A SCHOLARLY BOOK REPOSITORY
Focusing on a range of periods in places from France to the Balkans and from Siberia to San Diego, essays center on such subjects as the “global garden,” Lockean landscapes, ecohistory, nineteenth-century Australian and North American landscape painting, and zoos. Helping to ground the collection in its project of illuminating both the earthly reality and the metaphorical richness of landscape are two photoessays that focus on “unsettled” sites of the Far East and American West.
Contributors. Ruth Beilin, Tim Bonyhady, John Bradley, Tom Conley, Michael Crizier, Thomas Lahusen, Artemis Leontis, Anders Linde-Laursen, Robert M. Markley, Louis A. Ruprecht Jr., Susan Willis
Alpines, From mountain to garden is a refreshing new perspective on the many stunning plant species that make their home above the treeline. Where most guides to alpine plants have favored collecting and rare species, Richard Wilford offers a holistic approach that describes their discovery and introduction into cultivation and why these factors must be taken in to consideration when planting these mountain dwellers in your garden.
Organized geographically, Alpines, From mountain to garden covers the conditions—drainage, climate, light levels, temperature, and precipitation—and species native to each of nine regions, including the United States and Canada, South America, China, Europe, and Africa. In all, over three hundred plants are described and prolifically illustrated. Additional chapters cover cultivation, conservation, and the impact of indiscriminate collecting on the many species that are now on the verge of extinction. With its wealth of insight into where alpine plants come from and how this affects their cultivation, this new book from Kew’s Botanical Magazine Monograph series is sure to be a hit with gardeners, collectors, travelers, and photographers alike.
In the early twentieth century, the Boston-based United Fruit Company controlled the production, distribution, and marketing of bananas, the most widely consumed fresh fruit in North America. So great was the company’s power that it challenged the sovereignty of the Latin American and Caribbean countries in which it operated, giving rise to the notion of company-dominated “banana republics.”
In A Camera in the Garden of Eden, Kevin Coleman argues that the “banana republic” was an imperial constellation of images and practices that was checked and contested by ordinary Central Americans. Drawing on a trove of images from four enormous visual archives and a wealth of internal company memos, literary works, immigration records, and declassified US government telegrams, Coleman explores how banana plantation workers, women, and peasants used photography to forge new ways of being while also visually asserting their rights as citizens. He tells a dramatic story of the founding of the Honduran town of El Progreso, where the United Fruit Company had one of its main divisional offices, the rise of the company now known as Chiquita, and a sixty-nine day strike in which banana workers declared their independence from neocolonial domination. In telling this story, Coleman develops a new set of conceptual tools and methods for using images to open up fresh understandings of the past, offering a model that is applicable far beyond this pathfinding study.
The weekly magazine Garden and Forest existed for only nine years (1888–1897). Yet, in that brief span, it brought to light many of the issues that would influence the future of American environmentalism. In The City Natural, Shen Hou presents the first “biography” of this important but largely overlooked vehicle for individuals with the common goal of preserving nature in American civilization.
As Hou’s study reveals, Garden and Forest was instrumental in redefining the fields of botany and horticulture, while also helping to shape the fledgling professions of landscape architecture and forestry. The publication actively called for reform in government policy, urban design, and future planning for the preservation and inclusion of nature in cities. It also attempted to shape public opinion on these issues through a democratic ideal that every citizen had the right (and need) to access nature. These notions would anticipate the conservation and “city beautiful” movements that followed in the early twentieth century.
Hou explains the social and environmental conditions that led to the rise of reform efforts, organizations, and publications such as Garden and Forest. She reveals the intellectual core and vision of the magazine as a proponent of the city natural movement that sought to relate nature and civilization through the arts and sciences. Garden and Forest was a staunch advocate of urban living made better through careful planning and design. As Hou shows, the publication also promoted forest management and preservation, not only as a natural resource but as an economic one. She also profiles the editors and contributors who set the magazine’s tone and follows their efforts to expand America’s environmental expertise.
Through the pages of Garden and Forest, the early period of environmentalism was especially fruitful and optimistic; many individuals joined forces for the benefit of humankind and helped lay the foundation for a coherent national movement. Shen Hou’s study gives Garden and Forest its due and adds an important new chapter to the early history of American environmentalism.
Leading us through the garden gate, Nardi reveals the extraordinary daily lives and life cycles of a quick-growing, widely available, and very accommodating group of study subjects: garden plants. Through close observations and simple experiments we all can replicate at home, we learn the hidden stories behind how these plants grow, flower, set seeds, and produce fruits, as well as the vital role dead and decomposing plants play in nourishing the soil. From pollinators to parasites, plant calisthenics to the wisdom of weeds, Nardi’s tale also introduces us to our fellow animal and microbial gardeners, the community of creatures both macro- and microscopic with whom we share our raised beds. Featuring a copse of original, informative illustrations that are as lush as the garden plants themselves, Discoveries in the Garden is an enlightening romp through the natural history, science, beauty, and wonder of these essential green places.
Since Joseph Smith’s revelations, Mormons have interacted with nature in significant ways—whether perceiving it as a place to find God, uncorrupted spaces in which to build communities to usher in the Second Coming, wildness needing domestication and control, or a world brimming with natural resources to ensure economic well-being. The essays in this volume—written by leading scholars in both environmental history and Mormon history—explore how nature has influenced Mormon beliefs and how these beliefs inform Mormons’ encounters with nature. Introducing overarching environmental ideas, contributors examine specific aspects of nature and Mormon theology to glean new insights into the Mormon experience.
Winner, Robert Motherwell Book Award, Outstanding Book on Modernism in the Arts, The Dedalus Foundation, 2019
As Latin American elites strove to modernize their cities at the turn of the twentieth century, they eagerly adopted the eugenic theory that improvements to the physical environment would lead to improvements in the human race. Based on Jean-Baptiste Lamarck’s theory of the “inheritance of acquired characteristics,” this strain of eugenics empowered a utopian project that made race, gender, class, and the built environment the critical instruments of modernity and progress.
Through a transnational and interdisciplinary lens, Eugenics in the Garden reveals how eugenics, fueled by a fear of social degeneration in France, spread from the realms of medical science to architecture and urban planning, becoming a critical instrument in the crafting of modernity in the new Latin world. Journeying back and forth between France, Brazil, and Argentina, Fabiola López-Durán uncovers the complicity of physicians and architects on both sides of the Atlantic, who participated in a global strategy of social engineering, legitimized by the authority of science. In doing so, she reveals the ideological trajectory of one of the most celebrated architects of the twentieth century, Le Corbusier, who deployed architecture in what he saw as the perfecting and whitening of man. The first in-depth interrogation of eugenics’ influence on the construction of the modern built environment, Eugenics in the Garden convincingly demonstrates that race was the main tool in the geopolitics of space, and that racism was, and remains, an ideology of progress.
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.
An engaging, well-illustrated natural and cultural history of the oldest living organism—the bristlecone pine. Since Edmund Schulman discovered in 1958 that individual bristlecones live nearly 5,000 years, the trees have been investigated primarily for the elaborate record their rings contain. The trees have been "read' closely, with major consequences for natural and human history. Historians have read local and global environmental change. Archaeologists have rewritten the history of civilization. Writers have transformed them into figures pertinent to the human dilemmas of time and eternity. A Garden of Bristlecones investigates professional and popular conceptions as a set of narratives drawn from the outside and inside of the trees. It reveals the premises of the investigators, the nature of their inquiry, and the extent of their knowledge, while also revealing the Great Basin bristlecone itself. Illustrations by Valerie Cohen.
California’s Santa Clara Valley was once home to a vigorous wine industry. The Garden of the World is the tale of a pioneer winemaking family headed by Paul Tourneau, a fiercely ambitious vintner determined to make the finest wines in California. His plans are disrupted by a phylloxera epidemic at the beginning of the twentieth century, the trials of national Prohibition, and the bitter alienation of his older son. Played out against the vividly depicted seasonal rhythms of vineyard life, this is a moving saga of betrayal, loss, and the harsh consequences of unbreakable ambition.
A feast for the eyes and the table, this user-friendly resource traverses the realms of both the garden and the kitchen, addressing the cultivation, storage, and preparation of more than sixty herbs. Practical growing tips, fascinating histories, nutritional information, and classic recipes appear alongside botanical illustrations drawn from the Royal Horticultural Society’s cherished collection. With both familiar varieties and novel options, Herbs for the Gourmet Gardener will inspire you to create a world of new shapes, colors, and tastes.
As Laws reveals, gardening tools have coevolved with human society, and the story of these fifty individual tools presents an innovative history of humans and the garden over time. Laws takes us back to the Neolithic age, when the microlith, the first “all-in-one” tool was invented. Consisting of a small sharp stone blade that was set into a handle made of wood, bone, or antler, it was a small spade that could be used to dig, clip, and cut plant material. We find out that wheelbarrows originated in China in the second century BC, and their basic form has not changed much since. He also describes how early images of a pruning knife appear in Roman art, in the form of a scythe that could cut through herbs, vegetables, fruits, and nuts and was believed to be able to tell the gardener when and what to harvest.
Organized into five thematic chapters relating to different types of gardens: the flower garden, the kitchen garden, the orchard, the lawn, and ornamental gardens, the book includes a mix of horticulture and history, in addition to stories featuring well-known characters—we learn about Henry David Thoreau’s favorite hoe, for example. A History of the Garden in Fifty Tools will be a beautiful gift for any home gardener and a reassuring reminder that gardeners have always struggled with the same quandaries.
Turning the page into a visual field, as in the deconstructed musical score telling the tale of La Llorona, In the Garden of the Bridehouse questions the line between visual art and poetry. The work employs the vernacular, the stylized language of theory, and the blank canvas of the page in its exploration of the known and unknowable.
Throughout the work, Martinez paradoxically exercises both a lyrical minimalism and a baroque poetic, uniting Mesoamerican preconquest imaginary with the sensuality of the Biblical Song of Songs, cultivating a lyrical space wherein contrasting potentials are—as one—realized in their shared promise.
What happened to paradise after Adam and Eve were expelled? The question may sound like a theological quibble, or even a joke, but in The Kingdom and the Garden, Giorgio Agamben uses it as a starting point for an investigation of human nature and the prospects for political transformation. In a tour-de-force reinterpretation of the Christian tradition, Agamben shows that the Garden of Eden has always served as a symbol of humanity’s true nature. Where earlier theologians viewed the expulsion as temporary, Augustine’s doctrine of original sin makes it permanent, reimagining humanity as the paradoxical creature that has been completely alienated from its own nature. From this perspective, there can be no return to paradise, only the hope for the messianic kingdom. Yet there have always been thinkers who rebelled against this idea, and Agamben highlights two major examples. The first is the early medieval philosopher John Scotus Eriugena, who argued for a radical unity of humanity with all living things. The second is Dante, whose vision of the earthly paradise points towards the possibility of genuine human happiness in this world. In place of the messianic kingdom, which has provided the model for modern revolutionary movements, Agamben contends that we should place our hopes for political change in a return to our origins, by reclaiming the earthly paradise.
In July 1921, displaced European poet Rainer Maria Rilke sequestered himself in the chateau of Muzot, a thirteenth-century medieval tower perched in the vineyards above the town of Sierre in the Canton Valais, Switzerland. In this sun-flooded landscape of the Rhone Valley, he found beguiling echoes of Spain and his beloved Provence. Here, the Duino Elegies were famously completed and the Sonnets to Orpheus followed.
During this time, Rilke’s correspondence also bloomed, and Letters around a Garden collects some of those letters together into English for the first time. One intriguing exchange from 1924 to 1926 was with a young aristocratic Swiss woman Antoinette de Bonstetten, a passionate horticulturist who had been recommended as a potential advisor for the redesign and upkeep of the Muzot rose garden. In twenty-two precious letters originally written in French, Rilke relishes the prospect of their elusive meeting, keenly discusses the plans for his garden, and wittily laments the trials of his plants. Beyond the encomium for Paul Valéry and poignant memory of place are passages of exquisite writing, in which Rilke evokes with trademark sensitivity the delicate relationship between the changing seasons and the natural world of his adopted region. We also witness the loving relationship evolve between these sometime-fugitive correspondents and how questions of solitariness and companionship impinge on one who faces unaccustomed challenges as his health tragically declines.
Beautifully written and illustrated, Montrose: Life in a Garden is Goodwin’s affectionate biography of her gardens, recounting how and why each section was developed over the years, including the Dianthus Walk, Nandinaland, Hellebore Slope, Mother-in-Law Walk, Snowdrop Woods, and Jo’s Bed. It is also a meticulous month-by-month chronicle of a specific year in these gardens—a year that saw a punishing drought that threatened Goodwin’s no-irrigation policy, a damaging December ice storm, and the beginnings of a plan to preserve Montrose in the future.
Working on her knees for long days throughout the year, Nancy Goodwin always has a vision of how her gardens will appear in twelve months or in twelve years. She will spend weeks, for instance, planting hundreds of snow drops along a woodsy path in order to enjoy a fleeting week of exquisite beauty in coming years. She never puts anything into the ground without imagining what form, color, and texture it will add to a bed. With tireless patience and unflagging optimism, Goodwin will wait years to see a single plant bloom.
Following Goodwin’s activities throughout the year, readers will learn the fundamentals of maintaining a four-season garden in Zone 7 in the South. Award-winning garden illustrator Ippy Patterson has provided more than 160 lavish illustrations of the gardens at Montrose and these meticulously detailed drawings appear throughout the book.
Beautifully illustrated, Planting Paradise charts the evolution of thinking about the cultivation of gardens from the sixteenth to the nineteenth centuries. In this age of discovery, when the world was being explored as never before, gardening itself took on new dimensions. The Renaissance belief in direct observation of nature offered an alternative way of thinking and inspired the scientific approach of the Enlightenment, and soon gardens were no longer just places of beauty, but also laboratories for scientific investigation.
Planting Paradise reveals how the botanic gardens of early modern Europe were largely viewed as a means of supplying surgeons with medicines but by the seventeenth and eighteenth century the interest in gardens and cultivating exotic plants had spread to all levels of society. As global exploration took Europeans all over the world, gardens became a tapestry of many diverse botanical histories—some plants were native, some were introduced from foreign lands, and others were bred in the garden. Planting Paradise shows how the garden became a symbol of human interactions within the botanical world.
A lovely gift book for garden lovers, Planting Paradise showcases the superb collection of botanical illustrations in the Plant Sciences Department and Bodleian Library, University of Oxford, and presents a handsome and fascinating look at the history of the garden from the picturesque to the practical and back again.
How an early modern understanding of place and movement are embedded in a performative theory of literature
How is a garden like a poem? Early modern writers frequently compared the two, and as Jim Ellis shows, the metaphor gained strength with the arrival of a spectacular new art form—the Renaissance pleasure garden—which immersed visitors in a political allegory to be read by their bodies’ movements. The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of both. Starting with the Earl of Leicester’s pleasure garden for Queen Elizabeth’s 1575 progress visit, Ellis explores the political function of the entertainment landscape that plunged visitors into a fully realized golden world—a mythical new form to represent the nation. Next, he turns to one of that garden’s visitors: Philip Sidney, who would later contend that literature’s golden worlds work to move us as we move through them, reorienting readers toward a belief in English empire. This idea would later be illustrated by Edmund Spenser’s Faerie Queen; as with the pleasure garden, both characters and readers are refashioned as they traverse the poem’s dreamlike space. Exploring the artistic creations of three of the era’s major figures, Ellis argues for a performative understanding of literature, in which readers are transformed as they navigate poetic worlds.
natural curiosity about nature. Seeds in Soil includes all the details to start planting and growing, whether working with a whole yard, a community or school garden, or just a balcony.
Chapters feature advice for selecting the seeds and tools to get started; ideas for planning and being creative in the garden; and tips for harvesting, storing, and cooking with fresh produce. Written by a second-grade teacher, the book includes engaging lessons about the science of climate, soil, and pollinators; and connections to history through the stories of First Nations and immigrant gardeners. Told through the author’s family stories and experience, Seeds in Soil will get kids having fun in the garden while digging, planting, growing, and finding their roots.
While we often approach gardens as things to be seen—thus engaging the rational, intellectual part of the human brain—Sound and Scent in the Garden explores the more elusive experiences of sound and smell. These senses are important dimensions of garden design and performance and often have a powerful effect on the human body, yet they may also be ephemeral and difficult to study.
The contributors to the volume explore the sensory experience of gardens specifically as places where people encounter landscape in a staged manner, as a result of intentional design. How do the senses shape the experience of those places? In what ways are plants, gardens, and landscapes produced so as to stimulate the senses? What evidence do we have of historical sensory experiences? What is lost when we forget to acknowledge the sensory environment of the past or simply overlook its traces?
The volume demonstrates a wide variety of approaches to apply to the study of sensory history and illuminates this important dimension of the experience of gardens—past and present, East and West.
Technology is the practice and activity of making, as well as the tools that enable that making. It is also the realm of ideas behind those endeavors, the expanse of technical knowledge and expertise. At once material, intellectual, active, and social, technology is the purposeful organization of human effort to alter and shape the environment. Gardens, like other designed landscapes, are products of a range of technologies; their layout, construction, and maintenance would be unthinkable without technology. What are the technologies of garden making, what are the concepts and ideas behind garden technologies, and what is the meaning and experience of those endeavors?
Technology and the Garden examines the shaping and visualization of the landscape; the development of horticultural technologies; the construction of landscape through hydraulics, labor, and infrastructure; and the effect of emerging technologies on the experience of landscape. These essays demonstrate how the techniques of the garden can be hidden or revealed, disguised beneath the earth or celebrated on the surface. How designers have approached technology, in all historical periods and in a diversity of places and cultures, is a central question in landscape studies.
Translating a work of literature from one language to another is an art form, in which the translated work becomes a "conduit" through which the reader of one language may pass into the cultural world of another. For the translator, the process of translation offers an intimate experience of the text that is perhaps unavailable even to the author. And yet, as M. R. Ghanoonparvar observes at the outset of this book, "every translation is inevitably a failure, with occasional moments of success."
In Translating the Garden, Ghanoonparvar allows readers to watch him in the process of translating Shahrokh Meskub's Goftogu dar Bagh(Dialogue in the Garden) from Persian into English. This short philosophical work uses a conversation between a writer and a painter to explore Persian perceptions of art, literature, nature, identity, and spirituality. As he translates the text, Ghanoonparvar discusses the myriad decisions that a literary translator faces, from word choices to the problems of conveying cultural concepts and deciphering authorial intent. He also compares some of his translated passages with those of other translators to highlight the uniqueness of each act of translation. The complete English translation of Dialogue in the Garden rounds out the volume.
A feast for the eyes and the table, this user-friendly resource traverses the realms of both the garden and the kitchen, addressing the cultivation, storage, and preparation of nearly seventy useful vegetables. Practical growing tips, fascinating histories, nutritional information, and classic recipes appear alongside botanical illustrations drawn from the Royal Horticultural Society’s cherished collection. With both familiar varieties and novel options, Vegetables for the Gourmet Gardener will inspire you to create a world of new shapes, colors, and tastes.
The Wall and the Garden was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The election day sermon in colonial New England was an annual, formal address by a minister of the gospel to the newly assembled legislature of the colony. The tradition began in the Massachusetts Bay colony in 1634, and it continued, in Boston, for 250 years. In this volume, Professor Plumstead presents a collection of nine of the Massachusetts election sermons, chosen from among the surviving Massachusetts sermons which were printed between 1661 and 1775. They are not chosen as representative but, rather, as the best, judged on a basis of literary excellence and ideas and points of style relevant to later developments in American literature and history. There are changes in style and theme in the 105 years between the first and the last selection, and, in his brief introduction to each of the sermons, the editor discusses these changes and the sermon's relationship to the tradition as a whole.
In a general introduction, Professor Plumstead provides background information about the history and significance of the election sermons. As he makes clear, the election sermon tradition offers a vantage point for seeing both continuity and change in colonial intellectual history. The sermons in this collection will complement colonial studies by bringing the reader close to the spirit of the times.
The title of the volume, The Wall and the Garden, derives from the frequent use by colonial preachers of the metaphors of the garden and the wall to describe the colonies and their spiritual enemies.
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