Meet Me By The Fountain

Longlisted for the Porchlight Business Book Awards “A smart and accessible cultural history.”-Los Angeles Times A portrait--by turns celebratory, skeptical, and surprisingly moving--of one of America's most iconic institutions, from an author who “might be the most influential design critic writing now” (LARB). Few places have been as nostalgized, or as maligned, as malls. Since their birth in the 1950s, they have loomed large as temples of commerce, the agora of the suburbs. In their prime, they proved a powerful draw for creative thinkers such as Joan Didion, Ray Bradbury, and George Romero, who understood the mall's appeal as both critics and consumers. Yet today, amid the aftershocks of financial crises and a global pandemic, as well as the rise of online retail, the dystopian husk of an abandoned shopping center has become one of our era's defining images. Conventional wisdom holds that the mall is dead. But what was the mall, really? And have rumors of its demise been greatly exaggerated? In her acclaimed The Design of Childhood, Alexandra Lange uncovered the histories of toys, classrooms, and playgrounds. She now turns her sharp eye to another subject we only think we know. She chronicles postwar architects' and merchants' invention of the mall, revealing how the design of these marketplaces played an integral role in their cultural ascent. In Lange's perceptive account, the mall becomes newly strange and rich with contradiction: Malls are environments of both freedom and exclusion--of consumerism, but also of community. Meet Me by the Fountain is a highly entertaining and evocative promenade through the mall's rise, fall, and ongoing reinvention, for readers of any generation.

This book is the first comprehensive, documented history of this popular institution, which millions of Americans fondly remember. For 150 years, the soda fountain was a community social center. In big cities, the neighborhood fountain had a clubby atmosphere because it drew its clientele from nearby businesses and apartment buildings. In small towns, soda fountains were very democratic because they attracted all ages and all classes of people. In both cities and small towns, soda fountains were part of the social infrastructure that held the neighborhood together. The evolution of the soda fountain reflected momentous developments in American history: urbanization, the temperance movement and Prohibition, the Great Depression, technological progress, the decline of Main Street and Center City, the Car Culture, and the growth of suburbia. The fountain's evolution was also closely tied to trends in retailing, food service, lifestyles, and the decorative arts.

Life After Death takes an in-depth look at the important issues surrounding death. Does it matter what we believe? Why do we avoid talking about it? Can we confidently assume there is life after death? This book presents the Christian view of death and what lies beyond. It doesn't avoid the difficult questions of judgment and the possibility of missing out on all that God has planned for his people. However, for those who are searching for a real relationship with the living God, Life After Death presents a glorious message of hope and certainty. You don't have to go through life with any doubt about the future. On the contrary, if you are willing to accept all that God offers, on his terms, you will be able to look forward to an endless future in which you will experience all that God, in his infinite love and wisdom, has planned for you. You will also find a hope that will transform your goals, values, and understanding of every part of this present life.

The texts of these choruses were chosen from Ira D. Sankey's popular Gospel Hymn Book, from the mid-nineteenth century, a volume much loved by Charles Ives who quoted numerous Snakey tunes in almost all of this mature works. There is something socially very moving about them, providing as they did a means of solace, comfort and hope for a better life for people whose lives were, on average, probably terrible. Some of the phraseology and turns of phrase may also have been an influence on American poets in the latter half of the nineteenth century. Pre-echoes of Emily Dickenson can be heard on the texts of both I'm a Pilgrim and Beautiful Valley of Eden. In all four cases, the chosen texts generally avoid any specifically religious references. Titles: I'm a Pilgrim * Beautiful Valley of Eden * Bright Morning Star! * At the Fountain.