When that music ceased he did not wait any longer nor enter the house, but stole away silently. This time he travelled the main road, which intersected the old one at the Hautville house. The village lights shone before him all the way. He was half-way to the village when he met his cousin, Lot Gordon. He knew he was coming through the pale darkness of the night some time before he was actually in sight by his cough. Lot Gordon had had for years a sharp cough which afflicted him particularly when he walked abroad in night air. It carried as far as the yelp of a dog; when Burr first heard it he stopped short, and looked irresolutely at the thicket beside the road. He had a half-impulse to slink in there among the snowy bushes and hide until his cousin passed by. Then he shook his head angrily and kept on.

This book is a testament to the brilliant London-based Dutch artist who has made a unique contribution to the visual culture of architecture. Vriesendorp is best known as one of the co-founders of the Office of Metropolitan Architecture in the early 1970s, and her paintings and drawings from this period (published in Rem Koolhaas' Delirious New York, 1978) are widely acknowledged as beguiling and beautiful masterpieces. Images of Vriesendorp's idiosyncratic collection of drawings, paintings, postcards and paraphernalia are combined in this volume, alongside texts that illuminate her work. Charles Jencks ruminates on Vriesendorp's cosmology of symbols; the novelist and artist Douglas Coupland writes on the pathology of collecting; Beatriz Colomina re-treads the 'delirious' 1970s in New York; and Rem and Charlotte Koolhaas reframe the domestic environment that has been both the family home and Vriesendorp's studio archive for 30 years.

A biography of the nineteenth-century philosopher and educator Amos Alcott, his wife; and their four daughters who were the real-life prototypes for the Marches in "Little Women."