Together with the late Jorge Luis Borges, Gabriel García Márquez, the 1982 Nobel laureate, stands at the pinnacle of Latin American literature. His work, in the words of Julio Ortega, "contains its own 'deconstructive' force—a literary power capable of reshaping natural order and rhetorical tradition in order to 'carnivalize' the Borges' library and allow us to hear the voices—and the laughter—of a culture, that of Latin America." This reshaping force invites us to read the works of García Márquez in a new way, one that bypasses the traditional, inadequate approaches through Latin American politics, history, and "magical realism."

In Gabriel García Márquez and the Powers of Fiction, noted scholars Julio Ortega, Ricardo Gutiérrez Mouat, Michael Palencia-Roth, Aníbal González, and Gonzalo Díaz-Migoyo offer English-speaking readers a new approach to García Márquez's work. Their poststructuralist readings focus on the peculiar sign-system, formal configuration, intradiscursivity, and unfolding representation in the novels One Hundred Years of Solitude, No One Writes to the Colonel, In Evil Hour, The Autumn of the Patriarch, and Chronicle of a Death Foretold and in several of the author's short stories. Also included as an appendix is a translation of García Márquez's Nobel Prize acceptance speech, "The Solitude of Latin America."

This book explores the life and times of Ecuador's most controversial politician within the broader context of the new political history, addressing five major themes of nineteenth-century Latin American history: the creation of political networks, the divisiveness of regionalism, the bitterness of the liberal-conservative ideological divide, the complicating problem of caudillismo, and the quest for progress and modernization.

Two myths traditionally associated with García Moreno's rule are debunked. The first is that he created a theocracy in Ecuador. Instead, the book argues that he negotiated a concordat with the Papacy giving the national government control over the church's secular responsibilities, and subordinated the clergy, many of whom were highly critical of García Moreno, to the conservative state. A second, frequently repeated generalization is that he created a conservative dictatorship out of touch with the liberal age in which he lived. Instead, the book argues that moderates held sway during the first nine years of García Moreno's period of influence, and only during his final term did he achieve the type of conservative state he thought necessary to advance his progressive nation-building agenda.

In sum, this book enriches our understanding of many of the notions of state formation by suggesting that conservatives like García Moreno envisioned a program of material progress and promoting national unity under a very different formula from that of nineteenth-century liberals.

Gabriel Tarde ranks as one of the most outstanding sociologists of nineteenth-century France, though not as well known by English readers as his peers Comte and Durkheim. This book makes available Tarde’s most important work and demonstrates his continuing relevance to a new generation of students and thinkers.

Tarde’s landmark research and empirical analysis drew upon collective behavior, mass communications, and civic opinion as elements to be explained within the context of broader social patterns. Unlike the mass society theorists that followed in his wake, Tarde integrated his discussions of societal change at the macrosocietal and individual levels, anticipating later twentieth-century thinkers who fused the studies of mass communications and public opinion research.

Terry N. Clark’s introduction, considered the premier guide to Tarde’s opus, accompanies this important work, reprinted here for the first time in forty years.

This is an auto-narrated audiobook version of this book. 

Gabriel Tarde ranks as one of the most outstanding sociologists of nineteenth-century France, though not as well known by English readers as his peers Comte and Durkheim. This book makes available Tarde’s most important work and demonstrates his continuing relevance to a new generation of students and thinkers.

Tarde’s landmark research and empirical analysis drew upon collective behavior, mass communications, and civic opinion as elements to be explained within the context of broader social patterns. Unlike the mass society theorists that followed in his wake, Tarde integrated his discussions of societal change at the macrosocietal and individual levels, anticipating later twentieth-century thinkers who fused the studies of mass communications and public opinion research.

Terry N. Clark’s introduction, considered the premier guide to Tarde’s opus, accompanies this important work, reprinted here for the first time in forty years.

A groundbreaking look at Gaia theory’s intersections with neocybernetic systems theory

 

Often seen as an outlier in science, Gaia has run a long and varied course since its formulation in the 1970s by atmospheric chemist James Lovelock and microbiologist Lynn Margulis. Gaian Systems is a pioneering exploration of the dynamic and complex evolution of Gaia’s many variants, with special attention to Margulis’s foundational role in these developments.

Bruce Clarke assesses the different dialects of systems theory brought to bear on Gaia discourse. Focusing in particular on Margulis’s work—including multiple pieces of her unpublished Gaia correspondence—he shows how her research and that of Lovelock was concurrent and conceptually parallel with the new discourse of self-referential systems that emerged within neocybernetic systems theory. The recent Gaia writings of Donna Haraway, Isabelle Stengers, and Bruno Latour contest its cybernetic status. Clarke engages Latour on the issue of Gaia’s systems description and extends his own systems-theoretical synthesis under what he terms “metabiotic Gaia.” This study illuminates current issues in neighboring theoretical conversations—from biopolitics and the immunitary paradigm to NASA astrobiology and the Anthropocene. Along the way, he points to science fiction as a vehicle of Gaian thought. 

Delving into many issues not previously treated in accounts of Gaia, Gaian Systems describes the history of a theory that has the potential to help us survive an environmental crisis of our own making.

In 1917, Henri Gaillard led a delegation of deaf French men to the United States for the centennial celebration of the American School for the Deaf (ASD). The oldest school for deaf students in America, ASD had been cofounded by renowned deaf French teacher Laurent Clerc, thus inspiring Gaillard’s invitation. Gaillard visited deaf people everywhere he went and recorded his impressions in a detailed journal. His essays present a sharply focused portrait of the many facets of Deaf America during a pivotal year in its history.

       Gaillard crossed the Atlantic only a few weeks after the United States entered World War I. In his writings, he reports the efforts of American deaf leaders to secure employment for deaf workers to support the war effort. He also witnesses spirited speeches at the National Association of the Deaf convention decrying the replacement of sign language by oral education. Gaillard also depicts the many local institutions established by deaf Americans, such as Philadelphia’s All Souls Church, founded in 1888 by the country’s first ordained deaf pastor, and the many deaf clubs established by the first wave of deaf college graduates in their communities. His journal stands as a unique chronicle of the American Deaf community during a remarkable era of transition.

Galaxies are among nature’s most awe-inspiring and beautifully formed objects. In this highly informative and lucidly written book, Paul Hodge seeks to demystify galaxies and to examine closely our present-day knowledge of these magnificent star systems.

Hodge brings a historical perspective to his discussion of galactic research. He presents a summary of the revolutionary discoveries of the last decade, and he shows how they have contributed to our understanding of the nature and composition of the universe. Whereas previously perhaps a dozen astronomers devoted themselves to galaxy research, using two or three large telescopes, now hundreds of scientists are penetrating the mystery of the galactic world. This intensified research has yielded ground-breaking results: we are beginning to understand the enigmatic properties of the highly luminous yet relatively small quasars; we have a clearer understanding of the processes that generate spiral arms; we have a good idea of how different types of galaxies evolve; and we continue to grapple with the problem of the missing mass that is greater than anything detectable in the visible part of the galaxies.

This book succeeds in making the immense and remote universe of galaxies much more accessible to our imagination. It also conveys the excitement and wonder of this rapidly changing area of scientific inquiry. Enriched by numerous illustrations and written in an engaging style, Galaxies offers a nontechnical yet intelligent approach to the concepts and results of modern galactic research.

Orienting us with an insider’s tour of our cosmic home, the Milky Way, William Waller and Paul Hodge then take us on a spectacular journey, inviting us to probe the exquisite structures and dynamics of the giant spiral and elliptical galaxies, to witness colliding and erupting galaxies, and to pay our respects to the most powerful galaxies of all—the quasars. A basic guide to the latest news from the cosmic frontier—about the black holes in the centers of galaxies, about the way in which some galaxies cannibalize each other, about the vast distances between galaxies, and about the remarkable new evidence regarding dark energy and the cosmic expansion—this book gives us a firm foundation for exploring the more speculative fringes of our current understanding.

This is a heavily revised and completely updated version of Hodge’s Galaxies, which won an Association of American Publishers PROSE Award for Best Science Book of the Year in 1986.

If we want nonscientists and opinion-makers in the press, the lab, and the pulpit to take a fresh look at the relationship between science and religion, Ronald Numbers suggests that we must first dispense with the hoary myths that have masqueraded too long as historical truths.

Until about the 1970s, the dominant narrative in the history of science had long been that of science triumphant, and science at war with religion. But a new generation of historians both of science and of the church began to examine episodes in the history of science and religion through the values and knowledge of the actors themselves. Now Ronald Numbers has recruited the leading scholars in this new history of science to ­puncture the myths, from Galileo’s incarceration to Darwin’s deathbed conversion to Einstein’s belief in a personal God who “didn’t play dice with the universe.” The picture of science and religion at each other’s throats persists in mainstream media and scholarly journals, but each chapter in Galileo Goes to Jail shows how much we have to gain by seeing beyond the myths.

The Dutch telescope and the Italian scientist Galileo have long enjoyed a durable connection in the popular mind--so much so that it seems this simple glass instrument transformed a rather modest middle-aged scholar into the bold icon of the Copernican Revolution. And yet the extraordinary speed with which the telescope changed the course of Galileo's life and early modern astronomy obscures the astronomer's own curiously delayed encounter with the instrument. This book considers the lapse between the telescope's creation in The Hague in 1608 and Galileo's alleged acquaintance with such news ten months later. In an inquiry into scientific and cultural history, Eileen Reeves explores two fundamental questions of intellectual accountability: what did Galileo know of the invention of the telescope, and when did he know it?

The record suggests that Galileo, like several of his peers, initially misunderstood the basic design of the telescope. In seeking to explain the gap between the telescope's emergence and the alleged date of the astronomer's acquaintance with it, Reeves explores how and why information about the telescope was transmitted, suppressed, or misconstrued in the process. Her revised version of events, rejecting the usual explanations of silence and idleness, is a revealing account of the role that misprision, error, and preconception play in the advancement of science.

Along the way, Reeves offers a revised chronology of Galileo's life in a critical period and, more generally, shows how documents typically outside the scope of early modern natural philosophy--medieval romances, travel literature, and idle speculations--relate to two crucial events in the history of science.

Mark Peterson makes an extraordinary claim in this fascinating book focused around the life and thought of Galileo: it was the mathematics of Renaissance arts, not Renaissance sciences, that became modern science. Galileo's Muse argues that painters, poets, musicians, and architects brought about a scientific revolution that eluded the philosopher-scientists of the day, steeped as they were in a medieval cosmos and its underlying philosophy.

According to Peterson, the recovery of classical science owes much to the Renaissance artists who first turned to Greek sources for inspiration and instruction. Chapters devoted to their insights into mathematics, ranging from perspective in painting to tuning in music, are interspersed with chapters about Galileo's own life and work. Himself an artist turned scientist and an avid student of Hellenistic culture, Galileo pulled together the many threads of his artistic and classical education in designing unprecedented experiments to unlock the secrets of nature.

In the last chapter, Peterson draws our attention to the Oratio de Mathematicae laudibus of 1627, delivered by one of Galileo's students. This document, Peterson argues, was penned in part by Galileo himself, as an expression of his understanding of the universality of mathematics in art and nature. It is "entirely Galilean in so many details that even if it is derivative, it must represent his thought," Peterson writes. An intellectual adventure, Galileo’s Muse offers surprising ideas that will capture the imagination of anyone—scientist, mathematician, history buff, lover of literature, or artist—who cares about the humanistic roots of modern science.

Bored during Mass at the cathedral in Pisa, the seventeen-year-old Galileo regarded the chandelier swinging overhead—and remarked, to his great surprise, that the lamp took as many beats to complete an arc when hardly moving as when it was swinging widely. Galileo’s Pendulum tells the story of what this observation meant, and of its profound consequences for science and technology.

The principle of the pendulum’s swing—a property called isochronism—marks a simple yet fundamental system in nature, one that ties the rhythm of time to the very existence of matter in the universe. Roger Newton sets the stage for Galileo’s discovery with a look at biorhythms in living organisms and at early calendars and clocks—contrivances of nature and culture that, however adequate in their time, did not meet the precise requirements of seventeenth-century science and navigation. Galileo’s Pendulum recounts the history of the newly evolving time pieces—from marine chronometers to atomic clocks—based on the pendulum as well as other mechanisms employing the same physical principles, and explains the Newtonian science underlying their function.

The book ranges nimbly from the sciences of sound and light to the astonishing intersection of the pendulum’s oscillations and quantum theory, resulting in new insight into the make-up of the material universe. Covering topics from the invention of time zones to Isaac Newton’s equations of motion, from Pythagoras’s theory of musical harmony to Michael Faraday’s field theory and the development of quantum electrodynamics, Galileo’s Pendulum is an authoritative and engaging tour through time of the most basic all-pervading system in the world.

Between 1608 and 1610 the canopy of the night sky changed forever, ripped open by an object created almost by accident: a cylinder with lenses at both ends. Galileo’s Telescope tells the story of how an ingenious optical device evolved from a toy-like curiosity into a precision scientific instrument, all in a few years. In transcending the limits of human vision, the telescope transformed humanity’s view of itself and knowledge of the cosmos.

Galileo plays a leading—but by no means solo—part in this riveting tale. He shares the stage with mathematicians, astronomers, and theologians from Paolo Sarpi to Johannes Kepler and Cardinal Bellarmine, sovereigns such as Rudolph II and James I, as well as craftsmen, courtiers, poets, and painters. Starting in the Netherlands, where a spectacle-maker created a spyglass with the modest magnifying power of three, the telescope spread like technological wildfire to Venice, Rome, Prague, Paris, London, and ultimately India and China. Galileo’s celestial discoveries—hundreds of stars previously invisible to the naked eye, lunar mountains, and moons orbiting Jupiter—were announced to the world in his revolutionary treatise Sidereus Nuncius.

Combining science, politics, religion, and the arts, Galileo’s Telescope rewrites the early history of a world-shattering innovation whose visual power ultimately came to embody meanings far beyond the science of the stars.

Created by an unparalleled board of experts led by renowned ASL linguist and poet Clayton Valli, The Gallaudet Dictionary of American Sign Language contains over 3,000 illustrations. Each sign illustration, including depictions of fingerspelling when appropriate, incorporates a complete list of English synonyms. A full, alphabetized English index enables users to cross-reference words and signs throughout the entire volume.

       The comprehensive introduction lays the groundwork for learning ASL by explaining in plain language the workings of ASL syntax and structure. It also offers examples of idioms and describes the antecedents of ASL, its place in the Deaf community, and its meaning in Deaf culture. This extraordinary reference also provides a special section on ASL classifiers and their use. Readers will find complete descriptions of the various classifiers and examples of how to use these integral facets of ASL. The Gallaudet Dictionary of American Sign Language is an outstanding ASL reference for all instructors, students, and users of ASL.

*Please note that this paperback edition does not include the DVD found in the hardcover edition. 

The conquest that begot the Roman Empire.

Caesar (C. Iulius, 102–44 BC), statesman and soldier, defied the dictator Sulla; served in the Mithridatic wars and in Spain; entered Roman politics as a “democrat” against the senatorial government; was the real leader of the coalition with Pompey and Crassus; conquered all Gaul for Rome; attacked Britain twice; was forced into civil war; became master of the Roman world; and achieved wide-reaching reforms until his murder. We have his books of commentarii (notes): eight on his wars in Gaul, 58–52 BC, including the two expeditions to Britain 55–54, and three on the civil war of 49–48. They are records of his own campaigns (with occasional digressions) in vigorous, direct, clear, unemotional style and in the third person, the account of the civil war being somewhat more impassioned.

The Loeb Classical Library edition of Caesar is in three volumes. Volume II is his Civil War. The Alexandrian War, the African War, and the Spanish War, commonly ascribed to Caesar by our manuscripts but of uncertain authorship, are collected in Volume III.

The conquest that begot the Roman Empire.

Caesar (C. Iulius, 102–44 BC), statesman and soldier, defied the dictator Sulla; served in the Mithridatic wars and in Spain; entered Roman politics as a “democrat” against the senatorial government; was the real leader of the coalition with Pompey and Crassus; conquered all Gaul for Rome; attacked Britain twice; was forced into civil war; became master of the Roman world; and achieved wide-reaching reforms until his murder. We have his books of commentarii (notes): eight on his wars in Gaul from 58–52 BC, including the two expeditions to Britain in 55–54, and three on the civil war of 49–48. They are records of his own campaigns (with occasional digressions) in vigorous, direct, clear, unemotional style and in the third person.

Although the Gallic War in particular is carefully designed to present Caesar in the most favorable light as both commander and Roman citizen, it has long been revered as exemplary military history and a model of Latin prose style.

This edition of the Gallic War replaces the earlier Loeb Classical Library edition by H. J. Edwards (1917) with new text, translation, introduction, and bibliography. In the Loeb Classical Library edition of Caesar, Volume II is his Civil War; Volume III consists of Alexandrian War, African War, and Spanish War, commonly ascribed to Caesar by our manuscripts but of uncertain authorship.

On the Gulf edge of Texas between land and sea stands Galveston Island. Shaped continually by wind and water, it is one of earth's ongoing creations—time is forever new. Here, on the shoreline, embraced by the waves, a person can still feel the heartbeat of nature. And yet, for all the idyllic possibilities, Galveston's history has been anything but tranquil. Across Galveston's sands have walked Indians, pirates, revolutionaries, the richest men of nineteenth-century Texas, soldiers, sailors, bootleggers, gamblers, prostitutes, physicians, entertainers, engineers, and preservationists. Major events in the island's past include hurricanes, yellow fever, smuggling, vice, the Civil War, the building of a medical school and port, raids by the Texas Rangers, and, always, the struggle to live in a precarious location.

Galveston: A History is at the forefront of a trend in writing urban biographies emphasizing technology as the dynamic force in urban development. David McComb explores this often contradictory relationship between technology and the city, and provides a guide to both Galveston history and the dynamics of urban development.

Runner-up, Spur Award for Best Western Nonfiction—Contemporary, Western Writers Of America, 2001

The Galveston storm of 1900 reduced a cosmopolitan and economically vibrant city to a wreckage-strewn wasteland where survivors struggled without shelter, power, potable water, or even the means to summon help. At least 6,000 of the city's 38,000 residents died in the hurricane. Many observers predicted that Galveston would never recover and urged that the island be abandoned. Instead, the citizens of Galveston seized the opportunity, not just to rebuild, but to reinvent the city in a thoughtful, intentional way that reformed its government, gave women a larger role in its public life, and made it less vulnerable to future storms and flooding.

This extensively illustrated history tells the full story of the 1900 Storm and its long-term effects. The authors draw on survivors' accounts to vividly recreate the storm and its aftermath. They describe the work of local relief agencies, aided by Clara Barton and the American Red Cross, and show how their short-term efforts grew into lasting reforms. At the same time, the authors reveal that not all Galvestonians benefited from the city's rebirth, as African Americans found themselves increasingly shut out from civic participation by Jim Crow segregation laws. As the centennial of the 1900 Storm prompts remembrance and reassessment, this complete account will be essential and fascinating reading for all who seek to understand Galveston's destruction and rebirth.

The "Queen City" of Texas they called her—or the "Octopus of the Gulf." Galveston from 1845 to 1860 was the center of culture in Texas—or the monster with an economic strangle hold on all Texas trade. It was a gracious city with wide paved streets, impressive buildings, and neat gardens; yet it was also a pestilence-ridden place where no sanitary code was ever enforced and where one in every two children died before reaching maturity. Its citizens, avid for culture and knowledge, attended concerts and plays in great numbers and exhibited an eager interest in science and history; yet they could not be brought to support the school system. Galveston was a city where no person in need was ever left uncared for, where the sick and needy—strangers or friends—were succoured; yet no free Negro was safe from legalized abduction and forced enslavement, and the city served as a center for the revived African slave trade.

Earl Fornell makes the charming, colorful, cosmopolitan, contradictory city of Galveston the focal point of his study of the Texas Gulf Coast on the eve of the Civil War. The years 1845-1860 were crucial for this area; during that period the economy became more and more dependent upon slave labor, and thus the stage was set for secession.

Dr. Fornell describes with clarity the interrelated events, the decisions, and the conflicts that went into the development of Galveston and the Texas Gulf Coast during these years. He portrays the people and their way of life. He introduces us to some of the notables who helped to shape the destiny of Texas: Sam Houston, the old general; Lorenzo Sherwood, the golden-tongued propounder of radical economic doctrines; Willard Richardson, Hamilton Stuart, Ferdinand Flake, and Edward Cushing, the newspapermen whose writing both reflected and guided the thought of their fellow citizens; Arthur Lynn, the British consul whose observing and compassionate nature brought him onto the stage of Galveston history with striking frequency and whose voluminous letters provide a rich source for historical details; and William Ballinger, a minor player on the stage but one whose conscience and interests mirrored those of many other thoughtful Galvestonians.

Always present, affecting and affected by virtually every aspect of life on the Coast, the slave-labor problem grew ever more acute as the expanding railroad system laid more and more of the land open for development. Dr. Fornell shows with keen insight how it eventually forced Texans into a position where conflict with the federal government was unavoidable and the decision to secede from the Union inevitable.

The late Earl W. Fornell, a native of Wisconsin, held B.A. and M.A. degrees in political science from the New School for Social Research, the M.A. degree in political history from Columbia University, and the Ph.D. degree in political history from Rice University. He taught at Columbia, Amarillo College, Rice, and Lamar State College of Technology.

On the last Sunday of the year 1839, Francis Sheridan, an elegant young Irishman in the British diplomatic service, sailed from Barbados for the Republic of Texas. His mission in the new nation was to contribute the opinion of an eyewitness to the deliberations going on in London concerning proposed recognition of Texas.

This jounal contains some of the material that Sheridan used for his official report and much colorful detail that he did not use. First published by the University of Texas Press in 1956, it is the travel diary of a sophisticated and discerning student of human nature.

A playful reflection on animals and video games, and what each can teach us about the other
 

Video games conjure new worlds for those who play them, human or otherwise: they’ve been played by cats, orangutans, pigs, and penguins, and they let gamers experience life from the perspective of a pet dog, a predator or a prey animal, or even a pathogen. In Game, author Tom Tyler provides the first sustained consideration of video games and animals and demonstrates how thinking about animals and games together can prompt fresh thinking about both.

Game comprises thirteen short essays, each of which examines a particular video game, franchise, aspect of gameplay, or production in which animals are featured, allowing us to reflect on conventional understandings of humans, animals, and the relationships between them. Tyler contemplates the significance of animals who insert themselves into video games, as protagonists, opponents, and brute resources, but also as ciphers, subjects, and subversive guides to new ways of thinking. These animals encourage us to reconsider how we understand games, contesting established ideas about winning and losing, difficulty settings, accessibility, playing badly, virtuality, vitality and vulnerability, and much more.

Written in a playful style, Game draws from a dizzying array of sources, from children’s television, sitcoms, and regional newspapers to medieval fables, Shakespearean tragedy, and Edwardian comedy; from primatology, entomology, and hunting and fishing manuals to theological tracts and philosophical treatises. By examining video games through the lens of animals and animality, Tyler leads us to a greater humility regarding the nature and status of the human creature, and a greater sensitivity in dealings with other animals.

Praise for Lawrence Joseph:

"Poetry of great dignity, grace, and unrelenting persuasiveness… Joseph gives us new hope for the resourcefulness of humanity, and of poetry."
---John Ashbery

"Like Henry Adams, Joseph seems to be writing ahead of actual events, and that makes him one of the scariest writers I know."
---David Kirby, The New York Times Book Review

"The most important lawyer-poet of our era."
---David Skeel, Legal Affairs
  
 A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

Essays on poetry by the most important poet-lawyer of our era

The Game Changed: Essays and Other Prose presents works by prominent poet and lawyer Lawrence Joseph that focus on poetry and poetics, and on what it is to be a poet. Joseph takes the reader through the aesthetics of modernism and postmodernism, a lineage that includes Wallace Stevens, William Carlos Williams, and Gertrude Stein, switching critical tracks to major European poets like Eugenio Montale and Hans Magnus Enzensberger, and back to American masters like James Schuyler and Adrienne Rich.

Always discerning, especially on issues of identity, form, and the pressures of history and politics, Joseph places his own poetry within its critical contexts, presenting narratives of his life in Detroit, where he grew up, and in Manhattan, where he has lived for 30 years. These pieces also portray Joseph’s Lebanese, Syrian, and Catholic heritages, and his life as a lawyer, distinguished law professor, and legal scholar.

In one of the most unlikely coups in college basketball history, a religious school in Utah signed basketball phenomenon AJ Dybantsa. He will play for Brigham Young University—hardly the sort of basketball powerhouse that typically attracts exceptional and non-Mormon players like him.

Game Changers explores how BYU managed this stunning feat. A year before signing Dybantsa, the university lured coaching star Kevin Young from the NBA to run its basketball program. In the decade before, court rulings and institutional reform put money at the forefront of college sports in ways the American public had never seen. And for generations before that, The Church of Jesus Christ of Latter-day Saints built a theological structure and institutional commitment to basketball that put the sport front and center at BYU.

Game Changers places Dybantsa in the context of this history and culture and explores the tensions in the sport. For Latter-day Saints and many other basketball fans, the sport is about personal discipline, character, and a commitment to success. But more and more, universities, the NCAA, and the professional leagues place money above everything else. These dual impulses have pulled the sport in general, and the church-owned BYU in particular, in opposite directions. The book reveals why Dybantsa decided to attend BYU and what he means to the sports world—in Provo, in the United States, and around the globe—as his career unfolds.

Scholars, critics, and creators describe certain videogames as being “poetic,” yet what that means or why it matters is rarely discussed. In Game Poems: Videogame Design as Lyric Practice, independent game designer Jordan Magnuson explores the convergences between game making and lyric poetry and makes the surprising proposition that videogames can operate as a kind of poetry apart from any reliance on linguistic signs or symbols.

This rigorous and accessible short book first examines characteristics of lyric poetry and explores how certain videogames can be appreciated more fully when read in light of the lyric tradition—that is, when read as “game poems.” Magnuson then lays groundwork for those wishing to make game poems in practice, providing practical tips and pointers along with tools and resources. Rather than propose a monolithic framework or draw a sharp line between videogame poems and poets and their nonpoetic counterparts, Game Poems brings to light new insights for videogames and for poetry by promoting creative dialogue between disparate fields. The result is a lively account of poetic game-making praxis.

“Everyone who loves the true power of games will benefit from the treasure trove of insights in Game Poems.” — Jesse Schell, author of The Art of Game Design

“Magnuson shines a sensitive and incisive light on small, often moving, videogames.” — D. Fox Harrell, Ph.D., Professor of Digital Media, Computing, and Artificial Intelligence, MIT

“[Game Poems] tells a new story about games— that games can be lyrical, beautiful, emotionally challenging—to inspire creators and critics alike.” —Noah Wardrip-Fruin, author of How Pac-Man Eats

“Even as the news swells with impending doom for creativity, writing, and text itself, this literate and crafty book pursues poetry not through implacable algorithms but in concrete and personal play.  It should be an indispensable guide for anyone who aims to maintain the true, human promise of technical poetics.”—Stuart Moulthrop, coauthor of Twining: Critical and Creative Approaches to Hypertext Narratives
 
“For far too long videogames have flourished – and commanded both capital and attention – in a kind of counterculture that they seem to have created as if ex nihilo for themselves and their players. But we are these players, and their culture has always been integrated with all of our own. In this evenhanded artist-scholar’s ars poetica Jordan Magnuson respects the material cultural specificity of videogames while regarding them through the ‘lens of poetry’ in order to discover – and help create – a practice and an art of Game Poems within the wider field. Magnuson formally, int(erv)entionally embraces this art as lyrically poetic.”—John Cayley, Brown University
 
“In Game Poems, Magnuson listens carefully to videogames, and hears them speak to questions of art, language, and meaning that connect our written past to our software future. Read this book and you will hear it too.”—Frank Lantz, Director, NYU Game Center
 
“Jordan Magnuson has created a work that ties together the worlds of poetry and videogames in a deep and enlightening way. For those of us who care about the potential of poetic games, Jordan greatly improves the language of how we talk about them and expands our ability to see what this unique form can become. This is one of my favorite books on game design and I apologize in advance to those whom I will end up cornering and not being able to stop talking to about it.”—Benjamin Ellinger, Game Design Program Director, DigiPen Institute of Technology
 
“A groundbreaking and accessible book that helps us think about games as poems. With patient tenacity, Magnuson teases out what he felt for years as he engaged in his own practice of making videogames. His mission to help us apply a ‘lyric reading’ to games so that our engagement with, and appreciation of, games can be enhanced feels deeply personal. Drawing from a wide range of games and computational media scholars, poetry scholars, game creators, and poets, Magnuson provides a rigorous, balanced, and unique interdisciplinary contribution. A must-read for videogame scholars, practicing game makers, and anyone interested in the potential of ‘game poems.’”—Susana Ruiz, University of California, Santa Cruz
 
“This book tenaciously wrenches videogame hermeneutics from the insatiable maws of rhetoric and narratology—to the cheers of poets everywhere. In elucidating the lyric characteristics of the "game poem," Magnuson demonstrates not just that poetry is a useful lens for understanding videogames, but also that videogames can be a useful lens for understanding poetry. A rewarding text for scholars, game designers, poets, and anyone in between.”—Allison Parrish, Interactive Telecommunications Program and Interactive Media Arts, NYU
 
“A concise, passionate articulation - and defense! - of an artistic space between poems and videogames. If game scholars wish to prove that they are not engaged merely in an apologetics for violent pornography, they need only to teach this book.”—Chris Bateman, author of Imaginary Games and 21st Century Game Design
 
“I feel I've found a kindred spirit in Jordan Magnuson and his practical recommendations for creating distilled, compelling, personal videogames – throw out the conventions of game design one at a time? Yes, please! The revelation for me in this book, however, is the heat and power of the language of poets and poetry brought close to videogame design. There's much in here worth pursuing to kindle the fires of new and exciting videogame poems, and Jordan is a capable and delightfully humble guide.”—Pippin Barr, author of How to Play a Video Game and The Stuff Games Are Made Of
 
“With Game Poems, Jordan Magnuson lays to rest any last vestige of the notion that the implicit limits of games are as ‘entertainment products’. By taking games seriously as successors of the lyric poetry tradition, he opens up new avenues for how game designers can think about what they do, how critical game theorists can approach their many-faceted object of study, and how players can more fully engage with videogames.”—Soraya Murray, author of On Video Games
 
“Game Poems shines an important light on a neglected area of videogame theory and provides unique guidance for those interested in exploring the poetic potential of videogames.”—Jenova Chen, designer of Flow, Flower, Journey, and Sky: Children of the Light
 
“Popular frameworks for video game scholarship consistently fail to account for the most avant-garde and affective works of interactive art. With Game Poems, Jordan Magnuson provides not only a lens to understand these diverse and important titles but also a guide to constructing the next generation of personal and incisive games. With numerous examples from decades of experimental games, including Magnuson's own minimalist and insightful work, this book is an excellent introduction to the form for neophytes as well as finally providing words to describe a movement that many experienced game poets previously understood only intuitively.”—Gregory Avery-Weir, creator of The Majesty of Colors and Looming
 
“Jordan Magnuson is one of a surprisingly small group of artists who see in the technology of videogames a versatile medium capable of expressing much more than conventional games.”—Michaël Samyn, co-founder, Tale of Tales; co-creator of Sunset, The Graveyard, and The Path
 
“So much has been written about what games are, and yet there’s always a new way of thinking about them. In Jordan Magnuson’s Game Poems we discover that games are also a lyrical form of art; that games can be understood as poetry, and that the making games as poetry creates new modes of artistic expression. Jordan Magnuson’s book is a fascinating exploration of games as poetry, and the poetry of play.”—Miguel Sicart, author of Play Matters, Beyond Choices: The Design of Ethical Gameplay, and Playing Software
 
“In Game Poems, I found a new perspective on the kind of videogames that are dearest to me: short, personal, poetic games. By looking at games through the lens of lyric poetry, Jordan Magnuson puts into focus the workings of that mysterious hodgepodge of audio, visuals, and interactivity: the language of videogames. Both experienced and novice game makers will find approachable, practical advice on the craft of videogames. And anyone who plays short games will find new ways of appreciating and talking about them. I know I will be returning to it for inspiration when making my own small games!”—Adam Le Doux, creator of Bitsy
 
“As a creator and researcher, Jordan Magnuson has been able to demonstrate through the utmost visual simplicity, by enhancing basic geometric forms, the empathetic capacity of the videogame medium. Game Poems explores this idea and the reconfiguration of the videogame beyond its ludic component, highlighting the artistic and poetic potential of games.”—Antonio César Moreno Cantano, University Complutense of Madrid
 
“Poems ask us to slow down, pay attention, and take the time to appreciate our experiences. Emerging from Magnuson's need to find ways to talk about his own creative practice, this book is all about discovering ways to do this with videogames. Magnuson explores what it means to view videogames as poetry, and provides insight, as a practitioner, on how to make game poems that enable and encourage this type of reflection. Drawing on a wide range of sources, from literature and philosophy to game studies and game design, this book covers a lot of material, but always remains grounded in concrete examples and solid theory. The book ends with a call to “go make some game poems!” After reading the book, I was keen to do exactly that. I urge you to do the same!”—Alex Mitchell, National University of Singapore
 
“To many, poetry is a dying – or dead – art form. Few people sit down at night to open their favorite poet’s chapbook with the latest streaming service at hand or their favorite videogame console sitting nearby. Spectacle seems to be the cultural norm, and this can be no more evident than in videogames: when the latest and greatest offers 60+ hours of spine-tingling excitement, why would someone want to launch a smaller-form game about expressions such as love, death, loneliness, or even God? But, as Jordan Magnuson, in his new book Games Poems, shows, poems have always been an integral piece of forming human culture. Poems have the ability to get right to the heart of the matter and, in fact, pierce the heart of the reader. Poems can be a form of cultural resistance, and even launch revolutions. Magnuson’s book highlights what it means to use the medium of game design as poetry. Magnuson presents several examples of the intricacies of poetry in general, as well as work that fuses the ideals of poetry with game design. Magnuson succinctly examines how the imagination, rhythm, intensity, style – and brevity – of poetry can enlighten the game design process in order to form possibility spaces within videogames that are pointed and powerful.”—Tim Samoff, Games and Interactive Media Program Director, Azusa Pacific University

Eminently suited to classroom use as well as individual study, Roger Myerson's introductory text provides a clear and thorough examination of the models, solution concepts, results, and methodological principles of noncooperative and cooperative game theory. Myerson introduces, clarifies, and synthesizes the extraordinary advances made in the subject over the past fifteen years, presents an overview of decision theory, and comprehensively reviews the development of the fundamental models: games in extensive form and strategic form, and Bayesian games with incomplete information.

Game Theory will be useful for students at the graduate level in economics, political science, operations research, and applied mathematics. Everyone who uses game theory in research will find this book essential.

Listen to a short interview with McKenzie WarkHost: Chris Gondek | Producer: Heron & Crane

Ever get the feeling that life's a game with changing rules and no clear sides, one you are compelled to play yet cannot win? Welcome to gamespace. Gamespace is where and how we live today. It is everywhere and nowhere: the main chance, the best shot, the big leagues, the only game in town. In a world thus configured, McKenzie Wark contends, digital computer games are the emergent cultural form of the times. Where others argue obsessively over violence in games, Wark approaches them as a utopian version of the world in which we actually live. Playing against the machine on a game console, we enjoy the only truly level playing field--where we get ahead on our strengths or not at all.

Gamer Theory uncovers the significance of games in the gap between the near-perfection of actual games and the highly imperfect gamespace of everyday life in the rat race of free-market society. The book depicts a world becoming an inescapable series of less and less perfect games. This world gives rise to a new persona. In place of the subject or citizen stands the gamer. As all previous such personae had their breviaries and manuals, Gamer Theory seeks to offer guidance for thinking within this new character. Neither a strategy guide nor a cheat sheet for improving one's score or skills, the book is instead a primer in thinking about a world made over as a gamespace, recast as an imperfect copy of the game.

From the emergence of the COVID pandemic in early 2020 through the delayed staging of the Tokyo Olympic games in summer 2021, A Games Changer takes the reader behind the scenes to explore the myriad challenges the International Olympic Committee (IOC) and Japanese officials faced during the months of uncertainty leading up not only to the postponement of the Games but also to their delayed.

Drawing on a thorough review of contemporary newspaper and magazine coverage as well as personal interviews with current and former IOC officials, Stephen R. Wenn and Robert K. Barney examine Japan’s rising excitement in 2019 as preparations for the Games accelerated; whispers of a mysterious disease spreading first in China, then worldwide; organizers’ initial resolve to press forward with the Games; the tumultuous discussions that ultimately resulted in the joint March 2020 decision by Japanese Prime Minister Shinzo Abe and IOC President Thomas Bach to postpone the Games; and the numerous negotiations with venues, media, and sponsors required to extend contracts and protect all parties’ health. Wenn and Barney reveal how human relationships—among planners, politicians, competitors, and vaccine researchers—were vital to presenting an Olympics where, in July and August 2021, world records were set, deferred dreams were achieved, and fears of a superspreader event went unrealized.

While tracing the struggles of multiple athletes who had to pause their Olympic hopes and training as COVID-19 closed the world, Wenn and Barney focus on the journey of Canadian decathlete Damian Warner and his coach, Gar Leyshon. Denied his usual training venues, he prepared for the rescheduled Games with ingenuity, determination, and adaptability, reflective of the resilience demonstrated by Tokyo’s Olympians around the globe. The authors’ close account of Warner’s two days in Tokyo recaptures the excitement and drama of sport that home viewers sorely needed amid pandemic lockdowns and incalculable personal loss.

Gandhi is revered as a historic leader, the father of Indian independence, and the inspiration for nonviolent protest around the world. But the importance of these practical achievements has obscured Gandhi’s stature as an extraordinarily innovative political thinker. Ramin Jahanbegloo presents Gandhi the political theorist—the intellectual founder of a system predicated on the power of nonviolence to challenge state sovereignty and domination. A philosopher and an activist in his own right, Jahanbegloo guides us through Gandhi’s core ideas, shows how they shaped political protest from 1960s America to the fall of the Berlin Wall and beyond, and calls for their use today by Muslims demanding change.

Gandhi challenged mainstream political ideas most forcefully on sovereignty. He argued that state power is not legitimate simply when it commands general support or because it protects us from anarchy. Instead, legitimacy depends on the consent of dutiful citizens willing to challenge the state nonviolently when it acts immorally. The culmination of the inner struggle to recognize one’s duty to act, Jahanbegloo says, is the ultimate “Gandhian moment.”

Gandhi’s ideas have motivated such famous figures as Martin Luther King, Nelson Mandela, and the Dalai Lama. As Jahanbegloo demonstrates, they also inspired the unheralded Muslim activists Abul Kalam Azad and Khan Abdul Ghaffar Khan, whose work for Indian independence answers those today who doubt the viability of nonviolent Islamic protest. The book is a powerful reminder of Gandhi’s enduring political relevance and a pioneering account of his extraordinary intellectual achievements.

At the same time that Gandhi, as a young lawyer in South Africa, began fashioning the tenets of his political philosophy, he was absorbed by a seemingly unrelated enterprise: creating a newspaper. Gandhi’s Printing Press is an account of how this project, an apparent footnote to a titanic career, shaped the man who would become the world-changing Mahatma. Pioneering publisher, experimental editor, ethical anthologist—these roles reveal a Gandhi developing the qualities and talents that would later define him.

Isabel Hofmeyr presents a detailed study of Gandhi’s work in South Africa (1893–1914), when he was the some-time proprietor of a printing press and launched the periodical Indian Opinion. The skills Gandhi honed as a newspaperman—distilling stories from numerous sources, circumventing shortages of type—influenced his spare prose style. Operating out of the colonized Indian Ocean world, Gandhi saw firsthand how a global empire depended on the rapid transmission of information over vast distances. He sensed that communication in an industrialized age was becoming calibrated to technological tempos.

But he responded by slowing the pace, experimenting with modes of reading and writing focused on bodily, not mechanical, rhythms. Favoring the use of hand-operated presses, he produced a newspaper to contemplate rather than scan, one more likely to excerpt Thoreau than feature easily glossed headlines. Gandhi’s Printing Press illuminates how the concentration and self-discipline inculcated by slow reading, imbuing the self with knowledge and ethical values, evolved into satyagraha, truth-force, the cornerstone of Gandhi’s revolutionary idea of nonviolent resistance.

While gangs and gang culture have been around for countless centuries, The Gang is one of the first academic studies of the phenomenon. Originally published in 1927, Frederic Milton Thrasher’s magnum opus offers a profound and careful analysis of hundreds of gangs in Chicago in the early part of the twentieth century. With rich prose and an eye for detail, Thrasher looked specifically at the way in which urban geography shaped gangs, and posited the thesis that neighborhoods in flux were more likely to produce gangs. Moreover, he traced gang culture back to feudal and medieval power systems and linked tribal ethos in other societies to codes of honor and glory found in American gangs. Thrasher approaches his subject with empathy and insightfulness, and creates a multifaceted and textured portrait that still has much to offer to readers today. With handsome images that evoke the era, this unabridged edition of The Gang not only explores an important moment in the history of Chicago, but also is itself a landmark in the history of sociology and subcultural theory.

John Hagedorn, who has long been an expert witness in gang-related court cases, claims that what transpires in the trials of gang members is a far cry from what we would consider justice. In Gangs on Trial, he recounts his decades of experience to show how stereotypes are used against gang members on trial and why that is harmful. Hagedorn uses real-life stories to explain how implicit bias often replaces evidence and how the demonization of gang members undermines fairness. Moreover, a “them and us” mentality leads to snap judgments that ignore the complexity of gang life in America.

Gangs on Trial dispels myths about gangs and recommends tactics for lawyers, mitigation specialists, and expert witnesses as well as offering insights for jurors. Hagedorn describes how minds are subconsciously “primed” when a defendant is identified as a gang member, and discusses the “backfire effect,” which occurs when jurors hear arguments that run counter to their beliefs. He also reveals how attributional errors, prejudice, and racism impact sentences of nonwhite defendants.

Hagedorn argues that dehumanization is the psychological foundation of mass incarceration. Gangs on Trial advocates for practical sentencing reforms and humanizing justice.

Garden as Art: Beatrix Farrand at Dumbarton Oaks features essays and photographs of this remarkable landscape as a living and breathing work of art. Published on the occasion of the centennial of the Dumbarton Oaks Gardens in 2021, the book illuminates the stewardship of one of the most beautiful gardens on earth.

Edited by Thaïsa Way, this volume includes essays from scholars and practitioners as well as photographs by landscape photographer Sahar Coston-Hardy. The essays place the garden in the context of its historical surroundings, explore its archival significance, and reflect on its effects on the world of contemporary design. Accompanying the essays is a collection of newly commissioned photographs by Coston-Hardy that document the seasons and growth in the gardens over the course of a year and that invite the reader to contemplate the art of garden design and the remarkable beauty of the natural world. Archival images of the gardens offer a chronicle of evolving design concepts as well as illustrate how gardens change over time as living works of art. Garden as Art offers an inspiring view of a place that has been remarkably influential in design and the art of landscape architecture.

John Hanson Mitchell has long written about his garden outside of Boston, and about the plants and animals with whom he shares this land. In 2022, the United Nations and others started reporting the true severity of the climate crisis as the Earth passed a point of no return. All across the globe it was the worst year on record for climate-related disasters, including extinctions, deadly floods, massive fires, and dramatic droughts, all of which have worsened since that year. Mitchell, like so many, felt overwhelmed. He looked to the story of Voltaire’s Candide, and settled on the famous aphorism from that book: “We must cultivate our garden.”

The Garden at the End of Time features Mitchell’s trademark blend of science, literature, and anecdote as he processes both the information he is reading from various sources and what it prompts him to do in his own small corner of the world. The story that unfolds is one of Mitchell diversifying his plantings; fighting what he sees as unnecessary local development; walking through and observing changes in the wild lands nearby; continuing to read the news from around the world; and meditating on other moments, real and imagined, when people sought refuge even as they did their part to improve a personally and collectively stressful situation. 

Readers discover the impossibility of separating gardening from global warming, while also seeing the solace that exposure to plants can offer, in addition to their contribution to carbon consumption. With gravitas, kindness, and wit, Mitchell offers a model for maintaining a connection to nature even as it reels from manmade threats.  

The study of garden history has grown rapidly over the last twenty years. This collection of essays explores the issues, methods, and approaches that students in landscape architecture have developed during that period to cope with the expanding subject of gardens and their history. The volume will serve as a bench mark in the field, with its range of approaches and wealth of illustrative material.

Each contributor focuses upon a specific piece of his or her research, and uses this as a basis to discuss the wider implications of the study of gardens within such contexts as botanical, horticultural, agrarian, literary, technological, social, culture, political, and art history. The historical and geographical range is also deliberately large: from ancient Greek and Roman gardens, through Islamic and Mughal examples, to nineteenth-century English estates; from India to Surry County, Virginia, from Versailles to Philadelphia.

Certain themes come to dominate the volume: the values of archeology to garden history and conservation; the different or even rival uses of literature, painting, archival, and other documentation; geographical understanding of territory; above all, the rich resources of gardens for historical study and the importance of landscape architectural history in its own right as a major contributor to humanistic knowledge.

This study highlights a selection of garden ornaments from Dumbarton Oaks, the Washington, D.C., estate of Mildred and Robert Woods Bliss. Drawings from Beatrix Farrand’s office and excerpts from her Plant Book for Dumbarton Oaks, combined with original period photographs, endeavor to show the stylistic sources, evolution of design, and iconography. Other works were selected that reflect an evolution of thought about the gardens and illustrate the conscious choices that were made in shaping the landscape. As Lanning Roper states in Dumbarton Oaks: A Great American Garden, “The garden ornament deserves special comment. Mrs. Bliss had made a particular study of this subject and wished to show the variety of media that can be used and often effectively combined… All ornaments are carefully placed and one is impressed both by the quality, inconspicuousness and the originality of the conception.” Garden ornaments were logical extensions of the Blisses’ collections of art objects.

Inscriptions play a significant role in the decoration of the grounds and have been included as well. The majority of them relate to the personal lives of Robert and Mildred Bliss and reflect the strong humanist tradition represented by Dumbarton Oaks.

This fascinating two-volume set includes a photographic reproduction of an anonymous seventeenth-century Italian gardener’s notebook from Dumbarton Oaks’s Rare Books Collection.

The notebook is a record of the planting of three flower gardens at San Lorenzo. It is now believed that the gardens were created for Margherita de’ Medici Farnese, duchess of Parma and Piacenza. The notebook provides insight into the creation of a seventeenth-century garden, from identifying flowers to planning flowerbeds. In turn, these sketches reveal the gardener’s own intentions and reflections on the designs.

Ada Segre’s accompanying study of the notebook is a groundbreaking example of garden archaeology. She considers its provenance and connection to the world of the duchess and her gardens. Segre also evaluates the importance of the manuscript as an object and as a source of information on garden design and practice in Italy during the mid-seventeenth century. Three computer-generated recreations of the garden’s planting beds are included with the reproduction.

Gardens have exerted a deep influence on the culture of cities. Considering each city as a whole, this book presents the profoundly different roles of gardens in cultural development and social life.

Private and princely gardens, from Roman antiquity to approximately 1850, are considered, whether in China, India, the Ottoman Empire, Europe, or the United States. Turning to the subject of planning, the dire lack of a municipal garden policy is examined in contemporary Marrakech. In-depth evaluations of parks and garden planning reveal the successes and limitations of different policies in Stockholm, Tokyo, Kerala (India), historic Suzhou (China), and the U.S. New Towns of the 1960s. This book unveils an exciting domain of interplay between public and private action that is little known by citizen groups, city planners, and managers.

In this first substantial study of Emily Dickinson's devotion to flowers and gardening, Judith Farr seeks to join both poet and gardener in one creative personality. She casts new light on Dickinson's temperament, her aesthetic sensibility, and her vision of the relationship between art and nature, revealing that the successful gardener's intimate understanding of horticulture helped shape the poet's choice of metaphors for every experience: love and hate, wickedness and virtue, death and immortality.

Gardening, Farr demonstrates, was Dickinson's other vocation, more public than the making of poems but analogous and closely related to it. Over a third of Dickinson's poems and nearly half of her letters allude with passionate intensity to her favorite wildflowers, to traditional blooms like the daisy or gentian, and to the exotic gardenias and jasmines of her conservatory. Each flower was assigned specific connotations by the nineteenth century floral dictionaries she knew; thus, Dickinson's association of various flowers with friends, family, and lovers, like the tropes and scenarios presented in her poems, establishes her participation in the literary and painterly culture of her day. A chapter, "Gardening with Emily Dickinson" by Louise Carter, cites family letters and memoirs to conjecture the kinds of flowers contained in the poet's indoor and outdoor gardens. Carter hypothesizes Dickinson's methods of gardening, explaining how one might grow her flowers today.

Beautifully illustrated and written with verve, The Gardens of Emily Dickinson will provide pleasure and insight to a wide audience of scholars, admirers of Dickinson's poetry, and garden lovers everywhere.

Pleasure gardens, or horti, offered elite citizens of ancient Rome a retreat from the noise and grime of the city, where they could take their leisure and even conduct business amid lovely landscaping, architecture, and sculpture. One of the most important and beautiful of these gardens was the horti Sallustiani, originally developed by the Roman historian Sallust at the end of the first century B.C. and later possessed and perfected by a series of Roman emperors. Though now irrevocably altered by two millennia of human history, the Gardens of Sallust endure as a memory of beauty and as a significant archaeological site, where fragments of sculpture and ruins of architecture are still being discovered.

In this ambitious work, Kim Hartswick undertakes the first comprehensive history of the Gardens of Sallust from Roman times to the present, as well as its influence on generations of scholars, intellectuals, and archaeologists. He draws from an astonishing array of sources to reconstruct the original dimensions and appearance of the gardens and the changes they have undergone at specific points in history. Hartswick thoroughly discusses the architectural features of the garden and analyzes their remains. He also studies the sculptures excavated from the gardens and discusses the subjects and uses of many outstanding examples.

To some readers the poems will seem unusual as love poems because they do not idealize love and marriage. Their strength lies in their honesty and intimacy and in the openness to the pain and self-understanding that both ardor and conflict ("We, we throve on friction") can produce. This is a relationship in which each knows the other too well to be assuaged by a sentimental lyricism.

For this special edition, twelve of Doreen's photographs from their travels together have been included, so that her sensibility may be present, too, as an artist in her own right. Donald's handwritten poems are reproduced both in facsimile and in type.

A one-of-a-kind guided tour through the iconic gates of Harvard Yard, led by Pulitzer Prize–winning architecture critic Blair Kamin.

Harvard is America’s oldest university, and nothing symbolizes the institution quite like Harvard Yard, defined by the twenty-five gates that frame it. Surprisingly, while the university was founded in 1636, the gates were mostly constructed in the past 125 years. In a relatively brief period of time, they have come to represent not only Harvard but also the ideal vision of the American university, complete with lush grounds and stately buildings where students come from all over the world.

The essays in this beautifully illustrated book were written by Harvard students and Nieman Fellows led by Pulitzer Prize–winning architecture critic Blair Kamin, who edited the collection and introduces it. Each chapter reveals the story behind a particular gate, illuminating Harvard’s complex history and its place within the broader stories of Boston and America. There is here a deep reverence for the role of space in fostering identity and community. Designed primarily by renowned architects McKim, Mead & White, the gates are crafted from brick, stone, and wrought iron, each reflecting Harvard’s evolving sense of itself.

This edition includes a new afterword by Kamin, as well as a fresh chapter on Harvard Yard’s latest gate, built in 2020 and inspired by Alice’s Adventures in Wonderland. Alongside architectural history, the chapters highlight personal stories—from the reminiscences of esteemed alumni to a mother’s tribute to her son—demonstrating that these gates have become much more than practical passageways.