david r. godine, publisher: fall 2012 catalog
TRANSCRIPT
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�Cover illustration by Aldren A. Watson
from Waterfront New York (see p. )
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. Godin
e, Publish
er, Inc.
Post Office B
ox
Jaffrey, N
ew Ham
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David R.GodineP U B L I S H E R
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The African
World English: David R. Godine
The Hand of the
Small-Town Builder
World: David R. Godine
Waterfront New York
World: David R. Godine
Taking What I Like
World: David R. Godine
Splendor of Heart
World: David R. Godine
The Gypsies
North America: David R. Godine
Alone at Sea
World: David R. Godine
The Mary Azarian Address Book &
Gift Cards
World: David R. Godine
Pizza in Pienza
World: David R. Godine
Publisher’s RepresentativesGodine and the Brave New World
H goes by when I am not asked what Godine is doing about e-books and
Amazon and what effect these new media will have on our business. Good questions with
some cloudy answers. If you look through this catalogue, you can see for yourself how few
of our titles will or – given the present technology – can make an easy or satisfactory tran-
sition to a handheld electronic device. There is a reason why books such as The Hand of the
Small-Town Builder and Waterfront New York offer two-page spreads that are carefully
designed, and not easily disassembled, visual units. The design and the production of such
titles are as much a part of their value as “intellectual property” as the words and images.
Broken apart and parsed, outside their considered context, they lose meaning and impact.
The printed book has survived for five hundred years because it is, like a violin, a
machine perfectly suited to its use. We take books for granted and can instinctively find the
title page, the index, or the table of contents. They “open” without turning on a switch. We’ve
never issued a user’s manual (apart from Georges Perec’s Life a User’s Manual). There is a
comfort level with a book that needs little explanation – or justification.
If there is a revolution it involves a) how text, relatively pure text, is now stored and
transmitted and b) the physical distribution of information. Consider our lead book, Le
Clézio’s memoir of growing up in Africa. Here it doesn’t matter in what type size or style
you read the text. The files needed to read this text can be manufactured and sold cheaply,
on a “per read” basis, far more cheaply than a physical book. The real issue is the price the
reader is willing to pay, and the publisher is willing to ask, for the content. Companies like
Amazon don’t develop (or even recognize) a talent like Le Clézio, but they have the tech-
nology to distribute – both the physical book and the electronic counterpart. They are
delivering the milk, but they are hardly attending to the cow. If books (the milk) are sold
for . through Amazon, who is going to step forward to take care of the cow at .?
And if it makes so little difference to the reader through which “device” the text is accessed –
a book or a Kindle – I would argue it’s clear who in time will win this battle.
But, of course, content does have a price: the price of selecting and developing it, of edit-
ing and organizing it. These are the costs that are not reflected in a “distribution model”
where one pays only for the end results. This is a battle between content creators and con-
tent distributors that will be played out over the next decade, complicated by an electronic
revolution that has made content creation open to virtually anyone. If you own and can
operate a computer, you can write, design, and distribute a book. The numbers are aston-
ishing; in “non-traditional” (meaning self-published or on-demand titles) accounted
for , new titles. In , that number had spiked tenfold, to more than , , .
It’s a new world, more confused than brave, and we’re doing our best to cope with it. But
speaking personally, I was just as happy in the old one, and the books you’ll encounter in
this catalogue probably reflect a bias toward quality book making better than any justifica-
tion you’ll read in a Publisher’s Note. � D ·R ·G
cover.0423_cover.0515 5/23/12 3:34 PM Page 2
The Africanby J.M.G. Le Clézio
translated from the French by C. Dickson
T A is a short autobiographical account of a
pivotal moment in Nobel-Prize-winning author J. M. G.
Le Clézio’s childhood. In , young Le Clézio, with his
mother and brother, left behind a still-devastated Europe to
join his father, a military doctor in Nigeria, from whom he’d
been separated by the war. In Le Clézio’s characteristically
intimate, poetic voice, the narrative relates both the dazzled
enthusiasm the child feels at discovering newfound freedom
in the African savannah and his torment at discovering the
rigid authoritarian nature of his father. The power and beauty
of the book reside in the fact that both discoveries occur
simultaneously.
While primarily a memoir of the author’s boyhood, The
African is also Le Clézio’s attempt to pay a belated homage to
the man he met for the first time in Africa at age eight and was
never quite able to love or accept. His reflections on the nature
of his relationship to his father become a chapeau bas to the
adventurous military doctor who devoted his entire life to
others. Though the author palpably renders the child’s disap-
pointment at discovering the nature of his estranged father, he
communicates deep admiration for the man who tirelessly
trekked through dangerous regions in an attempt to heal
remote village populations.
The major preoccupations of Le Clézio’s life and work can
be traced back to these early years in Africa. The question of
colonialism, so central to the author, was a primary source of
contention for his father: “Twenty-two years in Africa had
inspired him with a deep hatred of all forms of colonialism.”
Le Clézio suggests that however estranged we may be from our
parents, however foreign they may appear, they still leave an
indelible mark on us. His father’s anti-colonialism becomes
“The African’s” legacy to his son who would later become a
world-famous champion of endangered peoples and cultures.
Le Clézio is ever the master at rendering existence at the
level of sensation with a daring and admirable freshness of
language. Peter Brooks, New York Times
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J-M G L C,
winner of the Nobel Prize in
Literature, was born in in Nice,
France. His first novel, Le Procès-
Verbal (The Interrogation), won the
Prix Renaudot in and estab-
lished his reputation as one of France’s
preeminent writers. He has published
more than forty works of fiction and
nonfiction, including The Prospector
(Godine, ) and Desert (Godine,
). He and his wife currently
divide their time between Nice, New
Mexico, and the island of Mauritius.
T H E A F R I C A NJ . M . G . L E C L É Z I O
Translated from the French by C. Dickson
�
eparting from Boston and heading north, I avoided the main interstate highway and instead took the “old road” along the eastern border of New Hampshire, driving through Portsmouth, Dover, and eventually Chocorua and Conway. Once the grow-
ing sprawl of the south was finally behind me, I came into the rolling hills of the LakesRegion, the horizon hazy and close in the summer evening sun, the air thick with the day’sheat and noisy with insects. State Route 16 led me through the Ossipees and along the shoreof Lake Chocorua. Turning o6 the main road onto Fowler’s Mill Road, I stopped on thetiny bridge which crosses a gap separating two parts of the lake. Looking across the lakefrom the bridge, the summit of Mount Chocorua stood close above the water, blazing on oneside in the sunset and felt-blue in the shadows on the other. The air around me moved lightly,bearing with it an increasing silence as night approached.
I took one photograph and stood briefly looking over the hills of the Sandwich Rangeto the clouds behind, built in the heat of the day over the more distant Presidential Rangeand now shrinking, reabsorbed into the darkening purple sky as the sun set.
Continuing north, I passed through North Conway and Jackson and entered PinkhamNotch at dusk. I wound my way up through the mountains, the forest silent now, with a windpushing out of the ravines and down the notch. Pinkham Notch divides the drainage of theEllis River, flowing south, back down into the softer, rolling country of the Saco valley, fromthe Peabody River, flowing north to the harder, colder, and more isolated forests and moun-tains of Coos County. The warm, almost watery comfort of the countryside I had passedthrough a few hours before was behind me, and in its place was a sharp-edged clarity, thesound of the wind mixing with the falls on the Ellis River, and the stars over Mt. Wash-ington bright over the horizon high above.
The state of New Hampshire today is known for its high mountains,deep forests, and broad lakes. Its seventeenth-century origins, though, lay in itsscant eighteen miles of coast, wedged in between the far larger coasts of thecolonies of Massachusetts Bay and Maine. Originally included as part of thecolony of Maine, chartered in 1622, New Hampshire was extracted from Maineand established as a separate colony in 1629, defined as the coastline between
115
opposite : Wall detail, Will BradleyHouse, 1906
pitched roof with substantial overhangs. The exten-sive exterior ornamentation typical of many Scandi-navian houses is absent here, replaced by continuouscedar shingling, but tall posts supporting the over-hanging roof and portions of the second story reflectthe buildings heavy timber origins.
The interior of Winter Road Hill is a remarkabledeparture from Craftsman and other contemporaryarchitectural influences so visible in may other NewEngland summer cottages. Cummings’ design cap-tured certain characteristics of Scandinavian designsuccinctly, including open floor plans and spacesdesigned for multiple uses, similar in concept to the
Shingle Style’s open floor plan, but very diAerent in appearance and feeling. Adouble fireplace, with hearths placed side-by-side in mirrored inglenooks, dom-inates the main room. The inscription over the hearths was added in the 1930safter the house was owned by the Howe family. It reads “And well I saw the fire-light like a flight of homely elves”, a line from A Christmas at Sea, by Robert LouisStevenson, whose poetry Howe had written about in his Ph.D. dissertation.
Fireplaces of the same design appear on the second floor, in the master bed-room and in an open hall surrounding the main staircase. The open plan of theground floor is extended upwards through this staircase to the second floor, andbeyond, visually, to a third-floor balcony which looks back down into the second-floor hall (where Howe had his study) and the main stairs leading back to themain ground floor room. Bedrooms open oA of the second floor hall, each withits own sleeping porch. The porches, open to the outdoors except for screensbut still sheltered under the large roof eaves, form a link, essential to so manysummer houses, between indoors and outdoors. Within the house, the juxtapo-sition of the open and interconnected spaces with heavy, enclosing framing givesthe house an ordered, protective, and sheltered feeling (surely a key design ele-ment in Scandinavian buildings set in cold boreal environments), but not a senseof isolation either from other occupants of the house or the environment.
Will iam F. Osgood Cottage
In 1916, short distance from Winter Road Hill along the shore of Silver Lake,the Harvard mathematician William F. Osgood (1864–1943) built his own sum-mer cottage, designed by architect Lucia Knapp, the daughter of Fredrick Knapp,
124 The Hand of the Small-Town Builder
A typical Norwegian ruralvernacular timber design,similar to what Cummingsmight have seen in Norway in 1910.
Winter Road Hill, built by Edward Cummings in 1913
above: Main room withdual hearths.
left : Master bedroom.
The Hand of the Small-Town Builder
, –
by W. Tad Pfeffer
N N E in the late nineteenth cen-
tury saw an explosion of what we now call “new home
construction.” The railroads had opened up the mountains to
tourists while steamers regularly plied the coast. The concept
of a paid summer vacation was gaining traction, and families,
both rich and poor, were eager to rusticate in small villages
where, close to nature, they would enjoy the blessings of a
salubrious climate. Middle-class families could afford to build
homes, and since their budgets precluded “name” architects,
the need was answered by native builders, talented craftsmen
familiar with the local resources who could draw the basic
lines, muster and supervise a building crew, and meet the
needs of clients. These weren’t the fancy summer “cottages” of
Newport or Bar Harbor, but simple structures erected on
modest budgets for comfortable summer living. Many were,
and still appear, very beautiful, and the best examples are
shown in this striking survey of houses built by self-taught
architects whose work survives as testaments to their skill.
The men behind the developments were far more than
builders; they acted as land speculators, developers, and archi-
tects. They ran the typical three-man crews, house-sat over the
winter, and were the liaisons with the “summer people” who
would arrive in June and leave in early September. The houses
they built were sensitive to the local topography and con-
nected to the landscape as masterpieces of vernacular design.
From the seacoast and islands of Maine to the hill towns, lakes,
and rivers of Vermont and New Hampshire, Pfeffer has thor-
oughly researched and thoughtfully photographed the best
examples. His text is rich with history and commentary. Far
more than a pretty picture book, this is a scholarly and richly
documented survey of master craftsmen whose subtle but
powerful influence on the northern New England landscape is
poignantly recorded in these pages.
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W. T P is a geophysicist,
teacher, and photographer at the Uni-
versity of Colorado at Boulder. He is
a Fellow of the University’s Institute
of Arctic and Alpine Research and
Professor in the Department of Civil,
Environmental, and Architectural
Engineering. He has photographed
architecture and landscapes in New
England, Colorado, Alaska, Iceland,
Greenland, and Arctic Canada, often
focusing on the historical imprint of
people through architecture and alter-
ations of the landscape. His photo-
graphs have been exhibited and
published throughout the world.
Summer Houses in Northern New England, 1876–1930
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Myrtle Avenue at Ryerson
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Docking the Bremen
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Lighthouse Tender Cherry
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Sunday Morning, South Street
Waterfront New York ’
by Aldren A. Watson
N Y in the twenties and thirties was a bustling and
thriving port city. Luxury liners from England, France,
and the United States routinely tied up at the piers along the
Hudson; the rivers and approaches teemed with all descrip-
tion of watercraft: tugs and barges, ferry, fire, and pleasure
boats. The docks and piers of the Navy Yard on the East River
were alive day and night with cargo and cranes. Aldren
entered this paradise when just ten years old, taking walks
with his father Ernest, an instructor at Pratt Institute and (like
his wife) a practicing artist who had enthusiastically em-
braced the neighborhood and was determined to record it
with his camera. He used the photographs when teaching
classes on perspective at Pratt; later, his son, Aldren, would use
them as the basis for the watercolors that grace this book.
Here, then, is a New York we will never see again, not the
New York of high finance or fashion, but of commerce and
industry, of stevedores unloading cargo, of men sitting high on
the pulpits of horse-drawn wagons, of breweries and groceries,
of hardware and shoe stores, of the Fulton Fish Market and
grain elevators, of lemonade stands and kids playing stickball.
With author / artist Watson as your tour guide, you’ll visit
the Wallabout Market on market day, understand how an
ocean liner is docked, how a locomotive is stoked, and how a
tugboat is maneuvered. You’ll see the busiest port in the coun-
try on the cusp of transition – from horse-drawn to gasoline
power, from human to machine labor, from neighborhoods
where everyone knew everyone else to the urban anonymity
and high-rise density of the present century. To look at this
book is to rejoice that this history has been recorded with such
sensitivity and artistry, and to recall what America was like
when labor was king, foreign imports were unknown, and
every block of every neighborhood held new surprises.
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A A. W is well known
for his distinguished career as author
and illustrator, with a total output of
more than books for children and
adults. In recent years Watson has
turned his full attention to water-
color painting, drawing on his expe-
rience of growing up in Brooklyn,
New York. Watson lives in Etna, New
Hampshire, and maintains a studio
and woodworking shop in North
Hartland, Vermont.
�
Taking What I Like
by Linda Bamber
O the only minority member of the Depart-
ment, so Desdemona, currently serving as Department
Chair, is running an affirmative action search. A likely candi-
date reminds her of Othello in the old days, before he smoth-
ered her to death with a pillow; against her will, she develops a
crush on the new guy. Iago gets into the act, stirring up mis-
chief as before. Will it all end in tears once again? Read “Cast-
ing Call,” one of eight stories in Linda Bamber’s new collection,
to find out. You’ll find yourself caught between laughter and
suspense as you encounter these and other familiar characters
from Antony and Cleopatra to Henry IV, from Jane Eyre to
real-life American artist Thomas Eakins.
Linda Bamber has combined her love of fiction from the
past with her propensity to shake things up, taking what she
likes and gleefully sharing it with us. As entertaining and con-
temporary as these stories are, they also remind us what we, too,
love about the classic texts she takes apart and reassembles.
Bamber’s tales, like the best translations, exist independently
while reminding us not to forget the plays and novels they
treat. Alternating between admiration and attitude, the stories
layer their plots with commentary, history, and politics, paus-
ing as they build only to make room for the sanity and wit of
the authorial voice. Emotional and genuine, these stories are
also playful, inventive, and hilariously funny. From her long
study of the Bard, Bamber has absorbed some of Shake-
speare’s own empathy, understanding, and expressive flair. It
is not too much to say that her work takes its place in the same
literary sphere as the works it engages.
Like the best and most memorable teachers Bamber brings
the past to bear on the present in ways that inform and
exhilarate. Harvard Review
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L B teaches in the Eng-
lish Department of Tufts University.
Her poetry collection, Metropolitan
Tang, was published by Black Spar-
row /Godine and Comic Women,
Tragic Men, a scholarly book on
Shakespeare, by Stanford University
Press. She lives in Cambridge, Mas-
sachusetts.
TAKINGWHAT
ILIKE
stories
LINDA BAMBER
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Splendor of Heart
by Robert D. Richardson
I The Education of Henry Adams, Adams presciently
observed that “A teacher affects eternity; he can never tell
where his influence stops.” Walter Jackson Bate, the legendary
Harvard professor, was far more than a celebrated and deco-
rated biographer; he was an inspired teacher. And books
about great teachers are rare. Here Robert Richardson, himself
a distinguished teacher and biographer, takes the reader back
to the Harvard of the fifties when men like Bate could hold a
classroom of undergraduates enthralled by making literature
seem “achingly human, and real, and important,” a task that
involved not only exploring the work but the authors them-
selves – their lives, their hopes and their failures. Above all,
Bate instilled in his students the heterodox notion that learn-
ing itself means nothing unless it leads to action, that simply
understanding the text is a dead end unless the words affect
and change behavior.
Goethe, in his conversations with Eckermann, also had it
right: “Everywhere, we learn only from those whom we love.”
Clearly Richardson loved Bate, both as an inspired teacher, but
also as one who believed – and made his students believe –
that “Education is impossible apart from the habitual vision
of greatness.” Richardson ably transfers the enthusiasms of his
quirky, vulnerable, opinionated, and charismatic professor to
the reader; consequently, the teacher’s passion for his subjects,
for the great eighteenth-century figures of Johnson and Burke,
for the Romantic poets (especially Wordsworth and Keats),
for Dickens and Arnold, and for T. S. Eliot (whom he literally
worshipped) is palpable and contagious. The result is this
lucid, vivid, and (dare we say it?) thrilling evocation of a writer
and teacher who clearly changed the life and dictated the des-
tiny of another who proudly carries the torch.
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R D. R is a
biographer and literary historian.
His books include Henry Thoreau:
A Life of the Mind (), Emer-
son: The Mind on Fire (), and
William James: In the Maelstrom
of American Modernism ().
He has been the recipient of many
prizes and fellowships, including a
Guggenheim, a Huntington Library,
and a National Humanities Center
Fellowship. He taught for many years
at the University of Denver, and he
and his wife, Annie Dillard, have
called Key West home since .
Splendor of Heart
a n d t h e t e a c h i n g o f l i t e r a t u r e
. author of Emerson, Thoreau and William James
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The Gypsies
by Alexander Pushkintranslated from the Russian by Antony Wood
wood engravings by Simon Brett
Alexander Pushkin (–), Russia’s greatest writer,
wrote much more than his celebrated novel-in-verse Eugene
Onegin. In this selection of five of his finest narrative poems,
all his essential qualities are on display – his ironic poise, his
stylistic variety, his confounding of expectations, his creation
of poetry out of everyday language. Antony Wood is among
the very few translators who can bring Pushkin to life in Eng-
lish, coming “close to the translator’s ideal.” (The Tablet)
Simon Brett, the well-known engraver, has captured the
essence of each poem in a single dramatic image. The Gypsies
is a double triumph: Pushkin’s poetry and the illustrator’s art.
Lively, elegant, and swift – all that I imagine Pushkin to be.
Christopher Logue
Alone at Sea
, –
by John N. MorrisThe port of Gloucester, nestled under Cape Ann, has been a
focus for writers from Captains Courageous to The Perfect Storm.
From its first settlement to its present struggles, the town has
seen its share of boom and bust, expansion and retraction,
loss and tragedy. The author’s grandfather, Steve Ollson was
lost at sea in , in a dory, trawling for halibut. So who
could be more personally engaged in recording its history
more fully or sympathetically than John Morris? His account,
with more than seventy vintage photographs and maps, an
extensive glossary of fishing terms, and a detailed chronology
of the Gloucester fleet, including all the fishermen and vessels
lost at sea since , is surely the most comprehensive
record yet attempted to bring the town and its inhabitants to
life. In Joe Garland’s words, here’s “an absolutely authoritative
fishing history of Gloucester, the oldest, most dramatic, and
colorful fishing port in the Western hemisphere.”
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The Mary AzarianAddress Book
Right after we published Mary Azarian’s A Farmer’s Alphabet,
some marketing genius in the company suggested the alpha-
betical images could easily be converted into an address book.
This we did, and the spiralbound 6 × 9˝ version sold out and
was reprinted twice. We still get so many requests for it that
we’ve decided to issue a new and improved version, containing
not only the standard address and phone numbers, but also e-
mail addresses and cell phone numbers to bring it into the new
millennium. It will be printed on a heavier paper, bound be -
tween boards, and printed in two colors. Although it may not
have many customers in haute couture circles or on Wall Street,
our address book is the perfect way to carry and store contact
information, and a lot more attractive than a BlackBerry.
Mary Azarian Gift CardsPeople still appreciate a good-looking note card on which to
write personal messages. Here is a selection of images from A
Farmer’s Alphabet, sure to delight that lunatic fringe that still
believes that a handwritten note, on good paper and con-
tained in a classy envelope, says something about the sender and
is more welcomed, absorbed, and remembered than an e-mail.
Twelve cards, containing six images per box, printed in two
colors, selected from among our favorites: Apple, Dog, Farm,
Jump, Neighbor, and (well, who could resist it?) Underwear.
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Pizza in Pienzawritten and illustrated by
Susan Fillion
in English and Italian
W children and adults love in equal measure?
Food! And what food inspires rapture in the hearts of
children and adults alike? Pizza! Have your children ever asked
where pizza comes from? Who invented the Pizza Mar gherita?
How did anyone think of combining such scrumptious ingre-
dients as mozzarella, tangy tomato sauce, and fresh-baked
bread? Thanks to Pizza in Pienza, you and your young charges
will have all the answers, in English and Italian, including a
recipe for homemade pizza.
Here is the essential history of pizza, told by a charming
Italian girl who lives in Pienza and whose favorite food is . . .
well, you can guess it – pizza. Life in Pienza is pretty old-
fashioned, and our young heroine knows everyone on the street
and at the market by name. She comes home from school at
midday to eat meals with her family, but in between her snack
of choice is pizza, and her favorite place is Giovanni’s, where
Giovanni cooks pizza the old-fashioned way – in a hot brick
oven heated by a wood fire. Her grandmother, of course, makes
it by hand and teaches her how to make it too. Her love of
pizza even leads her to the library, where our heroine learns all
she can about this ancient and ever-popular food, and so do we.
Susan Fillion, author and illustrator of Miss Etta and Dr.
Claribel: Bringing Matisse to America, has shifted her attention
from France to Italy in this wonderful book for younger read-
ers. While children will love the vibrant illustrations and simple
story of this girl and her great love, adults will be riveted by the
history and challenged by the bilingual text – for what good is
a history of pizza in English only? Read the Italian out loud –
Mi chiuso gli occhi e respiro tutti gli odori caldi e salati – and
your mouth will really start watering.
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S F is an artist and
museum educator in Baltimore. After
majoring in studio art and French at
Middlebury College, she spent a year
in Italy, learning Italian and study-
ing art history. Pienza, a somewhat
off-the-beaten-track town in Tus-
cany, became a favorite spot, eventu-
ally inspiring this bilingual tale of
life and pizza in an Italian village.
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Trouble in Bugland
by William Kotzwinkleillustrated by Joe Servello
N fourth printing: a collection of five detectivestories by the celebrated William Kotzwinkle with an all-insect cast of characters. Follow Inspector Mantis, of brilliantmind, supersensitive antennæ, and iron grip, and his faithfulsidekick Doctor Hopper, an accomplished violinist and long-jumper, along with a bevy of buggy bandits, as they solveentomological cases with clever sleuthing. Criminal detectioncombined with entomology makes this, in the words of TheHorn Book, “the most engaging and cleverest reincarnation ofSherlock Holmes and Doctor Watson yet.”
Excitement and humor! New York Times Book Review
The Great Piratical Rumbustification
by Margaret Mahyillustrated by Quentin Blake
A wild and woolly stories from two of the mostnotable figures in children’s literature. The Great PiraticalRumbustification introduces us to the rambunctious Alpha,Oliver, and Omega Terrapin, who finally meet their match inOrpheus Clinker, a reformed pirate turned respectable(?)babysitter. Before you can say “Yo, Ho, Ho,” the Terrapinhousehold becomes headquarters for the biggest pirate partyever. The Librarian and the Robbers is an equally tickling taleof a band of wicked robbers who carry off the lovely andlearned librarian, Serena Laburnum, who not only outwitsthe robbers by turning them into respectable citizens, but alsointroduces them to the everlasting pleasures of the DeweyDecimal System.
Two books’ worth of story crammed into magical pages . . .
cut from the same cloth as books by William Steig and Roald
Dahl. David Elzey, The Excelsior Files
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Wishboneby Don Share
Wishbone is poet and senior editor of Poetry Don Share’s third book of
poems, verse that takes place in America’s backyards and byways, intensive
care rooms and airports, haunted by fathers and Fathers, informed by phi-
losophy, the Judeo-Christian tradition, and pop culture. One finds the poet
there too, less his portrait than a self-deprecating likeness in the crowd, his
“umbrella out and Cubs cap on . . . curiously Odyssean in the Loop,” and
always at the ready.
Share is one of the more gifted craftsmen we have writing in America today.
Boston Review
---- .
Collected Poems by Naomi Replansky
Nominated for the National Book Award in , Naomi Replansky’s first
book Ring Song dazzled critics with its candor and freshness of language.
Here at long last is the new and collected lifetime of work by a writer hailed
as “one of the most brilliant American poets” by George Oppen. Replansky
is a poet whose verse combines the compression of Emily Dickinson, the
passion of Anna Akhmatova, and the music of W.H. Auden.
Naomi Replansky is a major American poet, long overdue for acclaim.
X. J. Kennedy
---- .
Well Then There Nowby Juliana Spahr
Accretion, articulation, exploration, transformation – these are just a few of
Juliana Spahr’s interests. Her universe, more inclusive than exclusive,
embraces grape varietals, the shrinking of public beachfront in Hawaii,
endangered plant, fish, and wildlife species, the melting of the polar ice caps.
But within this eclectic repertoire, she also knows how to sing – in the old-
est tradition of poetry – of loss. Her lament for the fragility, vulnerability,
and sensitivity of nature is the most keen.
Innovative, incantatory, politically charged, and decidedly accessible.
Publishers Weekly
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Karsh: Beyond the Cameraselected with an introduction & commentary by David Travis
In , Jerry Fielder, then Yousuf Karsh’s long-time studio assistant and
currently Director of the Karsh Estate, sat down with the master photogra-
pher and taped over nine hours of recollections. Drawing from these record-
ings, never before made available, David Travis, former Curator of
Photography at the Art Institute of Chicago, offers the reader an unparalleled
tour through many of Karsh’s iconic images, including the one attribute that
has been missing from all prior publications – the photographer’s voice.
‒‒‒‒ .
Ingenious Contrivances, Curiously Carved
by Stuart M. FrankThe word “scrimshaw” ordinarily brings to mind decorated teeth, but
whalemen also created crimpers and canes, umbrellas and swifts. The
collection of scrimshaw at the New Bedford Whaling Museum is the
largest, most varied, and most representative in the world, and in this
book, with the subject’s leading expert, curator Stuart M. Frank as your
guide, you will be introduced to every possible permutation of these
whalemen’s fancies. With detailed and dramatic photographs.
‒‒‒‒ .
The Forty Days of Musa Daghby Franz Werfel
translated from the German by Geoffrey Dunlop
newly revised by James Reidel
The Forty Days of Musa Dagh is Franz Werfel’s masterpiece, the massive saga
that brought him international acclaim in and drew the world’s atten-
tion to the Armenian Genocide. This is the story of how the people of sev-
eral Armenian villages in the mountains along the coast of present-day
Turkey and Syria chose to disobey the deportation order of the Turkish gov-
ernment, fearlessly repelling Turkish soldiers and military police through-
out the summer of .
In every sense, a true and thrilling novel. New York Times Book Review
---- .
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An Artist in Veniceby Adam Van Doren
For the depiction of Venice by artists, it’s a high bar that’s been set, but Adam
Van Doren, grandson of the Pulitzer-Prize-winning poet Mark Van Doren,
convincingly confronts the competition in this charming memoir. His tour
of the city is rich and convincing, filled with the presence of illustrious pred-
ecessors, from Ruskin and Canaletto to Bellini and Sargent and illustrated
with full-color paintings by the author/artist.
If I could paint like anybody, I’d love to be able to paint like [Van Doren].
Graydon Carter, editor of Vanity Fair
‒‒‒‒ .
Rosemary Verey
by Barbara Paul RobinsonRosemary Verey was the last of the great English garden legends. She was the
acknowledged apostle of the “English style,” the “must-have” adviser to the
rich and famous, including Prince Charles and Elton John, and a beloved
and wildly popular lecturer in America. Here is her story, recounted by a
successful Manhattan attorney turned garden assistant, who worked with
her at Barnsley House and remained close for the last twenty years of her life.
The definitive book on the great gardener and designer.
Penelope Hobhouse
‒‒‒‒ .
Printer’s Devil
by Simon LoxleyThe book and type designer Frederic Warde is remembered today chiefly for
his collaboration with Stanley Morison, for producing the singular typeface
Arrighi, and for being, briefly, the husband of Beatrice, Monotype’s charis-
matic publicity manager. His life was short, but crammed with adventure,
attitude, and ambition, a peripatetic, rollercoaster career that brought him
into contact with most of the leading players in his field. This book is essen-
tial reading for anyone interested in the story of design, type, and printing
in the interwar years.
‒‒‒‒ .
OABABABABABABABABABABABPG HE FG HE FG HE FG HE FG HE FG HE FG HE FG HE FMCDCDCDCDCDCDCDCDCDCDCDN
Printer’s DevilThe Life and Work of
FredericWarde
Simon Loxley
Faith, Hope, & Charity , –
by Suzanne Greenberg and Barbara NorfleetDuring the last decades of the th century, our country’s expanding
wealth and influence moved progressive thinkers to evaluate the role of
public institutions in providing for the welfare of a growing population.
Faith, Hope, and Charity examines Francis Greenwood Peabody’s Social
Ethics Collection at Harvard, a wide-ranging assemblage of photo-
graphs, maps, and charts documenting living conditions across the US
and Europe, and investigates the role of Peabody’s collection in com-
pelling the wealthy to invest in the welfare of the less fortunate.
---- .
La Bonne Tableby Ludwig Bemelmans
The gifted and exuberant Ludwig Bemelmans was trained as a boy for a
career as a restaurateur, and La Bonne Table is in effect his gastronomical
autobiography. The entrancing memories and charming pictures assembled
here transport the reader behind the scenes of the great hotels of Europe
and America, including the immortal “Hotel Splendide,” and such restau-
rants as Tour d’Argent in Paris and Le Pavillon in New York. Here, truly, is
a feast of reading, as a lost world of luxury and elegance is brilliantly evoked
and savored. ---- .
Genius of Common Sense
by Glenna Lang and Marjory WunschNo one affected the way we think about life in densely packed urban
centers more than Jane Jacobs. Here is the first book for young people
about this heroine of common sense, illustrated with almost a hundred
images. This story of a remarkable woman will introduce her ideas and
life to young readers, many of whom are growing up in neighborhoods
that were saved by her insights, political savvy, and staunch resistance.
Genius of Common Sense throbs with [Jacobs’s] passionate struggles . . . a handsome book, loaded
with primary sources . . . that bring alive these stories for any teenager wondering how she can make
a difference in the world. Ruth Conniff, New York Times
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West & Northwest:
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The African
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Taking What I Like
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Splendor of Heart
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Pizza in Pienza
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Publisher’s RepresentativesGodine and the Brave New World
H goes by when I am not asked what Godine is doing about e-books and
Amazon and what effect these new media will have on our business. Good questions with
some cloudy answers. If you look through this catalogue, you can see for yourself how few
of our titles will or – given the present technology – can make an easy or satisfactory tran-
sition to a handheld electronic device. There is a reason why books such as The Hand of the
Small-Town Builder and Waterfront New York offer two-page spreads that are carefully
designed, and not easily disassembled, visual units. The design and the production of such
titles are as much a part of their value as “intellectual property” as the words and images.
Broken apart and parsed, outside their considered context, they lose meaning and impact.
The printed book has survived for five hundred years because it is, like a violin, a
machine perfectly suited to its use. We take books for granted and can instinctively find the
title page, the index, or the table of contents. They “open” without turning on a switch. We’ve
never issued a user’s manual (apart from Georges Perec’s Life a User’s Manual). There is a
comfort level with a book that needs little explanation – or justification.
If there is a revolution it involves a) how text, relatively pure text, is now stored and
transmitted and b) the physical distribution of information. Consider our lead book, Le
Clézio’s memoir of growing up in Africa. Here it doesn’t matter in what type size or style
you read the text. The files needed to read this text can be manufactured and sold cheaply,
on a “per read” basis, far more cheaply than a physical book. The real issue is the price the
reader is willing to pay, and the publisher is willing to ask, for the content. Companies like
Amazon don’t develop (or even recognize) a talent like Le Clézio, but they have the tech-
nology to distribute – both the physical book and the electronic counterpart. They are
delivering the milk, but they are hardly attending to the cow. If books (the milk) are sold
for . through Amazon, who is going to step forward to take care of the cow at .?
And if it makes so little difference to the reader through which “device” the text is accessed –
a book or a Kindle – I would argue it’s clear who in time will win this battle.
But, of course, content does have a price: the price of selecting and developing it, of edit-
ing and organizing it. These are the costs that are not reflected in a “distribution model”
where one pays only for the end results. This is a battle between content creators and con-
tent distributors that will be played out over the next decade, complicated by an electronic
revolution that has made content creation open to virtually anyone. If you own and can
operate a computer, you can write, design, and distribute a book. The numbers are aston-
ishing; in “non-traditional” (meaning self-published or on-demand titles) accounted
for , new titles. In , that number had spiked tenfold, to more than , , .
It’s a new world, more confused than brave, and we’re doing our best to cope with it. But
speaking personally, I was just as happy in the old one, and the books you’ll encounter in
this catalogue probably reflect a bias toward quality book making better than any justifica-
tion you’ll read in a Publisher’s Note. � D ·R ·G
cover.0423_cover.0515 5/23/12 3:34 PM Page 2
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David R.GodineP U B L I S H E R
Fall–Winter 2 0 1 2
Books that matter for people who care
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