Galileo’s telescopic discoveries, and especially his observation of sunspots, caused great debate in an age when the heavens were thought to be perfect and unchanging. Christoph Scheiner, a Jesuit mathematician, argued that sunspots were planets or moons crossing in front of the Sun. Galileo, on the other hand, countered that the spots were on or near the surface of the Sun itself, and he supported his position with a series of meticulous observations and mathematical demonstrations that eventually convinced even his rival.
On Sunspots collects the correspondence that constituted the public debate, including the first English translation of Scheiner’s two tracts as well as Galileo’s three letters, which have previously appeared only in abridged form. In addition, Albert Van Helden and Eileen Reeves have supplemented the correspondence with lengthy introductions, extensive notes, and a bibliography. The result will become the standard work on the subject, essential for students and historians of astronomy, the telescope, and early modern Catholicism.
Throughout human history, people have imagined inanimate objects to have intelligence, language, and even souls. In our secular societies today, we still willingly believe that nonliving objects have lives of their own as we find ourselves interacting with computers and other equipment. In On the Animation of the Inorganic, Spyros Papapetros examines ideas about simulated movement and inorganic life during and after the turn of the twentieth century—a period of great technical innovation whose effects continue to reverberate today.
Exploring key works of art historians such as Aby Warburg, Wilhelm Worringer, and Alois Riegl, as well as architects and artists like Fernand Léger, Mies van der Rohe, and Salvador Dalí, Papapetros tracks the evolution of the problem of animation from the fin de siècle through the twentieth century. He argues that empathy—the ability to identify with objects of the external world—was repressed by twentieth-century modernist culture, but it returned, projected onto inorganic objects such as machines, automobiles, and crystalline skyscrapers. These modern artifacts, he demonstrates, vibrated with energy, life, and desire of their own and had profound effects on people. Subtle and insightful, this book will change how we view modernist art, architecture, and their histories.
In this rugged account of a rugged profession, Matthew Desmond explores the heart and soul of the wildland firefighter. Having joined a firecrew in Northern Arizona as a young man, Desmond relates his experiences with intimate knowledge and native ease, adroitly balancing emotion with analysis and action with insight. On the Fireline shows that these firefighters aren’t the adrenaline junkies or romantic heroes as they’re so often portrayed.
An immersion into a dangerous world, On the Fireline is also a sophisticated analysis of a high-risk profession—and a captivating read.
“Gripping . . . a masterful account of how young men are able to face down wildfire, and why they volunteer for such an enterprise in the first place.”—David Grazian, Sociological Forum
“Along with the risks and sorrow, Desmond also presents the humor and comaraderie of ordinary men performing extraordinary tasks. . . . A good complement to Norman Maclean's Young Men and Fire. Recommended.”—Library Journal
David Grazian’s riveting tour of downtown Philadelphia and its newly bustling nightlife scene reveals the city as an urban playground where everyone dabbles in games of chance and perpetrates elaborate cons. Entertainment in the city has evolved into a professional industry replete with set designers, stage directors, and method actors whose dazzling illusions tempt even the shrewdest of customers. As entertaining and illuminating as the confessional stories it recounts, On the Make is a fascinating exposé of the smoke and mirrors employed in the city at night.
One Kind of Everything elucidates the uses of autobiography and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson. Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. In five extended, scholarly essays—on Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographical material, either in an effort to embrace it or denounce it.
The only country in the world with a line in its national anthem as desperate as “this people has already suffered for its past and its future,” Hungary is a nation defined by poverty, despair, and conflict. Its history, of course, took an even darker and more tragic turn during the Holocaust. But the story of the Jews in Hungary is also one of survival, heroism, and even humor—and that is the one acclaimed author Adam Biro sets out to recover in One Must Also Be Hungarian, an inspiring and altogether poignant look back at the lives of his family members over the past two hundred years.
A Hungarian refugee and celebrated novelist working in Paris, Biro recognizes the enormous sacrifices that his ancestors made to pave the way for his successes and the envious position he occupies as a writer in postwar Europe. Inspired, therefore, to share the story of his family members with his grandson, Biro draws some moving pictures of them here: witty and whimsical vignettes that convey not only their courageous sides, but also their inner fears, angers, jealousies, and weaknesses—traits that lend an indelible humanity to their portraiture. Spanning the turn of the nineteenth century, two destructive world wars, the dramatic rise of communism, and its equally astonishing fall, the stories here convey a particularly Jewish sense of humor and irony throughout—one that made possible their survival amid such enormous adversity possible.
Already published to much acclaim in France, One Must Also Be Hungarian is a wry and compulsively readable book that rescues from oblivion the stories of a long-suffering but likewise remarkable and deservedly proud people.
When Harriet Monroe founded Poetry magazine in Chicago in 1912, she began with an image: the Open Door. “May the great poet we are looking for never find it shut, or half-shut, against his ample genius!” For a century, the most important and enduring poets have walked through that door—William Carlos Williams and Wallace Stevens in its first years, Rae Armantrout and Kay Ryan in 2011. And at the same time, Poetry continues to discover the new voices who will be read a century from now.
Poetry’s archives are incomparable, and to celebrate the magazine’s centennial, editors Don Share and Christian Wiman combed them to create a new kind of anthology, energized by the self-imposed limitation to one hundred poems. Rather than attempting to be exhaustive or definitive—or even to offer the most familiar works—they have assembled a collection of poems that, in their juxtaposition, echo across a century of poetry. Adrienne Rich appears alongside Charles Bukowski; poems by Isaac Rosenberg and Randall Jarrell on the two world wars flank a devastating Vietnam War poem by the lesser-known George Starbuck; August Kleinzahler’s “The Hereafter” precedes “Prufrock,” casting Eliot’s masterpiece in a new light. Short extracts from Poetry’s letters and criticism punctuate the verse selections, hinting at themes and threads and serving as guides, interlocutors, or dissenting voices.
The resulting volume is an anthology like no other, a celebration of idiosyncrasy and invention, a vital monument to an institution that refuses to be static, and, most of all, a book that lovers of poetry will devour, debate, and keep close at hand.
This is an auto-narrated audiobook edition of this book.
In 1922 Robert Allerton—described by the Chicago Tribune as the “richest bachelor in Chicago”—met a twenty-two-year-old University of Illinois architecture student named John Gregg, who was twenty-six years his junior. Virtually inseparable from then on, they began publicly referring to one another as father and son within a couple years of meeting. In 1960, after nearly four decades together, and with Robert Allerton nearing ninety, they embarked on a daringly nonconformist move: Allerton legally adopted the sixty-year-old Gregg as his son, the first such adoption of an adult in Illinois history.
An Open Secret tells the striking story of these two iconoclasts, locating them among their queer contemporaries and exploring why becoming father and son made a surprising kind of sense for a twentieth-century couple who had every monetary advantage but one glaring problem: they wanted to be together publicly in a society that did not tolerate their love. Deftly exploring the nature of their design, domestic, and philanthropic projects, Nicholas L. Syrett illuminates how viewing the Allertons as both a same-sex couple and an adopted family is crucial to understanding their relationship’s profound queerness. By digging deep into the lives of two men who operated largely as ciphers in their own time, he opens up provocative new lanes to consider the diversity of kinship ties in modern US history.
Though some dismiss opera as old-fashioned, it shows no sign of disappearing from the world’s stage. So why do audiences continue to flock to it? Given its association with wealth, one might imagine that opera tickets function as a status symbol. But while a desire to hobnob with the upper crust might motivate the occasional operagoer, for hardcore fans the real answer, according to The Opera Fanatic, is passion—they do it for love.
Opera lovers are an intense lot, Claudio E. Benzecry discovers in his look at the fanatics who haunt the legendary Colón Opera House in Buenos Aires, a key site for opera’s globalization. Listening to the fans and their stories, Benzecry hears of two-hundred-mile trips for performances and nightlong camp-outs for tickets, while others testify to a particular opera’s power to move them—whether to song or to tears—no matter how many times they have seen it before. Drawing on his insightful analysis of these acts of love, Benzecry proposes new ways of thinking about people’s relationship to art and shows how, far from merely enhancing aspects of everyday life, art allows us to transcend it.
In 2003, an FBI-led task force known as Operation Fly Trap attempted to dismantle a significant drug network in two Bloods-controlled, African American neighborhoods in Los Angeles. The operation would soon be considered an enormous success, noted for the precision with which the task force targeted and removed gang members otherwise entrenched in larger communities. In Operation Fly Trap, Susan A. Phillips questions both the success of this operation and the methods used to conduct it. Based on in-depth ethnographic research with Fly Trap participants, Phillips’s work brings together police narratives, crime statistics, gang cultural histories, and extensive public policy analysis to examine the relationship between state persecution and the genesis of violent social systems.
Crucial to Phillips’s contribution is the presentation of the voices and perspectives of both the people living in impoverished communities and the agents that police them. Phillips positions law enforcement surveillance and suppression as a critical point of contact between citizen and state. She tracks the bureaucratic workings of police and FBI agencies and the language, ideologies, and methods that prevail within them, and shows how gangs have adapted, seeking out new locations, learning to operate without hierarchies, and moving their activities more deeply underground. Additionally, she shows how the targeted efforts of task forces such as Fly Trap wreak sweeping, sustained damage on family members and the community at large. Balancing her roles as even-handed reporter and public scholar, Phillips presents multiple flaws within the US criminal justice system and builds a powerful argument that many law enforcement policies in fact nurture, rather than prevent, violence in American society.
The story of seeds, in a nutshell, is a tale of evolution. From the tiny sesame that we sprinkle on our bagels to the forty-five-pound double coconut borne by the coco de mer tree, seeds are a perpetual reminder of the complexity and diversity of life on earth. With An Orchard Invisible, Jonathan Silvertown presents the oft-ignored seed with the natural history it deserves, one nearly as varied and surprising as the earth’s flora itself.
Beginning with the evolution of the first seed plant from fernlike ancestors more than 360 million years ago, Silvertown carries his tale through epochs and around the globe. In a clear and engaging style, he delves into the science of seeds: How and why do some lie dormant for years on end? How did seeds evolve? The wide variety of uses that humans have developed for seeds of all sorts also receives a fascinating look, studded with examples, including foods, oils, perfumes, and pharmaceuticals. An able guide with an eye for the unusual, Silvertown is happy to take readers on unexpected—but always interesting—tangents, from Lyme disease to human color vision to the Salem witch trials. But he never lets us forget that the driving force behind the story of seeds—its theme, even—is evolution, with its irrepressible habit of stumbling upon new solutions to the challenges of life.
"I have great faith in a seed," Thoreau wrote. "Convince me that you have a seed there, and I am prepared to expect wonders." Written with a scientist’s knowledge and a gardener’s delight, An Orchard Invisible offers those wonders in a package that will be irresistible to science buffs and green thumbs alike.
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