Industrial Press, Inc.

In This Invisible Riot of the Mind, Gloria Sybil Gross contends that Samuel Johnson was a pioneer in the development of modern psychological thought, challenging the timeworn, stilted typecasting of Samuel Johnson as the pious Christian moralist. Instead, she argues that Johnson was a daring, at times irreverent, explorer of human nature, who strenuously rejected old relics of sanctimony and repressive authority. To make her case, Gross draws on a wide range of materials from Johnson's life and works, as well as from eighteenth-century medical psychology. Throughout, she is scrupulous in analyzing Johnson's psychological thought within the cultural idiom that would have been available to him. At the same time, she employs a classical psychoanalytic approach, that seeks to establish a coherent relationship among Johnson's life, his fantasies, and his creative work.

This reading of Johnson reveals the radical direction of his investigations of mental experience, which put him in clear prospect of the basic premises underlying Freudian psychoanalysis. Gross argues that these premises—the principle of psychological determinism, the view of the mind as dictated by forces in conflict, the concept of the dynamic unconscious, and the submerged power of desire in all human activity—pervade Johnson's writings. Gross demonstrates not only that Johnson can profitably be read in psychoanalytic terms, but that Johnson is a psychological theorist of primary importance.

This original and insightful work will be of interest to students and scholars of English literature, eighteenth-century studies, and literature and psychology.

In this fourth volume of Joseph E. Gillet's monumental study, Propalladia and Other Works of Bartolomé De Torres Naharro, all students of Renaissance drama will find a wealth of material on the origins of the modern European theater.

Torres Naharro created the cloak-and-sword play almost a century before Lope de Vega. The common­places of romantic comedy appeared, for the first time on any stage, in his Comedia Ymenea published at Naples in 1517. Two of his works, the Soldadesca and the Tinellaria—evocations of the roistering life of the barracks and of a cardinal's scullery—are remarkable examples of dramatic realism avant Ia lettre. The influence of Torres Naharro and his work on the Spanish drama of the sixteenth century was all pervasive.

In this volume, all the material gleaned by Dr. Gillet in extensive research is brought into clear focus to show Torres Naharro as a man of the Renaissance and a man of the theater. Of the greatest interest is the exposition of his intuition of the distinction between poetic and historic truth—commedias a fantasia and a noticia—long before the recovery of the true text of Aristotle's Poetics, and of the substratum of primitivism in many of his plays: ritual societies, the medicine man, the right to tribute, social discipline, name changing, loss of memory, sports, games, acrobatics, sorcery, riddles, genealogies, weddings, propitiation and death song, resuscitation, license and chastity, and so on. And this dramatic activity occurred early, antedating most of the Italian plays of the sixteenth century.

A whole chapter of nineteenth-century history is condensed in the phrase "the conflict between religion and science," with our Mother Eve and the proto-Ape jostling for places at the head of the family tree. An outstanding figure in the center of this intellectual conflict was John William Draper, author of History of the Intellectual Development of Modern Europe and The Conflict Between Religion and Science, which played an important part in intellectual debates for many years.

Draper helped break new ground for an age of science, and brought to the level of laymen some of the issues with which they must grapple in the future. However, he had the gift of the great popularizer for seeming to leaven the loaf of tradition, instead of throwing it away, and succeeded in lending to new ideas the appearance of old ones. His work is an excellent case history of the way in which innovations are knit up into continuity with tradition and revolutions in thought are made palatable.

This anonymous Middle English poem of the late fourteenth century, a central work in the Arthurian group, is an important example of the tradition known as the "alliterative revival" and is one of a group of poems having Sir Gawain as hero. Its metrical form is the most intricate in Middle English Romance, including rhyme, alliteration, and stanza-linking. The stanza consists of nine long alliterative lines rhyming ababababc and a "wheel" of four shorter lines rhyming dddc.

In this first critical edition based on all four extant manuscripts, Robert J. Gates has contributed careful commentary with extensive critical apparatus. He attempts to reconstruct original readings that have been lost in one or more of the manuscripts. His glossary, however, uses words from the variant readings as well as those accepted in the edited text.

Using the editorial methods developed by George Kane in his edition of Piers Plowman, Gates gives abundant new evidence of the usefulness of these methods. He believes that the edition shows that written poems could be formulaic and that scribes often substituted readings consisting of formulaic whole or half lines.

The fifteenth century, one of the most curious and confused periods in recorded history, witnessed amazing developments in the printing industry and in the production of books. The present volume surveys the history of the manufacture of books throughout the fifteenth century, whether written by hand or produced by the press, and points out that both methods faced very similar problems and found almost identical solutions for them.

Actually, the fifteenth century itself saw no material difference between manuscripts and incunabula (fifteenth-century printings), and regarded the latter simply as codices produced by "a new method of artificial writing." Curt F. Bühler discusses the impact of the epoch-making invention on the scribes as well as the attitudes that the contemporary book-lovers adopted toward the products of the press.

The author also studies the types of men who were attracted to the new industry and the nature of the books that they believed to be readily vendible. In addition, certain familiar beliefs regarding the history of the early presses are challenged, and possible solutions are presented for the problems are still imperfectly understood.

To illustrate the text, beautiful reproductions of illuminated manuscript pages, printed pages, colophons, woodcut illustration, and early typefaces have been included. The author's discussion of the decoration in books is not so much a study in the fine arts but, rather, an analysis of the types of volumes which lent themselves to decoration, and the various forms of such work.

Samuel Sloan: Architect of Philadelphia, 1815-1884 is a comprehensive study of one of America's most influential architects. Sloan created the designs that have become prototypes for many public buildings. His plan for the Hospital of the Protestant Episcopal Church in Philadelphia served as the model for American general hospitals, and, with Dr. Thomas S. Kirkbride, he created the model for mental hospitals in the United States. Sloan was also an innovative designer of public schools, creating the "Philadelphia Plan" of schoolhouse design, which came to be internationally known and widely used.

Sloan helped to shape the architecture of his time not only through the buildings he designed but also through his writings. He published several major pattern books, covering every aspect of the architectural profession from carpentry to furnishings. One of these, The Model Architect, went through five editions and was among the most widely distributed works of its kind in the history of nineteenth-century architectural publishing. As a result, Sloan's influence on the architectural environment of nineteenth-century America is so pervasive that a full accounting of the works which can be traced back to his books is almost impossible. From 1868 until 1871 Sloan also produced The Architectural Review, the first periodical in the United States devoted exclusively to architecture and its related arts and crafts and the unofficial organ of the reconstituted American Institute of Architects.

In Samuel Sloan, Harold N. Cooledge, Jr. examines the social, economic, and environmental factors that influenced Sloan's personal and professional character and includes a consideration of the theorists and tastemakers whose ideas influenced Sloan's attitude toward architectural theory and practice. Cooledge then presents a chronological biography in which the majority of Sloan's important commissions are considered in detail, and as much information about his private life as could be documented is given. The book concludes with a detailed catalogue of Sloan's work.

Samuel Sloan: Architect of Philadelphia 1815-1884 will be of value to architects and to scholars interested in art history, social history, and American studies.

The area in which people speak Urdu as their mother tongue includes east and west Pakistan (where, with Bangali, it functions as the official language of the land) and northern India. The language in this volume is based on the Urdu dialect of the educated population of Pakistan.

The purpose of the book is to provide the basic grammatical equipment and vocabulary necessary to conduct oneself in areas of Pakistan and India in which Urdu is the language of communication. Developed over a period of fifteen years, it is designed for students who have little or nor linguistic training.

This authoritative work was, at the time of its first publication, the first full-length book to cover in detail the collecting of Pennsylvania "Dutch" furnishings and crafts. It was subsequently redesigned and enlarged, to make it again available in this more ample format it deserves.

The Pennsylvania Dutch country may be said to have been "discovered" by collectors in the 1920s and 1930s. These unique people, with their old-world customs and colorful folk art, have created in America an authentic genre, with a flavor much in vogue among experienced decorators, as well as amateur collectors.

Earl F. Robacker, a native Pennsylvanian and a collector himself, introduces this volume with a general discussion of characteristic Dutch country art forms and craftsmanship, emphasizing its authentic "peasant" quality in contrast to the more elegant styles of other early American furnishings. Chapter by chapter he discusses typical pieces of furniture, china, kitchenware and other articles, giving careful descriptions of each important piece, its availability, and most important, the rules for a collector to keep in mind when on the trail of real Pennsylvania Dutch "stuff."

This volume offers a thorough orientation in Pennsylvania Dutch country antiques and makes fascinating reading for anyone interested in the general subject of old furnishings. As the first volume to assemble the scattered and fragmentary information on the subject, it is an invaluable guide for those who merely want to achieve authentic atmosphere in home decoration. Many fine illustrations supplement the text, and a partial list of museum collections gives additional guidance. The book contains a full discussion of the basic principles of Pennsylvania Dutch decoration, and an appraisal of the quality of reproductions available on the market.

All democratic constitutions feature "the people" as their author and ultimate source of legitimacy. They claim to embody the political form that citizens are in some sense supposed to have given themselves. But in what sense, exactly? When does a constitution really or genuinely speak for the people? Such questions are especially pertinent to our present condition, where the voice of "the people" turns out to be irrevocably fragmented, and people themselves want to speak and be heard in their own voices.

Founding Acts explores the relationship between constitutional claims of popular sovereignty and the practice of constitution-making in our pluralistic age. Serdar Tekin argues that the process of making a constitution, or its pedigree, is as morally and politically significant as its content. Consequently, democratic constitution-making is not only about making a democratic constitution but also about making it, as much as possible, democratically.

Tekin develops two overarching arguments in support of this claim. First, citizen participation in the process of constitution-making is essential to the democratic legitimacy of a new constitution. Second, collective action, that is, the political experience of constructing public life together, is what binds diverse people into a democratic peoplehood. Bringing into dialogue a wide range of canonical and contemporary thinkers, Tekin examines historical realities extending from revolutionary America and France to contemporary South Africa and Germany.

When the Philadelphia Phillies signed Dick Allen in 1960, fans of the franchise envisioned bearing witness to feats never before accomplished by a Phillies player. A half-century later, they're still trying to make sense of what they saw.

Carrying to the plate baseball's heaviest and loudest bat as well as the burden of being the club's first African American superstar, Allen found both hits and controversy with ease and regularity as he established himself as the premier individualist in a game that prided itself on conformity. As one of his managers observed, "I believe God Almighty hisself would have trouble handling Richie Allen." A brutal pregame fight with teammate Frank Thomas, a dogged determination to be compensated on par with the game's elite, an insistence on living life on his own terms and not management's: what did it all mean? Journalists and fans alike took sides with ferocity, and they take sides still.

Despite talent that earned him Rookie of the Year and MVP honors as well as a reputation as one of his era's most feared power hitters, many remember Allen as one of the game's most destructive and divisive forces, while supporters insist that he is the best player not in the Hall of Fame. God Almighty Hisself: The Life and Legacy of Dick Allen explains why.

Mitchell Nathanson presents Allen's life against the backdrop of organized baseball's continuing desegregation process. Drawing out the larger generational and business shifts in the game, he shows how Allen's career exposed not only the racial double standard that had become entrenched in the wake of the game's integration a generation earlier but also the forces that were bent on preserving the status quo. In the process, God Almighty Hisself unveils the strange and maddening career of a man who somehow managed to fulfill and frustrate expectations all at once.

Derived from the Latin abiectus, literally meaning "thrown or cast down," "abjection" names the condition of being servile, wretched, or contemptible. In Western religious tradition, to be abject is to submit to bodily suffering or psychological mortification for the good of the soul. In Cast Down: Abjection in America, 1700-1850, Mark J. Miller argues that transatlantic Protestant discourses of abjection engaged with, and furthered the development of, concepts of race and sexuality in the creation of public subjects and public spheres.

Miller traces the connection between sentiment, suffering, and publication and the role it played in the movement away from church-based social reform and toward nonsectarian radical rhetoric in the public sphere. He focuses on two periods of rapid transformation: first, the 1730s and 1740s, when new models of publication and transportation enabled transatlantic Protestant religious populism, and, second, the 1830s and 1840s, when liberal reform movements emerged from nonsectarian religious organizations. Analyzing eighteenth- and nineteenth-century conversion narratives, personal narratives, sectarian magazines, poems, and novels, Miller shows how church and social reformers used sensational accounts of abjection in their attempts to make the public sphere sacred as a vehicle for political change, especially the abolition of slavery.

Identity: The Necessity of a Modern Idea is the first comprehensive history of identity as the answer to the question, "who, or what, am I?" It covers the century from the end of World War I, when identity in this sense first became an issue for writers and philosophers, to 2010, when European political leaders declared multiculturalism a failure just as Canada, which pioneered it, was hailing its success. Along the way the book examines Erik Erikson's concepts of psychological identity and identity crisis, which made the word famous; the turn to collective identity and the rise of identity politics in Europe and America; varieties and theories of group identity; debates over accommodating collective identities within liberal democracy; the relationship between individual and group identity; the postmodern critique of identity as a concept; and the ways it nonetheless transformed the social sciences and altered our ideas of ethics.

At the same time the book is an argument for the validity and indispensability of identity, properly understood. Identity was not a concept before the twentieth century because it was taken for granted. The slaughter of World War I undermined the honored identities of prewar Europe and, as a result, the idea of identity as something objective and stable was thrown into question at the same time that people began to sense that it was psychologically and socially necessary. We can't be at home in our bodies, act effectively in the world, or interact comfortably with others without a stable sense of who we are. Gerald Izenberg argues that, while it is a mistake to believe that our identities are givens that we passively discover about ourselves, decreed by God, destiny, or nature, our most important identities have an objective foundation in our existential situation as bodies, social beings, and creatures who aspire to meaning and transcendence, as well as in the legitimacy of our historical particularity.

Producer of Nanook of the North, Moana, Man of Aran, and other pioneering documentaries between 1920 and 1940, Robert J. Flaherty was America's first independent film artist. Popular conceptions of Flaherty have led many either to worship his work and regard him in mythical terms or to debunk him as a fraud and castigate him for lack of a social consciousness. Rarely has the attempt been made to understand him in the context of his times. This captivating study presents Flaherty through the eyes of someone who knew him personally—the brilliant British filmmaker and scholar Paul Rotha. A colleague and close friend of Flaherty, Rotha gives us s a powerfully written biography that is a balanced and intimate look at the life and work of an American genius.

Editor Jay Ruby has restored the Rotha biography, including a wealth of anecdotes, letters, and memoirs that begin to bring Robert Flaherty the man into focus. An especially valuable dimension of this work is the appraisal of Flaherty the filmmaker from the viewpoint of a major figure of the British industry. He summarizes in detail the critical response to Flaherty of his contemporaries, about which only sketchy information has previously been available.

Flaherty regarded himself as an explorer as well as a filmmaker. The exciting story of this biography takes us from the Arctic, where Flaherty spent years filming Nanook, to the South Pacific, England, the Aran Islands, and finally the United States. his courage and overarching vision resulted in an unprecedented recording of the human struggle and in documentary films that reached a wider audience than ever before.

The problems of international communication and linguistic rights are recurring debates in the present-day age of globalization. But the debate truly began over a hundred years ago, when the increasingly interconnected world of the nineteenth century fostered a desire for the development of a global lingua franca. Many individuals and social movements competed to create an artificial language unencumbered by the political rivalries that accompanied English, German, and French. Organizations including the American Philosophical Society, the International Association of Academies, the International Peace Bureau, the Comintern, and the League of Nations intervened in the debate about the possibility of an artificial language, but of the numerous tongues created before World War II, only Esperanto survives today.

Esperanto and Its Rivals sheds light on the factors that led almost all artificial languages to fail and helped English to prevail as the global tongue of the twenty-first century. Exploring the social and political contexts of the three most prominent artificial languages—Volapük, Esperanto, and Ido—Roberto Garvía examines the roles played by social movement leaders and inventors, the strategies different organizations used to lobby for each language, and other early decisions that shaped how those languages spread and evolved. Through the rise and fall of these artificial languages, Esperanto and Its Rivals reveals the intellectual dilemmas and political anxieties that troubled the globalizing world at the turn of the twentieth century.

In the 1890s Philadelphia's preeminent photographer, William H. Rau, was commissioned to take more than 450 photographs along the routes of the Pennsylvania Railroad in order to promote travel on the railway to the general public. Known as "the standard railroad of the world," the PRR was the largest rail system in the East and linked metropolitan New York and Philadelphia to Pittsburgh and such industrial cities of the Midwest as Chicago and St. Louis.

Using a mammoth view camera that made 18-inch by 22-inch glass negatives, Rau produced a spectacular series of images for the railroad's promotional use. The remarkably detailed and texturally rich albumen prints, on deposit at The Library Company of Philadelphia, display a harmony between the railroad and the natural and industrial landscapes through which the line passed. The collection includes striking views not just of railcars, tracks, and stations but also of cities and towns, bridges, ferry boats, rivers, canals, factories, residences, and hotels, mostly in Pennsylvania, but with some views also of New York, New Jersey, and Maryland.

This oversize volume reproduces almost 100 of the photographs, carefully selected for their historical and artistic significance, as full-page quadtone images, capturing the impact of the originals as closely as possible. The photographs are arranged in geographical order along the various branches of the PRR, and each photograph is accompanied by a descriptive caption provided by PRR expert James J. D. Lynch, Jr. In the three essays that complement the photographs, Kenneth Finkel details Rau's career and early commercial photography, Mary Panzer places Rau and his PRR photographs in the context of the history of American landscape photography, and John R. Stilgoe discusses the advent of railroad advertising photography and its role in shaping perceptions of the American landscape.

Most historical and critical discussions of gardens focus on their design. What happens after the completion of the design, however, is largely ignored, which neglects a much larger part of the site's interest and potential. For gardens, John Dixon Hunt contends, are experienced, often by a succession of visitors at different times and often from different cultures; this experience, though determined by the original design and its subsequent modifications, also augments the site's potentialities, and this "afterlife" of gardens comes to enhance the original moment of creation.

One way of exploring the experience of designed landscapes is to adapt literary reception theory to the study of gardens. Hunt argues that such an approach via the reception or experience of gardens enlarges how we should understand their significance and meanings.

It is generally assumed that the experience of gardens became a prime ingredient of late eighteenth-century landscapes—picturesque literature especially highlighted how visitors responded to their surroundings, reading inscriptions and recognizing the significance of carefully placed architectural items or fabriqués. But there is considerable evidence for a much earlier interest in how experience came to constitute an essential aspect of a site beyond the intentions of the original designer or patron. Among other early examples, Hunt examines the book Hypnerotomachia Polifili (1499) to show how its protagonist is shown exploring and negotiating a series of strange and baffling landscapes. Through other inquiries—particularly into the role of movement in such different situations as Versailles, and Chiswick or along modern highways—The Afterlife of Gardens provides a fresh approach to the study of designed landscapes that goes beyond their production and into how they exist and are understood by their users.

In this ambitious new book the author shows how the complete history of a garden must extend beyond the moment of its design and the aims of the designer to record its subsequent reception. He raises questions about the preservation of historical sites, and provides lessons for the contemporary designer, who may perhaps be more attentive to the life of a work after its design and implementation. This book will interest all who have a professional interest in gardens, as well as the wide general audience for gardens and landscapes of past and present.

"Once upon a time there were three men who exemplified, without knowing it, my ideal in life. All of them became famous as writers, influential thinkers, and public figures. Their names are Clifton Fadiman, Lionel Trilling, and Jacques Barzun. They met in college, they remained aware of one another as friends or, if less than friends, companions and fellow crusaders on behalf of similar ideals. Although one of them never knew of my existence, the second ignored it, and the third treated me with formal kindness, without them I would have had no concrete model in my youth of what I wanted to become. Theirs was the universe in which I wished to have my being."

With these words, Carolyn Heilbrun begins a personal, pointed, and surprisingly moving account of how a woman, destined to become one of the leading feminist critics of her day as well as one of our most popular mystery novelists, found the models for the life she aspired to in men who neither imagined nor countenanced women as their equals or colleagues. Remembering these three figures as they were when she hung upon their printed words and professorial presences, reappraising them now half a century later, Heilbrun vividly evokes what these remarkable individuals had to offer to an admiring young woman who could not acknowledge—and later would not accept—the impossibility of following in their paths.

In the admired anthologies, magazine articles, and introductions through which Fadiman transmitted the world of high culture to an educated general public, he indicated no devotion to questions of female destiny; yet long before Heilbrun could imagine the life in the academy that was denied to Fadiman but would eventually be hers, his was the career to which she privately aspired. Later, in her days as a graduate student at Columbia, it was Trilling who would have the most powerful intellectual effect upon her, formulating as he did the tensions inherent in the desire to salvage what was of worth from a sad, almost moribund culture, even if he frankly admitted to no interest in teaching women or in considering their destinies beyond the domestic sphere. Only the courtly Barzun, also a mentor at Columbia, seemed capable of respecting female accomplishment and eschewing stereotyped views of women. Yet together, all three men unconsciously made Heilbrun's life as a feminist possible, by representing both what she wished to join and what she needed to struggle against.

When Men Were the Only Models We Had is a loving, admiring, but stringent account of youthful enthusiasms, of the romance of ideas, of the intellectual brilliance of three unwitting mentors, and of the hopelessness of female ambition in the years before the feminist movement of the last three decades of the last century. And it is, in the end, a book that offers splendid proof that the models we once had are no longer the only ones before us.

For more than 10,000 years, people have been shaping clay into brick for use in creating permanent shelter. With increased skill, they used brick to form arches and gateways in complex buildings of different sizes and shapes. Eventually bricks were used to decorate walls and floors, and what had once been a strictly utilitarian item began to take on an aesthetic role.

Current attention to architectural ceramics, the interest in installations, and the advance of public art have transformed brick into an increasingly popular medium. Artists now collaborate with brick factories to produce a wide range of work utilizing the unique properties of brick. Some of them carve the clay while it is green and then fire it; others use already fired bricks to produce their art.

In Brickworks, Gwen Heeney shows the amazing creations of an international group of artists who work with brick and also gives practical information about getting commissions, working with brick factories and designing with bricks. In addition she offers insight into the technicalities involved in producing brick artworks. She covers the process from the initial pile of raw bricks, through design, the making of the piece, dismantling, firing, and reconstructing in situ.

Illustrated with images that will both enlighten and engage artists, architects, and those involved in public art, Brickworks is the complete guide for anyone wanting to work creatively with this medium.

In the absence of any modern history of French garden art, this volume offers twelve chapters that review some of the most interesting and innovative moments of French garden history. This series of studies traces a progression from what is taken as the golden age of French garden art, in the late seventeenth century, up to the present, when a renaissance of French design theory and practice is clearly visible.

By exploring the contributions of such important designers as Jean-Marie Morel and Claude-Henri Watelet, these essays argue for a tradition that includes, but is by no means exclusively influenced by, Andre Le Notre, long considered the dominant figure in French garden history. Even a glance at the wealth of garden theory and practice during the late eighteenth and early nineteenth centuries must call into question the conventional neglect of post-Le Notrean work. Each author reads a significant moment of garden art in relation to a whole cluster of cultural concerns, which change with the time and place of the garden discussed; overall, this has meant invoking town planning, engineering, optics, scientific and philosophic movements, bourgeois ethics, foreign imports, vernacular workings of the land, the rise of professional landscape practice, even the modernist refusal to recognize the garden itself as the prime site of intervention in the landscape.

In a letter to Sir Thomas Browne about his proposed magnum opus on gardens, John Evelyn stated his purpose: "to refine upon some particulars, especially concerning the ornaments of Gardens, which I shal endeavor so to handle that persons of all conditions and faculties, which delight in Gardens, may therein encounter something for their owne advantage."

In his Elysium Britannicum, or The Royal Gardens, Evelyn indeed produced a rich document, an assemblage of the horticultural knowledge and wisdom of the seventeenth century. An intriguing intellectual whom many have called a virtuoso, Evelyn was a garden designer, a noted author and translator of garden books, and a founding member of the Royal Society in 1660, where experimental science was at the heart of intellectual debate. Interlacing in his work practical, literary, and philosophical approaches to landscape architecture, Evelyn created the first large-scale encyclopedic work on the science and art of gardening.

Evelyn never saw his great work published. Until now, the entire Elysium Britannicum, or The Royal Gardens has never appeared in print. In an impressive transcription, John E. Ingram makes the document—of which only a single folio volume remains—accessible to a wide range of scholars. Complete with Evelyn's extensive marginalia, interlineations, and tipped-in addenda, the manuscript is expertly organized by Ingram to preserve the meaningful complexity of Evelyn's original.

The Elysium Britannicum, or The Royal Gardens was composed over a period of forty years, and Ingram's transcription reveals the challenge Evelyn faced in writing in—and for—a rapidly evolving intellectual culture. The work also displays many of Evelyn's own illustrations, including drawings of garden layouts, diagrams of inventions for plant and tree cultivation, and plans for the artificial and natural embellishment of the land, all of which were to contribute to the beauty and utility of the gardens.

Although world-famous for his novels Sister Carrie and Jennie Gerhardt, Theodore Dreiser was also highly accomplished in journalism, autobiography, and travel writing. In 1919, having recently accepted the publishing contract of a new publisher, Boni and Liveright, Dreiser proposed to publish a "book of characters" that would collect twelve biographical sketches of individuals who were major influences on Dreiser, both as a man and as a writer. The resulting narratives combine the best attributes of the character sketch, the autobiography, and the short story into miniature masterpieces of prose.

The men profiled in Twelve Men are a diverse and colorful group: from Dreiser's equally famous brother, the songwriter Paul Dresser ("My Brother Paul"), to the entirely obscure railroad foreman Michael Burke ("The Mighty Rourke"), on whose work crew Dreiser had labored in 1903. The twelve narratives are compelling portraits of the men portrayed, but they also reveal many insights into Dreiser's own life and work. These factors elevate the significance of Twelve Men to a level consistent with other major works in the Dreiser canon.

In the well-entrenched critical view of the Jacobean period, James I is credited with the flowering of culture in the early years of the seventeenth century. His queen, Anna of Denmark, is seen as a shadowy figure at best, a capricious and shallow one at worst. But Leeds Barroll makes a well-documented case that it was Anna who, for her own purposes, developed an alternative court and sponsored many of the other artistic ventures in one of the most productive and innovative periods of English cultural history.

Married at seventeen, Anna soon became a shrewd and powerful player in the court politics of Scotland and, later, England. Her influence can be seen in James's choices for advisors and beneficiaries of royal attention. In fact, James's and Anna's longstanding dispute over the raising of the heir, Henry, caused a major scandal of the time and was suspected as a plot against the king's safety. In order to assert her own power, Anna actually forced a miscarriage upon herself, an extraordinary event that is referred to in much unnoticed contemporary diplomatic correspondence.

An important feature of court entertainment and literary production at this time was the development of the extravagant drama known as the masque, which reached its literary peak in the works of Ben Jonson and Inigo Jones. Barroll argues that it was in fact Anna and not James who encouraged and staged the masques, as a way of defining both a social and political identity for the royal consort, a role that had been nonexistent under Elizabeth. Barroll's work on Anna's patronage also sets Shakespeare's company in a broader context. By writing the cultural biography of Anna of Denmark, queen of England, Leeds Barroll reestablishes the influential and distinctive role of the queen consort in early modern Europe.

This is the first large-scale English translation of Maurice Scève's poem cycle Délie, originally published in Lyons in 1544 and only rediscovered in the early twentieth century as one of the great forgotten masterpieces of French poetry. A contemporary of Sir Thomas Wyatt in England, Sceve occupies a crucial place in the history of French verse between the late medieval tradition of Marot and the more self-consciously Renaissance poetics of the Pléiade. Powerfully registering the early impact of Petrarch's Rime in France, Scève's canzoniere nonetheless establishes itself as a strongly independent and fiercely idiosyncratic series of 449 love poems addressed to the poet's mysterious object of desire, Delie. Often considered a sixteenth-century Mallarmé because of the radiant obscurity of his verse, Sceve emerges in these English translations as a poet whose passionate ironies can be compared to such English metaphysicals as Donne while at the same time evoking the oblique self-portraiture of John Ashbery.

Introduced and annotated by the prize-winning translator Richard Sieburth, this bilingual selection from Scève's Délie (which also includes the fifty emblems illustrating the original edition) will appeal not only to students of French literature and lovers of poetry but also to the broader audience of readers drawn to the visual and verbal universe of the Renaissance.

Honorable Mention, 2003 Weidenfeld Translation Prize

Honorable Mention, 2003 PEN Poetry Translation Award

We conventionally understand the book as a vessel for words, a place where the reader goes to have a private experience with written language. But readers' relationships with books are much more complex. In The Pilgrim and the Bee, Matthew P. Brown examines book culture and the rituals of reading in early New England, ranging across almanacs, commonplace books, wonder tales, funeral elegies, sermon notes, conversion relations, and missionary tracts. What emerges is a new understanding of the book at once as a material good, existing within the economies of buying, selling, giving, and receiving; as an object of reverence and a medium for the performance of reading; and as an organizational system for word, sound, and image.

The product of extensive archival research, The Pilgrim and the Bee brings together the disciplines of book studies and performance theory to reconsider the literary history of early America. Brown focuses on the reader's body, carefully studying reading practices during the first three generations of English settlement, with particular emphasis on the way such practices operated in the social rituals of the Massachusetts Bay Colony. Understanding Puritanism as a style of piety predicated on access to texts, he describes a canon of texts (devotional "steady sellers") that, with the Bible, served as conduct literature for pious readers. These devotional manuals were reprinted and read frequently and helped to shape the social identities of gender, race, class, faith, and age. To Brown, seventeenth-century devotional readers are both pilgrims, treating texts as continuous narratives of redemptive journeying, and bees, treating texts as flowers or hives, as spatial objects where information is extracted and deposited discontinuously.

Today the name Socrates invokes a powerful idealization of wisdom and nobility that would surprise many of his contemporaries, who excoriated the philosopher for corrupting youth. The problem of who Socrates "really" was—the true history of his activities and beliefs—has long been thought insoluble, and most recent Socratic studies have instead focused on reconstructing his legacy and tracing his ideas through other philosophical traditions. But this scholarship has neglected to examine closely a period of philosophy that has much to reveal about what Socrates stood for and how he taught: the Neoplatonic tradition of the first six centuries C.E., which at times decried or denied his importance yet relied on his methods.

In The Neoplatonic Socrates, leading scholars in classics and philosophy address this gap by examining Neoplatonic attitudes toward the Socratic method, Socratic love, Socrates's divine mission and moral example, and the much-debated issue of moral rectitude. Collectively, they demonstrate the importance of Socrates for the majority of Neoplatonists, a point that has often been questioned owing to the comparative neglect of surviving commentaries on the Alcibiades, Gorgias, Phaedo, and Phaedrus, in favor of dialogues dealing explicitly with metaphysical issues. Supplemented with a contextualizing introduction and a substantial appendix detailing where evidence for Socrates can be found in the extant literature, The Neoplatonic Socrates makes a clear case for the significant place Socrates held in the education and philosophy of late antiquity.

Contributors: Crystal Addey, James M. Ambury, John F. Finamore, Michael Griffin, Marilynn Lawrence, Danielle A. Layne, Christina-Panagiota Manolea, François Renaud, Geert Roskam, Harold Tarrant.

William Russell Birch (1755-1834) has long been recognized as the first artist to achieve true commercial success in depicting American scenes for the domestic market. In his early career in London, Birch was influenced by the landscape painters whose work arose in the rich artistic ferment he encountered there in the 1770s and 1780s. After immigrating to Philadelphia in 1794, Birch sought to make his living recording scenes of the young republic, the better to promote "taste" in architecture and landscape design. The illustrations in his copperplate books soon proved to be vehicles for developing uniquely American pictorial subject matter. Of these, The City of Philadelphia in 1800 became very successful, going through four editions from 1800 to 1828. Birch's third publication, The Country Seats of the United States, first published in 1808, was the result of the engraver's travels through the mid-Atlantic, as well as his intimate knowledge of the Philadelphia region. Both of Birch's American books are of considerable importance in documenting the cultural developments of the young nation.

The Country Seats of the United States consists of twenty plates depicting eighteen estates, all but one of which were located on the eastern seaboard between Mount Vernon in the south and New York City in the north, with many properties along the Schuylkill River near Philadelphia. The remaining property in New Orleans was included to represent the recent Louisiana Purchase. Reproduced in its entirety with twenty color plates, this edition includes Birch's introduction and comments on the images, and a biographical essay situating Birch within his world and discussing the individual sites Birch depicted.

Salomon de Caus has been viewed as, variously, a Protestant martyr, the unsung inventor of the steam engine, one of the most important early hydraulic engineers, and a garden designer whose work was influenced by astrology and hermeticism. The first comprehensive book on this protean figure, Nature as Model sifts through historical material, Caus's own writings, and his extant landscape designs to determine what is fact and what is fiction in the life of this polymathic and prolific figure. In doing so, it clarifies numerous hitherto unresolved problems in his biography and historiography.

As Luke Morgan shows, Caus made important contributions to some of the most significant landscape projects of his period, including the gardens of Coudenberg Palace in Brussels, Richmond Palace, Hatfield House, Somerset House, Greenwich Palace in London, as well as, most famously, the Hortus Palatinus in Heidelberg, which he designed for the Elector Palatine, Frederick V, and his wife, Elisabeth Stuart, daughter of James I of England. In his work, Caus drew on his intimate knowledge of the late sixteenth-century Italian garden, and through his commissions the design principles and motifs of the late Renaissance garden were transmitted across Europe.

The book is a masterful exercise in historical reconstruction, showing how Caus has been read by subsequent generations intent on nationalism, romance, or magic. Morgan investigates the ways in which the early modern garden actually generated meaning through conventional motifs rather than through esoteric narrative programs.

Published in 1774, Essay on Gardens is one of the earliest texts showing the progressive shift in French taste from the classical model of the gardens at Versailles to the picturesque or natural style of garden design in the late eighteenth century. In this formulation of his ideas concerning landscape, Claude-Henri Watelet describes an ideal farm and also his own very real garden, Moulin Joli, near Paris. He advances the theory that the useful and the pleasurable must be combined in the planning, preservation, and decoration of the land by offering a relatively novel design that uses experimental methods to create a comfortable estate. The result is a horticultural and ecological laboratory that includes a residence, a farm, stables, a dairy, an apiary, a mill, walks, vistas, flower beds, an area reserved for medicinal plants, decorative statues, a medical laboratory, and even a small infirmary for ailing members of the community.

Given the wide scholarly interest in the field of garden design and its history, this first English edition of Watelet's small but influential book will interest historians of landscape design as well as students of the history of architecture. Joseph Disponzio's informative introduction to Samuel Danon's masterful translation situates the Essay on Gardens within the framework of other landscape and garden treatises of the late eighteenth century.

Although the original text was not illustrated, this edition includes a selection of charming drawings and etchings of Moulin Joli by Watelet himself, Hubert Robert, and others.

"Music, I have come to realize, is for me a kind of golden thread running through my life. It has helped maintain my connection with the past that otherwise might have been severed by catastrophe and time. I am often asked—indeed, I often wonder myself—why it is that I should always have had such joie de vivre in the face of the losses and dislocations I had to endure in my early years. The answer I always gave was that the warmth and security of my early childhood had a remarkable power and influence. This is certainly true. But now I have realized that there is another part to the answer. And that is music."—from the introduction

Who among us does not have a song that triggers vivid memories—of jubilation, of belonging, of sorrow, of love? In Musically Speaking, Dr. Ruth K. Westheimer, one of America's most beloved personalities, has written a warm and contemplative book about the role music has played in her life and the ineradicable traces it has left on her thoughts, emotions, her very being.

In this memoir through song, Dr. Ruth invites us to share her story from a uniquely musical perspective. By the time she was thirty, Ruth Westheimer had lived in five countries, each with a distinctive musical culture, each with a different hold on her sensibility. For the first ten years of her life, the comforting melodies of childhood helped drown out the anthems of Nazism to be heard elsewhere in her native Germany; as an adolescent refugee in Switzerland, she came to be aware that, however loudly she sang the patriotic songs of the land that gave her shelter, she could never truly be at home there.

Present at the creation of the modern state of Israel, she sang and danced to the new music of a new nation; as a young woman eagerly absorbing all that Paris had to offer in the way of romance and worldliness in the early 1950s, the songs of Edith Piaf, Mouloudji, and Yves Montand were her tutors. An almost accidental emigration to America brought new challenges and new stability, as she became a wife, mother, and professional; tremendous and unforeseen celebrity came later, and with it the giddy opportunity to indulge her love of music as never before.

Always, the classical repertoire of Mozart, Haydn, Beethoven, and Brahms has drawn Westheimer to a German culture that has belonged—and not belonged—to her throughout her life. And always, the music of the Jewish tradition has given her strength and comfort beyond words.

Affording a view of Dr. Ruth from a rare private vantage point, Musically Speaking offers wondrous testimony to the resilience of the human spirit. This is a book full of color, verve, humor, and wisdom, unfolding gracefully through the beloved music of the Jewish holidays, the lullabies of childhood, the songs that sustained an orphan and roused the courage of a young woman, the melodies that enable a widow grieving for her husband to recall, from deep within the years of love, companionship, and happiness.

Born in a rough-and-tumble neighborhood of Dublin, John F. Timoney moved to New York with his family in 1961. Not long after graduating from high school in the Bronx, he entered the New York City Police Department, quickly rising through the ranks to become the youngest four-star chief in the history of that department. Timoney and the rest of the command assembled under Police Commissioner Bill Bratton implemented a number of radical strategies, protocols, and management systems, including CompStat, that led to historic declines in nearly every category of crime. In 1998, Mayor Ed Rendell of Philadelphia hired Timoney as police commissioner to tackle the city's seemingly intractable violent crime rate. Philadelphia became the great laboratory experiment: Could the systems and policies employed in New York work elsewhere? Under Timoney's leadership, crime declined in every major category, especially homicide. A similar decrease not only in crime but also in corruption marked Timoney's tenure in his next position as police chief of Miami, a post he held from 2003 to January 2010.

Beat Cop to Top Cop: A Tale of Three Cities documents Timoney's rise, from his days as a tough street cop in the South Bronx to his role as police chief of Miami. This fast-moving narrative by the man Esquire magazine named "America's Top Cop" offers a blueprint for crime prevention through first-person accounts from the street, detailing how big-city chiefs and their teams can tame even the most unruly cities.

Policy makers and academicians have long embraced the view that the police could do little to affect crime in the long term. John Timoney has devoted his career to dispelling this notion. Beat Cop to Top Cop tells us how.

Theodore Dreiser's Russian Diary is an extended record of the American writer's travels throughout the Soviet Union in 1927-28. Dreiser was initially invited to Moscow for a week-long observance of the tenth anniversary of the October Revolution. He asked, and was granted, permission to make an extended tour of the country.

This previously unpublished diary is a firsthand record of life in the USSR during the 1920s as seen by a leading American cultural figure. It is a valuable primary source, surely among the last from this period of modern history.

In this book Ralph Schoolcraft explores the extraordinary career of the modern French author, film director, and diplomat—a romantic and tragic figure whose fictions extended well beyond his books. Born Roman Kacew, he overcame an impoverished boyhood to become a French Resistance hero and win the coveted Goncourt Prize under the pseudonym—and largely invented persona—Romain Gary. Although he published such acclaimed works as The Roots of Heaven and Promise at Dawn, the Gaullist traditions that he defended in the world of French letters fell from favor, and his critical fortunes suffered at the hands of a hostile press. Schoolcraft details Gary's frustrated struggle to evolve as a writer in the eye of a public that now considered him a known quantity. Identifying the daring strategies used by this mysterious character as he undertook an elaborate scheme to reach a new readership, Schoolcraft offers new insight into the dynamics of authorship and fame within the French literary institutions.

In the early 1970s Gary made his departure from the conservative literary establishment, publishing works that boasted a quirky, elliptical style under a variety of pseudonymous personae, the most successful of which was that of an Algerian immigrant by the name of Emile Ajar. Moving behind the mask of his new creation, Gary was able to win critical and popular acclaim and a second Goncourt in 1975. But as Schoolcraft suggests, Gary may have "sold his shadow"—that is, lost his authorial persona—by marketing himself too effectively. Going so far as to recruit a cousin to stand in as the public face of this phantom author, Gary kept the secret of his true authorship until his violent death in 1980 from a self-inflicted gunshot wound. The press reacted with resentment over the scheme, and he was shunned into the ranks of literary oddities.

Schoolcraft draws from archives of the several thousand documents related to Gary housed at the French publishing firms of Gallimard and Mercure de France, as well as the Butler Library at Columbia University. Exploring the depths of a story that has long remained shrouded in mystery, Romain Gary: The Man Who Sold His Shadow is as much a fascinating biographical sketch as it is a thought-provoking reflection on the assumptions made about identities in the public sphere.

C.C.L. Hirschfeld was perhaps the most important writer on gardens and landscape in eighteenth-century Germany. Acclaimed as the "father of landscape garden art," he was influential not just in Germany but also in France, Hungary, Italy, the Netherlands, Scandinavia, and Russia. Popular with both experts and amateurs, Hirschfeld's writings had a significant effect on the development of European garden design, as well as on the establishment of public parks of his era. His celebration of the natural world sprang from his intellectual roots in Enlightened rationalism, but rather than following the systematic scientific strategy of his forerunners, Hirschfeld formulated a more popular approach that appealed to both the emotions and the reason of his audience. His five-volume Theory of Garden Art, published simultaneously in German and French between 1779 and 1785, is by far the most comprehensive of his works, and well-informed gardeners of the time considered it indispensable.

Although Hirschfeld's significance has increasingly been recognized in contemporary landscape scholarship, his works have not yet appeared in English. In this one-volume abridged edition Linda Parshall translates the essential aspects of the Theory of Garden Art, Hirschfeld's seminal work. The translation is accompanied by an introduction by Parshall, which analyzes Hirschfeld's place in the intellectual and cultural history of his time, and in the history of landscape design. This book will be a useful and authoritative contribution to both the history of landscape architecture and German cultural history.

No issue in America in the 1960s was more vital than civil rights, and no two public figures were more crucial in the drama of race relations in this era than Martin Luther King, Jr. and Robert F. Kennedy.

Fifty years after they were both murdered, noted journalist David Margolick explores the untold story of the complex and ever-evolving relationship between these two American icons. Assassinated only sixty-two days apart in 1968, King and Kennedy changed the United States forever, and their deaths profoundly altered the country’s trajectory.

In The Promise and the Dream, Margolick examines their unique bond and the complicated mix of mutual assistance, impatience, wariness, awkwardness, antagonism, and admiration that existed between the two, documented with original interviews, oral histories, FBI files, and previously untapped contemporaneous accounts.

At a turning point in social history, MLK and RFK embarked on distinct but converging paths toward lasting change. Even when they weren’t interacting directly, they monitored and learned from, one another. Their joint story, a story each man took some pains to hide and which began to come into focus only with their murders, is not just gripping history but a window into contemporary America and the challenges we continue to face.

Complemented by award-winning historian Douglas Brinkley’s foreword and more than eighty revealing photos by the foremost photojournalists of the period, The Promise and the Dream offers a compelling look at one of the most consequential but misunderstood relationships in our nation’s history.

“My heart was in a cage. My life was a long struggle to find happiness, to overcome fear, and to find love I had lost. I did not give up, and that is what my story is about.” — Dr. Ichak K. Adizes

Seeing every challenge as an opportunity for growth, Dr. Ichak Adizes moved beyond a childhood marked by imprisonment in a Nazi concentration camp and immigration to an unfamiliar country to discover the benefits of opening his heart. 

Rejecting isolation and fear, he became a renowned thought leader who advises companies and governments worldwide on structuring thriving organizations around a culture of trust and respect.

Dr. Adizes’s personal story is more than a string of external events that propelled him through adversity after adversity to become the insightful, compassionate person he is today. It is also a map of his journey into a heart which, like the accordion that he played to earn a living and put himself through school, ultimately expanded and opened up to the universal truths that connect us all in our humanity.

The Accordion Player is a compelling account of a remarkable life—an unvarnished view of a man whose decision to recognize the value of change and creative conflict allowed him to love. His story reveals the enduring human ability to turn possibility into reality.

The idea of America, and the American identity, has been central to this country’s cultural conversation and debate since its inception. America — past, present, and future — is an ongoing experiment in free will and liberty for all who reach its welcoming shores, plow its fertile soil, and raise their children to achieve that great promise of the American Dream. In The American Experiment, photographer Brandon Ralph presents an exploration of the patriotic symbols, the vast and varied landscape, and the tapestry of humanity that poses the question anew: What makes an American?

The result is a finely wrought collection of moments and Americans captured in time, separated by decades and by state lines, by events of national significance and by the invisible routines of day-to-day life. In Ralph’s starkly beautiful and unwaveringly sensitive images, there is a sense of timelessness that speaks to our collective nostalgia, our unflagging optimism, and our unending pursuit of freedom for all people.

“This book could change your life. If you apply it, it will." —David Minkoff, MD, author of The Search for the Perfect Protein

Feel younger as you get older! Discover the groundbreaking methods in Bursting with Energy that improve your overall energy and health, now updated and revised in this second edition.

Rejuvenate your energy production so you can live long and strong, avoid disease, and add quality years to your life. Dr. Frank Shallenberger developed and patented Bio-Energy Testing®, the first and only method to clinically measure how well our cells are extracting energy from oxygen. 

In Bursting with Energy, Dr. Shallenberger reveals how you can measure and optimize your cellular energy production. While most solutions are designed to help ease the symptoms of aging, Dr. Shallenberger's unique approach allows you to slow down the process and prevent disease, keeping your energy production high at any age.