As Wisconsin’s population moved from farmsteads into villages, towns, and cities, the state saw a growing interest in gardening as a leisure activity and source of civic pride. In Vintage Wisconsin Gardens, Lee Somerville introduces readers to the region’s ornamental gardens of the nineteenth and early twentieth centuries, showcasing the “vernacular” gardens created by landscaping enthusiasts for their own use and pleasure.

The Wisconsin State Horticultural Society, established during the mid-nineteenth century, was the primary source of advice for home gardeners. Through carefully selected excerpts from WSHS articles, Somerville shares the excitement of these gardeners as they traded cultivation and design knowledge and explored the possibilities of their avocation. Women were frequent presenters at the WSHS annual meetings, and their voices resonate. Their writings, and those of their male colleagues, are a remarkable legacy we can draw on today—learning how Wisconsinites past created and enjoyed their gardens helps us appreciate our own. Filled with period and contemporary images, recommended plant lists, and garden layouts, Vintage Wisconsin Gardens will interest those curious about the history of the state’s cultural landscape and inspire readers to restore or reconstruct period gardens.

Hailing from the small river town of Moundsville, West Virginia, Davis Grubb (1919–1980) became a key figure in the canon of Appalachian literature. The author of ten novels and dozens of short stories and radio plays, Grubb’s writings, as Tom Douglass observes, “catalogued his life”—and a turbulent life it was, marked by the traumatic loss of both the family home and his father during the Great Depression, the overbearing affections of his mother, the fear of failure, painful struggles with alcohol and drug abuse, profligate spending, and a conflicted sexuality.

Grubb originally aspired to be a visual artist but, thwarted by color blindness, turned to writing instead, honing his skills in the advertising industry. Today he is best remembered for his first novel, The Night of the Hunter (1953), a gripping story of a Depression-era serial killer and his pursuit of two young children along the Ohio River. This book spent twenty-eight weeks on The New York Times best-seller list and became the basis for a classic film directed by Charles Laughton, starring Robert Mitchum, Shelley Winters, and Lillian Gish. While his subsequent work never achieved that same level of popularity, the fierce thematic oppositions he set forth in his debut novel—between love and hate, good and evil, the corrupt and the pure, the rich and the poor—would inform his entire oeuvre. Although Grubb’s career took him to the great cities of New York, Philadelphia, and Los Angeles, his work was always rooted in key emblems of his Appalachian childhood—the river, the state penitentiary, and the largest Indian mound east of the Mississippi, all in his native Moundsville.

In his works, Douglass asserts, Grubb was “an avenging angel, righting the wrongs of the past in his own life, in his own country, and putting trust in his own vision of divine love.” Off the page, he was riven by personal demons, “more than once in danger of losing his life to self-annihilation and to the self-accusation that he was a fallen angel.” This biography, the first ever written of Grubb, captures his life and work in all their intriguing complexity.

Could cow horns, vortexes, and the words of a prophet named Rudolf Steiner hold the key to producing the most alluring wines in the world—and to saving the planet?

In Voodoo Vintners, wine writer Katherine Cole reveals the mysteries of biodynamic winegrowing, tracing its practice from Paleolithic times to the finest domaines in Burgundy today. At the epicenter of the American biodynamic revolution are the Oregon winemakers who believe that this spiritual style of farming results in the truest translations of terroir and the purest pinot noirs possible.

Cole introduces these “voodoo vintners,” examining their motivations and rationalizations and explaining why the need to farm biodynamically courses through their blood. Her engaging narrative answers the call of oenophiles everywhere for more information about this “beyond organic” style of winemaking.