Washington University Books

I love this book.After sending it to the wrong address, Amazon mailed a new copy to me very fast and free of charge ! I did appreciate this and I will look at Amazon.com first when I will be looking for a book.Thanks!

I gave this book to my Dad as a gift and he loves it, as do I. It's a trip down memory lane with lots of nice historic pictures and descriptive writing. I especially am interested in the Celilo Falls and saddened to see what a treasure was destroyed by dams.

The Columbia is by no means the biggest, the longest or just any other 'est of the rivers in North America. Well maybe it's the roughest. At the bar where the Columbia enters the Pacific Ocean is quite possibly the consistently roughest water in the country. It's called the 'Graveyard of the Pacific,' having claimed over two thousand ships. That's why the Coast Guard located their small boat school in Astoria, Oregon, just inland from the bar.

Anyway, now the Columbia is tamed to a great extent by a series of dams that regulate the flow of water. No longer are there the hundred-foot waves breaking along the bar. This book, though is composed of pre-dam pictures of the river that remain only as memories.

The book is organized in an interesting manner. Just inside the front is a map of the first 200.5 miles of the river. Along the track of the river are a series of numbers. These reflect the page numbers of the pictures that follow. The first number is 5, and the picture on page 5 shows the bar, along with a note that it's 1,243 miles to the source of the river. The pictures range from the mid 1800's to current.

Further into the book are more maps, more pictures. To the old-timer of the area, here will be a collection of memories. To the rest of us, here is simply a spectacular set of photographs of a place that is no more.

The River is a bueaty today but yesterday - WOW! This is a beautiful work on a great river!

I orginally bought this book in 1988 and thought it a beautifully written book on not only bird watching but of a Washington that no longer exists due to modern highways and bustle. I recently purchased this book for a friend who is a bird watcher and has lived in DC. I hope he will like it as much as I do. Jenny Brake

This is one of those rare books that lifts you out of your chair and brings you along on a soaring journey to the natural world beyond the government office windows. It is written as a daily journal of nature explorations in and around Washington, D.C. and makes a perfect companion for any watcher of spring. The author was a keen observer of natural life when he wrote the book in 1945, and the watchful naturalist today will find much to celebrate in the wildlife that is still here today, and also much to mourn that has been lost in the intervening decades. No more do we have rafts of mergansers resting in the Tidal Basin, but Dyke Marsh is still the place to see waterthrushes, and herons still stop by the ponds on the Mall. Halle's eloquent musings on the question of "What is important?" are still relevant today, as the press and government continue to occupy themselves with matters of man-made events and ignore the real news happening all around us--the news of the actual world going about its business completely unconcerned with scandal or finance. Swans still fly south over government office buildings, and anyone who notices and rejoices in such happenings will find a true friend in this marvelous book.

This a book from another time which is still relevant to our day and age. The writer takes time from a boring desk job in wartime Washington to provide timeless observations about nature along the Potomac river as he experiences it in early morning bicycle rides. He indirectly puts man in his place and foretells many of the things environmentalists have rediscovered in the last 20 years. Highly recommended in general, but especially if you have any familiarity with the area around Washington, DC.

Louis Halle reveals his soul in this evocative love letter to the stirrings of spring. Though set along Rock Creek and the Potomac River in and around Washington, this work will transport you away from this world into another time and place in which the sheer joy of seeing nature burst into color will overwhelm you. Close your eyes and have someone read this book to you and you will be able to smell the tidal waters and hear the wind in the marsh grass. Halle's book is pure pleasure.

While Mary Ellen Mark and husband,Martin Bell,were filming
their haunting masterpiece,Streetwise,in 1983,Mary Ellen was
also busy taking their snap-shots...and what a worthwhile effort
this was!
Anyone who viewed the film will recognize each photograph of
the runaways of Seattle found in Mark`s same-titled book.
The Streetwise kids lived in a sad world of uncertainty,many
having fled from their abusive homes.They searched for love and
happiness in a place which offered neither.
Mary Ellen developed a kin-ship with many of her young subjects
including Dewayne and Lulu.Dewayne hanged himself in 1984,and
Lulu died in a fight with a man in 1985.Mary Ellen has dedicated
this book in their memories.
Like every other work that she has ever published,this book
is definitely a keep-sake.I highly recommend it to everyone
who is interested in the documentary film and in Mary Ellen Mark.

While Mary Ellen Mark and husband,Martin Bell,were filming
their haunting masterpiece,Streetwise,in 1983,Mary Ellen was
also busy taking their snap-shots...and what a worthwhile effort
this was!
Anyone who viewed the film will recognize each photograph of
the runaways of Seattle found in Mark`s same-titled book.
The Streetwise kids lived in a sad world of uncertainty,many
having fled from their abusive homes.They searched for love and
happiness in a place which offered neither.
Mary Ellen developed a kin-ship with many of her young subjects
including Dewayne and Lulu.Dewayne hanged himself in 1984,and
Lulu died in a fight with a man in 1985.Mary Ellen has dedicated
this book in their memories.
Like every other work that she has ever published,this book
is definitely a keep-sake.I highly recommend it to everyone
who is interested in the documentary film and in Mary Ellen Mark.
Jeffrey Bryan
White Oak,NC

Good book, but there are not nearly as many pictures as one would hope for. Lots of "intro" pages with interesting background details (and some nearly blank pages as well), followed by a relatively short (but admittedly stunning) collection of photos, many or most of which are not in the film or taken from the film. The last third of the book is taken up by a script transcription from the movie -- Why? Why? What a waste, when I wanted to see more of Mary Ellen Mark's amazing work. If I wanted the film, I would watch the film. Who in their right mind wants to *read* the film?

Also, it's not a complaint but this book appears to be very difficult to find -- long out of print and expensive. I'll give the book four stars for the sheer incredible art of Mary Ellen Mark's black and white photographs. As a book (particularly at the prices often asked) it leaves a good deal to be desired.

While Mary Ellen Mark and husband,Martin Bell,were filming
their haunting masterpiece,Streetwise,in 1983,Mary Ellen was
also busy taking snap-shots of the runaways...and what a worthwhile effort this was!
Anyone who viewed the film will recognize most of the photographs of the Seattle runaways found in the same-titled book.
The Streetwise kids lived in a sad world of uncertainty.Many had fled from abusive homes.
Mary Ellen developed a closeness with many of her young subjects,including Dewayne and Lulu.Dewayne hanged himself in 1984,and Lulu died in a fight with a man in 1985.Mary Ellen has dedicated her book in their memories.
Like every other work that she has ever created,this book is a keep-sake.I highly recommend it to anyone interested in the film documentary and in the author`s work.
Jeffrey Bryan,White Oak,NC

When you read this book you can see a lot of research went into it. Makes all the difference. I really injoyed reading this book. Thanks Sus

The fact that Weldon Willis Rau is a geologist who has turned his talents to the writing of history lends a special flavor to his book, Surviving the Oregon Trail, 1852. Basing much of his work on the notes left by his great grandparents, Willis and Mary Ann Boatman, Rau gives us a gripping and factual story of the wagon trip west from Illinois to Oregon Territory in that pioneer time nearly a century and a half ago. The recounting begins with the sorrows of leaving home and parting from loved ones. The sad picture of an old grandfather, waving a tearful goodbye, knowing that he will never see his beloved young ones again, moves the reader to compassion. Children as well as adults are disturbed by the upheaval of unprecedented departure. The trek to the Missouri River was not easy, but was yet a rather civilized journey compared to what was to lie ahead. Crossing at about the site of present-day Omaha the Boatmans followed the Platte and the North Platte westward toward Wyoming. Sickness was the great affliction along the those river banks. Many of the westward travellers died, particularly of cholera. Along the way. Mary Ann Boatman's young brother was among those lost to disease. Wyoming and Idaho offered many hills to climb, streams to ford or ferry, steep slopes to descend, and scenic wonders new and remarkable to folks from Illinois. Water for all and grazing for the cows and draft oxen were often hard to find. Dust whirled up by the wheels of the wagons and the hooves of the animals choked all the travelers in various places. In Oregon the great gorge of the Columbia was a traverse not equalled elsewhere on earth. During the gorge trek Willis Boatman's brother, John, died, leaving Willis and a pregnant Mary Ann the only family members left in the trip. The two arrived in Portland exhausted and nearly broke. Weldon Rau tells this story with great feeling and understanding. His respect for his pioneeer ancestors is manifest. Clearly he has explored nearly the whole route his great grandparents travelled. And his explanations of the geology that formed these Oregon Trail lands adds greatly to the reader's undertanding. This book is a welcome addition to any library.

I have known the author for more than 30 years, so I have been aware of his 15-year effort to research, write, and publish this book as it unfolded. It is with pleasure, therefore, that I can attest to how well crafted it is. Rau tells the story of his great-grandparents' journey by employing extensive quotes from their written accounts and from the accounts of other 1852 Oregon Trail travelers. These quotes are woven together and amplified by Rau's observations of the physical, cultural, and social settings they experienced, including how the geology along the way influenced the development of the terrain. The book is also very well edited. I found but one typographical error and two place names missing from one map.

Besides being very well crafted, the book has left me with several strong impressions. The travelers, especially the men, approached the trip with a sense of romanticism. It was going to be a grand adventure with a pot of gold waiting at the end. A very different reality forced its way into their consciousness as the trip unfolded. The trip brought out all the best and worst traits of the travelers and those who sought to serve and usually profit from them along the way. They experienced disease, death, and discomfort. They and others suffered from cholera, scurvy, and Rocky Mountain spotted fever. Mary Ann and Willis' brothers both died on the trip, as did many others they met along the way. Mary Ann was pregnant for the whole trip and had to walk much of the way, in addition to performing the cooking and other housekeeping chores that fell to her. In addition there were extremes of weather, loneliness, homesickness, sorrow, grief, resignation, thievery, greed, and hardheadedness. These were balanced by bravery, resoluteness, kindness, compassion, neighborliness, concern, and assistance, sometimes from people they didn't even know. The journey had but three possible outcomes; they had to turn back and reach their former homes, get to the Willamette Valley, or die before winter hit. In some ways their journey can be compared with what the first interplanetary travelers will experience. Indeed, even after Willis and mary Ann reached the relative safety of the Willamette Valley and then the Puget Sound country, for years they felt as isolated and separated from their families as if they were on another planet.

If you have had no real appreciation for the magnitude of the feat that Oregon Trail travelers accomplished, you will have when you finish this book.

The amount of determination, courage and fortitude to travel the continent as an overlander in 1852 must have been unimaginable. This is a remarkable first hand account of the Boatman's journey from Illinois to the Oregon Territory, along with quotes from other overlanders' diaries during the same year. Suffering from the heat, thirst, food shortages for both emigrants and livestock, the cold, rain, mud, river crossings, cholera epidemics and other illnesses, exhaustion and death to many who attempted such an endeavor, this book has it all. The author, a decendent of the Boatmans, has put forth a most wonderful book depicting the hardships and misfortunes of the early day pioneers. A+

Sell is admittedly an outsider, always studying Boeing from the periphery of a neutral journalist, or family member of one employed there, yet he manages to deftly describe the essence and culture of Boeing as a longtime employee would. He understands and conveys the conservative approach Boeing has always taken toward state governmental affairs, and presents Boeing as above reproach in these matters, a reputation Boeing has gone to great lengths to ensure. I appreciated the detail to which Sell went to explain the legislative aspects of growth in Washington state and Boeing's occasional collisions with it - a good read whether one is interested in the evolution of Boeing from Bill Boeing's hobby shop to the economic powerhouse it is today, or if one is interested in the impact of growth. Sell also slips in delightful, but subtle witticisms.

A great read, especially considering recent events (Boeing leaving Seattle.)

This is a balanced and even-handed look at an issue that is confronting communities all over the country: How to deal with the costs of growth without losing the benefits. A good read.

Sell's book cuts through the fog of loyalty to green or greed parties and explains the paradox of growth with facts not fictions. Everyone has something to learn from this book. Sell makes both sides of the growth issue stand naked before the mirror and it isn't always pretty. "Wings of Power" is a well written and thoroughly researched book that, unlike most of this genre, is not devoid of humor.

this book centers on the life of Lue Gim Gong. he leaves his home and family to make a better life for all of them in america. the narrative switches between gong's mother, his patron in america, ms. fanny, and sheba, a daughter of slaves who comes to work in ms. fanny's house in florida. i enjoyed the different points of view and the glimpses into each woman's life, but Faith, this was SUCH a depressing read. it seemed to me that for every piece of good fortune these families experienced, they suffered yet more loss. from the prejudices of the superstitious clans in china, to those against asians, african americans and women, reading the stories of these women made me appreciate my own life, and made me realize how very much i take for granted.

I had a lot to reflect upon after reading this book. I was most surprised by when I realized about 3/4 way through that the book was essentially a biography. I wish the book jacket had highlighted the fact that Lum Gim Gong was a celebrated Chinese horticulturalist in Florida, and the author used her extensive research into his life to create this book. I would surmise that since all of his journals were destroyed, she moves the viewpoint to other characters and writes a novel to better draw the reader into the story. The book has one drawback in this hybrid form--it doesn't have a climax, as one would expect in a novel--but continues on a little long in the end to get all the biographical details in.

I loved the descriptions of life in a village in China, the New England town, and the Florida orchard. Sometimes the frequent change of view point between these very different societies feels abrupt, but it highlights the cultural disruption experienced by the characters as they move between these worlds. A strong underlying theme of the book is the dichotomy between how we treat people versus plants: 19th century society forced a separation between people of different races and between genders but the plants are improved and made stronger when they are combined and crossbred. This theme is made more poignant with the realization that the author has a Scottish American father and a Chinese mother and has probably lived with some of the discrimination described in the book.

Wooden Fish Songs is a fascinating story that weaves together the worlds 19th Century China, New England and the post-Civil War South. McCunn's extensive research makes this true story come alive and her talent makes the three women who tell the story real and believable. I recommend this book to anyone who enjoys Chinese literature and culture. This book portrays the difficult life not only for the Chinese immigrant in America, but also for the family left behind. I recommend this and any other of McCunn's works.

I received a copy of Wooden Fish Songs as a gift from my father, who is a familial descendent of Fanny, and the New England people with whom Lue Gim Gong lived in America. Many of my father's recollections about his relatives were given to the author as the book was written, and helped to maintain the story's factual basis. It is a moving historical account of the difficulty and pain encountered when east/west cultures came together, when differences in peoples were terribly feared, and when cultural mores and expectations within the family were not to be challenged - even for love.

This book is beautifully produced in every way. If you can imagine poetry translated into a visual language, Arreguin's paintings are that... and more! Surely Arreguin is one of the NW's greatest living artists. This book is a truly wonderful introduction to his work.

Alfredo Arreguin's paintings are spectacular. Arreguin is one of the most important and awe-inspiring artists of the age. This book does an excellent job of detailing his life and art, as well as duplicating the intense colors of his canvasses. I cannot recommend this book enough. It would be a delight on the coffee table or as a gift.

If you want intense color, intricate patterns and a forever drifting, shifting visual experience, then this book is the Intro to Arreguin for you! There is a color plate on most pages and the text is in English and Spanish in side-by side columns.

This book is so low-priced because 1) the publishers found donors to underwrite this first edition 2) Arreguin is not making a dime in royalties off this book.

If you don't know Arreguin's work yet, just type "Alfredo Arreguin" into your browser's search box and you will get several relevant hits.

Try it, you'll like it!

I bought five copies: four copies for gifts, and one copy for me.

The story of Arreguin's childhood and family turmoil will add some optimism and empathy for troubled children of divorced parents, I hope.

chris matzen
Bremerton, WA 98312

The idea of life as a journey has been always a fascinating concept.....after all being at crossroads of life forces you to make choices in your life...sometimes good...sometimes bad... But this book which explores the American journey with such intensity gives also life journey its special meaning. It made me realise that our journey continuously imposes on us this tough dilemma of where you are heading in your life or where your life is heading you....

If we are the cities and cities are us - the roads to our cities and their streets become borderless and paved with the power of human dreams and desires, connecting us with each other in the search for the ultimate meaning for our lives - our freedom in making choices in our journey for better life...

"All Roads Lead to the American City" certainly deserves its special place ...and not only because of its relevance to American studies - but also because of its contribution to human journey...no matter where you are....and where you are heading in your life.

The exhilarating journey of the United States on the road crisscrossing the heart of the city to the suburban outskirt can now be fully experienced in Peter Swirski's recent work -- All Roads Lead to the American City. Bringing together five inter-linking and inter-cultural essays by scholars from different disciplines, Swirski has once again triumphed over an indispensable read for all walks of life. The collection starts with Priscilla Roberts' detailed account of the socio-historical and political factors that contribute to what she terms a "perennial ambivalence" of the Americans and the city. This is followed by Gina Marchetti who in chapter two illustrates the Asian American search of identity in the land of plenty by examining Renee Tajima-Peñas documentary My America... or, Honk if You Love Buddha (1997). The central chapter written by Swirski himself brings the readers to the mean street of the exciting hardboiled era and the hustle-bustle of today's high-rise through Ed McBain's police procedurals, which vividly personify the city as femme-fatale. In chapter four, Earle Waugh explores the road with the notion of betterment initially driven by moral and religious concern, then by that of the state and the public, which reflects "the decay of a corporate manifest destiny" (95-96). Last but not least, William Kyle in the concluding chapter studies the growth of metropolises and the future of urbs Americana by looking at the interplay between the constant peopling, demographic growth and pattern, as well as the socio-political structuring and policies in the nation. As Professor Christine Bold remarks, "This collection of papers contains tons of valuable information and much lively writing. Its strengths are its accesibility, its juxtaposition of materials, and its historical sweep," All Roads is likely to become a core textbook in every classroom where American Studies is taught. Given so much scholarship has been dedicated to globalization leading from the American City, All Roads Lead to the American City is indeed a highly original thesis. With its literary flair as well as its historical and sociological vision, Swirski's collection proves unfailingly to be a rewarding read for just about everyone!

"I think the book is very informative. I have no previous knowledge of American history, and I think the book is very useful for anyone wishing to know more about American history as it provides not only a broad overview, but also details of particular periods. To me, the details keep the book interesting." This is how my first-year Arts student, Karen Chan, at the University of Hong Kong comments on All Roads Lead to the American City, which is currently used as a textbook for the first-year introductory course on American Studies.

As an English teacher at the University of Hong Kong, I have quite a number of Arts students having a genuine interest in American Studies. If you are interested in American Literature, do you think you should only work on disciplinary studies of the subject? Is it adequate to watch some Hollywood movies or read crime novels and say that you have a good mastery of contemporary American culture? Tapping the insights of "the entire spectrum of the humanities and social sciences to evaluate the transformations currently underway" (p.4), any students or knowledge seekers can just follow Swirski's slim single tightly-knitted collection to find the answers as it puts Urbs Americana under the microscope. With this indispensable reader in hand, you can reach for core interdisciplinary analyses a la American Studies.


All Roads Lead to the American City is another magnificent offering from Peter Swirski, who is Associate Professor in American Literature and heads American Studies at the University of Hong Kong. Swirski is an exceptional talented writer who has written nine books in American Literature and Culture and has contributed more than fifty articles in various places. Swirski's works have been highly praised by numerous scholars and literary critics. Once again, All Roads Lead to the American City is an amazing collection that readers should not miss.


"Cities, for the most part, are America", and are "crisscrossed by tendrils of traffic-bearing arteries", writes Swirski (p.1). The metaphors of the road and the city are intensely revealed throughout the whole collection. With important contributors from interdisciplinary areas of American Studies (History, Film, Religion, and Geography, plus Swirski's own chapter on literature of the city), Swirski's collection comprises five intercultural essays with rich and lively content about American culture. Taken as a whole, readers will first follow the steps of a historian, Priscilla Roberts, to explore the socio-historical and political factors that contribute to the `perennial amibvalence' of the rise of cities and urban culture in America. Next comes a further elaboration of the metaphor of the road by a film scholar, Gina Marchetti, who uses works of a popular `road movie' filmmaker, Renee TajimaPeñas, to portray a personal search of identity through the eyes of an Asian American. Swirski himself, in the central chapter, invites readers to explore the New York City by a vivid and fascinating discussion of Ed McBain's police procedurals to argue for the crucial role of crime literature in "nobrow aesthetics", as Swirski calls it. The last two chapters are a literary-cultural examination of the dreams about the America's literature of the road by a literary and religious comparativist, Earle Waugh, and a vivid insight into the latest development of Urbs Americana from William John Kyle.

As the guests complimented in the Book Launch at the University of Hong Kong, All Roads Lead to the American City has the potential of becoming a great and influential textbook for any students, teachers, or general knowledge seekers. Its impact should not be underestimated.

In the 1930s Greenwich Village, already mythic as the American bohemia, was a disappointment to the visiting French architect, Le Corbusier. He found the skyscrapers of Lower Manhattan and mid-town, "mystically alluring", but the Village, which stood between these two sites of modernity, failed to measure up. In his later book, When the Cathedrals Were White (1947), he described it as "an urban no man's land made up of miserable low buildings and poor streets of dirty red brick". By contrast-and this contrasting story is the one that Luther S. Harris tells in Around Washington Square-Henry James, in his famous account of his return to the United States in 1904, celebrated the Village. He regretted the skyscrapers that "so cruelly over-topped" his beloved Trinity Church in Lower Manhattan, and he found the fashionable but bland Upper East Side no more congenial. In Greenwich Village, however, he found solace. "This portion of New York", he wrote, impresses many as "the most delectable."
"The village has a kind of established repose which is rare in other quarters of a long, shrill city; it has a riper, richer, more honourable look than any of the upper ramifications of the great longitudinal thoroughfare, the look of having had something of a social history." James has it right and so does Harris. The Village is the northernmost point of the old medieval Street pattern of colonial New York, and it marks the beginning of the modem grid. That doubled physical character is perhaps an apt symbol of the combination of historical presences and avant-garde creativity that has marked the cultural life of this part of the city.
Harris appropriately begins his story with the creation of Washington Square and goes beyond the usual accounts. He emphasizes the complexity of its birth, revealing that its creation required a modification to the recently established 1811 grid plan. That posed a political problem that was managed with patience, persistence, and astuteness by the then Mayor, Philip Hone, a merchant, one of New York's two great nineteenth-century diarists, and the father of the square. By starting at that point, however. Harris omits the separate history of Greenwich, from which the mixed-up street pattern of the West Village derives, and he neglects a longer and important social history that played itself out a couple of blocks from the square. South and west of the square was Manhattan's longest-established African American neighborhood; it dated from the seventeenth century, having been enabled by the Dutch, who allowed slaves to buy land there and use their income from that land to purchase their own freedom. The British authorities were less accommodating to the community, but it persisted into the nineteenth century until the infamous Civil War Draft Riots, when it was devastated by a series of savage attacks on blacks.
He subjects many of the myths of the Village to the test of documentation, sometimes enriching the myth, sometimes undercutting it. While most urban studies of this genre tend to repeat each other, with no one seeking solid evidence for the well-cultivated memories of the place, Harris has dug deep into the holdings of the Municipal Reference Library and Archives, into newspapers and city directories, and, with special success, the visual record of the neighborhood. The book is subtitled An illustrated History of Greenwich Village, and that it is indeed. It has over 200 illustrations, and a very high proportion of them are uncommon, not the usual suspects which-like the myths-get reused from one history to the next.
If Harris offers no thesis, he does have a point to make. Although Manhattan is marked by constant change or, as one historian recently it, "creative destruction", there is remarkable continuity in the Village. Even with the recent intrusion of Starbucks, book- and drugstore chains, and overbearing buildings recently erected on the square by New York University, the neighborhood's appeal to creative people persists, particularly creative people in the arts literature. His point is made by the multiplicity of individuals who populate his history from Whitman, Melville, Poe, and Anne Lynch's salon in the middle of the nineteenth century up until the present. These individuals-some well remembered, others less so-have provided a crucial density to the world of culture-making.
One cannot begin to summarize the number of connections made by Harris, but the entangled associations of artists and intellectuals with groups and places that he elaborates reveal how the Village works. Harris points to the allure of the history of the place and its inhabitants. The most ambitious and talented pursue the challenge and the glory of association with the ghosts of giants. But part of what is unique about the Village are its many physical and cultural nooks and crannies. Harris's strategy of combining an account of the architecture the physical layout of the Village with the history of its literary and artistic figures becomes an explanation. The area feeds on the power and energy of New York, but it provides space-a necessary space-for invention of self well as art.
Still, the maintenance of the Village has required vigilance. Le Corbusier's views were not unique, and Robert Moses, the power planner who reshaped New York during the middle third of the twentieth century, saw little to save around Washington Square. His plan to run expressways through the park and SoHo, just south of the Village, threatened both the history and the social texture of the neighborhood. One Village mother, worried that her child's swings in Washington Square Park were at risk, took up her pen. The result, writes Harris, was not only a successful political mobilization that stopped Moses, but also The Death and Life of American Cities (1961), perhaps the most influential book on cities, planning, and architecture to be published in the twentieth century.

Created by the rich and merchant class as an escape from the recurring ravages of yellow fever and cholera, Greenwich Village was, essentially, never really mapped out; never really settled in accordance to any public plan. Perhaps this haphazard beginning is what gave the area its combined refined yet anarchic flavor that exists until this day.

Luther Harris' book, "Around Washington Square: An Illustrated History of Greenwich Village" is an excellent introduction to the history, myths, lies, and unknown truths about this magnet for the students, the homeless, the artists, and the real estate agents who each value Greenwich Village for their own reasons. The text is very informative, and the illustrations are lush and generous. Broken down into easy-to-handle sections, Harris nonetheless is comprehensive. (He apologies to his readers if any particular individual, group, or building was omitted but he needn't have: just about all the bases were covered.) This is an exhaustive and wonderful book.

It is clear that years of devoted and painstaking research went into the writing of this book. One is given a strong idea of how the neighborhood has evolved as well as the society and mores of its inhabitants over several centuries. The book is well illustrated and there are many images that I have never seen elsewhere.

I personally am very selective when it comes to any art survey volume. An art survey I have found can be either very weak, or very important and powerful, yet rarely anything in-between. In terms of the Italian Renaissance they are rarely on the powerful side as they don't function to serve the key purposes for historians, curators, and collectors. Most importantly surveys rarely clarify the impact of significant artists of a period and their relationship to the bigger realm of art history between their collective works. This is not the case with Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting.

For example, the current exhibition, of the same title, at The Metropolitan Museum of Art in New York. The rich and informative catalogue by David Allan Brown et al., a publication done in association with the National Gallery of Art, Washington, D.C., focuses on the most intense period of the Renaissance in Venice. The work examines a time when Giorgione, Titian (young at the time,) Sebastiano del Piombo, and Palma Vecchio worked alongside each other, and their lesser known colleagues, each and all in the light of the great Giovanni Bellini. The period which is examined represents the first three decades of the sixteenth century. It also represents a pivotal and major period of visual, and intellectual, impact for Italian art in Italy, Europe, and the world.

Brown et. al. does not handle this exhibition catalogue like a normal, or typical, survey. With 336 p., 9 1/2 x 11 1/2 , 31 halftones + 162 color illus. it is a masterfully planned art volume. Although written in a serious and scholarly manner, a layman will enjoy it.

The volume does not divide up the artists, but looks at their interrelationships. Secular subjects are explored, as are themes of music, love, and time. The leading scholars efforts, along with their detailed entries, provides a solid source for continuing discussion of pictures that are nothing short of monumental.

Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting is an exhibition book that is, in my view, well worth obtaining now while available at the publisher price. I see this work as a required addition to any great library on Renaissance art today, and will certainly be valued tomorrow.

This remarkable show (and catalogue) is a summary of Venetian painting from 1500 to 1530, allowing a side by side comparison of the work of Bellini, Giorgione, and Titian in what was one of Venice's astonishing high water marks of artistic creativity.

Once you have been bitten by the bug, these paintings are with you for good. Seeing this work firsthand, one can't help be seduced by the ravishing, luminous beauty light and layers of glazing that makes these paintings unique. The stillness in some of these works suggest the real subject here is light and color -- something these Venetians seem to have captured like no other group of artists.

The reproductions in the catalogue are quite good, and there are a very generous amount of close detail shots of the paintings too -- something particularly useful in illustrating the intricacy of detail in Giorgione's work. The essays are interesting, but my favorite is one I almost missed after the technical photographs of xrays in the back: an essay which describes how the Venetian painters were at a remarkable crossroads of shared experimentation in color including glassmakers, creators of fabric dyes, and other tradesmen that contributed to a new world of color effects in paint. For example the painters would use finely ground glass mixed into the oils to give the glazes a more bright, refractory quality.

This is a captivating show and a great catalogue to accompany it.

A must for the student and lover of the Renaissance and Venice in particular.