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Chicago Gardens
￥288.41
Once maligned as a swampy outpost, the fledgling city of Chicago brazenly adopted the motto Urbs in Horto or City in a Garden, in 1837. Chicago Gardens shows how this upstart town earned its sobriquet over the next century, from the first vegetable plots at Fort Dearborn to innovative garden designs at the 1933 World's Fair. Cathy Jean Maloney has spent decades researching the city's horticultural heritage, and here she reveals the unusual history of Chicago's first gardens. Challenged by the region's clay soil, harsh winters, and fierce winds, Chicago's pioneering horticulturalists, Maloney demonstrates, found imaginative uses for hardy prairie plants. This same creative spirit thrived in the city's local fruit and vegetable markets, encouraging the growth of what would become the nation's produce hub. The vast plains that surrounded Chicago, meanwhile, inspired early landscape architects, such as Frederick Law Olmsted, Jens Jensen, and O.C. Simonds, to new heights of grandeur. Maloney does not forget the backyard gardeners: immigrants who cultivated treasured seeds and pioneers who planted native wildflowers. Maloney's vibrant depictions of Chicagoans like "Bouquet Mary," a flower peddler who built a greenhouse empire, add charming anecdotal evidence to her argument-that Chicago's garden history rivals that of New York or London and ensures its status as a world-class capital of horticultural innovation. With exquisite archival photographs, prints, and postcards, as well as field guide de*ions of living legacy gardens for today's visitors, Chicago Gardens will delight green-thumbs from all parts of the world.
Selected Poetry and Prose
￥288.41
Chiara Matraini (1515-1604?) was a member of the great flowering of poetic imitators and innovators in the Italian literary heritage begun by Petrarch, cultivated later by the lyric poet Pietro Bembo, and supplanted by the epic poet Torquato Tasso. Though without formal training, Matraini excelled in a number of literary genres popular at the time-poetry, religious meditation, discourse, and dialogue. In her midlife, she published a collection of erotic love poetry, but later in life her work shifted toward a search for spiritual salvation. Near the end of her life, she published a new poetry retrospective.Mostly available in only a handful of rare book collections, her writings are now adeptly translated here for an English-speaking audience and situated historically in an introduction by noted Matraini expert Giovanna Rabitti. Selected Poetry and Prose allows the poet to finally take her place as one of the seminal authors of the Renaissance, next to her contemporaries Vittoria Colonna and Laura Battiferra, also published in the Other Voice series.
Cube and the Face
￥288.41
Alberto Giacometti's 1934 Cube stands apart for many as atypical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist's sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional-a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist's surrealist and realist phases and contains many elements of Giacometti's aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait-or what Didi-Huberman terms "abstract anthropomorphism." Drawing on Freud, Bataille, Leiris, and others Giacometti counted as influence, Didi-Huberman presents fans and collectors of Giacometti's art with a new approach to transitional work.
