Twenty Minutes In Manhattan

Every morning, the architect and writer Michael Sorkin walks downtown from his Greenwich Village apartment through Washington Square to his Tribeca office. Sorkin isn't in a hurry, and he never ignores his surroundings. Instead, he pays careful, close attention. And in Twenty Minutes in Manhattan, he explains what he sees, what he imagines, what he knows—giving us extraordinary access to the layers of history, the feats of engineering and artistry, and the intense social drama that take place along a simple twenty-minute walk.

A radical architect examines the changing fortunes of the contemporary city Michael Sorkin is one of the most forthright and engaging architectural writers in the world. In What Goes Up he takes to task the public officials, developers, “civic” organizations, and other heroes of big money, who have made of Sorkin’s beloved New York a city of glittering towers and increasing inequality. He unpacks not simply the forms and practices—from zoning and political deals to the finer points of architectural design—that shape cities today but also offers spirited advocacy for another kind of city, reimagined from the street up on a human scale, a home to sustainable, just, and fulfilling neighborhoods and public spaces. Informing his writing is a lifetime’s experience as an architect and urbanist. Sorkin writes of the joys and techniques of observing and inhabiting cities and buildings in order to both better understand and to more happily be in them. Sorkin has never been shy about naming names. He has been a scourge of design mediocrity and of the supine compliance of “starchitects,” who readily accede to the demands of greed and privilege. What Goes Up casts the net wide, as he directs his arguments to students, professionals, and urban citizens with vigor, expertise, respect, and barbed wit.

The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.

A sweeping epic of two families—one Dutch, one English—from the time when New Amsterdam was a raw and rowdy settlement, to the triumph of the Revolution, when New York became a new nation’s city of dreams. In 1661, Lucas Turner, a barber surgeon, and his sister, Sally, an apothecary, stagger off a small wooden ship after eleven weeks at sea. Bound to each other by blood and necessity, they aim to make a fresh start in the rough and rowdy Dutch settlement of Nieuw Amsterdam; but soon lust, betrayal, and murder will make them mortal enemies. In their struggle to survive in the New World, Lucas and Sally make choices that will burden their descendants with a legacy of secrets and retribution, and create a heritage that sets cousin against cousin, physician against surgeon, and, ultimately, patriot against Tory. In what will be the greatest city in the New World, the fortunes of these two families are inextricably entwined by blood and fire in an unforgettable American saga of pride and ambition, love and hate, and the becoming of the dream that is New York City.

Hilarious, sexy, and deeply tender, Kissing in Manhattan was one of the most celebrated debuts in recent years. Acclaimed author David Schickler’s collection of linked stories follows a troupe of love-hungry urbanites through a charmed metropolis and into the Preemption--a mythic Manhattan apartment building. The Preemption sets the stage for a romantic fantasy as exuberant, dark, and dazzling as the city it occupies. Behind closed doors, the paths of an improbable cast of tenants--a seductive perfume heiress; a crabby, misunderstood actor; a preternaturally sharp-sighted priest--tangle and cross, while a perilous love triangle builds around three characters: James Branch, a shy young accountant with an unusual love for the Preemption’s antique elevator, and a strange destiny... Patrick Rigg, a Wall Street lothario who soothes his pain by seducing beautiful women, carrying a gun, and attending the nightly sermons of a foreboding priest... Rally McWilliams, a fetching, hopeful young writer who roams the city at night, searching for the soulmate she believes in but can’t find... Charged with joy and a deadly sense of humor, Kissing in Manhattan is a daring new writer’s vision of a world where men and women, good and evil, love and sex, meet, battle, and embrace on every street corner.

An award-winning historian surveys the astonishing cast of characters who helped turn Manhattan into the world capital of commerce, communication and entertainment --

Finalist for the 2020 Kirkus Prize for Nonfiction | One of Time Magazines's 100 Must-Read Books of 2020 | Longlisted for the 2020 Porchlight Business Book Awards "An entertaining quest to trace the origins and implications of the names of the roads on which we reside." —Sarah Vowell, The New York Times Book Review When most people think about street addresses, if they think of them at all, it is in their capacity to ensure that the postman can deliver mail or a traveler won’t get lost. But street addresses were not invented to help you find your way; they were created to find you. In many parts of the world, your address can reveal your race and class. In this wide-ranging and remarkable book, Deirdre Mask looks at the fate of streets named after Martin Luther King Jr., the wayfinding means of ancient Romans, and how Nazis haunt the streets of modern Germany. The flipside of having an address is not having one, and we also see what that means for millions of people today, including those who live in the slums of Kolkata and on the streets of London. Filled with fascinating people and histories, The Address Book illuminates the complex and sometimes hidden stories behind street names and their power to name, to hide, to decide who counts, who doesn’t—and why.

'Exquisite Corpse' was a game played by the surrealists in which someone drew on a piece of paper, folded it and passed it to the next person to draw on until, finally, the sheet was opened to reveal a calculated yet random composition. In this entertaining and provocative book, Michael Sorkin suggests that cities are similarly assembled by many players acting with varying autonomy in a complicit framework. An unfolding terrain of invention, the city is also a means of accommodating disparity, of contextualizing sometimes startling juxtapositions. Sorkin's aim is to widen the debate about the creation of buildings beyond the immediate issues of technology and design. He discusses the politics and culture of architecture with daring, often devastating, observations about the institutions and personalities who have dominated the profession over the past decade. Their preoccupation with the empty style of 'beach houses and Disneyland' has consistently trivialized the full constructive scope of contemporary architecture's possibilities. Sorkin's interventions range from the development scandals of New York where 'skyscrapers stand at the intersection between grid and greed', through the deconstructivist architectural culture of Los Angeles, to the work and ideas of architects, developers and critics such as Alvar Aalto, Norman Foster, Paul Goldberger, Michael Graves, Coop Himmelblau, Philip Johnson, Leon Krier, Frank Lloyd Wright, Richard Rogers, Carlo Scarpa, James Stirling, Donald Trump, Tom Wolfe and Lebbeus Woods. Throughout Sorkin combines stinging polemic with a powerful call for a rebirth of architecture that is visionary and experimental--a recuperated 'dreamy science'