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Cover illustration by Aldren A. Watson

from Waterfront New York (see p. )
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David R. Godine
P U B L I S H E R
FallWinter 2 01 2
Books that matter for people who care

cover.0423_cover.0515 5/23/12 3:34 PM Page 1

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Visit us on the web at www.godine.com and www.blacksparrowbooks.com
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
Publishers Representatives Godine and the Brave New World
H.vuis . wvvx 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 ve hundred years because it is, like a violin, a
machine perfectly suited to its use. We take books for granted and can instinctively nd the
title page, the index, or the table of contents. They open without turning on a switch. Weve
never issued a users manual (apart from Georges Perecs Life a Users Manual). There is a
comfort level with a book that needs little explanation or justication.
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
Clzios memoir of growing up in Africa. Here it doesnt matter in what type size or style
you read the text. The les 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 dont develop (or even recognize) a talent like Le Clzio, 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 s,. ,, through Amazon, who is going to step forward to take care of the cow at s:o. ,,?
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 its 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 reected 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 :oo, non-traditional (meaning self-published or on-demand titles) accounted
for :o,, ooo new titles. In :oIo, that number had spiked tenfold, to more than :, ,,,, ooo.
Its a new world, more confused than brave, and were doing our best to cope with it. But
speaking personally, I was just as happy in the old one, and the books youll encounter in
this catalogue probably reect a bias toward quality book making better than any justica-
tion youll read in a Publishers Note. D R G
cover.0423_cover.0515 5/23/12 3:34 PM Page 2
The African
by J. M. G. Le Clzio
translated from the French by C. Dickson
T
ns A:v: c.x is a short autobiographical account of a
pivotal moment in Nobel-Prize-winning author J. M. G.
Le Clzios childhood. In I,8, young Le Clzio, with his
mother and brother, left behind a still-devastated Europe to
join his father, a military doctor in Nigeria, from whom hed
been separated by the war. In Le Clzios 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 authors boyhood, The
African is also Le Clzios attempt to pay a belated homage to
the man he met for the rst time in Africa at age eight and was
never quite able to love or accept. His reections 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 childs 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 Clzios 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 Clzio suggests that however estranged we may be from our
parents, however foreign they may appear, they still leave an
indelible mark on us. His fathers anti-colonialism becomes
The Africans legacy to his son who would later become a
world-famous champion of endangered peoples and cultures.
Le Clzio 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
.u1oni ocv.vus oc1onvv
u.vucovvv I:8 v.cvs
n/w vuo1ocv.vus
, ,
,,8I,o,,:oo:
s::. ,,
vi cu1s: woviu vxcii su
Js.x-M.v:s Gu:r.s Ls C:sz:o,
winner of the zoo8 Nobel Prize in
Literature, was born in :,o in Nice,
France. His rst novel, Le Procs-
Verbal (The Interrogation), won the
Prix Renaudot in : ,o, and estab-
lished his reputation as one of Frances
preeminent writers. He has published
more than forty works of ction and
nonction, including The Prospector
(Godine, :,,,) and Desert (Godine,
zoo,). 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 N
J . M . G . L E C L Z I O
Translated from the French
by C. Dickson
xiw i x n:vntoviv I
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 nally behind me, I came into the rolling hills of the Lakes
Region, the horizon hazy and close in the summer evening sun, the air thick with the days
heat and noisy with insects. State Route led me through the Ossipees and along the shore
of Lake Chocorua. Turning o the main road onto Fowlers Mill Road, I stopped on the
tiny bridge which crosses a gap separating two parts of the lake. Looking across the lake
from the bridge, the summit of Mount Chocorua stood close above the water, blazing on one
side 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 briey looking over the hills of the Sandwich Range
to the clouds behind, built in the heat of the day over the more distant Presidential Range
and now shrinking, reabsorbed into the darkening purple sky as the sun set.
Continuing north, I passed through North Conway and Jackson and entered Pinkham
Notch at dusk. I wound my way up through the mountains, the forest silent now, with a wind
pushing out of the ravines and down the notch. Pinkham Notch divides the drainage of the
Ellis River, owing south, back down into the softer, rolling country of the Saco valley, from
the Peabody River, owing 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 passed
through a few hours before was behind me, and in its place was a sharp-edged clarity, the
sound of the wind mixing with the falls on the Ellis River, and the stars over Mt. Wash-
ington bright over the horizon high above.
1nr statr or Nrw Hamrsnr rr today is known fot its high mountains,
deep fotests, and btoad lakes. its seventeenth-centuty otigins, though, lay in its
scant eighteen miles of coast, wedged in between the fat latget coasts of the
colonies of Massachusetts 3ay and Maine. Otiginally included as patt of the
colony of Maine, chatteted in 6::, New Hampshite was exttacted ftom Maine
and established as a sepatate colony in 6:g, dened as the coastline between
,
orrosr tr
Wall detail, Will 3tadley
House, gc6
pitched toof with substantial ovethangs. 1he exten-
sive extetiot otnamentation typical of many Scandi-
navian houses is absent hete, teplaced by continuous
cedat shingling, but tall posts suppotting the ovet-
hanging toof and pottions of the second stoty teect
the buildings heavy timbet otigins.
1he intetiot of Wintet Road Hill is a tematkable
depattute ftom Ctaftsman and othet contempotaty
atchitectutal inuences so visible in may othet New
Lngland summet cottages. Cummings design cap-
tuted cettain chatactetistics of Scandinavian design
succinctly, including open oot plans and spaces
designed fot multiple uses, similat in concept to the
Shingle Styles open oot plan, but vety dinetent in appeatance and feeling. A
double teplace, with heatths placed side-by-side in mittoted inglenooks, dom-
inates the main toom. 1he insctiption ovet the heatths was added in the gcs
aftet the house was owned by the Howe family. it teads And well i saw the te-
light like a ight of homely elves, a line ftom A Christmas at Sea, by Robett Louis
Stevenson, whose poetty Howe had wtitten about in his lh.D. dissettation.
liteplaces of the same design appeat on the second oot, in the mastet bed-
toom and in an open hall suttounding the main staitcase. 1he open plan of the
gtound oot is extended upwatds thtough this staitcase to the second oot, and
beyond, visually, to a thitd-oot balcony which looks back down into the second-
oot hall (whete Howe had his studyj and the main staits leading back to the
main gtound oot toom. 3edtooms open on of the second oot hall, each with
its own sleeping potch. 1he potches, open to the outdoots except fot scteens
but still shelteted undet the latge toof eaves, fotm a link, essential to so many
summet houses, between indoots and outdoots. Within the house, the juxtapo-
sition of the open and intetconnected spaces with heavy, enclosing ftaming gives
the house an otdeted, ptotective, and shelteted feeling (sutely a key design ele-
ment in Scandinavian buildings set in cold boteal envitonmentsj, but not a sense
of isolation eithet ftom othet occupants of the house ot the envitonment.
Wr rrr am l. Oscoon Cottacr
i x g6, shott distance ftom Wintet Road Hill along the shote of Silvet Lake,
the Hatvatd mathematician William l. Osgood (86gj built his own sum-
met cottage, designed by atchitect Lucia Knapp, the daughtet of ltedtick Knapp,
: The Hand of the Small-Town Builder
A typical Notwegian tutal
vetnaculat timbet design,
similat to what Cummings
might have seen in Notway
in gc.
Wintet Road Hill, built by
Ldwatd Cummings in g
anovr Main toom with
dual heatths.
rrrt Mastet bedtoom.
The Hand of the
Small-Town Builder
suxxiv nousis ix xov1nivx
xiw ixci:xn, Ic,oI,,o
by W. Tad Pfeffer
N
ov1uvvx Nvw Exci.xu 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 werent 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 inuence on the northern New England landscape is
poignantly recorded in these pages.
.vcui 1vc1uvv xovvxnvv
u.vucovvv :,o v.cvs
coiov vuo1ocv.vus
8 II
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W. T.n P:s::sv is a geophysicist,
teacher, and photographer at the Uni-
versity of Colorado at Boulder. He is
a Fellow of the Universitys 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,
xiw i x n:vntoviv ,
1ov:
Myrtle Avenue at Ryerson
.novv ivv1:
Docking the Bremen
.novv vi cu1:
Lighthouse Tender Cherry
ivv1:
Sunday Morning, South Street
Waterfront New York
ix:cis oi 1ni I,:os :xn ,os
by Aldren A. Watson
N
vw Yovx 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, re, 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 nance 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, youll 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. Youll 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.
.v1 xovvxnvv
u.vucovvv I v.cvs
coiov i iius1v.1i oxs
II ,
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so. oo
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A:nvsx A. W.r:ox 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.
xiw i x n:vntoviv ,
Taking What I Like
s1oviis
by Linda Bamber
O
1uviio i s the only minority member of the Depart-
ment, so Desdemona, currently serving as Department
Chair, is running an afrmative 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 Bambers new collection,
to nd out. Youll nd 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 ction 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.
Bambers 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-
speares own empathy, understanding, and expressive air. 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
. s:.ck :v.vvo+ sook
vi c1i ox oc1onvv
sov1covvv :,o v.cvs
o ,
,,8I,,:,::,,
sI8. ,,
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L:xn. B.:ssv 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.
TAKI NG
WHAT
I
LIKE
stories
LINDA BAMBER
o xiw i x soi1toviv
Splendor of Heart
w:i1iv ):txsox i:1i :xn 1ni
1i:tnixc oi ii1iv:1uvi
by Robert D. Richardson
I
x The Education of Henry Adams, Adams presciently
observed that A teacher affects eternity; he can never tell
where his inuence 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 fties 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 teachers passion for his subjects,
for the great eighteenth-century gures 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.
xvxoi v ii 1vv.1uvv
oc1onvv
u.vucovvv II: v.cvs
, 8
,,8I,o,,:,,o
sI,. ,,
vi cu1s: woviu
Rossvr D. R: cn.vn:ox is a
biographer and literary historian.
His books include Henry Thoreau:
A Life of the Mind (: ,8o), Emer-
son: The Mind on Fire (: ,,,), and
William James: In the Maelstrom
of American Modernism (zooo).
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
wa i + i i : a c x s o x i a + i
and t he t e ac hi ng of l i t e r at ur e
n o n r n r n . n i c n a n n s o x
author of Emerson, Thoreau and William James

















xiw i x n:vntoviv ,
The Gypsies
:xn o1niv x:vv:1ivi voixs
by Alexander Pushkin
translated from the Russian by Antony Wood
wood engravings by Simon Brett
Alexander Pushkin (I,,,I8,,), Russias greatest writer,
wrote much more than his celebrated novel-in-verse Eugene
Onegin. In this selection of ve of his nest 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 translators 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: Pushkins poetry and the illustrators art.
Lively, elegant, and swift all that I imagine Pushkin to be.
Christopher Logue
Alone at Sea
cioutis1iv ix 1ni :ci oi 1ni
nov.xix, Io:,I,,,
by John N. Morris
The port of Gloucester, nestled under Cape Ann, has been a
focus for writers from Captains Courageous to The Perfect Storm.
From its rst settlement to its present struggles, the town has
seen its share of boom and bust, expansion and retraction,
loss and tragedy. The authors grandfather, Steve Ollson was
lost at sea in I,,,, 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 shing terms, and a detailed chronology
of the Gloucester eet, including all the shermen and vessels
lost at sea since Io,,, is surely the most comprehensive
record yet attempted to bring the town and its inhabitants to
life. In Joe Garlands words, heres an absolutely authoritative
shing history of Gloucester, the oldest, most dramatic, and
colorful shing port in the Western hemisphere.
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The Mary Azarian
Address Book
Right after we published Mary Azarians A Farmers 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
weve 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 Cards
People still appreciate a good-looking note card on which to
write personal messages. Here is a selection of images from A
Farmers 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 Pienza
written and illustrated by
Susan Fillion
in English and Italian
W
u.1 uo 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 Giovannis, where
Giovanni cooks pizza the old-fashioned way in a hot brick
oven heated by a wood re. 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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Su:.x F: ::: ox 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
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by William Kotzwinkle
illustrated by Joe Servello
Now ix i1s fourth printing: a collection of ve detective
stories by the celebrated William Kotzwinkle with an all-
insect cast of characters. Follow Inspector Mantis, of brilliant
mind, supersensitive antenn, and iron grip, and his faithful
sidekick Doctor Hopper, an accomplished violinist and long-
jumper, along with a bevy of buggy bandits, as they solve
entomological cases with clever sleuthing. Criminal detection
combined with entomology makes this, in the words of The
Horn Book, the most engaging and cleverest reincarnation of
Sherlock Holmes and Doctor Watson yet.
Excitement and humor! New York Times Book Review
The Great Piratical
Rumbustication
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by Margaret Mahy
illustrated by Quentin Blake
A v.iv ov wild and woolly stories from two of the most
notable gures in childrens literature. The Great Piratical
Rumbustication introduces us to the rambunctious Alpha,
Oliver, and Omega Terrapin, who nally meet their match in
Orpheus Clinker, a reformed pirate turned respectable(?)
babysitter. Before you can say Yo, Ho, Ho, the Terrapin
household becomes headquarters for the biggest pirate party
ever. The Librarian and the Robbers is an equally tickling tale
of a band of wicked robbers who carry off the lovely and
learned librarian, Serena Laburnum, who not only outwits
the robbers by turning them into respectable citizens, but also
introduces them to the everlasting pleasures of the Dewey
Decimal System.
Two books worth of story crammed into o, magical pages . . .
cut from the same cloth as books by William Steig and Roald
Dahl. David Elzey, The Excelsior Files
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Wishbone
by Don Share
Wishbone is poet and senior editor of Poetry Don Shares third book of
poems, verse that takes place in Americas 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 nds 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
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Collected Poems
by Naomi Replansky
Nominated for the National Book Award in I,,:, Naomi Replanskys rst
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
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Well Then There Now
by Juliana Spahr
Accretion, articulation, exploration, transformation these are just a few of
Juliana Spahrs interests. Her universe, more inclusive than exclusive,
embraces grape varietals, the shrinking of public beachfront in Hawaii,
endangered plant, sh, 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 Camera
selected with an introduction &
commentary by David Travis
In I,88, Jerry Fielder, then Yousuf Karshs 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 Karshs iconic images, including the one attribute that
has been missing from all prior publications the photographers voice.
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Ingenious Contrivances, Curiously Carved
stvixsn:w ix 1ni xiw iiniovn wn:iixc xusiux
by Stuart M. Frank
The 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 subjects leading expert, curator Stuart M. Frank as your
guide, you will be introduced to every possible permutation of these
whalemens fancies. With ,oo detailed and dramatic photographs.
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The Forty Days of Musa Dagh
by Franz Werfel
translated from the German by Georey Dunlop
newly revised by James Reidel
The Forty Days of Musa Dagh is Franz Werfels masterpiece, the massive saga
that brought him international acclaim in I,,, and drew the worlds 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 I,I,.
In every sense, a true and thrilling novel. New York Times Book Review
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An Artist in Venice
by Adam Van Doren
For the depiction of Venice by artists, its a high bar thats 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, lled with the presence of illustrious pred-
ecessors, from Ruskin and Canaletto to Bellini and Sargent and illustrated
with :I full-color paintings by the author/artist.
If I could paint like anybody, Id love to be able to paint like [Van Doren].
Graydon Carter, editor of Vanity Fair
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Rosemary Verey
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by Barbara Paul Robinson
Rosemary 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 denitive book on the great gardener and designer.
Penelope Hobhouse
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Printers Devil
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by Simon Loxley
The book and type designer Frederic Warde is remembered today chiey for
his collaboration with Stanley Morison, for producing the singular typeface
Arrighi, and for being, briey, the husband of Beatrice, Monotypes 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 eld. This book is essen-
tial reading for anyone interested in the story of design, type, and printing
in the interwar years.
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Printers Devil
The Life and Work of
Frederic Warde

Simon Loxley
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Faith, Hope, & Charity
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by Suzanne Greenberg and Barbara Noreet
During the last decades of the I,th century, our countrys expanding
wealth and inuence 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 Peabodys 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 Peabodys collection in com-
pelling the wealthy to invest in the welfare of the less fortunate.
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La Bonne Table
by 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 dArgent 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. . xoxv.vvi i noox 8 v.cvs sc ,,8-o-8,,:,-8o8-, sI,. ,,
Genius of Common Sense
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by Glenna Lang and Marjory Wunsch
No one affected the way we think about life in densely packed urban
centers more than Jane Jacobs. Here is the rst 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 [Jacobss] 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:
c., co, iu, x1, xx, ov, u1, w., ws
The Wilcher Group
c/o Dan Skaggs, o,o Piedmont Ave., #:o,
Oakland, CA ,oII
1vi: ,I o ,,, ,,,, v.x: ,I o ,,, ,8o
skaggs@wilcher-assoc.com
South:
.i, .v, vi, c., i., xs, xc, ox, sc, 1x, 1x, v.
Bill McClung & Associates
c/o Bill McClung, :o,, Highway o W, Suite I8o
Spring Branch, TX ,8o,o
1vi: 8,o ,8 88: v.x: 8,o ,8 88,
bmcclung@ix.netcom.com
For sales in the UK and Europe please contact
Roundhouse Group
I 8n Marine Gardens, Brighton, nx: I .u,
United Kingdom
1vi: oI :,, oo, , I , v.x: oI :,, o,, ,
alan@roundhousegroup.co.uk
For sales in Australia please contact:
book&volume
P. O. Box ,,, Birregurra, Victoria ,::, Australia
1vi: oI, ,: ,o: ,,, v.x: oI, ,: ,o: o,o
info@bookandvolume.com.au
For all other territories, please contact:
David R. Godine, Publisher
I, Court Square, Suite ,:o, Boston, MA o:Io8
1vi: oI , ,I ,ooo v.x: oI , ,,o o:,o
sales@godine.com
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your customary source (and most book sellers will
gladly special order any book they do not have in
stock), you may order directly from us. Please
enclose payment with your order and include s,.oo
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Visit us on the web at www.godine.com and www.blacksparrowbooks.com
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
Publishers Representatives Godine and the Brave New World
H.vuis . wvvx 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 ve hundred years because it is, like a violin, a
machine perfectly suited to its use. We take books for granted and can instinctively nd the
title page, the index, or the table of contents. They open without turning on a switch. Weve
never issued a users manual (apart from Georges Perecs Life a Users Manual). There is a
comfort level with a book that needs little explanation or justication.
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
Clzios memoir of growing up in Africa. Here it doesnt matter in what type size or style
you read the text. The les 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 dont develop (or even recognize) a talent like Le Clzio, 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 s,. ,, through Amazon, who is going to step forward to take care of the cow at s:o. ,,?
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 its 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 reected 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 :oo, non-traditional (meaning self-published or on-demand titles) accounted
for :o,, ooo new titles. In :oIo, that number had spiked tenfold, to more than :, ,,,, ooo.
Its a new world, more confused than brave, and were doing our best to cope with it. But
speaking personally, I was just as happy in the old one, and the books youll encounter in
this catalogue probably reect a bias toward quality book making better than any justica-
tion youll read in a Publishers Note. D R G
cover.0423_cover.0515 5/23/12 3:34 PM Page 2
Order Information
Retail Trade Discounts
Single-title order ,o% (+ s.oo shipping, pre-
paid only)
:- items o% (+ s,.oo shipping, pre-paid only)
,-:, items %
:o items and up o%
Non-returnable ,o% (, items or more)
Wholesale terms
,o%; minimum ve books
Libraries and Universities
Libraries :o%
Course Adoption :o%
Desk copies free with conrmation of order
All Black Sparrow Books combine
with Godine titles for discounts.
All invoices are net days.
All terms are subject to change.
Current Returns Policy
Permission and label required: call, fax, or write to
our New Hampshire address. No returns accepted
at our Boston address.
Returns will xo1 be accepted if there are past due
invoices on your account.
We will only accept for credit books purchased
within the past 1wo years: returns not accompanied
by invoice information will be credited at ,o%.
Returned books must be in print and in s.iv.niv
condition: s1icxvvvu books are ineligible for credit.
No cash refunds (merchandise credit only).
Credits are valid for two years from date of issue,
and are applied automatically to open balances on
monthly statements.
Any account whose annual returns exceed ,o% will
automatically convert to ,o% non-returnable status.
Please address all orders and
return requests to:
David R. Godine, Publisher, Inc.
Post Oce Box ,o
Jarey, New Hampshire o,,:
1oii vvvv 1vi: 8oo,,,I
1oii vvvv v.x: 8oo::oo,,
in New Hampshire:
1vi: oo,,,:Ioo v.x: oo,,,:,,o
order@godine.com www.godine.com

Editorial Oces:
David R. Godine, Publisher, Inc.
Fifteen Court Square, Suite ,:o
Boston, Massachusetts o:Io8
1vi: oI,,I,ooo v.x: oI,,,oo:,o
info@godine.com

Cover illustration by Aldren A. Watson

from Waterfront New York (see p. )
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David R. Godine
P U B L I S H E R
FallWinter 2 01 2
Books that matter for people who care

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