New Releases by John McPhee

A Pulitzer Prize winner takes you on unforgettable adventures to some of America''s most wild places in this deluxe collection of 4 classic books of nature writing From legendary New Yorker writer John McPhee, here are four adventures in wild places. Exploring these untamed regions and the characters, skills, and ways of living they have fostered, McPhee quietly registers the costs of growth and progress and finds pleasure in what remains. The Pine Barrens (1968), finds McPhee traversing the byways of an unexpected near-wilderness—the New Jersey Pine Barrens—with it''s unusual dwarf forests, cedar swamps, and tannin-brown creeks a world apart from the sprawling megalopolis that surrounds them. Encounters with the Archdruid (1971) recounts three trips, hiking and rafting, through pristine ecosystems in Washington''s Cascade Mountains, off the Georgia coast, and down the Colorado River through the Grand Canyon. Along the way, McPhee’s expert companions—a mining engineer, resort developer, and dam builder among them—challenge the "archdruid" of the book''s title, the environmentalist David Brower, to defend his efforts to keep them "forever wild." The Survival of the Bark Canoe (1975) follows New Hampshire Canoe builder Henri Vaillancourt as he crafts a new vessel out of birch Bark, using the age old tools and methods of the American Indians. McPhee then joins Vaillancourt and others on a grueling, tense 150-mile test voyage through a Maine woods full of hauntingly beautiful prospects and potential peril. Coming into the Country (1977) is McPhee’s magisterial composite portrait of Alaska and Alaskans. Here, as he crisscrosses this vast and sublime state, are Natives and newcomers; government officials, gold miners, and oilmen; wildlife ecologists, rugged outdoorsman, and bush pilots; and much more Edited by current New Yorker chief David Remnick and prepared with McPhee’s assistance, the volume includes a newly researched chronology of the author''s life, detailed notes, and index, and all of the illustrations that accompanied the original editions.

A literary legend’s engaging review of his career, stressing the work he never completed, and why. Over seven decades, John McPhee has set a standard for literary nonfiction. Assaying mountain ranges, bark canoes, experimental aircraft, the Swiss Army, geophysical hot spots, ocean shipping, shad fishing, dissident art in the Soviet Union, and an even wider variety of other subjects, he has consistently written narrative pieces of immaculate design. In Tabula Rasa, Volume 1, McPhee looks back at his career from the vantage point of his desk drawer, reflecting wryly upon projects he once planned to do but never got around to—people to profile, regions he meant to portray. There are so many examples that he plans to go on writing these vignettes, an ideal project for an old man, he says, and a “reminiscent montage” from a writing life. This first volume includes, among other things, glimpses of a frosty encounter with Thornton Wilder, interrogative dinners with Henry Luce, the allure of western Spain, criteria in writing about science, fireworks over the East River as seen from Malcolm Forbes’s yacht, the evolving inclinations of the Tower of Pisa, the islands among the river deltas of central California, teaching in a pandemic, and persuading The New Yorker to publish an entire book on oranges. The result is a fresh survey of McPhee’s singular planet.

Se c''è un libro in grado di dividere i lettori fra chi rischia di contrarre in una forma o nell''altra il morbo del tennis, e chi invece ne risulta immune, è questo. Dove si rivive, un punto dopo l''altro, la semifinale di Forest Hills 1968 fra Arthur Ashe e Clark Graebner – la prima disputata da un tennista nero agli albori dell''èra Open, ma anche e soprattutto la prima partita di tennis raccontata dall''interno del luogo enigmatico e fino ad allora inesplorato che il gioco abita, e spesso devasta: la mente del tennista. Guardandola per caso alla CBS, John McPhee era subito rimasto incantato dal magnifico arabesco che i colpi dei due protagonistiu00ad – diversi in tutto, e in primo luogo nello stile – disegnavano sulu00adl''erba. Ma rivedendo il match insieme a Ashe e Graebner – ascoltandone i racconti, trascrivendone le reazioni – McPhee lo ha poi ricostruito, in «Livelli di gioco», con due soli accorgimenti: la demoniaca accuratezza descrittiva che ha fatto di lui una leggenda della narrativa americana, e i veri ingredienti del tennis: collera, spavento, esaltazione, freddezza, sconforto, orgoglio. Gli stessi che qualche mese prima McPhee aveva scoperto vivendo per quindici giorni a pochi centimetri di distanza dal prato su cui il tennis moderno è nato, per ascoltare e poi ritrarre dal vero, nel secondo pezzo che compone questo libro, uno dei suoi personaggi più indimenticabili: Robert Twynam, giardiniere capo di Wimbledon.

In the quiet still hours of the evening on May 10, 1980, a young nation faced its most crucial hour. Two Cuban MiGs were dispatched by Cuba''s competent authority. Their ultimate destination Cay Santo Domingo a small cay in the southern hemisphere of the Bahamas. Their intended target: HMBS Flamingo, a one-hundred-and-four-foot Bahamian patrol vessel with two Cuban fishing vessels, Ferrocemento 54 and Ferrocemento 165, in tow.The remaining hours in the afternoon will unfold a tyranny of unsettling events resulting in the tragic loss of life and property for the Bahamas. The crises plunged the region into a geopolitical crisis and set in motion a cascading set of circumstances that will affect the young nation for the rest of its existence.Final Sunset is the riveting account of the fatal sinking of HMBS Flamingo by Cuban MIGs on May 10, 1980. It recounts the harrowing tale of heroism and survivorship. The gritty and unrelenting human will to make it home after their routine day took a most unfortunate turn on one of the darkest moments in Bahamian history.

A una certa età ogni scrittore desidera essenzialmente una cosa: vuotare i propri cassetti, prima che lo faccia qualcun altro. Non sempre ne vale la pena, ma se i cassetti sono quelli di John McPhee, c’è il caso che contengano – be’, un nuovo, inimitabile, imprevedibile pezzo di John McPhee.

The Patch is the seventh collection of essays by the nonfiction master, all published by Farrar, Straus and Giroux. It is divided into two parts. Part 1, “The Sporting Scene,” consists of pieces on fishing, football, golf, and lacrosse—from fly casting for chain pickerel in fall in New Hampshire to walking the linksland of St. Andrews at an Open Championship. Part 2, called “An Album Quilt,” is a montage of fragments of varying length from pieces done across the years that have never appeared in book form—occasional pieces, memorial pieces, reflections, reminiscences, and short items in various magazines including The New Yorker. They range from a visit to the Hershey chocolate factory to encounters with Oscar Hammerstein, Joan Baez, and Mount Denali. Emphatically, the author’s purpose was not merely to preserve things but to choose passages that might entertain contemporary readers. Starting with 250,000 words, he gradually threw out 75 percent of them, and randomly assembled the remaining fragments into “an album quilt.” Among other things, The Patch is a covert memoir.

Canadian Professional Engineering and Geoscience: Practice and Ethics, 6e, is a unique and comprehensive text for today''s Canadian students and practising professionals. Structured in five parts, the text is written in an approachable and engaging style that effectively covers practice and ethics topics while offering advice for readers to become effective professionals. The authors guide readers through professional licensing, practice, ethics, and environmental practice and ethics using history, case studies, examples, and images to bring the issues to life. The text devotes an entire chapter to preparing readers for the Professional Practice Examination (PPE), including practice questions to bolster success. Canadian Professional Engineering and Geoscience is up to date with Engineers Canada''s practice and ethics syllabus and is the recommended study guide for this section of the PPE. The coverage in this sixth edition includes all provinces and territories of Canada and contains updated, new, and revised content and cases including the fascinating new case history: "Accidental Overdose: The Therac-25 Radiation Therapy Accidents." This edition has expanded its Employment, Management, and Consulting sections with new and relevant Canadian cases to keep readers engaged and connected to the content. Canadian Professional Engineering and Geoscience: Practice and Ethics is a vital professional resource for study and reference.

The long-awaited guide to writing long-form nonfiction by the legendary author and teacher Draft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape nonfiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising—and revising, and revising. Draft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.

While John McPhee was working on his previous book, Rising from the Plains, he happened to walk by the engineering building at the University of Wyoming, where words etched in limestone said: "Strive on--the control of Nature is won, not given." In the morning sunlight, that central phrase--"the control of nature"--seemed to sparkle with unintended ambiguity. Bilateral, symmetrical, it could with equal speed travel in opposite directions. For some years, he had been planning a book about places in the world where people have been engaged in all-out battles with nature, about (in the words of the book itself) "any struggle against natural forces--heroic or venal, rash or well advised--when human beings conscript themselves to fight against the earth, to take what is not given, to rout the destroying enemy, to surround the base of Mt. Olympus demanding and expecting the surrender of the gods." His interest had first been sparked when he went into the Atchafalaya--the largest river swamp in North America--and had learned that virtually all of its waters were metered and rationed by a U.S. Army Corps of Engineers'' project called Old River Control. In the natural cycles of the Mississippi''s deltaic plain, the time had come for the Mississippi to change course, to shift its mouth more than a hundred miles and go down the Atchafalaya, one of its distributary branches. The United States could not afford that--for New Orleans, Baton Rouge, and all the industries that lie between would be cut off from river commerce with the rest of the nation. At a place called Old River, the Corps therefore had built a great fortress--part dam, part valve--to restrain the flow of the Atchafalaya and compel the Mississippi to stay where it is. In Iceland, in 1973, an island split open without warning and huge volumes of lava began moving in the direction of a harbor scarcely half a mile away. It was not only Iceland''s premier fishing port (accounting for a large percentage of Iceland''s export economy) but it was also the only harbor along the nation''s southern coast. As the lava threatened to fill the harbor and wipe it out, a physicist named Thorbjorn Sigurgeirsson suggested a way to fight against the flowing red rock--initiating an all-out endeavor unique in human history. On the big island of Hawaii, one of the world''s two must eruptive hot spots, people are not unmindful of the Icelandic example. McPhee went to Hawaii to talk with them and to walk beside the edges of a molten lake and incandescent rivers. Some of the more expensive real estate in Los Angeles is up against mountains that are rising and disintegrating as rapidly as any in the world. After a complex coincidence of natural events, boulders will flow out of these mountains like fish eggs, mixed with mud, sand, and smaller rocks in a cascading mass known as debris flow. Plucking up trees and cars, bursting through doors and windows, filling up houses to their eaves, debris flows threaten the lives of people living in and near Los Angeles'' famous canyons. At extraordinary expense the city has built a hundred and fifty stadium-like basins in a daring effort to catch the debris. Taking us deep into these contested territories, McPhee details the strategies and tactics through which people attempt to control nature. Most striking in his vivid depiction of the main contestants: nature in complex and awesome guises, and those who would attempt to wrest control from her--stubborn, often ingenious, and always arresting characters.

From the outwash plains of Brooklyn to Indiana''s drifted diamonds and gold, John McPhee''s In Suspect Terrain is a narrative of the earth, told in four sections of equal length, each in a different way reflecting the three others-- a biography; a set piece about a fragment of Appalachian landscape in illuminating counterpoint to the human history there; a modern collision of ideas about the origins of the mountain range; and, in contrast, a century-old collision of ideas about the existence of the Ice Age. The central figure is Anita Harris, an internationally celebrated geologist who went into her profession to get out of a Brooklyn ghetto. The unifying theme is plate tectonics-- here concentrating on the acceptance that all aspects of the theory do not universally enjoy. As such, In Suspect Terrain is a report from the rough spots at the front edge of a science. In Suspect Terrain is the second book in a series on geology and geologists, presenting a cross section of North America along the fortieth parallel, and gathered under the overall title Annals of the Former World. The other books in the series are Basin and Range, Rising from the Plains, and Assembling California.

Pieces of the Frame is a gathering of memorable writings by one of the greatest journalists and storytellers of our time. They take the reader from the backwoods roads of Georgia, to the high altitude of Ruidoso Downs in New Mexico; from the social decay of Atlantic City, to Scotland, where a pilgrimage for art''s sake leads to a surprising encounter with history on a hilltop with a view of a fifth of the entire country. McPhee''s writing is more than informative; these are stories, artful and full of character, that make compelling reading. They play with and against one another, so that Pieces of the Frame is distinguished as much by its unity as by its variety. Subjects familiar to McPhee''s readers-sports, Scotland, conservation-are treated here with intimacy and a sense of the writer at work.

In this collection John McPhee once agains proves himself as a master observer of all arenas of life as well a powerful and important writer.

Heirs of General Practice is a frieze of glimpses of young doctors with patients of every age—about a dozen physicians in all, who belong to the new medical specialty called family practice. They are people who have addressed themselves to a need for a unifying generalism in a world that has become greatly subdivided by specialization, physicians who work with the "unquantifiable idea that a doctor who treats your grandmother, your father, your niece, and your daughter will be more adroit in treating you." These young men and women are seen in their examining rooms in various rural communities in Maine, but Maine is only the example. Their medical objectives, their successes, the professional obstacles they do and do not overcome are representative of any place family practitioners are working. While essential medical background is provided, McPhee''s masterful approach to a trend significant to all of us is replete with affecting, and often amusing, stories about both doctors and their charges.

The brief, brilliant essay Silk Parachute has become McPhee''s most anthologized piece of writing. In the nine other pieces here, McPhee writes, with his characteristic humor and intensity, about lacrosse, photography, weird foods, and other varied recollections.

McPhee, in prose distinguished by its warm humor, keen insight, and rich sense of human character, looks at the people who drive trucks, captain ships, pilot towboats, drive coal trains, and carry lobsters through the air: people who work in freight transportation.

"Ethics and Law for the Health Professions" provides an accessible and clinically relevant introduction to ethics and health law. It adopts a reflective approach to a wide range of key areas of modern health care. The layout of the book clearly distinguishes between law and ethics, and its structure is carefully designed to ensure that topics are covered in a logical, sequential order, with each chapter both introducing new concepts and building upon its predecessors. The book draws on case material and ethical thought used in all the health professions, and the second edition has been extensively changed to reflect changes in law and ethics since 1998.

Lauded as "a fishing classic" ("The Economist") upon its publication in hardcover, McPhee''s 26th book is a braid of personal history, natural history, and American history, in descending order of volume.

In 1957--long before colleges awarded degrees in creative nonfiction and back when newspaper writing''s reputation was tainted by the fish it wrapped--Princeton began honoring talented literary journalists. Since then, fifty-nine of the finest, most dedicated, and most decorated nonfiction writers have held the Ferris and McGraw professorships. This monumental volume harbors their favorite and often most influential works. Each contribution is rewarding reading, and collectively the selections validate journalism''s ascent into the esteem of the academy and the reading public. Necessarily eclectic and delightfully idiosyncratic, the fifty-nine pieces are long and short, political and personal, comic and deadly serious. Students will be provoked by William Greider''s pointed critique of the democracy industry, eerily entertained by Leslie Cockburn''s fraternization with the Cali cartel, inspired by David K. Shipler''s thoughts on race, unsettled by Haynes Johnson''s account of Bay of Pigs survivors, and moved by Lucinda Frank''s essay on a mother fighting to save a child born with birth defects. Many of the essays are finely crafted portraits: Charlotte Grimes''s biography of her grandmother, Blair Clark''s obituary for Robert Lowell, and Jane Kramer''s affecting story of a woman hero of the French Resistance. Other contributions to savor include Harrison Salisbury on the siege of Leningrad, Landon Jones on the 1950s, Christopher Wren on Soviet mountaineering, James Gleick on technology, Gloria Emerson on Vietnam, Gina Kolata on Fermat''s last theorem, and Roger Mudd on the media. Whether approached chronologically, thematically, randomly, or, as the editors order them, more intuitively, each suggests a perfect evening reading. Designed for students as well as general readers, The Princeton Anthology of Writing splendidly attests to the elegance, eloquence, and endurance of fine nonfiction.

The first book from the legendary New Yorker writer John McPhee, tells about Bill Bradley when he was the best basketball player Princeton had ever seen. When John McPhee met Bill Bradley, both were at the beginning of their careers. In A Sense of Where You Are, McPhee delineates for the reader the training and techniques that made Bradley the extraordinary athlete he was, and this part of the book is a blueprint of superlative basketball. But athletic prowess alone would not explain Bradley''s magnetism, which is in the quality of the man himself—his self-discipline, his rationality, and his sense of responsibility. Here is a portrait of Bradley as he was in college, before his time with the New York Knicks and his election to the U.S. Senate—a story that suggests the abundant beginnings of his professional careers in sport and politics.

This second volume of The John McPhee Reader includes material from his eleven books published since 1975, including Coming into the Country, Looking for a Ship, The Control of Nature, and the four books on geology gathering under the title Annals of the Former World: Basin and Range, In Suspect Terrain, Rising from the Plains, and Assembling California.

In the 1960''s and 1970''s, American professor Norton Dodge forayed on his own in the Soviet Union, bought the work of underground "unofficial" artists, and brought it out himself or arranged to have it shipped illegally to the United States. John McPhee investigates Dodge''s clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched. The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other.

At various times in a span of fifteen years, John McPhee made geological field surveys in the company of Eldridge Moores, a tectonicist at the University of California at Davis. The result of these trips is Assembling California, a cross-section in human and geologic time, from Donner Pass in the Sierra Nevada through the golden foothills of the Mother Lode and across the Great Central Valley to the wine country of the Coast Ranges, the rock of San Francisco, and the San Andreas family of faults. The two disparate time scales occasionally intersect—in the gold disruptions of the nineteenth century no less than in the earthquakes of the twentieth—and always with relevance to a newly understood geologic history in which half a dozen large and separate pieces of country are seen to have drifted in from far and near to coalesce as California. McPhee and Moores also journeyed to remote mountains of Arizona and to Cyprus and northern Greece, where rock of the deep-ocean floor has been transported into continental settings, as it has in California. Global in scope and a delight to read, Assembling California is a sweeping narrative of maps in motion, of evolving and dissolving lands.

Theodore Taylor was one of the most brilliant engineers of the nuclear age, but in his later years he became concerned with the possibility of an individual being able to construct a weapon of mass destruction on their own. McPhee tours American nuclear institutions with Taylor and shows us how close we are to terrorist attacks employing homemade nuclear weaponry.

This is an extraordinary tale of life on the high seas aboard one of the last American merchant ships, the S.S. Stella Lykes, on a forty-two-day journey from Charleston down the Pacific coast of South America. As the crew of the Stella Lykes makes their ocean voyage, they tell stories of other runs and other ships, tales of disaster, stupidity, greed, generosity, and courage.