When is an artistic work finished? When the copyeditor makes the final correction to a manuscript, when the composer writes the last note of a symphony, or when the painter puts the last brushstroke on the canvas? Perhaps it's even later, when someone reads the work, when an ensemble performs, or when the painting is hung on a gallery wall for viewing?

Art from Start to Finish gathers a unique group of contributors from the worlds of sociology, musicology, literature, and communications—many of them practicing artists in their own right—to discuss how artists from jazz musicians to painters work: how they coordinate their efforts, how they think, how they start, and, of course, how they finish their productions.

Specialists in the arts have much to say about the works themselves, which are often neglected by scholarsi n other fields. Art from Start to Finish takes a different tack by exploring the creative process itself and its social component. Any reader who makes art or has an interest in it will value this book.

 
Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years.

But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives.

Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.)

Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.

George Brookbank has distilled nearly twenty years' experience—as an extension agent in urban horticulture with the University of Arizona—into a practical book that tells how to avoid problems with desert landscaping before they occur and how to correct those that do. In the first part, "How to Start and Maintain a Desert Landscape," he provides 28 easy-to-use chapters that address concerns ranging from how to start a wildflower garden to how to cope with Texas root rot. In Part Two, "A Month-By-Month Maintenance Guide," he offers a handy almanac that tells what to do and what to watch out for each month of the year, with cross-references to the chapters in Part One. Homeowners who maintain their own landscape will find in this book ways to make the work more satisfying and productive, while those who hire landscape contractors can make sure the work is done effectively and economically. "You'll find all kinds of books on desert landscape design and materials, irrigation system and design, and landscape installation," says Brookbank. "So far as I know, however, this is the only book that tells you what to do with what you've got and how to keep it growing."

CONTENTS

Part 1 - How to Start and Maintain a Desert Landscape
1. Desert Conditions: How They Are "Different"
2. Plants Are Like People: They're Not Alike
3. Use Arid-Land Plants to Save Water
4. How to Irrigate in the Desert
5. How to Design and Install a Drip Irrigation System
6. Soils and Their Improvement I: How to Plant in the Desert
7. Soils and Their Improvement II: How to Use Fertilizers
8. What to Do When Things Go Wrong: A Troubleshooter's Guide
9. How to Avoid—and Repair—Frost Damage
10. How to Control "Weeds"
11. Palo Verde Borer Beetle: What to Do
12. How to Avoid Texas Root Rot
13. When You Move Into an Empty House
14. What to Do About Roots in Drains
15. How to Dig Up Plants and Move Them
16. How to Have Flower Bed Color All Year
17. Landscape Gardening with Containers
18. Starting Wildflowers
19. Starting a Lawn
20. Making and Keeping a Good Hedge
21. Pruning Trees and Shrubs
22. Palm Tree Care
23. Caring for Saguaros, Ocotillos, Avages, and Prickly Pears
24. Roses in the Desert: Hard Work and Some Disappointments
25. Landscaping with Citrus
26. Swimming Pools: Plants, Play, and Water-Saving
27. Landscape Maintenance While You're Away
28. Condominiums: Common Grounds, Common Problems

Part 2 - A Month-by-Month Maintenance Guide

Our current agricultural system favors large-scale, industrialized farms made to produce monocrops that are shipped all over the world. Consumers are sold on the idea that this system keeps food cheap and affordable, but it also means that middlemen take much of the profits while greenhouse gas emissions run high. The Argus Farm Stop in Ann Arbor, Michigan’s model provides economic and cultural benefits as well as enhanced resiliency for the farmers and communities they serve. This guidebook outlines the benefits and challenges of implementing this consignment-based business model. It highlights best practices, offers resources and technical assistance for the establishment of additional Farm Stops around the country, and prioritizes the development of regional, circular sustainable food systems that empower local farmers and enrich communities.

In his second collection of poems, Daniel Donaghy uses the power of poetry to connect the Kensington section of Philadelphia he knew as a boy––a place replete with crime, poverty, fractured families, and various other kinds of darkness––to upstate New York’s woods, rural Connecticut’s town greens and small churches, Vancouver’s back alleys, the killing ground of the 1864 Sand Creek Massacre in Kiowa County, Colorado, and the shores of ancient Greece. In doing so, he examines the relationship between memory and identity and strives to give voice to those who might otherwise be forgotten by history. Start with the Trouble is the place of fist fights and first kisses, where we sit beside the dying and where we sing to those not yet born. It is where Michelangelo’s Pieta recreates itself on a Kensington sidewalk, where a mother watches helplessly as two older boys dangle her son from the roof of a building, where a prostitute writes poems between tricks before she disappears without a trace. It is where Bruce Springsteen goes back in time to woo Circe and the Sirens, where a father returns from the dead in the voice of Babe Ruth, where a mother’s spirit rises from the shadows of spruce trees, where Santa forsakes his reindeer and slides into town behind sled dogs. It is where simple gestures such as opening a car trunk or loading a wheelbarrow become portals into faraway, nightmarish worlds in which the young are forced to bear too much witness to the world. Start with the Trouble is a place where beauty exists amidst every kind of ugliness, and where that beauty is made even more precious because of the depths from which it rises.

After the second World War, the term “technology” came to signify both the anxieties of possible annihilation in a rapidly changing world and the exhilaration of accelerating cultural change. Technomodern Poetics examines how some of the most well-known writers of the era described the tensions between technical, literary, and media cultures at the dawn of the Digital Age. Poets and writers such as Allen Ginsberg, Charles Olson, Jack Kerouac, and Frank O’Hara, among others, anthologized in Donald Allen’s iconic The New American Poetry, 1945–1960, provided a canon of work that has proven increasingly relevant to our technological present. Elaborating on the theories of contemporaneous technologists such as Norbert Wiener, Claude Shannon, J. C. R. Licklider, and a host of noteworthy others, these artists express the anxieties and avant-garde impulses they wrestled with as they came to terms with a complex array of issues raised by the dawning of the nuclear age, computer-based automation, and the expansive reach of electronic media. As author Todd Tietchen reveals, even as these writers were generating novel forms and concerns, they often continued to question whether such technological changes were inherently progressive or destructive. 

With an undeniable timeliness, Tietchen’s book is sure to appeal to courses in modern English literature and American studies, as well as among fans of Beat writers and early Cold War culture. 

Jason Stevens is growing up in picturesque, historic Harpers Ferry, West Virginia in the 1970s. Back when the roads are smaller, the cars slower, the people more colorful, and Washington, D.C. is way across the mountains—a winding sixty-five miles away.
 

Jason dreams of going to art school in the city, but he must first survive his teenage years. He witnesses a street artist from Italy charm his mother from the backseat of the family car. He stands up to an abusive husband—and then feels sorry for the jerk. He puts up with his father’s hard-skulled backwoods ways, his grandfather’s showy younger wife, and the fist-throwing schoolmates and eccentric mountain characters that make up Harpers Ferry—all topped off by a basement art project with a girl from the poor side of town.

 

Ugly to Start With punctuates the exuberant highs, bewildering midpoints, and painful lows of growing up, and affirms that adolescent dreams and desires are often fulfilled in surprising ways.

Social scientists, whether earnest graduate students or tenured faculty members, clearly know the rules that govern good writing. But for some reason they choose to ignore those guidelines and churn out turgid, pompous, and obscure prose. Distinguished sociologist Howard S. Becker, true to his calling, looks for an explanation for this bizarre behavior not in the psyches of his colleagues but in the structure of his profession. In this highly personal and inspirational volume he considers academic writing as a social activity.

Both the means and the reasons for writing a thesis or article or book are socially structured by the organization of graduate study, the requirements for publication, and the conditions for promotion, and the pressures arising from these situations create the writing style so often lampooned and lamented. Drawing on his thirty-five years' experience as a researcher, writer, and teacher, Becker exposes the foibles of the academic profession to the light of sociological analysis and gentle humor. He also offers eminently useful suggestions for ways to make social scientists better and more productive writers. Among the topics discussed are how to overcome the paralyzing fears of chaos and ridicule that lead to writer's block; how to rewrite and revise, again and again; how to adopt a persona compatible with lucid prose; how to deal with that academic bugaboo, "the literature." There is also a chapter by Pamela Richards on the personal and professional risks involved in scholarly writing.

In recounting his own trials and errors Becker offers his readers not a model to be slavishly imitated but an example to inspire. Throughout, his focus is on the elusive work habits that contribute to good writing, not the more easily learned rules of grammar and punctuation. Although his examples are drawn from sociological literature, his conclusions apply to all fields of social science, and indeed to all areas of scholarly endeavor. The message is clear: you don't have to write like a social scientist to be one.