New York Harbor Railroads In Color

Complemented by 150 black-and-white period photographs and personal anecdotes of life on the New York waterways, a visual history traces the lore and use of tugboats in New York from their early nineteenth-century precursors to their heyday in the 1950s, detailing their various roles guiding large ships safely, conducting rescue operations, and navigating quantities of resources through traffic-clogged waters. Reprint.

The New York, Ontario and Western Railway was the first class-one railroad in the United States to be abandoned in its entirety. Whereas other rail lines were closed gradually, the federal government closed down the railroad on March 29, 1957, for its failure to pay employee withholding taxes. The railroad went into bankruptcy in 1937 after its main shipping commodity, coal, was rapidly replaced by oil for home heat. As time passed, the interest in this abandoned railroad grew, and much of the company's records have been recovered and preserved. Today, with 750 members, the Ontario and Western Railway Historical Society Archives Center houses this unique corporate record collection. In addition, there are extensive private collections of everything from locomotives, passenger cars, lanterns, and tools to company passes and railroad police memorabilia.

After journalist Jessica DuLong was laid off from her dot-com job, her life took an unexpected turn. A volunteer day aboard an antique fireboat, the John J. Harvey, led to a job in the engine room, where she found a taste of home she hadn’t realized she was missing. Working with the boat’s finely crafted machinery, on the waters of the storied Hudson, made her wonder what America is losing in our shift away from hands-on work. Her questions crystallized after she and her crew served at Ground Zero, where fireboats provided the only water available to fight blazes. Vivid and immediate, My River Chronicles is a journey with an extraordinary guide—a mechanic’s daughter and Stanford graduate who bridges blue-collar and white-collar worlds, turning a phrase as deftly as she does a wrench. As she searches for the meaning of work in America, DuLong shares her own experiences of learning to navigate a traditionally male world, masterfully interweaving unforgettable present-day characters and events with four centuries of Hudson River history. A celebration of craftsmanship, My River Chronicles is a deeply personal story of a unique woman’s discovery of her own roots—and America’s—that raises important questions about our nation’s future.

The Accidental Playground explores the remarkable landscape created by individuals and small groups who occupied and rebuilt an abandoned Brooklyn waterfront. While local residents, activists, garbage haulers, real estate developers, speculators, and two city administrations fought over the fate of the former Brooklyn Eastern District Terminal (BEDT), others simply took to this decaying edge, transforming it into a unique venue for leisure, creative, and everyday practices. These occupiers and do-it-yourself builders created their own waterfront parks and civic spaces absent every resource needed for successful urban development, including plans, designs, capital, professional assistance, consensus, and permission from the waterfront’s owners. Amid trash, ruins, weeds, homeless encampments, and the operation of an active garbage transfer station, they inadvertently created the “Brooklyn Riviera” and made this waterfront a destination that offered much more than its panoramic vistas of the Manhattan skyline. The terminal evolved into the home turf for unusual and sometimes spectacular recreational, social, and creative subcultures, including the skateboarders who built a short-lived but nationally renowned skatepark, a twenty-five-piece “public” marching band, fire performance troupes, artists, photographers, and filmmakers. At the same time it served the basic recreational needs of local residents. Collapsing piers became great places to catch fish, sunbathe, or take in the views; the foundation of a demolished warehouse became an ideal place to picnic, practice music, or do an art project; rubble-strewn earth became a compelling setting for film and fashion shoots; a broken bulkhead became a beach; and thick patches of weeds dotted by ailanthus trees became a jungle. These reclamations, all but ignored by city and state governments and property interests that were set to transform this waterfront, momentarily added to the distinctive cultural landscape of the city’s most bohemian and rapidly changing neighborhood. Drawing on a rich mix of documentary strategies, including observation, ethnography, photography, and first-person narrative, Daniel Campo probes this accidental playground, allowing those who created it to share and examine their own narratives, perspectives, and conflicts. The multiple constituencies of this waterfront were surprisingly diverse, their stories colorful and provocative. When taken together, Campo argues, they suggest a radical reimagining of urban parks and public spaces, and the practices by which they are created and maintained. The Accidental Playground, which treats readers to an utterly compelling story, is an exciting and distinctive contribution to the growing literature on unplanned spaces and practices in cities today.

Since peoples from around the globe began to come to America, Hoboken has always been a popular destination for immigrants. People migrated from Ireland, Germany, Italy, Russia, Puerto Rico and other countries to the city, hoping to find opportunity and prosperity for themselves and their families in America. Using Hoboken as a point of entry, many ultimately chose to remain in the Mile Square City. As they struggled to establish themselves, immigrants clashed with one another and with native-born Hobokenites as they influenced the citys politics, economics, religions and customs. Author Christina A. Ziegler-McPherson explores their struggles and the complicated conflicts that have influenced the ethnic and cultural environments of this New Jersey city.

"Modes of transportation understood, by political regimes in different times and places, as intrinsically useful for clandestine movement, subversive mobility, and smuggling for revolt. Contents: Chapters look at canal transportation, several types of animal transportation (mules, elephants, camels and sled-dogs are all treated at some length), and inner-city freight-carrying infrastructure"--Provided by publisher.

“Exuberant . . . elegantly conjures an evocative group dynamic.” —Sam Roberts, New York Times From its birth in 1925 to the early days of the Cold War, The New Yorker slowly but surely took hold as the country’s most prestigious, entertaining, and informative general-interest periodical. In Cast of Characters, Thomas Vinciguerra paints a portrait of the magazine’s cadre of charming, wisecracking, driven, troubled, brilliant writers and editors. He introduces us to Wolcott Gibbs, theater critic, all-around wit, and author of an infamous 1936 parody of Time magazine. We meet the demanding and eccentric founding editor Harold Ross, who would routinely tell his underlings, "I'm firing you because you are not a genius," and who once mailed a pair of his underwear to Walter Winchell, who had accused him of preferring to go bare-bottomed under his slacks. Joining the cast are the mercurial, blind James Thurber, a brilliant cartoonist and wildly inventive fabulist, and the enigmatic E. B. White—an incomparable prose stylist and Ross's favorite son—who married The New Yorker's formidable fiction editor, Katharine Angell. Then there is the dashing St. Clair McKelway, who was married five times and claimed to have no fewer than twelve personalities, but was nonetheless a superb reporter and managing editor alike. Many of these characters became legends in their own right, but Vinciguerra also shows how, as a group, The New Yorker’s inner circle brought forth a profound transformation in how life was perceived, interpreted, written about, and published in America. Cast of Characters may be the most revealing—and entertaining—book yet about the unique personalities who built what Ross called not a magazine but a "movement."