Dense urban living has been prescribed as a panacea for the environmental and resource crises of our time. But is it better or worse for our happiness? Are subways, sidewalks and condo towers an improvement on the car-dependence of sprawl?The award-winning journalist Charles Montgomery finds answers to such questions at the intersection between urban design and the emerging science of happiness, during an exhilarating journey through some of the world’s most dynamic cities. He meets the visionary mayor who introduced a “sexy” bus to ease status anxiety in Bogotá; the architect who brought the lessons of medieval Tuscan hill towns to modern-day New York City; the activist who turned Paris’s urban freeways into beaches; and an army of American suburbanites who have hacked the design of their own streets and neighborhoods.Rich with new insights from psychology, neuroscience and Montgomery’s own urban experiments, Happy City reveals how our cities can shape our thoughts as well as our behavior. The message is as surprising as it is hopeful: by retrofitting cities and our own lives for happiness, we can tackle the urgent challenges of our age. The happy city can save the world--and all of us can help build it.

    Norwegian Wood provides useful advice on the rustic hows and whys of taking care of your heating needs, but it’s also a thoughtful attempt to understand man’s age-old predilection for stacking wood and passion for open fires. An intriguing window into the exoticism of Scandinavian culture, the book also features enough inherently interesting facts and anecdotes and inspired prose to make it universally appealing. The U.S. edition is a fully updated version of the Norwegian original, and includes an appendix of U.S.-based resources and contacts.

    Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving. Jean Baudrillard is one of the most influential thinkers of his generation and author of The Vital Illusion (2001). Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture. Robert Bononno, a translator and teacher, lives in New York City.

    A popular poet in her day, Thaxter is best remembered for AN ISLAND GARDEN, originally published by Houghton Mifflin in 1894. The book chronicles a year in the life of Thaxter’s garden on the island her father had purchased in 1848 and renamed Appledore Island. The hotel he built there was among New England’s first offshore summer resorts and attracted writers, musicians, and artists, including the American Impressionist Childe Hassam, whose beautiful paintings of Thaxter’s house and garden are reproduced in this book. Considered one of the most delightful examples of horticultural writing, AN ISLAND GARDEN has served as an inspiration for essayists and gardeners alike since its first publication.

    Diane Ackerman draws from sources as diverse as meteorology, world religion, etymology, art history, and poetry in order to celebrate that moment in which the deepest arcades of life and matter become visible. From spring in Ithaca, New York, to winter in Palm Beach, Florida, Dawn Light is an impassioned call to revel in our numbered days on a turning earth.

    In luminous, razor-sharp prose, Nordhaus explores the vital role that honeybees play in American agribusiness, the maintenance of our food chain, and the very future of the nation. With an intimate focus and incisive reporting, in a book perfect for fans of Eric Schlosser’s Fast Food Nation, Michael Pollan’s The Botany of Desire,and John McPhee’s Oranges, Nordhaus’s stunning exposé illuminates one the most critical issues facing the world today,offering insight, information, and, ultimately, hope.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    But as architect William McDonough and chemist Michael Braungart point out in this provocative, visionary book, such an approach only perpetuates the one-way, "cradle to grave" manufacturing model, dating to the Industrial Revolution, that creates such fantastic amounts of waste and pollution in the first place. Why not challenge the belief that human industry must damage the natural world? In fact, why not take nature itself as our model for making things? A tree produces thousands of blossoms in order to create another tree, yet we consider its abundance not wasteful but safe, beautiful, and highly effective.Waste equals food. Guided by this principle, McDonough and Braungart explain how products can be designed from the outset so that, after their useful lives, they will provide nourishment for something new. They can be conceived as "biological nutrients" that will easily reenter the water or soil without depositing synthetic materials and toxins. Or they can be "technical nutrients" that will continually circulate as pure and valuable materials within closed-loop industrial cycles, rather than being "recycled" -- really, downcycled -- into low-grade materials and uses. Drawing on their experience in (re)designing everything from carpeting to corporate campuses, McDonough and Braungart make an exciting and viable case for putting eco-effectiveness into practice, and show how anyone involved with making anything can begin to do as well.

    . . Excellent work."--Tim Flannery, The New York Review of BooksIn the century and a half since Audubon's death, his name has become synonymous with wildlife conservation and natural history. But few people know what a complicated figure he was--or the dramatic story behind The Birds of America.Before Audubon, ornithological illustrations depicted scaled-down birds perched in static poses. Wheeling beneath storm-racked skies or ripping flesh from freshly killed prey, Audubon's life-size birds looked as if they might fly screeching off the page. The wildness in the images matched the untamed spirit in Audubon-a self-taught painter and self-anointed aristocrat who, with his buckskins and long hair, wanted to be seen as both a hardened frontiersman and a cultured man of science. In truth, neither his friends nor his detractors ever knew exactly who Audubon was or where he came from. Tormented by a fog of ambiguities surrounding his birth, he reinvented himself ceaselessly, creating a life as dramatic as his fictionalizations of it. But when he came east at thirty-eight-broke and desperate to find a publisher for his Birds-he ran squarely into a scientific establishment still wedded to convention and suspicious of the brash newcomer and his grandiose claims. It took Audubon fifteen years to prevail in both his project and his vision. How he triumphed and what drove him is the subject of this gripping narrative.