Search results for ""author john mcphee""

In Greenville, New Hampshire, a small town in the southern part of the state, Henri Vaillancourt makes birch-bark canoes in the same manner and with the same tools that the Indians used. The Survival of the Bark Canoe is the story of this ancient craft and of a 150-mile trip through the Maine woods in those graceful survivors of a prehistoric technology. It is a book squarely in the tradition of one written by the first tourist in these woods, Henry David Thoreau, whose The Maine Woods recounts similar journeys in similar vessel. As McPhee describes the expedition he made with Vaillancourt, he also traces the evolution of the bark canoe, from its beginnings through the development of the huge canoes used by the fur traders of the Canadian North Woods, where the bark canoe played the key role in opening up the wilderness. He discusses as well the differing types of bark canoes, whose construction varied from tribe to tribe, according to custom and available materials. I

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The first of John McPhee''s works in his series on geology and geologists, Basin and Range is a book of journeys through ancient terrains, always in juxtaposition with travels in the modern worlda history of vanished landscapes, enhanced by the histories of people who bring them to light. The title refers to the physiographic province of the United States that reaches from eastern Utah to eastern California, a silent world of austere beauty, of hundreds of discrete high mountain ranges that are green with junipers and often white with snow. The terrain becomes the setting for a lyrical evocation of the science of geology, with important digressions into the plate-tectonics revolution and the history of the geologic time scale.

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This is the fascinating story of the dream of a completely new aircraft, a hybrid of the plane and the rigid airship - huge, wingless, moving slowly through the lower sky. John McPhee chronicles the perhaps unfathomable perseverance of the aircraft's sucessive progenitors.

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At various times in a span of fifteen years, John McPhee made geological field surveys in the company of Eldridge Moores, a tectonicist at the University of California at Davis. The result of these trips is Assembling California, a cross-section in human and geologic time, from Donner Pass in the Sierra Nevada through the golden foothills of the Mother Lode and across the Great Central Valley to the wine country of the Coast Ranges, the rock of San Francisco, and the San Andreas family of faults. The two disparate time scales occasionally intersectin the gold disruptions of the nineteenth century no less than in the earthquakes of the twentiethand always with relevance to a newly understood geologic history in which half a dozen large and separate pieces of country are seen to have drifted in from far and near to coalesce as California. McPhee and Moores also journeyed to remote mountains of Arizona and to Cyprus and northern Greece, where rock of the deep-ocean floor has been trans

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The narratives in this book are of journeys made in three wildernesses - on a coastal island, in a Western mountain range, and on the Colorado River in the Grand Canyon. The four men portrayed here have different relationships to their environment, and they encounter each other on mountain trails, in forests and rapids, sometimes with reserve, sometimes with friendliness, sometimes fighting hard across a philosophical divide.

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The Control of Nature is John McPhee''s bestselling account of places where people are locked in combat with nature. Taking us deep into these contested territories, McPhee details the strageties and tactics through which people attempt to control nature. Most striking is his depiction of the main contestants: nature in complex and awesome guises, and those attempting to wrest control from her - stubborn, sometimes foolhardy, more often ingenious, and always arresting characters.

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When John McPhee returned to the island of his ancestorsColonsay, twenty-five miles west of the Scottish mainlanda hundred and thirty-eight people were living there. About eighty of these, crofters and farmers, had familial histories of unbroken residence on the island for two or three hundred years; the rest, including the English laird who owned Colonsay, were incomers. Donald McNeill, the crofter of the title, was working out his existence in this last domain of the feudal system; the laird, the fourth Baron Strathcona, lived in Bath, appeared on Colonsay mainly in the summer, and accepted with nonchalance the fact that he was the least popular man on the island he owned. While comparing crofter and laird, McPhee gives readers a deep and rich portrait of the terrain, the history, the legends, and the people of this fragment of the Hebrides.

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A literary legend's engaging review of his career, stressing the work he never completed, and why.Over seven decades, John McPhee has set a standard for literary nonfiction. Assaying mountain ranges, bark canoes, experimental aircraft, the Swiss Army, geophysical hot spots, ocean shipping, shad fishing, dissident art in the Soviet Union, and an even wider variety of other subjects, he has consistently written narrative pieces of immaculate design.In Tabula Rasa, Volume 1, McPhee looks back at his career from the vantage point of his desk drawer, reflecting wryly upon projects he once planned to do but never got around topeople to profile, regions he meant to portray. There are so many examples that he plans to go on writing these vignettes, an ideal project for an old man, he says, and a reminiscent montage from a writing life. This first volume includes, among other things, glimpses of a frosty encounter with Thornton Wilder, interrogative dinners with

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Draft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape non fiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising - and revising, and revising. Draft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.

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From the outwash plains of Brooklyn to Indiana''s drifted diamonds and gold In Suspect Terrain is a narrative of the earth, told in four sections of equal length, each in a different way reflecting the three othersa biography; a set piece about a fragment of Appalachian landscape in illuminating counterpoint to the human history there; a modern collision of ideas about the origins of the mountain range; and, in contrast, a century-old collision of ideas about the existence of the Ice Age. The central figure is Anita Harris, an internationally celebrated geologist who went into her profession to get out of a Brooklyn ghetto. The unifying theme is plate tectonicshere concentrating on the acceptance that all aspects of the theory do not universally enjoy. As such, In Suspect Terrain is a report from the rough spots at the front edge of a science.

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A literary legend's engaging review of his career, stressing the work he never completed, and why. Over seven decades, John McPhee has set a standard for literary nonfiction. Assaying mountain ranges, bark canoes, experimental aircraft, the Swiss Army, geophysical hot spots, ocean shipping, shad fishing, dissident art in the Soviet Union, and an even wider variety of other subjects, he has consistently written narrative pieces of immaculate design. In Tabula Rasa, Volume 1, McPhee looks back at his career from the vantage point of his desk drawer, reflecting wryly upon projects he once planned to do but never got around to-people to profile, regions he meant to portray. There are so many examples that he plans to go on writing these vignettes, an ideal project for an old man, he says, and a "reminiscent montage" from a writing life. This first volume includes, among other things, glimpses of a frosty encounter with Thornton Wilder, interrogative dinners with Henry Luce, the allure of western Spain, criteria in writing about science, fireworks over the East River as seen from Malcolm Forbes's yacht, the evolving inclinations of the Tower of Pisa, the islands among the river deltas of central California, teaching in a pandemic, and persuading The New Yorker to publish an entire book on oranges. The result is a fresh survey of McPhee's singular planet.

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From a Swedish hotel made of ice to the enigma of UFOs, from a tragedy on Lake Minnetonka to the gold mine of cyberpornography, The Princeton Reader brings together more than 90 favorite essays by 75 distinguished writers. This collection of nonfiction pieces by journalists who have held the Ferris/McGraw/Robbins professorships at Princeton University offers a feast of ideas, emotions, and experiences--political and personal, light-hearted and comic, serious and controversial--for anyone to dip into, contemplate, and enjoy. The volume includes a plethora of topics from the environment, terrorism, education, sports, politics, and music to profiles of memorable figures and riveting stories of survival. These important essays reflect the high-quality work found in today's major newspapers, magazines, broadcast media, and websites. The book's contributors include such outstanding writers as Ken Armstrong of the Seattle Times; Jill Abramson, Jim Dwyer, and Walt Bogdanich of the New York Times; Evan Thomas of Newsweek; Joel Achenbach and Marc Fisher of the Washington Post; Nancy Gibbs of Time; and Jane Mayer, John McPhee, John Seabrook, and Alex Ross of the New Yorker. The perfect collection for anyone who enjoys compelling narratives, The Princeton Reader contains a depth and breadth of nonfiction that will inspire, provoke, and endure.

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