the grill. Stargazing and sleeping with the windows open. This essay brims with a searching honesty and insight about what this season has meant in our pasts and what it might mean in our lives ahead.Release yourself into the sky and feel, Nina MacLaughlin writes, for a moment: there's time.If summer is the season of your life, if the months between Memorial Day and Labor Day hold your favorite memories, you’ll love Summer Solstice.

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A selection of the greatest sentences by the master, Ernest Hemingway. Sentences that can take a reader’s breath away and are not easily forgotten. Each sentence has been selected and examined by authors such as Elizabeth Strout, Sherman Alexie, Paula McLain, and Russell Banks; filmmakers Ken Burns and Lynn Novick; Seán Hemingway, A. Scott Berg, and many others in this celebration and conversation between Hemingway and some of his most perceptive and interesting readers.“All you have to do is write one true sentence,” Hemingway wrote in his memoir, A Moveable Feast. “Write the truest sentence that you know.” If that is the secret to Hemingway’s enduring power, what sentences continue to live in readers’ minds? And why do they resonant? The host and producer of the One True Podcast have gathered the best of their program (heard by thousands of listeners) and added entirely new material for this collection of conversations about Hemingway’s truest words.From the long, whole-story-in-a-sentence line, “I have seen the one-legged streetwalker who works the Boulevard Madeleine between the Rue Cambon and Bernheim Jeunes’ limping along the pavement through the crowd on a rainy night with a beefy red faced episcopal clergyman holding an umbrella over her.”, to the short, pithy line that closes The Sun Also Rises, “Isn't it pretty to think so?”, this is a collection full of delights, surprises, and insight.“All good books are alike in that they are truer than if they had really happened,” wrote Hemingway. “And after you're finished reading one, you will feel that all that happened to you and afterwards, it all belongs to you.” For readers of American literature, One True Sentence is full of remembrances—of words you read and the feelings they gave you. For writers, this is an inspiring view of an element of craft—a single sentence—that can make a good story come alive and become a great story.

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“Instructive and entertaining.”—Wall Street JournalLearn how to argue from the masters. This book is a complete course on the art of argument, taught by the greatest practitioners of it: Churchill, Lincoln, and hundreds of others from the golden age of debate in England and America. The book’s concise chapters provide lessons in all aspects of give and take—the syllogism and the slippery slope, the argumentum ad hominem and reductio ad absurdum, the fallacy and the insult. Ward Farnsworth shows how the full range of such techniques can be used or repelled, and illustrates them with examples that are fascinating, instructive, and fun to read. The result is a browsable reference in which every page is a pleasure. It will leave you better able to win arguments and to defend yourself under fire. It’s also an entertaining reminder that argument can be a source of beauty and delight. As Farnsworth says of t

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A New England Book Award Finalist. “Rich with shining interiors and tactile relationships, delicate human to delicate earth...Poems acting as guides, helping us navigate and remember...”—New York Times Magazine Susan Barba’s collection of poems resembles the spheroid stone of its name; when cracked open, a glittering and fascinating crystalline structure is revealed but the stony sphere she offers us, and the beauty within, is nothing less than the earth.The word “geode” also houses within it “ode,” a praise poem. With both anguish and exaltation, Barba considers our time within the larger scale of deep-time. The species decreasing in number and disappeared and the possibility of human extinction haunt this book, while new generations and the possibility of renunciation of our old ways animate it. There is wonder here as well. She writes...Oak, whose girth exceeds my reach forever I am at your feet, looking up. Here is the world, Barba reminds us, like a ball, in our hands. Poems include “Earthwards,” “Letter from Gaia,” “River,” and “Final Letter of Stone.” geode is for anyone who loves poetry’s uniquely precise and enduring power.

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A woman from New England falls for a charming Scottish landowner only to discover she’s also in a complex relationship with his family’s 400-year-old ancestral estate, The Guynd. Funny and heartwarming, this is the story of a house, a place, and a marriage. Guynd (rhymes with “wind“) is Gaelic for “a high, marshy place.” It’s there that Belinda Rathbone’s memoir takes place after her unlikely marriage and move to pastoral Scotland. There she learns to cope with a grand but crumbling mansion still recovering from the effects of two world wars, an overgrown landscape, a derelict garden, troublesome tenants, local aristocracy, Scottish rituals, and a husband who loathes change.Alternating between enchantment and near despair, Rathbone digs into family and local history in an effort to understand her new surroundings and the ties that bind us through generations. “The book lifts and excels,” wrote The New York Times, “Rathbone nails down a little bit of the Scottish soul in all its stark splendor.” The perfect book for anyone who loves a fish-out-of-water romance and a touching story of home.

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The illustrated classic of an inspired woman and her flower garden on Appledore Island. Celia Thaxter’s small garden with hollyhocks and poppies and scarlet flax was much admired by friends, neighbors, and visitors to the island off the coast of Portland, Maine. There, she wrote this collection of remembrances and gardening advice that was originally published in 1894, shortly before her death. It has never been out of print since.In vivid prose, Thaxter captures the stretching stems and blossoming flowers in moods ranging from bitter defeat—delivered by unrelenting slugs—to the exultant triumph of birdsong and bursting blooms. Any gardener will understand and take heart from Thaxter’s philosophical outlook. “I am fully and intensely aware,” she writes, “that plants are conscious of love and respond to it as they do to nothing else.”Many artists found inspiration in Celia Thaxter’s garden including the American impressionist, Childe Hassam, who provided this enduring book’s many full-page paintings and chapter head decorations. This book is perfect for anyone passionate about flowers and the many trials and triumphs of gardening.

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A literary humor classic—fractured biographical moments from the lives of great writers and composers.This is a collection of mostly imagined encounters between literary figures and their real or imagined family members, friends, and bitter enemies. In Howard Moss’s satirical voice and Edward Gorey’s twenty-five deadpan illustrations, we see Jane Austen wielding artful passive aggression and Sense and Sensibility galleys, the Alcott girls sculpting fudge, the rise of Emily Dickinson’s ruthless witch hazel business, among other delights.Perfect for those who love literature too much to hold it closely to actual facts.

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A young boy finds his calling as the chef of a fancy restaurant in this read-aloud picture book. Comfort food indeed! Eating outrageously fine cuisine is the sole activity that stops this young lad from screaming incessantly. But one fateful night, when his parents accidentally burn dinner, the boy’s temper flares and he begins to yell. Tired of all the noise, Mom and Dad relinquish all cooking responsibilities, leaving it all up to him. E voilà! The boy so enjoys cooking that he sings instead of screams, and finds that he is so talented that his parents open a restaurant with the boy as head chef.But life in the kitchen of an acclaimed and busy restaurant is not easy, so when the boy begins to make mistakes, will his penchant for earsplitting noise ruin everything?Witty text and clever illustrations combine to create a silly yet serious picture book for readers of all ages which teaches kids that you catch more flies with honey than with vinegar, especially when you’re singing. The New York Times wrote, “Ackerman and Dalton (The Lonely Phone Booth) have cooked up something witty and, as an example of the parental art of redirecting, perhaps inadvertently wise.”

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Roughly fifteen years after Gutenberg printed the first substantial book in Mainz in 1455, Nicolas Jenson of Venice produced what has been universally recognized among the most beautiful typefaces ever created. Based on the humanistic calligraphy of the Renaissance, an even and infinitely various set of lowercase letters that had evolved from the Carolingian minuscules of the ninth century, Jenson’s types were a miracle of proportion and evenness of color. In the late nineteenth century, it was imitated by Morris in his Golden Type of 1892 (far too heavy), and in the next by Cobden-Sanderson with his Doves Type, Goudy with his Deepdene, and Hunter Middleton with his Eusebius. But it was really not until Bruce Rogers, following his stint at the Riverside Press in Cambridge, Massachusetts, where he first attempted a version of the type in his Montaigne font, tackled the challenge of creating a roman equal to (and in some ways surpassing) the Jenson original. The proof of his success is that it has been used, and held in high esteem, ever since. The story behind the type, the many permutations through which it went, the myths that accrued and surrounded it are all exposed in this fully documented account of the type's genesis and development. Often and justly called "the noblest roman of them all," the book has been designed and set in a digital version especially created by Jerry Kelly who, along with co-author Misha Beletsky, have unearthed, mined, and refined a trove of typographic history to create the definitive history of what many consider the most beautiful typeface created by an American in the last century.

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Translated into English for the first time, this is Georges Perec's unique, puzzling, and often imitated memoir. At once an affectionate portrait of mid-century Paris and a daring pointillist autobiography, Georges Perec's / Remember is the last of this essential writer's major works to be translated into English. Consisting of 480 numbered statements, all beginning identically with "I remember," and all limited to pieces of public knowledge - brand names and folk wisdom, actors and illnesses, places and things ("I remember: "When parents drink, children tipple"; "I remember Hermes handbags, with their tiny padlocks"; "I remember myxomatosis") - the book represents a secret key to the world of Perec's fiction. As critic, translator, and Perec biographer David Bellos notes in his introduction to this edition, since its original publication, "It's hardly possible to utter the words je me souviens in French these days without committing a literary allusion." As playful and puzzling as the best of Perec's novels, I Remember began as a simple writing exercise, and grew into an expansive, exhilarating work of art: the image of one unmistakable and irreplaceable life, shaped from the material of our collective past.

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This is the riveling story of a museum director caught in a web of local and international intrigue while secretly pursuing a forgotten Renaissance pointing. On the eve of its centennial celebrations in December 1969, the Boston Museum of Fine Arts announced the acquisition of an unknown and uncatalogued painting attributed to Raphael. Boston's coup made headlines around the world. Soon afterward, an Italian art sleuth began investigating the details of the painting's export from Italy, challenging the museum's right to ownership. Simultaneously, experts on both sides of the Atlantic lined up to debate its very authenticity. While these contests played themselves out on the international stage, the crisis deepened within the museum as its charismatic director, Perry Rathbone, faced the most challenging crossroads of his 30-year career. In her quest for the true story behind this pivotal event in her father's life, Belinda Rathbone delves into the background of the affair as it was reported in the popular press, both questioning the inevitability of its outcome and revealing the power struggle within the museum that led to his resignation. She draws almost entirely from primary source material in various archival collections and over a hundred contemporary and personal interviews. It is lavishly illustrated with full-colour plates and many previously unpublished photographs.

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Filled with wit and insight, this is a fascinating tour of Venice from an artist's perspective. The city of Venice has always provided an almost irresistible lure for both writers and artists. Henry James loved it, as did Ruskin, Browning, Pound, and Brodsky. For artists, it has been a compulsory magnet since the time of Bellini and Canaletto. By the 19th century there was hardly an artist of note - Whistler and Turner, Sargent and Prendergas - who was not seduced by the city's charms, history, and aesthetic heritage. For the depiction of Venice by artists, it's a high bar that's been set, but Adam Van Doren, grandson of the Pulitzer prize-winning poet Mark Van Doren, convincingly confronts the competition in this charming memoir, a verbal and visual account of his love affair with the city. His story is personal; like all other artists, he sees the city through his own eyes, but he is also well-informed historically, lacing his tour with information, opinion, and wit.

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This is a superb collection of stories by Stig Dagerman, one of the most talented writers of Sweden's post-war generation. Stig Dagerman (1923-1954) is regarded as the most talented young writer of the Swedish post-war generation. By the 1940s, his fiction, plays, and journalism had catapulted him to the forefront of Swedish letters, with critics comparing him to William 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 Dagerman'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 loneliness. The title story, "To Kill A Child", is the most famous of Dagerman's short stories and among the most anthologized and oft-read stories in Sweden.

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The selected early poems by Mark Doty including the complete texts of Turtle, Swan and Bethlehem in Broad Daylight for which Mr. Doty has contributed a new introduction.

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Take your children back to 1910 for an old-fashioned New England summer in the country, complete with a July Fourth parade.Poet laureate Donald Hall (author of The Ox-Cart Man and other classics of country life) grew up spending his summers on his grandfather’s farm in rural New Hampshire. It was there he milked cows, raised sheep, and heard stories about the past that are brought to life in this read-aloud picture book for young children.In that long-ago time, the biggest celebration of the year was the July Fourth celebration in Danbury, New Hampshire—complete with flags, marching bands, speeches, and ice cream. A trip to Boston, where toys could be bought for a penny apiece, was a major event. This is a piece of Americana that will bring readers—and listeners—back to a simpler time when pleasure came from making as much as buying, where politics were truly local, and when worth was determined by character, not price.Published in the same format and with the same delightful handcolored scratchboard illustrations by Michael McCurdy as Donald Hall’s Lucy’s Christmas, this is a wonderful way to share old-time summer traditions and history with your child.

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Arranged for daily inspiration, wisdom from one of America’s great visionary and philosophical minds.“A chief event of life is that day on which we have encountered a mind that startled us.” A Year with Emerson is a feast of 365 such days. Known throughout the world for his cogent, epigrammatic writing, admired as the “George Washington of American Literature,” his work is even more enriching in bigger doses. Daily almanac entries present the heart of Ralph Waldo Emerson’s ideas and philosophy. Some were written on the very day in which they appear in the book, some are speculations and musings of the season and the natural world, but all are unfailingly wise, still relevant to our modern times.Emerson’s mind ranged across the universe even as he traveled the length and breadth of the United States and Europe. With Emerson as a companion and guide, we meet the ideas and personalities he championed and encountered, from Lincoln to John Muir, from Carlyle to Montaigne, and, of course, the close New England circle of Hawthorne, Thoreau, Margaret Fuller, and the Alcotts. With company such as this, and the scope of Emerson’s vision, you're sure to encounter rich food for thought every day of the year.

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COSMOPOLITAN AND SENSITIVE, articulate and composed, Wohlauer is a master of the dramatic image, the framed landscape, the arrested instant. In this collection of fifty of his best images selected from his work over the past decade, the viewer is treated to dolmans from Ireland and standing stones from Scotland, the sweeping waves of the Big Sur and Oregon coast, and the majestic and dramatic vistas of the American desert. These landscapes, carefully crafted, beautifully printed, stand beside his quiet and unassuming still lives and his sculpted nudes with an assured authority. For this is a photographer who feels no need to strain for effect, to manipulate techniques, material, or subject matter, or batter the viewer with proof of his virtuosity. The material is left to speak for itself, reflecting a talent that knows precisely what it is doing and is content to let the drama of the subjects at hand speak more loudly than the man behind the camera. Beautifully printed in fine-line duotone, this is an extraordinary record of compelling vision, of an artist working proudly in the footsteps of Adams, Weston, and Strand.

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Here is a selection of letters, envelopes, and illustrations by an artist who could never resist the temptation of filling his letters to family and friends with enchanting vignettes and sketches, done quickly, humorously and lovingly, with a sure touch for outline, wash and colour that always distinguished his work.

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Anyone who has spent any time messing around with boats — wooden boats in particular — knows that those cunning curves, endless seams, and rotting wood hold more than practical challenges. All boats have histories, some more poignant than others, and few narratives of the past few decades have captured the mystique of a boat’s provenance (in this case Chris Craft) or more touchingly depicted the ties that boats often create between father and son than this classic by Joe Soucheray.

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Presents a collection of short stories focusing on the relationship between and mother and daughter from such authors as Margaret Atwood, Gloria Naylor, and Alice Walker.

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Thrashin’ Time takes us back to autumn days in North Dakota in 1912, when farmers worked the land with sturdy draft horses and a new-fangled machine called the steam traction engine. The story opens with young Peter’s first look at the engine— blue boiler and red wheels, puffing smoke and hissing steam, gears spinning and rods stroking back and forth— and old Mr. Torgrimson’s wise prediction: “You know, Peter, you’re witnessing the beginning of real scientific farming.”

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A book length series of poems, looking at life in all its imperfections through the viewpoint of an inextinguishable character whose spirit triumphs through humor. Clayfeld, a comic everyman, is the center of these poems about the nature of beauty, sorrow, and art, as well as the potential for happiness. Thwarted continually by ordinary defeats, Clayfeld endures and laughs, loves and remembers.Critic Harold Bloom called poet Robert Pack an heir to Robert Frost and Edwin Arlington Robinson. That heritage is fully apparent in this joyous and exuberant odyssey.

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On fog-shrouded barrier island or deep in winter woods, eighteen essays describe the wild, outer half of Cape Cod. Robert Finch is a vivid witness to our participation, whether as individuals or as communities, in the mysteries of natural experience. As he explains: “One of the primary reasons this place yields so much to me so consistently is that I have invested so much of myself into it, physically, mentally, and emotionally . . . a thousand simple, repeated, physical acts have given this landscape a texture for me so that even its most casual aspect is filled, not with slick charm or abstract nostalgia, but with living, tactile memory.” In these essays, Finch demonstrates once again his profound willingness to ask essential questions. These essays recognize our need for both the human and the nonhuman in our lives; they probe the ambiguities in our response to the terror and beauty of the natural world and the love and aggression we struggle with in our associations with one another. Robert Finch’s remarkable prose offers high entertainment, but also gives us new sympathies for and understanding of both nature and ourselves.

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With Kamala Harris’s rise, American Blacks are entering a new phase in the struggle against white supremacy. Standing firmly in the African American tradition, Walton believes in the possibility of reconciliation with those whites who desire it, offering a hand of friendship and pragmatic ideas for paths forward. Born into the Civil Rights Movement, author Anthony Walton observed firsthand the opening of opportunity for racial reconciliation. He also saw systemic racism and the vicious backlash against Black progress embodied in the Southern Strategy, Tea Party, and MAGA. Over time, Walton came to believe that moving forward requires a “Third Reconstruction” to accomplish what remains: better health outcomes, secure voting rights, and sustained economic and educational opportunity. Only this approach, he believes, will accomplish what remains unfinished for true African American equality. Blending social history, bracing a

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The first biography of the writer/naturalist, and one of the leading founders of the modern environmental movement, Henry Beston. In September of 1926, Henry Beston spent a two-week vacation in a Cape Cod shack he’d built high on an isolated stretch of dunes overlooking the Atlantic Ocean. As he later wrote, “the fortnight ending, I lingered on, and as the year lengthened into autumn, the beauty and mystery of this earth and outer sea so possessed and held me that I could not go.” The resulting book, The Outermost House, is universally considered a classic of American nature writing.In his later books, Beston explored the ways that the modern industrial era was endangering the vital connection between humankind and the natural world, and he is now recognized as a key figure in the twentieth century’s conservation movement.In Orion on the Dunes, the first biography of Beston, scholar Daniel Payne—granted unrestricted access to the writer’s archives and drawing on interviews with friends and family—has crafted a scrupulously researched narrative; one presenting a masterful portrait that traces the intellectual growth and tumultuous life of a vital American writer whose work and thought have exerted a tremendous pull on poets, naturalists, and novelists alike. This is the story of a life, at once hidden and transparent, that is here finally revealed.

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The life of Charles Bukowski—laureate of lowlife Los Angeles—a novelist and poet who wrote as he lived. This is the only biography of Bukowski written by a close friend and collaborator. Neeli Cherkovski began a deep friendship with Bukowski in the 1960s while guzzling beer at wrestling matches or during quieter evenings discussing life and literature in Bukowski’s East Hollywood apartment. Over the decades, those hundreds of conversations took shape as this biography—now with a new preface, “This Thing Upon Me Is Not Death: Reflections on the Centennial of Charles Bukowski.” Bukowski, author of Ham on Rye, Post Office, and other bestselling novels, short stories, and poetry collections only ever wanted to be a writer. Maybe that’s why Bukowski’s voice is so real and immediate that readers felt included in a conversation. “In his written work, he’s a hero, a fall guy, a comic character, a womanizing lush, a wise old dog,” biographer Neeli Cherkovski writes. “His readers do more than glimpse his many-sidedness. For some, it’s a deep experience. They feel as if his writing opens places inside of themselves they might never have seen otherwise. Often a reader comes away feeling heroic, because the poet has shown them that their ordinary lives are imbued with drama.” Full of anecdotes, wisdom, humor, and insight, this is an essential companion to the work of a great American writer. Long-time Bukowski fans will come away with fresh insights while readers new to his work will find this an exhilarating introduction. “In his death, I hear him clearly,” Cherkovski writes. “His voice comes to me resonant, full of unforced authority, a message of endurance, self-reliance, and honesty of expression. At the same time, he is also saying, ‘Poetry is a dirty dishrag. Keep laughing at yourself on the way out the door.’ ”

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A debut novel of great depth and power. “Art, grief, and technology churn in this excellent and raw novel…that profoundly explores the way we live with technology and how it informs our understanding of reality.”—Publishers WeeklyIn this debut novel, conceptual artist Sheila B. Ackerman heeds a mysterious urge to return to her estranged family home and arrives at the exact moment of her mother’s suicide.In an attempt to cope with and understand her own self destructive tendencies, Sheila plants a camera on the lawn outside the house to film 24/7 while workers deconstruct the physical object that encases so many of her memories. Meanwhile, as she begins to experience frequent blackouts, she finds herself hunting a robot drone through the San Francisco MOMA with a baseball bat, part of a provocative, technological show, The Last Art, and resuming a violent affair with her college professor. With a backdrop of post-9/11 San Francisco, Sheila navigates the social-media-obsessed, draught-ridden landscape of her life, exploring the frail line between the human impulse to control everything that takes place around us and the futility of excessive effort to do so. This thought-provoking work is for anyone who questions the status quo.

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Discover the unique mind and humane vision of an under-recognized American author. Encompassing themes of race, education, fame, law, and America’s past and future, these essays are James Alan McPherson at his most prescient and invaluable. Born in segregated 1940s Georgia, McPherson graduated from Harvard Law School only to give up law and become a writer. In 1978, he became the first Black author to win the Pulitzer Prize for fiction. But all the while, McPherson was also writing and publishing nonfiction that stand beside contemporaries such as James Baldwin and Joan Didion, as this collection amply proves. These essays range from McPherson’s profile of comedian Richard Pryor on the cusp of his stardom; a moving tribute to his mentor, Ralph Ellison; a near fatal battle with viral meningitis; and the story of how McPherson became a reluctant landlord to an elderly Black woman and her family. There are meditations on family as the author travels to Disneyland with his daughter, on the nuances of a neighborhood debate about naming a street after Malcolm X or Dr. Martin Luther King, and, throughout, those connections that make us most deeply human—including connections between writer and reader. McPherson writes of his early education, “The structure of white supremacy had been so successful that even some of our parents and teachers had been conscripted into policing the natural curiosity of young people. We were actively discouraged from reading. We were encouraged to accept our lot. We were not told that books just might contain extremely important keys which would enable us to break out of the mental jails that have been constructed to contain us.” The collection’s curator, Anthony Walton, writes, “In his nonfiction, McPherson was often looking for a way ‘beyond’ the morasses in which Americans find themselves mired. His work is a model of humanistic imagining, an attempt to perform a healing that would, if successful, be the greatest magic trick in American history: to ‘get past’ race, to help create a singular American identity that was no longer marred by the existential tragedies of the nation’s first 400 years. He attempted this profound reimagining of America while simultaneously remaining completely immersed in African American history and culture. His achievement demonstrates that an abiding love for black folks and black life can rest alongside a mastery of ‘The King’s English’ and a sincere desire to be received as an American citizen and participant in democracy. It is time for that imaginative work to be fully comprehended and for this simultaneously American and African American genius to assume a fully recognized place beside the other constitutive voices in our national literature.” This is a collection for any reader seeking a better understanding of our world and a connection to a wise and wickedly funny writer who speaks with forceful relevance and clarity across the decades.On Becoming an American Writer is part of Godine’s Nonpareil series: celebrating the joy of discovery with books bound to be classics.

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“Earnest, amusing, and contemplative....though Beattie is known for her fiction, her nonfiction has just as much to offer.”—Publishers Weekly“Shimmering prose and critical acumen on display in an eclectic collection.”—Kirkus ReviewsAs deeply rewarding as her fiction, a selection of Ann Beattie’s essays, chosen and introduced by the author. From appreciations of writers, photographers, and other artists, to notes on the craft of writing itself, this is a wide-ranging, and always penetrating collection of writing never before published in book form. Ann Beattie, a master storyteller, has been delighting readers since the publication of her short stories in the 1970s and her first novel, Chilly Scenes of Winter. But as her literary acclaim grew and she was hailed “the voice of her generation,” Ms. Beattie was also moonlighting as a nonfiction writer. As she writes in her introduction to this collection, “Nonfiction always gave me a thrill, even if it provided only an illusion of freedom. Freedom and flexibility—for me, those are the conditions under which imagination sparks.” These penetrating essays are stories unto themselves, closely observed appreciations of life and art. The reader travels with Ms. Beattie to Cedar Rapids, Iowa to learn about the legacy of the painter, Grant Wood, and his iconic painting American Gothic; to the famed University of Virginia campus with her husband, the painter Lincoln Perry; to Key West, Florida for New Years with writer and translator, Harry Mathews; to a roadside near Boston in a broken-down car with the wheelchair-bound writer Andre Dubus. There are explorations of novels, short stories, paintings, and photographs by artists ranging from Alice Munro to Elmore Leonard, from Sally Mann to John Loengard. Whatever the subject, Ms. Beattie brings penetrating insight into literature and art that’s both familiar and unfamiliar—as she writes, “This, I think, is what artists want to do: find a way to lure the reader or viewer into an alternate realm, to overcome the audience’s resistance to being taken away from their own lives and interests and priorities.” Ann Beattie’s nonfiction (originally published in Life, The New Yorker, The New York Times, and The American Scholar, among others) is a new way to enjoy one of the great writers of her generation. Readers will find much to love in this journey with a curious and fascinating mind.More to Say is part of Godine’s Nonpareil series: celebrating the joy of discovery with books bound to be classics.

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Twelve stories of immigrants who navigate the ancestral past of India as they remake their lives—and themselves—in North America. These are stories of fluid and broken identities, discarded languages and deities, and the attempt to create bonds with a new community against the ever-present fear of failure and betrayal. “The narrative of immigration,” Bharati Mukherjee once wrote, “is the epic narrative of this millennium.” Her stories and novels brilliantly add to that ongoing saga. In the story “The Lady from Lucknow,” a woman is pushed to the limit while wanting nothing more than to fit in. In “Hindus,” characters discover that breaking away from a culture has deep and unexpected costs. In “A Father,” the clash of cultures leads a man to an act of terrible violence. “How could he tell these bright, mocking women,” Mukherjee writes, “that in the darkness, he sensed invisible presences: gods and snakes frolicked in the master bedroom, little white sparks of cosmic static crackled up the legs of his pajamas. Something was out there in the dark, something that could invent accidents and coincidences to remind mortals that even in Detroit they were no more than mortal.” There is light in these stories as well. The collection’s closing story, “Courtly Vision,” brings to life the world within a Mughal miniature painting and describes a light charged with excitement to discover the immense intimacy of darkness. Readers will also discover that excitement, and the many gradations of darkness and light, throughout these pages from the mind of a master storyteller.Darkness is part of Godine’s Nonpareil series: celebrating the joy of discovery with books bound to be classics.

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“Midnights is both a comedy of errors and an affectionate portrait of small-town police, those beleaguered souls charged with the task of keeping their neighbors in line....A reminder that those assigned to protect are often vulnerable and quietly heroic.”—Time Funny, touching, revealing, here is the view from a rookie cop’s patrol car, during midnight shifts, in a (mostly) peaceful town. With a rich cast of characters, this is a classic memoir of the fear, surprises, excitement, embarrassment that comes with a protecting and serving a small community. “When I was twenty-three years old, five months out of college, with a degree in music, and without any idea of what to do with myself, I took a job as a policeman in Wellfleet, Massachusetts,” so writes Alec Wilkinson. “Music, huh?” the police chief said during the job interview. “That'll be a big help.” Wilkinson’s main qualification was familiarity with the town of 2,000 people from summers there growing up. Committing himself to a year wearing a uniform and carrying a gun, and with no training, Wilkinson was sent out to keep the peace, hoping nothing would happen. There are high-speed chases and stopping drunk drivers, one of whom tries to set Wilkinson's hair on fire. There are domestic squabbles. “The first six months were murder for me,” Wilkinson’s partner confides on his first night. “After that, when I found out the people I thought were my friends weren't really my friends, I felt better off.” There is an attempted bank robbery. The teller convinces the robber that his haul ($300) is too much to carry around in cash. The robber is still listening to investment options when the police arrive. Throughout there are conversations with his eight fellow officers who Wilkinson comes to respect and admire. “Nobody ever calls you when they're behaving themselves,” one admits. “As a rule, you always get called when people are at their worst. It's sad. It depresses me.” The job is often thankless. “Right now I work on the police force,” another officer says, “my wife stamps cans in the supermarket, and she makes more money than I do.” This is experiential journalism at its most poignant and entertaining—and it launched the career of Alec Wilkinson: writer, interviewer, essayist, and author. This is for any reader looking for insight into the real lives of police officers, outside of large cities, across America. It is also for anyone looking for a marvelously engaging read.Midnights is part of Godine’s Nonpareil series: celebrating the joy of discovery with books bound to be classics.

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Be at home in nature, all through the year, with the old-timey, folksy wisdom in this classic camping companion.First published in 1920, and never out-of-print, Daniel C. Beard’s The Book of Camp-Lore & Woodcraft is a guide from yesteryear for enjoying the great outdoors as its guest.Through the pages of this book, the author, a pioneer of the scouting movement, takes kids on a camping trip and instructs them in the art of building a fireplace and lighting a fire, designing a campsite, pitching a tent, cooking flapjacks, packing a trail horse, handling an axe, and much more.Daniel Carter Beard was an expert outdoorsman and founder of the scouting movement in America. His goal was to help kids to enjoy the out-of-doors as much as he did. In his books, filled with time-tested tips and knowledgable advice, Beard helped preserve invaluable folkways that instill self-reliance and a deeper appreciation of nature—all while having a world of fun. This is truly a book for all ages—including adults.

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The fascinating, true, story of baseball’s amateur origins. “Explores the conditions and factors that begat the game in the 19th century and turned it into the national pastime....A delightful look at a young nation creating a pastime that was love from the first crack of the bat.”—Paul Dickson, The Wall Street JournalBaseball’s true founders don’t have plaques in Cooperstown. The founders were the hundreds of uncredited amateurs — ordinary people — who played without gloves, facemasks or performance incentives in the middle decades of the 19th century. Unlike today’s pro athletes, they lived full lives outside of sports. They worked, built businesses and fought against the South in the Civil War.But that’s not the way the story has been told. The wrongness of baseball history can be staggering. You may have heard that Abner Doubleday or Alexander Cartwright invented baseball. Neither did. You may have been told that a club called the Knickerbockers played the first baseball game in 1846. They didn’t. You have read that baseball’s color line was uncrossed and unchallenged until Jackie Robinson in 1947. Nope. You have been told that the clean, corporate 1869 Cincinnati Red Stockings were baseball’s first professional club. Not true. They weren’t the first professionals; they weren’t all that clean, either. You may have heard Cooperstown, Hoboken, or New York City called the birthplace of baseball, but not Brooklyn. Yet Brooklyn was the home of baseball’s first fans, the first ballpark, the first statistics—and modern pitching.Baseball was originally supposed to be played, not watched. This changed when crowds began to show up at games in Brooklyn in the late 1850s. We fans weren’t invited to the party; we crashed it. Professionalism wasn’t part of the plan either, but when an 1858 Brooklyn versus New York City series accidentally proved that people would pay to see a game, the writing was on the outfield wall.When the first professional league was formed in 1871, baseball was already a fully formed modern sport with championships, media coverage, and famous stars. Professional baseball invented an organization, but not the sport itself. Baseball’s amazing amateurs had already done that.Thomas W. Gilbert’s history is for baseball fans and anyone fascinating by history, American culture, and how great things began.

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