In this revisionist account of romantic-era poetry and language philosophy, Tristram Wolff recovers vibrant ways of thinking language and nature together. Wolff argues that well-known writers including Phillis Wheatley Peters, William Blake, William Wordsworth, and Henry David Thoreau offer a radical chronopolitics in reaction to the "uprooted word," or the formal analytic used to classify languages in progressive time according to a primitivist timeline of history and a hierarchy of civilization. Before the bad naturalisms of nineteenth-century race science could harden language into place as a metric of social difference, poets and thinkers try to soften, thicken, deepen, and dissolve it. This naturalizing tendency makes language more difficult to uproot from its active formation in the lives of its speakers. And its "gray romanticism" simultaneously gives language different kinds of time—most strikingly, the deep time of geologic form—to forestall the hardening of time into progress. Reorienting romantic studies to consider colonialism's pervasive effects on theories of language origin, Wolff shows us the ambivalent position of romantics in this history. His reparative reading makes visible language's ability to reimagine social forms.

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“A Way to Garden prods us toward that ineffable place where we feel we belong; it’s a guide to living both in and out of the garden.” —The New York Times Book Review For Margaret Roach, gardening is more than a hobby, it’s a calling. Her unique approach, which she calls “horticultural how-to and woo-woo,” is a blend of vital information you need to memorize and intuitive steps you must simply feel and surrender to. In A Way to Garden, Roach imparts decades of garden wisdom on seasonal gardening, ornamental plants, vegetable gardening, design, gardening for wildlife, organic practices, and much more. She also challenges gardeners to think beyond their garden borders and to consider the ways gardening can enrich the world. Brimming with beautiful photographs of Roach’s own garden, A Way to Garden is practical, inspiring, and a must-have for every passionate gardener.

How a German city became Polish after World War II With the stroke of a pen at the Potsdam Conference following the Allied victory in 1945, Breslau, the largest German city east of Berlin, became the Polish city of Wroclaw. Its more than six hundred thousand inhabitants—almost all of them ethnic Germans—were expelled and replaced by Polish settlers from all parts of prewar Poland. Uprooted examines the long-term psychological and cultural consequences of forced migration in twentieth-century Europe through the experiences of Wroclaw's Polish inhabitants. In this pioneering work, Gregor Thum tells the story of how the city's new Polish settlers found themselves in a place that was not only unfamiliar to them but outright repellent given Wroclaw's Prussian-German appearance and the enormous scope of wartime destruction. The immediate consequences were an unstable society, an extremely high crime rate, rapid dilapidation of the building stock, and economic stagnation. This changed only after the city's authorities and a new intellectual elite provided Wroclaw with a Polish founding myth and reshaped the city's appearance to fit the postwar legend that it was an age-old Polish city. Thum also shows how the end of the Cold War and Poland's democratization triggered a public debate about Wroclaw's "amputated memory." Rediscovering the German past, Wroclaw's Poles reinvented their city for the second time since World War II. Uprooted traces the complex historical process by which Wroclaw's new inhabitants revitalized their city and made it their own.

Jimmy's garden on the Lower East Side of Manhattan--an assortment of stones and garbage bags, five tires, a chair, a skid, a refrigerator shelf, some ailanthus trees and goldfish, a wooden fence, and a pond with water carried by hand from a nearby fire hydrant--was recently bulldozed by the city. Jimmy then disappeared. Anna's garden is surrounded by a tall chainlink fence and filled with a menagerie of dolls and stuffed animals. The animals are whole, the dolls are maimed. Anna is a recluse who speaks to no one. The neighbors say she was in a concentration camp as a child. Gardens have always been associated with wealth and leisure, viewed as an addition to home. In this remarkable book a landscape architect and a photographer show us, in word and pictures, gardens built by homeless or impoverished New York City inhabitants. Like traditional gardens, these spaces are designed for pleasure, social activity, or private retreat. Unlike traditional gardens, they are connected to a more active and ephemeral use of the land. Transitory gardens speak the language of our times: here we find the reuse of nearly everything discarded, a sparing use of water and plant materials, an economical treatment of space, and a penchant for icons, toys, flags, and symbols of freedom and nationality. The gardens expand our definition of what makes a garden and what its design means for its creator. Diana Balmori's commentary and Margaret Morton's photographs combine with the garden-makers' own descriptions to encourage us to take note of gardens grown in unlikely places, on abandoned, littered lots, bounded by debris. By focusing on what homeless people make not for material comfort but from social and spiritual need, the book offers insight into both the meaning of landscape and the place of a garden in the life of an individual under duress.

“Uprooted reveals how a late-life uprooting changed Dickey as a gardener.” —The Wall Street Journal When Page Dickey moved away from her celebrated garden at Duck Hill, she left a landscape she had spent thirty-four years making, nurturing, and loving. She found her next chapter in northwestern Connecticut, on 17 acres of rolling fields and woodland around a former Methodist church. In Uprooted, Dickey reflects on this transition and on what it means for a gardener to start again. In these pages, fol­low her journey: searching for a new home, discovering the ins and outs of the landscape surround­ing her new garden, establishing the garden, and learning how to be a different kind of gardener. The sur­prise at the heart of the book? Although Dickey was sad to leave her beloved garden, she found herself thrilled to begin a new garden in a wilder, larger landscape. Written with humor and elegance, Uprooted is an endearing story about transitions—and the satisfaction and joy that new horizons can bring.

"A superior exploration of the consequences of the hollowing out of our agricultural heartlands."—Kirkus Reviews In the tradition of Wendell Berry, a young writer wrestles with what we owe the places we’ve left behind. In the tiny farm town of Emmett, Idaho, there are two kinds of people: those who leave and those who stay. Those who leave go in search of greener pastures, better jobs, and college. Those who stay are left to contend with thinning communities, punishing government farm policy, and environmental decay. Grace Olmstead, now a journalist in Washington, DC, is one who left, and in Uprooted, she examines the heartbreaking consequences of uprooting—for Emmett, and for the greater heartland America. Part memoir, part journalistic investigation, Uprooted wrestles with the questions of what we owe the places we come from and what we are willing to sacrifice for profit and progress. As part of her own quest to decide whether or not to return to her roots, Olmstead revisits the stories of those who, like her great-grandparents and grandparents, made Emmett a strong community and her childhood idyllic. She looks at the stark realities of farming life today, identifying the government policies and big agriculture practices that make it almost impossible for such towns to survive. And she explores the ranks of Emmett’s newcomers and what growth means for the area’s farming tradition. Avoiding both sentimental devotion to the past and blind faith in progress, Olmstead uncovers ways modern life attacks all of our roots, both metaphorical and literal. She brings readers face to face with the damage and brain drain left in the wake of our pursuit of self-improvement, economic opportunity, and so-called growth. Ultimately, she comes to an uneasy conclusion for herself: one can cultivate habits and practices that promote rootedness wherever one may be, but: some things, once lost, cannot be recovered.

These two scholars have plumbed the rich Mayo Brothers archive in Mexico's Secretariate of Foreign Relations to select the photos represented here on one of the most controversial cross-cultural subjects of their time: the Bracero Program. This landmark coffee table book offers 83 historical photos and an introduction documenting their importance.

NEBULA AWARD WINNER • HUGO AWARD FINALIST • “If you want a fantasy with strong characters and brilliantly original variations on ancient stories, try Uprooted!”—Rick Riordan “Breathtaking . . . a tale that is both elegantly grand and earthily humble, familiar as a Grimm fairy tale yet fresh, original, and totally irresistible.”—Publishers Weekly (starred review) ONE OF THE BEST BOOKS OF THE YEAR: NPR, BuzzFeed, Tordotcom, BookPage, Library Journal, Publishers Weekly Agnieszka loves her valley home, her quiet village, the forests and the bright shining river. But the corrupted Wood stands on the border, full of malevolent power, and its shadow lies over her life. Her people rely on the cold, driven wizard known only as the Dragon to keep its powers at bay. But he demands a terrible price for his help: one young woman handed over to serve him for ten years, a fate almost as terrible as falling to the Wood. The next choosing is fast approaching, and Agnieszka is afraid. She knows—everyone knows—that the Dragon will take Kasia: beautiful, graceful, brave Kasia, all the things Agnieszka isn’t, and her dearest friend in the world. And there is no way to save her. But Agnieszka fears the wrong things. For when the Dragon comes, it is not Kasia he will choose. Praise for Uprooted “Uprooted has leapt forward to claim the title of Best Book I’ve Read Yet This Year. . . . Moving, heartbreaking, and thoroughly satisfying, Uprooted is the fantasy novel I feel I’ve been waiting a lifetime for. Clear your schedule before picking it up, because you won’t want to put it down.”—NPR

What is utopia if not a perfect world, impossible to achieve? Anahid Nersessian reveals a basic misunderstanding lurking behind that ideal. In Utopia, Limited she enlists William Blake, William Wordsworth, John Keats, and others to redefine utopianism as a positive investment in limitations. Linking the ecological imperative to live within our means to the aesthetic philosophy of the Romantic period, Nersessian’s theory of utopia promises not an unconditionally perfect world but a better world where we get less than we hoped, but more than we had. For the Romantic writers, the project of utopia and the project of art were identical. Blake believed that without limits, a work of art would be no more than a set of squiggles on a page, or a string of nonsensical letters and sounds. And without boundaries, utopia is merely an extension of the world as we know it, but blighted by a hunger for having it all. Nersessian proposes that we think about utopia as the Romantics thought about aesthetics—as a way to bind and thereby emancipate human political potential within a finite space. Grounded in an intellectual tradition that begins with Immanuel Kant and includes Theodor Adorno and Northrop Frye, Utopia, Limited lays out a program of “adjustment” that applies the lessons of art to the rigors of life on an imperiled planet. It is a sincere response to environmental devastation, offering us a road map through a restricted future.