Arthur Ransome is best known for the twelve immortal "Swallows and Amazons" books he wrote on his return from Russia in 1928. From his prose he appears a genial and gentle Englishman, who, like his protagonists, pursued benign maritime adventures. Nothing could be further from the truth. By the time he wrote his masterpieces, the most interesting episodes of his life were well behind him. For Ransome led a double, and often tortured, life. Before his fame as an author, he was notorious for very different reasons: between 1917 and 1924, he was the Russian correspondent for the Daily News and the Manchester Guardian, and his sympathy for the Bolshevik regime gave him unparalleled access to its leaders, policies, politics, and plots. He was also the lover, and later the husband, of Evgenia Shelepina, Trotsky's private secretary, as well as friends with Karl Radek, the Bolshevik's Chief of Propaganda, and Felix Dzerzhinsky, founder of the secret police. In denying the horrors that followed the Revolution, and in considering Stalin a latter-day Cromwell, he was the bane of the British establishment. Yet his contacts earned him not only the admiration of liberals, both in the U.K. and the U.S., but a place in the British Secret Intelligence Service.In this biography, Chambers traces Ransome's life back to his earliest childhood, his struggles as a hack writer, and his flight from a disastrous marriage, then on to the decade he spent in Russia during that country's violent, formative years, ostensibly as a journalist, but more accurately as a spy (albeit a sympathetic one). The book's genius lies in Chambers's complete understanding of the Revolution's complexity, the rise and fall of the factions, the extreme personalities who guided it and were often sacrificed to it. He explores the tensions Ransome always felt between his allegiance to England's decencies and the egalitarian Bolshevik vision, between competing romantic attachments, between the Lake Country he loved and always considered home and the lure of the Russian steppes to which he repeatedly returned. What emerges is not only history, recorded by someone who was there to witness it, but also the story of an immensely troubled and conflicted human being not entirely at home in either culture or country.Roland Chambers is a biographer and children's book author and 2009 winner of the Biographers' Club Best First Biography Prize. He divides his time between London and Connecticut. Praise for The Last Englishman

"In this fascinating and thoroughly researched book, Roland Chambers gives us the materials that we need to understand this elusive, adventurous, enigmatic man...." -- The Times (UK), Stella Rimington, former director-general of MI5"Chambers's triumph is to chronicle the crucial period of physical, emotional and intellectual exile through which Arthur Ransome finally came home."
-- The Guardian

"This sturdy biography contains some surprises for those readers who know Ransome (1884-1967) as the author of the Swallows and Amazons series of children's books."
-- Booklist

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The Forty Days of Musa Dagh is Franz Werfel's masterpiece that brought him international acclaim in 1933, drawing the world's attention to the Armenian genocide. This is the story of how the people of several Armenian villages in the mountains along the coast of present-day Turkey and Syria chose not to obey the deportation order of the Turkish government. Instead, they fortified a plateau on the slopes of Musa DaghMount Mosesand repelled Turkish soldiers and military police during the summer of 1915 while holding out hope for the warships of the Allies to save them.





The original English translation by Geoffrey Dunlop has been revised and expanded by translator James Reidel and scholar Violet Lutz. The Dunlop translation, had excised approximately 25% of the original two-volume text to accommodate the Book-of-the-Month club and to streamline the novel for film adaptation. The restoration of these passages and their new translation gives a fuller picture of the extensive inner lives of the characters, especially the hero Gabriel Bagradian, his wife Juliette, their son Stephanand Iskuhi Tomasian, the damaged, nineteen-year-old Armenian woman whom the older Bagradian loves. What is more apparent now is the personal story that Werfel tells, informed by events and people in his own life, a device he often used in his other novels as well, in which the author, his wife Alma, his stepdaughter Manon Gropius, and others in his circle are reinvented. Reidel has also revised the existing translation to free Werfel's stronger usages from Dunlop's softening of meaning, his effective censoring of the novel in order to fit the mores and commercial contingencies of the mid-1930s.




In bringing The Forty Days of Musa Dagh back into print and revising the English translation, we aim to make this new Verba Mundi edition more faithful to the book Thomas Mann read "with pleasure and profit" in German.




"In every sense a true and thrilling novel It tells a story which it is almost one's duty as an intelligent human being to read. And one's duty here becomes one's pleasure also."

New York Times Book Review

"Forty Days will invade your senses and keep the blood pounding. Once read, it will never be forgotten."

New York Times




"Werfel's book did more than the efforts of any diplomat, journalist, or historian to encourage speech about the unspeakable. It arrives todaywhen Syria and Congo are killing fieldsas a timely reminder that savagery thrives in silence."


The Barnes and Noble Review

Back when we were both very young, Godine had the honor of publishing the first two poetry books of Mark Doty, who has since gone on to considerable and deserved fame and fortune, winning the National Book Award for Poetry in 2008, as well as honors from the National Book Critics Circle, the LA Times Book Prize, a Whiting Award, and (as the first American in its history) the T.S.Eliot Prize. Here, reset and containing almost two dozen poems that appeared in small magazines but have never before been collected, are the complete texts of Turtle, Swan and Bethlehem in Broad Daylight to which Doty has contributed a new introduction. Essentially a new book, and important both for its history and its new inclusions.

"A new book of poems or of anything by Mark Doty is good news in a dark time. The precision, daring, scope, elegance of his compassion and the language in which he embodies it are a reassuring pleasure."
W.S.Merwin

"If it were mine to invent the poet to complete the century of William Carlos Williams and Wallace Stevens, I would create Mark Doty just as he is, a maker of big, risky, fearless poems in which ordinary human experience becomes music."
Philip Levine

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              In February 1940 Franz Werfel began work on an "intricate little tale of a marriage," which, he warned his publisher, was quite a departure from his best-selling fiction of the 1930s. This new short novel was to be a tragicomic tale of contemporary history, a glimpse into a world that was soon to become inhospitable and uninhabitable.




Pale Blue Ink in a Lady's Hand is, in many ways, a prequel to what is known as Holocaust literature. It is about a long suppressed love triangle between Leonidas Tachezy, a high-level Austrian career bureaucrat, his younger, trophy wife Amelie, and a Jewish woman from his past, Vera Wormser, with whom he'd fallen in love when she was fourteen. After his marriage, Leonidas encounters Vera in a German university town where she is studying philosophy. He makes a promise that implies marriage, but drops out of her life entirely to return to a comfortable existence until one day when a letter arrives, addressed with Vera's unmistakable handwriting in pale blue ink. Like Humbert Humbert in Lolita, Leonidas explains his "crime" against Vera to an imaginary courtroom in a way that anticipates Nabokov. The evasions and self-deceptions of Werfel's characters, the various Austrian typesboth Jewish and non-Jewishand the pervading breathless air of anti-Semitism capture interwar Austria in its poignant eleventh hour of toleration, the heart of Werfel's subject in this twisted love story.




Prior to the current NEA-award-winning translation, Pale Blue Ink in a Lady's Hand was the only Werfel novel never before published in book form in English translation. Available now to a new generation of readers in America, this translation of Werfel's novella powerfully suggests that Werfel still belongs in the same company as his contemporaries Mann, Kafka, Canetti, Musil, and other Central Europeans whose works have a permanent place in the world canon.

This is, quite simply, the definitive history of the boat generally considered the greatest ocean racing yacht of the twentieth century. It begins with Roderick Stephens, Sr. whose "deep and abiding faith in his sons' talents, character and good sense" led him to invest his reputation and fortune to help Olin Stephens, then little more than a teenager, and Olin's brother Rod, design and build an ocean racer to compete against the finest offshore yachts of the day.

The result was Dorade, a 52-foot yawl launched in May 1930 into the teeth of the Great Depression. Lightly built, with spartan accommodations and berths like coffins, she performed well in her shakedown summer. But it was the 1931 Transatlantic Race, which, under Olin's command, she won in sixteen days and an hour, beating the next (and much larger) boat by two days, a winner on corrected time by over four days, that set her name firmly in the annals of yachting history and changed forever the face of ocean racing yacht design.

In the eight decades since her launching she has been actively raced and restored under the ownership of a host of colorful and devoted characters on both coasts. A common sight off San Francisco and Seattle, a frequent racer in the Solent and Mediterranean, and now back east to race again off Newport, she has outlived her modest and beloved designer and most of her owners. She has crossed the Atlantic to England and the Pacific to Hawaii numerous times, suffered collisions, lapses of good judgment, and misguided improvements. She has endured repairs and restorations, witnessed love affairs, heartbreak, and even death. This is her story, from stem to stern, nautical history at its best and related with affection, accuracy, and eloquence by a sailor who has sutured together the many strands, both verbal and visual, of a great yacht's life. And what a life it has been! As she ghosted past the Lizard that morning of Tuesday, 21 July 1931, to shock the yachting world with her Transatlantic win, Dorade was first to finish and has remained first ever since.

Praise for Dorade

"Doug Adkins has collected and compiled important documents, some of which are published here for the first time. Both author and publisher share a magical understanding and appreciation for the subject. The book is a history, but words without the splendid graphics   historical and contemporary photographs, and drawings would only partially tell the story."
WoodenBoat, March/April 2012

"A beautifully designed and illustrated history of the Dorade, a prizewinning racing yacht that made its name on the East Coast (it won the 1931 Transatlantic Race) and found a home for a number of years sailing on Puget Sound."
Seattle Times

Author Douglas D. Adkins is offering a deluxe edition of Dorade through The Capstan Press. The $250.00 limited edition is a run of 250 numbered and signed copies, packaged in a custom cloth box. Also included with the book is a replica of the "Welcome Home Dorade Crew" ribbon of 1931 fashioned in leather and used as a bookmark, an 8" x 10" B&W museum quality photograph of Dorade, an original accommodation plan provided by Sparkman & Stephens, an original construction plan provided by Sparkman & Stephens, and a 1936 rigging plan provided by Sparkman & Stephens. For information on ordering please visit: www.doradehistory.com/purchase

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From the distinguished author-illustrator of the maritime Tim series and winner of the Kate Greenaway medal comes this classic picture book that was recommended to our editor by a children's bookseller in Princeton, NJ. "Please find out if Sarah and Simon and No Red Paint is still in print," she implored, "and if it is not, please do all you can to publish it." With some difficulty we procured the book, which was indeed out of print, read it, and fell in love.

            Here is the story of two children, Sarah and Simon, whose father is a painter, and who live with their parents and baby brother in a big room called a Studio. Their father is talented, but unacknowledged, and so the family is poor, though very happy. When the story opens, the father is painting his masterpiece. Sarah and Simon are good little helpers and spend their time doing chores and visiting their favorite place in town: the old second-hand bookshop with its kind owner. Soon the masterpiece is almost finished, except for the bit of red paint needed to complete it, and even the dealer agrees to buy it if it were finished the next day. But there is no more red paint, and no more money left with which to buy it. So Sarah and Simon set out to help their father, and to their surprise, end up reconciling their family with an estranged uncle and restoring the family fortune as wellall with the help and kind solicitation of the bookshop owner

            Godine is proud to bring this classic with its detailed line drawings and delicate watercolor illustrations back into print, and our thanks to the good bookshop buyer who came to the rescue of this wonderful book.




Praise for Sarah and Simon and No Red Paint




The cross-hatched ink and sepia-washed drawings in Edward Ardizzone's newly republished "Sarah and Simon and No Red Paint" (Godine, 48 pages, $17.95) evoke another lost era, that of Britain in the early 1960s. In a pleasantly old-fashioned story that begins with struggle and ends with redemption, we meet two children who live with their mother, their baby brother, and their father, a painter, "in a great big room called a Studio." Though loving, the family is poor, for it seems that when the painter refused to renounce art and embrace business, his rich Uncle Robert had cut him off without a farthing. Willingly, Sarah and Simon help their parents make do: They wash their father's brushes, sit for portraits, run errands. Their favorite refuge is a shabby second-hand bookshop, whose owner lets them read all they like in exchange for doing a bit of dusting. So when their father runs out of red paintand moneyjust as he is completing his masterpiece, it is to the bookshop that the children run. And it is there, after overhearing their anguished conversation, that a crusty old customer decides that he will reveal himself not only as an artistic well-wisher but also as . . . Ah, but that would be telling.

Wall Street Journal

The Golden Ass has been a favorite of the private presses and illustrators since the invention of printing. Apuleius's comic masterpiece, originally composed in Latin in the second century a.d. traces the hilarious misadventures of a young man a tad too curious about magic for his own good. Hoping to change himself into an owl, he turns himself into a donkey instead, and in this guise is sold, stolen, or otherwise shunted from one master to the next. Along the way, he sees the underbelly of the sprawling Roman Empire, with its saints and villains, its venal merchants and greedy priests, until he's transformed back to human form via divine intervention. Not only a story of comic redemption, it is also a self-conscious, early example of storytelling that left an indelible mark on subsequent literature from Chaucer's Canterbury Tales to Boccaccio's Decameron, from Shakespeare's A Midsummer Night's Dream to Pinocchio.M.D. Usher's creative adaptation brings the tale alive "for young readers of all ages." Classical scholars will admire its faithfulness and its clever innovations, while new readers young and old will enjoy its freshness and accessibility. Motley's lively, thoroughly contemporary drawings capture the boisterous, see-sawing plot, while wittily quoting any number of graphic predecessors. Here is illustration at its best, at once illuminating and expanding a text while bringing it squarely into a new century.M.D. Usher is a professor of Classics at the University of Vermont. In addition to publishing scholarly books in the field of classics, he is the author of two other books for children and an opera libretto in Latin based on the poetry of Virgil.T. Motley is an illustrator and cartoonist. He teaches cartooning at The School of the Visual Arts and illustration at Pratt Manhattan.

Praise for The Golden Ass

A faithful (if relatively clean) version of the world's oldest surviving complete novel, written 'for librarians, teachers, scholars, and extremely intelligent children.' An entertaining romp, even without the raunchy bits.
Kirkus, starred review (November 2011)

Adults who are familiar with the ancient tale The Golden Ass may be slightly alarmed that it is now being marketed to children, but fear not! The violent, bawdy adventures have been toned down in this adaptation, and the result is  quite enjoyable. . . . Motleys pen-and-ink illustrations are terrifically detailed and cartoonlike and are reminiscent of John Tenniels work in Alices Adventures in Wonderland. The violence and sex have been softened, but the goofiness and sense of adventure are still here, making this book perfect for humor-loving middle schoolers.
School Library Journal

**Winner of a 2012 American Horticultural Society Book Award**

Gardening, more than most outdoor activities, has always attracted a cult of devotedly literate practitioners; people who like to dig, it would appear, also like to write. And many of them write exceedingly well. In this thoughtful, personal, and embracing consideration of garden writing, garden historian Elizabeth Barlow Rogers selects and discusses the best of these writers. She makes her case by picking delightful examples that span two centuries, arranging the writers by what they did and how they saw themselves: nurserymen, foragers, conversationalists, philosophers, humorists, etc. Her discussions and appreciations of these diverse personalities are enhanced and supported by informed appraisals of their talents, obsessions, and idiosyncrasies, and by extensive extracts from their writings. Rogers provides historical background, anecdotal material, and insight into how these garden writers worked. And wherever appropriate, she illustrates her story with images from their books, so you can not only read what they wrote but also see what they were describing. Since gardens are by their very nature ephemeral, these visual clues from the pages of their books, many reproduced in color, are as close as we will come to the originals.

What makes Writing the Garden such a joy to read is that it is not simply a collection of extracts, but real discussions and examinations of the personalities who made their mark on how we design, how we plant, and how we think about what is for many one of life's lasting pleasures. Starting with "Women in the Garden" (Jane Loudon, Frances Garnet Wolseley, and Gertrude Jekyll) and concluding with "Philosophers in the Garden" (Henry David Thoreau, Michael Pollan, and Allen Lacy), this is a book that encompasses the full sweep of the best garden writing in the English language. 

Writing the Garden is co-published by the New York Society Library and the Foundation for Landscape Studies in association with David R. Godine, Publisher.

Elizabeth Barlow Rogers is the president of the Foundation for Landscape Studies. A resident of New York City since 1964, Rogers was the first person to hold the title of Central Park Administrator, and she was the founding president of the Central Park Conservancy. The co-author of Romantic Gardens: Nature, Art, and Landscape Design (Godine, 2010), Rogers has won numerous awards for her work as a writer and landscape preservationist.

Praise for Writing the Garden

The seeds for many a new garden library will be harvested from this slim volume or it will inspire readers to return to well-worn classics.
New York Times Book Review

Published to accompany an exhibit at the New York Society Library, this anthology offers a delightful introduction to more than 40 classic garden writers. Rogers (Landscape Design: A Cultural and Architectural History), a legendary park preservationist best-known for her work championing the renovation of New York's Central Park, offers thoughtful selections from 200 years of garden writing. There are nurserymen, novelists, humorists, philosophers, statesmen, and journalists in this eclectic group. Some members of this pantheon, such as Thomas Jefferson and Edith Wharton, will be familiar to all readers. Others, such as Beverley Nichols, may be known only to true gardening cognoscenti. All are masters of this literary genre. Rogers provides an intimate and illuminating introduction to each writer, highlighting the special appeal, idiosyncratic perspectives, and delightful charms of each. She has also included photographs and drawings from their original works. This is an anthology that will pique any garden lover's interest in further reading.
Publishers Weekly

Rogers is not only a garden writer and landscape preservationist but also a bibliophile. In putting together this artfully produced collection of knowledgeable yet "informal, engaging, and sometimes droll" British and American garden literature, Rogers drew on her own collection and that of the New York Society Library, reveling in the pleasures of rare books. Rogers does share colorful cuttings from the writings of 42 eloquent master gardeners past and present, but her mission is primarily biographical. In a book lushly illustrated with watercolors by Childe Hassam, plates from first editions, and photographs, Rogers vividly, wittily, and incisively profiles such narrating horticulture exemplars as Thomas Jefferson; Gertrude Jekyll, for whom "gardening was horticultural picture making"; William Robinson, who was "sometimes colorfully caustic"; nurseryman Andrew Jackson Downing; Celia Thaxter, a lighthouse-keeper's daughter and a poet as well as a gardener; the "urbanely quirky, humorously serious" Katherine S. White; and Michael Pollan, who sees the garden as a middle ground, where nature and culture are both enriched. In all, a vital, delectable, and illuminating retrospective of an essential branch of letters.
Booklist

If paradise is a grand mix of intersecting activity in a naturally aesthetic setting, then it is captured here for the lucky readers of this book.
CHOICE

It may be true that a dog is a man's best friend, but if you are a serious dog owner, you are probably a serial dog owner, having embraced not one but a succession of canine companions, each of them memorable in their own particular way, and each marking a particular epoch in your own life. We remember which dogs our children teased (and which generally suffered the abuse nobly), the ones that chewed the furniture and peed on the rugs, the ones that anticipated our every move and mood and displayed affection and loyalty in the face of neglect and indifference, the ones that died too early and the ones that lingered into old age. All of them with their own distinctive foibles and personalities, none of them with any sense of their own mortality.

Indeed, our own lives can be chronicled by the lives of the dogs we have owned, each death marking an ending, to be followed shortly by a new beginning. In this intimate, moving, and revealing memoir, Bill Henderson, the beloved founder of the Pushcart Press, divides up the stages of his life into canine epochs. There was (and there always is) the first dog. . . , the worst dog, the ones that died untimely deaths, the one who saved a marriage. "Packaging" is never openly discussed in the halls of this publishing house, but here we have tried to make as perfect a package as possible. The book contains lovely line drawings by Leslie Moore, is designed and printed in an intimate format, and is even set in Minion, which means "faithful companion." This is a book to love even if you don't love dogs.

Bill Henderson is founder of Pushcart Press and editor and publisher of the annual Pushcart Prize: Best of the Small Presses, now in its thirty-fifth year. He is the author of the memoirs His Son (Norton, 1981), Her Father (Faber and Faber, 1995), Tower (Farrar, Straus & Giroux, 2000), and Simple Gifts (Free Press, 2006). He received the 2006 Poets & Writers/Barnes & Noble "Writers for Writers" citation and the 2006 Lifetime Achievement Award from the National Book Critics Circle.

Leslie Moore draws portraits of dogs for many owners (and breeds). She was a favorite artist of the late Senator Edward Kennedy and illustrated his last Christmas card.

Praise for All My Dogs

Pushcart Press founder Bill Henderson had the sound idea of chronicling his life through the dogs who shared it, and All My Dogs (Godine, $19.95) handily wins Best in Show. From Trixie, who taught him to play without ceasing, to tragic Ellen and Rocky, Henderson honors each one. Sophie, an adopted Labrador, saved his second marriage and watched his daughter grow up. Opie was a rescue beagle rescuing not him but rather his elderly owners. Patient Lulu helped Henderson when he had cancer diagnosed. Accompanied by lovely drawings by Leslie Moore, memoirs like this dont happen along very often.
Washington Post

Interspersed with sketches from his childhood and adult forays into romance and publishing, Henderson reveals how much his dogs taught him about enduring tragedy and enjoying the pleasures of life. Few readers will get through this slender volume of heartwarming portraits and vignettes without reaching for the tissue box.
Booklist

With dry humor and enviable honesty, this gem by Pushcart Press founder Henderson (His Son) tells his life story through 13 dogsof different sizes, shapes, breeds, and mixesthat he and his family have owned. His first dog, Trixie (a German Spitz mix) shaped his formative years in suburban Philadelphia. After his friend's father kicked out the mutt Duke, a 10-year-old Henderson took him in. Labrador retriever Sophie saved Henderson's relationship with his future wife and witnessed the couple's daughter, Holly, grow up. Today, Franny and Sedgwick keep Henderson company. Henderson candidly discusses the deaths of his dogs, including the unexpectedly intimate depiction of the time he discovered Ellen and Rocky (a beloved Chesapeake Bay retriever and mutt) floating in a residential swimming pool in his upstate New York neighborhood. While making a solid, yet subtle, argument for why dogs remain man's best friend, Henderson also writes of his Christian upbringing and his "spiritual sojourn." The book is greatly enhanced by famed artist Leslie Moore's line drawings, and the typeface is Minion, which just happens to mean "faithful companion.
Publishers Weekly

Just when I thought it would be impossible for a dog memoir to set itself apart from the plethora of similar books on the shelves today, I read All My Dogs, a charming and moving account by Bill Henderson, founder of the Pushcart Press. Similar in scope and sensibility to Elizabeth von Arnim's 1936 classic, All the Dogs of My Life, this narrative chronicles the dogs with whom Henderson has shared his life, and the ways they informed it. . . . Henderson's way of telling an economical, well-crafted tale is similar to the manner in which he leads his life: resourcefully and creatively. His dogs have been invaluable companions, and their stories, as well as his own, make for a memorable read.
Claudia Kawczynska (Editor-in-chief), The Bark Magazine

"It would be a mistake to dismiss All My Dogs by Bill Henderson as just another entry into the already inflated category of canine books, because this little memoir is masterful. . . . What makes All My Dogs extraordinary is Henderson's skill at weaving together stories about dogs with the trials and tribulations of his personal life; especially moving is the author's account of his own bout with breast cancer that coincided with his dog Lulu's cancer diagnosis. Bill Henderson's writing is simple yet eloquent, at times poetic and poignant. His descriptions of people, events, and scenes range from the humorous to the dramatic. Henderson well knows how to tell a story. He also knows he is lost without dogs. In a chapter entitled "Dogless Years," Henderson writes of his first, unsuccessful marriage, lamenting, "The idea of children, or dogs, never came up. Our lives were as empty as a bare ruined choir." Indeed, Henderson is at his best when a dog is by his side. That's what All My Dogs is really about. Happily, this story reinforces what most dog lovers already believethat a dog is the best companion a human could ever have."
ForeWord Magazine

The sad reality is that humans outlive dogs many times over. All My Dogs is a unique memoir from Bill Henderson as he tells his own tale of the main dogs of his life, reflecting on their unique personalities and their impact on his life, empowered by touching drawings all throughout. For those seeking poignant tales of man and dog, All My Dogs is a choice and much recommended collection, a top pick.
Midwest Book Review

It's hardno, impossiblenot to get swept up in the emotions of a good dog story, hypersentimentality notwithstanding, and All My Dogs is many good dog stories told as one unified, interlaced telling of the growth of a dog lover's mind and heart.
Bloomsbury Review

The small, high, mountain town of Dublin, New Hampshire was known as an artistic and literary retreat in the last quarter of the nineteenth century. Its climate, unpretentious life style, and magnificent scenery attracted artists as diverse as Joseph Lindon Smith, George de Forest Brush, Abbott Thayer and his young protgs Frank Benson and Rockwell Kent. Mark Twain, who summered there twice, called it "the one place I have always longed for, but never knew existed in fact until now."

Less well known, but equally fascinating, is Dublin's claim as home to just about every architectural style and several major domestic architects of the late nineteenth and early twentieth century. On its slopes, overlooking deep, spring-fed Dublin Lake and the looming Mount Monadnock, we find a virtual encyclopedia of building styles, ranging from the plain and unadorned to the most ornate and ambitious. A list of the architects who plied their trade in this small town reads like a list from Who's Who: Charles A. Platt, Peabody & Stearns, Rotch & Tilden, Henry Vaughan, and Lois Lilley Howe.

In this immensely readable and enjoyable survey, veteran architectural historian William Morgan takes the reader on a verbally vivid and visually varied tour of the terrain, concentrating not only on the traditional and expected examples that crop up in Dublin as often as elsewhere, but also on the eccentric, unusual, and often unique extravaganzas that pepper its slopes. For Dublin was a great melting pot, a place which for a century had both the money and the taste to indulge architects of all stripes and styles, and to give them commissions to design among the most beautiful and original examples their talents could produce.

Profusely illustrated, comprehensive in its treatment, and written with verve, style, and a scholar's eye, Monadnock Summer will be recognized as among the best books on New England architecture to have been published in the last 25 years.

William Morgan, among the pre-eminent chroniclers of New England's built environment, has documented the patrimony of this rich region in numerous books and teaches at Princeton and Brown.

Praise for Monadnock Summer

Wanderlust for Dublin is exactly what this book inspired in me. In a compact but lively and readable volume, architectural historian William Morgan has traced the personal and architectural history of Dublin. Beginning in the Revolutionary era, when it was largely composed of simple Cape Cod-style cottages, Morgan chronicles the town's growing popularity and gradual embrace of more ardent and affluent styles of building.James McCown, Art New England