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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.

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.

A green thumb is not the only tool one needs to garden well—at least that’s what the makers of gardening catalogs and the designers of the dizzying aisle displays in lawn- and-garden stores would have us believe. Need to plant a bulb, aerate some soil, or keep out a hungry critter? Well, there’s a specific tool for almost everything. But this isn’t just a product of today’s consumer era, since the very earliest gardens, people have been developing tools to make planting and harvesting more efficient and to make flora more beautiful and trees more fruitful. In A History of the Garden in Fifty Tools, Bill Laws offers entertaining and colorful anecdotes of implements that have shaped our gardening experience since the beginning.

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.

Since the eighteenth century, the idea of landscape has given context to the garden. Both the garden and landscape have proved fertile resources for a wide range of philosophical and cultural reflections. Examining literal and intellectual scapes, the contributors to After the Garden? consider setting and place as irreducible features of both the human condition and sociocultural existence.
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

Every square inch of soil is rich with energy and life, and nowhere is this more evident than in the garden. At the tips of our trowels, a sun-driven world of microbes, insects, roots, and stems awaits—and it is a world no one knows better than James Nardi. A charming guide to all things green and growing, Nardi is as at home in prairies, forests, and wetlands as he is in the vegetable patch. And with Discoveries in the Garden, he shows us that these spaces aren’t as different as we might think, that nature flourishes in our backyards, schoolyards, and even indoors. To find it, we’ve only got to get down into the dirt.

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.

 

In this delightful book, botanist Peter Bernhardt reveals the rich history and mythology that underlie the origins of many scientific plant names. Unlike other books about botanical taxonomy that take the form of heavy and intimidating lexicons, Bernhardt's account comes together in a series of interlocking stories. Each chapter opens with a short version of a classical myth, then links the tale to plant names, showing how each plant "resembles" its mythological counterpart with regard to its history, anatomy, life cycle, and conservation. You will learn, for example, that as our garden acanthus wears nasty spines along its leaf margins, it is named for the nymph who scratched the face of Apollo. The shape-shifting god, Proteus, gives his name to a whole family of shrubs and trees that produce colorful flowering branches in an astonishing number of sizes and shapes.

 

Amateur and professional gardeners, high school teachers and professors of biology, botanists and conservationists alike will appreciate this book's entertaining and informative entry to the otherwise daunting field of botanical names. Engaging, witty, and memorable, Gods and Goddesses in the Garden transcends the genre of natural history and makes taxonomy a topic equally at home in the classroom and at cocktail parties.

If you mention Guy Wolff to a serious gardener, that gardener will almost certainly admit to either owning a Guy Wolff flowerpot or coveting one. Wolff’s pots—some small and perfect for a sunny windowsill, others massive and just right for a favorite outdoor spot—are widely considered to be the epitome of gardenware. Their classical proportions, simple decoration, and the marks of Wolff’s hands all combine to make plants look their best. His pots possess an honesty and liveliness that machine-made flowerpots lack. Wolff is probably the best-known potter working in the United States today. In gardening circles, he is a highly revered horticultural icon; gardeners flock to his lectures and demonstrations. His work also appeals to lovers of design and fine arts: visit the personal gardens of landscape designers, and you will see Guy Wolff pots. Step inside the gates of estate gardens, and you will see Guy Wolff pots. Yet he is a potter’s potter. He’s a big ware thrower, a skill few have today. He thinks deeply about what he calls the architecture of pots and the importance of handmade objects in our lives. Whether you are a longtime collector of Wolff’s pots, anxious to buy your first one, or simply intrigued by the beauty and practicality of hand-crafted goods in our fast-paced era, you’ll want to add this richly illustrated book to your library.

The rise of the slow food movement and the return to home gardens mean cooks are donning gardening gloves as often as oven mitts. Modern cooking is heading back to its roots, with home cooks embracing local ingredients and down-to-earth recipes. With more and more of us discovering the delight of preparing and eating freshly harvested food, Herbs for the Gourmet Gardener is the indispensable guide to what to grow, cook, and eat.

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.

 
 
With erudition and wit, Jean Delumeau explores the medieval conviction that paradise existed in a precise although unreachable earthly location. Delving into the writings of dozens of medieval and Renaissance thinkers, from Augustine to Dante, Delumeau presents a luminous study of the meaning of Original Sin and the human yearning for paradise.
The finest minds of the Middle Ages wrote about where paradise was to be found, what it was like, and who dwelt in it. Explorers sailed into the unknown in search of paradisal gardens of wealth and delight that were thought to be near the original Garden. Cartographers drew Eden into their maps, often indicating the wilderness into which Adam and Eve were cast, along with the magical kingdom of Prester John, Jerusalem, Babel, the Happy Isles, Ophir, and other places described in biblical narrative or borrowed from other cultures. Later, Renaissance thinkers and writers meticulously reconstructed the details of the original Eden, even providing schedules of the Creation and physical descriptions of Adam and Eve.
Even when the Enlightenment, with its discovery of fossils and pre-Darwinian theories of evolution, gradually banished the dream of paradise on earth, a nostalgia for Eden shaped elements of culture from literature to gardening. In our own time, Eden's hold on the Western imagination continues to fuel questions such as whether land should be conserved or exploited and whether a return to innocence is possible.
 

Between the well-documented development of colonial Bombay and sprawling contemporary Mumbai, a profound shift in the city’s fabric occurred: the emergence of the first suburbs and their distinctive pattern of apartment living. In House, but No Garden Nikhil Rao considers this phenomenon and its significance for South Asian urban life. It is the first book to explore an organization of the middle-class neighborhood that became ubiquitous in the mid-twentieth-century city and that has spread throughout the subcontinent.

Rao examines how the challenge of converting lands from agrarian to urban use created new relations between the state, landholders, and other residents of the city. At the level of dwellings, apartment living in self-contained flats represented a novel form of urban life, one that expressed a compromise between the caste and class identities of suburban residents who are upper caste but belong to the lower-middle or middle class. Living in such a built environment, under the often conflicting imperatives of maintaining the exclusivity of caste and subcaste while assembling residential groupings large enough to be economically viable, led suburban residents to combine caste with class, type of work, and residence to forge new metacaste practices of community identity.

As it links the colonial and postcolonial city—both visually and analytically—Rao’s work traces the appearance of new spatial and cultural configurations in the middle decades of the twentieth century in Bombay. In doing so, it expands our understanding of how built environments and urban identities are constitutive of one another.

Through lyrical procedures of self-immolation, this brave new collection by J. Michael Martinez interrogates the sundry roles language, myth, and sexuality play for the self and the other in the recoverable and irrecoverable past. Parallel to his award-winning first collection Heredities, J. Michael Martinez pushes the boundaries of poetic form, wedding historically oppositional lyrical traditions to deliver a collection unlike any other.

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.

Something is blooming every day of the year in the renowned gardens at Montrose, Nancy Goodwin’s nineteenth-century property in historic Hillsborough, North Carolina. Since moving to Montrose with her husband Craufurd in 1977, Goodwin has transformed more than twenty acres into an extraordinary complex of interlocking gardens that come in and out of focus as the seasons overlap and change.

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.

This book reexamines the trope of the machine in the garden first laid out in one of the founding texts of American studies by Leo Marx fifty years ago. The contributors to this volume explore the lasting influence of this concept on American culture and the arts, rereading it as a dialectic wherein nature is as much technologized as technology is naturalized. Extending the relevance of Marx’s theory from the nineteenth to twenty-first centuries, they examine filmic and literary representations of industrial, bureaucratic, and digital gardens; explore its role in the aftermath of the Civil War and of rural electrification during the New Deal; its significance in landscape art as well as in ethnic literatures; and discuss the historical premises and continued impact of Leo Marx’s groundbreaking study.

Although scholars have increasingly investigated the impact of religion and religious movements on nature, studies of the interactions between Mormons and the natural environment are few. This volume applies the perspectives of environmental history to Mormonism, providing both a scholarly introduction to Mormon environmental history and a spur for historians to consider the role of nature in the Mormon past.
     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.

This extraordinarily polished and sophisticated story collection investigates the unaccountable ways in which literature and life entwine. In "Three Seaside Tales" a woman at a resort imagines herself in a Chekhov story only to succumb to banal everydayness, and in "Island Time" a young bride inexorably merges with Emma Bovary. Brennan's fictions position their readers at the edge of the known world, opening onto vistas of both erotic promise and ghastly beauty. The voices, youthful and aging, maniacal and restrained, represent our world's lost, scattering their words among surrealistic ruins, as though they have come to inhabit their own dreams. The lovely protagonist of "Saw" inexplicably maims herself with a chainsaw, literalizing in this violent impulse the self-destructive passion of all of Brennan's characters to actualize romance. These characters lead the reader through a charged, personal landscape of apocalyptic and post-apocalyptic complexity. Their voices will continue to echo long after the book has been closed.

This collection of poems is an excellent introduction to the work of this Texas poet.

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.

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.

A groundbreaking study of the pastoral ideal in eighteenth- and nineteenth-century Russia.

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.

The rise of the slow food movement and the return to home gardens mean cooks are donning gardening gloves as often as oven mitts. Modern cooking is heading back to its roots, with home cooks embracing local ingredients and down-to-earth recipes. With more and more of us discovering the delight of preparing and eating freshly harvested food, Vegetables for the Gourmet Gardener is the indispensable guide to what to grow, cook, and eat.

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.