Mapping the Metropolis: Riot!

As we make our way through Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro, we’re dipping into some of the maps and essays featured within the atlas—each offering a vividly imagined version of New York that reveals a richly layered, social history. For more peeks inside, head here.


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Detail from the map “Riot! Periodic Eruptions in Volcanic New York,” featured in the book “Nonstop Metropolis: A New York City Atlas”

This week, we take a look at New York City’s history of resistance. “However you classify riots,” write the book’s editors, “New York City has been good at them, or at least good at having them. . . . Riots happen when those in charge can contain that energy no more—or fail to give it proper release.”

Walking through New York means passing through sites of popular uprisings and violent clashes, where people took to the streets to protest and make their strife known. In his essay, “The Violence of Inequality,” contributor Luc Sante writes that nearly half of New York’s riots have been about race, beginning as early as 1712.

The Negro Riot of 1712 was New York’s very first social upheaval. Its facts are scant—between twenty and seventy African slaves allegedly set fire to a building on Maiden Lane, then the city’s northern boundary, and attacked whites attempting to douse the flames, killing nine. Of the forty-three slaves arraigned, eighteen were acquitted, twenty hanged, and three burned at the stake. In 1741 the facts are even murkier—a ship was seized, possibly for piracy, and its African crew were sold as slaves, but they managed to break free and burn down a number of houses, including the governor’s mansion. The Doctors Riot of 1788 was sparked by medical students digging up cadavers for dissection from the Negroes Burial Ground. A petition from African American citizens was ignored by the authorities, but when a newspaper article alleged that the body of a white woman had been dug up, citizens attacked the hospital and the violence resulted in some twenty deaths.

In the 19th century, these riots were sometimes sparked by opponents of slavery—the Eagle Street Riot of 1801 began with an attempt to free slaves—and sometimes by supporters, as when anti-abolitionists ransacked the home of an abolitionist and attacked the abolitionist-owned Bowery Theater in 1834.

The white abolitionists of the period tended to be well-educated members of the upper classes; their activities were resented by many in the white working class—mostly Irish Catholic immigrants—who saw free blacks as competing for their jobs and accepting lower wages. Tempers rose to the point of violence in the Anti- Abolitionist Riots of 1834, when a mob ransacked the Rose Street home of the abolitionist Lewis Tappan and attacked the Bowery eater, whose stage manager was a British-born abolitionist—he appeased them by sending out an actor in blackface to sing “Zip Coon.” The Brooklyn Cigar Factory Riot of 1862 was the work of local Irish and German unskilled laborers who resented the fact that African Americans, who commuted from other parts of the city, were employed as skilled cigar rollers and made more money.

The map and Sante’s essay focus on mass eruptions sparked by race as well as those rooted in wealth and class—inequality being a chief theme among these uprisings. 2011’s Occupy Wall Street makes its mark on the map as does the deadliest riot in American history, The Draft Riots of 1863 where thousands of pro-South and pro-slavery New Yorkers lashed out in a deadly mix of racial hatred, economic insecurity, and class warfare as they rampaged through Manhattan, beating and murdering black men, soldiers, and police. But the map also contains some of the weirder and more inexplicable riots in the city, such as the fashion faux-pas that launched a citywide crime spree: The Straw Hat Riot of 1922. 

Take a peek at a few highlights and plots on the map below:

Nonstop Metropolis is available in paperback and hardcover.


Dance RecitalJJ SchapiroNonstop Metropolis: A New York City Atlas is the final volume in our trilogy of atlases by Rebecca Solnit, Joshua Jelly-Schapiro, Rebecca Snedeker, and a host of notable contributors. Following the publication of the critically lauded Infinite City (San Francisco) and Unfathomable City (New Orleans), we bring you this homage—and challenge—to the way we know and see New York City, in an exquisitely designed and gorgeously illustrated atlas that excavates the many buried layers of all five boroughs of New York City and parts of New Jersey.

More Stories from the Metropolis—and Beyond

The list of contributors to Nonstop Metropolis: A New York City Atlas is as diverse and varied as the maps themselves. Through poignant and powerful essays and beautifully rendered maps, they pay homage to the city while also critiquing and challenging the way we see and think about New York—from its racial and economic inequality to its incubation of artists and the avant-garde. They are journalists, artists, geographers, poets, musicians, city planners, cartographers, and historians who celebrate the complexity, the unique vitality, the hidden layers, the overlooked stories, and both the ugly and beautiful aspects that shape New York.

This week we highlight some recommended books by just a few of the contributors to further your reading, and while not comprehensive or exhaustive, this is a fine place to begin as you learn about the people within the Nonstop Metropolis.


Teju Cole

Teju Cole’s surreal and haunting 2012 novel, Open City (Random House, 2012) about identity and dislocation follows a young med student as he wanders the streets of Manhattan, “this strangest of islands.” The book garnered numerous accolades, including the Pen/Hemingway Award for Debut Fiction and is a perfect accompaniment to Nonstop Metropolis.

You can find his writing in Nonstop Metropolis included in “Our City of Songs,” an essay celebrating the music about New York’s parks, corners, subway lines, and neighborhoods. His piece on Mos Def , Talib Kweli, and Common’s “Respiration,” which he says has “taught me something about how to love a city’s complicated dreams,” is not to be missed.

Continue reading “More Stories from the Metropolis—and Beyond”


Last-Minute Gift Idea: See New York in Dozens of New Ways

Take a peek inside the book the New York Times calls “a document of its time, of our time.” Named a “Best Book of 2016” by the San Francisco Chronicle and one of Publishers Weekly‘s “20 Big Indie Books of 2016,” Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro has garnered love and praise from far and wide, from New York to London and beyond. This week we take you to a few stops on the maps through the lenses of some of the media—who are among those who walk, live, breathe New York as well as those who love it from afar.

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“. . . the maps themselves are things of beauty.”New York Times 

While the New York Times praised Nonstop Metropolis and its various contributors for capturing this time and place in the city, it also celebrated the book’s artistry, pointing out the level of attention and engagement it took to create this extraordinary series of documents. (To see how that magic was made, go behind-the-scenes with the book’s Art Director, Lia Tjandra, and Principal Editor, Dore Brown.) Twenty-six in total, the gorgeously rendered maps chart New York’s layered and hidden histories and truths. Take a quick flip through a couple of the maps below:

Continue reading “Last-Minute Gift Idea: See New York in Dozens of New Ways”


Mapping the Metropolis: City of Women

As we make our way through Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro, we’re dipping into some of the maps and essays featured within the atlas—each offering a vividly imagined version of New York that reveals a richly layered, social history. For more peeks inside, head here.


In New York, most of the city streets, stations, monuments, and bridges have been named for men. In Rebecca Solnit’s essay “Power of Names,” featured alongside the map “City of Women,” she describes the conventions and power structures behind the naming of cities and even whole regions:

“. . . names perpetuate the gendering of New York City. Almost every city is full of men’s names, names that are markers of who wielded power, who made history, who held fortunes, who was remembered; women are anonymous people who changed fathers’ for husbands’ names as they married, who lived in private and were comparatively forgot­ten, with few exceptions. This naming stretches across the continent; the peaks of many western mountains have names that make the ranges sound like the board of directors of old corporations, and very little has been named for particular historical women, though Maryland was named after a Queen Mary who never got there.”

Here, editors Rebecca Solnit and Joshua Jelly-Schapiro along with cartographer Molly Roy have renamed New York’s subway stations with the names of women by plotting the places where significant women have lived, worked, gone to school, danced, painted, wrote, and rebelled in order to come up with “a feminist city.”

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Solnit goes on to recognize some of the outstanding women whose efforts have contributed to society as a whole and what the map “City of Women” symbolizes:

“New York City has had a remarkable history of charismatic women from the beginning, such as seventeenth-century Quaker preacher Hannah Feake Bowne, who is routinely written out of history—even the home in Flushing where she held meetings is often called the John Bowne house. Three of the four female Supreme Court justices have come from the city, and quite a bit of the history of American feminism has unfolded here, from Vic­toria Woodhull to Shirley Chisholm to the Guerrilla Girls. Not all the subway stations are marked, and many of the women who made valuable contributions or might have are forgotten or were never named. Many women were never allowed to be someone; many heroes of any gender live quiet lives. But some rose up; some became visible; and here they are by the hundreds. This map is their memorial and their celebration.”

Peruse the map above (click to expand it) and take a look at a few highlights below:

Nonstop Metropolis is available now in paperback and hardcover.


Dance RecitalJJ SchapiroNonstop Metropolis: A New York City Atlas is the final volume in our trilogy of atlases by Rebecca Solnit, Joshua Jelly-Schapiro, Rebecca Snedeker, and a host of notable contributors. Following the publication of the critically lauded Infinite City (San Francisco) and Unfathomable City (New Orleans), we bring you this homage—and challenge—to the way we know and see New York City, in an exquisitely designed and gorgeously illustrated atlas that excavates the many buried layers of all five boroughs of New York City and parts of New Jersey.

An Invitation to the San Francisco Release Party for Nonstop Metropolis at McRoskey Mattress Factory, 11/17

A note from Rebecca: This event has been planned for a long time. But after the election, we’re making it a focus on cities as cosmopolitan places of coexistence, tolerance, subversion, resistance, and joy, of Black, Asian, Latino, Muslim, Jewish, Quaker, immigrant, queer, drag, trans, feminist lives and victories. Please join us tomorrow evening for this free community celebration. 

Nonstop Metropolis_SFlaunch_invite

“In orienting oneself in this atlas…one is invited to fathom the many New Yorks hidden from history’s eye…thoroughly terrific.”—Maria Popova, Brain Pickings
“Rebecca Solnit and Joshua Jelly-Schapiro’s collection achieves the trifold purpose that all good cartography does — it’s beautiful, it inspires real thought about civic planning, and, most of all, it’s functional.”—The Village Voice
“…the New York installment [of the Atlas Trilogy] is eccentric and inspiring, a nimble work of social history told through colorful maps and corresponding essays. Together, Solnit, Jelly-Schapiro and a host of contributors — writers, artists, cartographers and data-crunchers — have come up with dozens of exciting new ways to think about the five boroughs.” —San Francisco Chronicle

Nonstop Metropolis, the culminating volume in a trilogy of atlases, conveys innumerable unbound experiences of New York City through twenty-six imaginative maps and informative essays. Bringing together the insights of dozens of experts—from linguists to music historians, ethnographers, urbanists, and environmental journalists—amplified by cartographers, artists, and photographers, it explores all five boroughs of New York City and parts of nearby New Jersey.

We are invited to travel through Manhattan’s playgrounds, from polyglot Queens to many-faceted Brooklyn, and from the resilient Bronx to the mystical kung fu hip-hop mecca of Staten Island. The contributors to this exquisitely designed and gorgeously illustrated volume celebrate New York City’s unique vitality, its incubation of the avant-garde, and its literary history, but they also critique its racial and economic inequality, environmental impact, and erasure of its past. Nonstop Metropolis allows us to excavate New York’s buried layers, to scrutinize its political heft, and to discover the unexpected in one of the most iconic cities in the world. It is both a challenge and homage to how New Yorkers think of their city, and how the world sees this capital of capitalism, culture, immigration, and more.

Learn more in our Nonstop Metropolis blog series.


Rebecca Solnit is a San Francisco writer, historian, and activist, and the author of seventeen books about geography, community, art, politics, hope, and feminism. She is the recipient of many awards, including the Lannan Literary Award, and the National Book Critics Circle Award. A product of the California public education system from kindergarten to graduate school, she is a contributing editor to Harper’s, where she is the first woman to regularly write the Easy Chair column (founded in 1851).

Joshua Jelly-Schapiro is a geographer and writer whose work has appeared in The New York Review of Books, New York, Harper’s, and the Believer, among many other publications. He is the author of the newly-released Island People: The Caribbean and the World.

Contributors: Sheerly Avni, Gaiutra Bahadur, Marshall Berman, Joe Boyd, Will Butler, Garnette Cadogan, Thomas J. Campanella, Daniel Aldana Cohen, Teju Cole, Joel Dinerstein, Paul La Farge, Francisco Goldman, Margo Jefferson, Lucy R. Lippard, Barry Lopez, Valeria Luiselli, Suketu Mehta, Emily Raboteau, Sharifa Rhodes-Pitts, Luc Sante, Heather Smith, Jonathan Tarleton, Astra Taylor, Alexandra T. Vazquez, Christina Zanfagna

Interviews with: Valerie Capers, Peter Coyote, Grandmaster Caz, Grandwizzard Theodore, Melle Mel, RZA


Nonstop Metropolis Rides the Rails

This week our Nonstop Metropolis subway campaign launched, and we need your eyes to help us locate the eye-catching ads within the MTA system.

We invite you to share your photos and tag UC Press* using the hashtag #NonstopMetropolis. By doing so, you’ll be entered to win a random drawing for a full set of the atlas trilogy: Infinite City: A San Francisco Atlas, Unfathomable City: A New Orleans Atlas, and Nonstop Metropolis: A New York City Atlas (one winner). Additionally, five lucky winners will be sent a set of map broadsides produced for the special exhibition at the Queens Museum.

Be on the lookout for both platform and in-car #NonstopMetropolis placements! Bonus appreciation points if you tag or name the station where you saw platform ads.

* Find us here:

We look forward to seeing you on the subway!

 


Looking Back at Loft Jazz

This post is part of a blog series leading up to the American Musicological Society annual conference taking place in Vancouver, Canada from November 3–6. Please visit our booth if you are attending, and otherwise stay tuned for more content related to our Music books and journals programs.


by Michael Heller, author of Loft Jazz: Improvising New York in the 1970s

Like so many others, I graduated college without a plan. The only thing I knew was that I wanted to work in music, and I somehow stumbled into a job with New York’s Vision Festival – one of the premier showcases of the jazz avant-garde. It was a small operation, with just three of us huddled in a tiny office in the East Village apartment of Patricia and William Parker. Patricia—a dancer and choreographer—was the organization’s executive director. In ten years, she had built the festival up from a tiny event run on $5,000 and elbow grease into a major event attracting international audiences and securing funding from top arts organizations. The work also put me in close contact with a close-knit community of avant-garde improvisers, based primarily around lower Manhattan. When I would ask about their influences, one topic kept cropping up over and over again: the New York loft scene of the 1970s.

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What were the jazz lofts? In a nutshell, the lofts were a collection of venues organized by musicians inside of mostly vacant industrial buildings in lower Manhattan. Musicians often lived in the spaces as well, blurring the line between public and private spheres. The jazz history books that I had read so dutifully as an undergrad had scarcely a mention of them, although they cropped up occasionally in artist bios (“So and so began their career performing in lofts before moving on to…”). Yet for a generation of New York artists, the vibrancy of the loft era remained a powerful source of inspiration. It was influential not only due to the music that was created, but also for the empowering value it placed upon artist-organized production strategies—strategies that continue to animate projects like Vision up to the present day. It was those conversations in Patricia’s apartment that fueled my initial fascination, ultimately resulting in this book.

Loft Jazz: Improvising New York in the 1970s makes no attempt to offer a comprehensive history of the scene. Instead, it works to unravel various threads of meaning that surrounded loft practices. This includes extended explorations of terms like “freedom” and “community,” ideals that crop up so frequently in jazz discourse but that can mean very different things in different contexts. It also considers the ramifications of private archiving among musicians, particularly in relation to a wave of affordable, consumer-grade recording equipment that came on the market in the 1960s. For a scene that produced fewer commercial records than earlier periods in jazz, these private archives become the linchpin for reconstructing the histories of local musical networks, even in the jazz mecca of New York City.

Over the course of my research, I would also learn that not everything about the lofts could be spun into a tidy romance. The spaces were as controversial as they were celebrated, beloved by some and abhorred by others. Perhaps nothing attracted more ire than the very phrase “loft jazz,” which opponents claimed was never a coherent style. Worse yet, some argued that the phrase glorified the meager settings in which innovative African American artists were forced to perform. These arguments are part of the story as well, and play a major role in the complex and conflicted legacies surrounding the period. But to those who remembered them fondly, the power of the lofts lie in the excitement surrounding a scene that teemed with artistic opportunity. Where music could be experienced every night on every block, and opening a venue could be as simple as opening your living room.


Heller.Headshot.2016Michael C. Heller is an ethnomusicologist, music historian, and Assistant Professor of Music at the University of Pittsburgh.


LIVE from the New York Public Library: Nonstop Metropolis on 10/18

Tomorrow, Oct 18th, from 7:00 – 9:00pm, lucky New Yorkers will get to hear about the creative process and stories surrounding the making of Nonstop Metropolis: A New York City Atlas at LIVE from the New York Pubic Library (a limited number of tickets are still available; book ahead to avoid disappointment!).

Live NYPL

A city is made of layers—of vitality, of diversity, of richness, but also of inequity and erasure. Weaving together a tapestry of this robust city, Nonstop Metropolis collects writings from linguists, music historians, cartographers, artists, and more. LIVE from the NYPL welcomes the minds behind this project—writer and activist Rebecca Solnit, geographer Joshua Jelly-Schapiro, essayist Garnette Cadogan, and authors Suketu Mehta and Luc Sante—for a discussion about this thriving metropolis.

Nonstop Metropolis

About the authors:

REBECCA SOLNIT is a prolific writer, and the author of many books including Savage Dreams, Storming the Gates of Paradise, and the best-selling atlases Infinite City: A San Francisco Atlas and Unfathomable City: A New Orleans Atlas, all from UC Press. She received the Corlis Benefideo Award for Imaginative Cartography from the North American Cartographic Information Society for her work on the previous atlases.

JOSHUA JELLY-SCHAPIRO is a geographer and writer whose work has appeared in The New York Review of Books, New York, Harper’s, and the Believer, among many other publications. He is the author of Island People: The Caribbean and the World.

GARNETTE CADOGAN is a Visiting Fellow at the Institute for Advanced Studies in Culture at the University of Virginia, and a Visiting Scholar at the Institute for Public Knowledge at New York University. He is the editor-at-large of Nonstop Metropolis: A New York City Atlas and is at work on a book on walking.

SUKETU MEHTA is the New York-based author of Maximum City: Bombay Lost and Found which won the Kiriyama Prize and the Hutch Crossword Award, and was a finalist for the 2005 Pulitzer Prize, the Lettre Ulysses Prize, the BBC4 Samuel Johnson Prize, and the Guardian First Book Award. He has won the Whiting Writers’ Award, the O. Henry Prize, and a New York Foundation for the Arts Fellowship for his fiction. Mehta’s work has been published in The New Yorker, The New York Times Magazine, National Geographic, Granta, Harper’s Magazine, Time, and Newsweek, and has been featured on NPR’s ‘Fresh Air’ and ‘All Things Considered.’ Mehta is an Associate Professor of Journalism at New York University. Mehta was born in Calcutta and raised in Bombay and New York. He is a graduate of New York University and the Iowa Writers’ Workshop.

LUC SANTE‘s books include Low Life, Evidence, The Factory of Facts, Kill All Your Darlings, and The Other Paris. He has been a frequent contributor to The New York Review of Books since 1981 and had written for a wide variety of other publications. His awards include a Whiting Writers Award, an Award in Literature from the American Academy of Arts and Letters, a Grammy (for album notes), an Infinity Award in Writing from the International Center of Photography, and Guggenheim and Cullman fellowships. He teaches writing and the history of photography at Bard College.

 


The “six” boroughs: Staten Island

This is the third of the “six” boroughs blog series celebrating Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro. We’ve already visited Queens and the Bronx. If you missed the prior posts, we encourage you to go back and read them after you’re done here.


Staten Island is the least populous borough of New York City, is the only borough not connected to the MTA Subway system, and is only accessible, without leaving New York City, by the Staten Island Ferry to/from Manhattan and the Verrazano-Narrows Bridge to/from Brooklyn. However, Staten Island has played an important role in the history of New York City, and has provided many frequently overlooked cultural contributions to the world.

From 1947 to 2001, New York City sent its trash to Fresh Kills, a Staten Island wetlands turned municipal dump, which at its peak receives 29,000 tons of trash per day, ranking as the largest human-made structure on earth. Now, New York’s residential garbage, close to 4 million tons of it a year, is shipped by barge and truck to distant landfills, from Niagara Falls to South Carolina. Fresh Kills received its last waste from Manhattan when it absorbed the rubble from the World Trade Center after September 11, 2001. Holding approximately 108 million tons of trash, it covers 2,200 acres, and is being turned into a park, which when completed will be almost three times the size of Central Park.

Garbage scows bring solid waste, for use as landfill, to Fresh Kills on Staten Island in 1973

The rest of New York complains that Staten Island is a sleepy, insular borough (that’s more like a suburb) that is not worth the effort of exploring. Staten Islanders argue that the rest of the city is a filled with a bunch of parochial bellyachers who have not taken the time to get to know Staten Island’s natural beauty and increasingly diverse population. What everyone agrees on, however, is that the Wu-Tang Clan is the borough’s most well-known entity—and beloved export. In Nonstop Metropolis Joshua Jelly-Schapiro interviews RZA about what it was like growing up on Staten Island.

Joshua Jelly-Schapiro: You grew up between Staten Island and Brooklyn; you lived in public housing in both boroughs. But by your teens you were in Staten Island pretty full time. How did Staten Island compare to Brooklyn in those days, when you were growing up? What do you remember of each?

RZA: One thing about Staten Island that was different from Brooklyn was the ability to walk from one neighborhood to another, to actually have a break from project life. For instance, in Brownsville, in Brooklyn, if I walked from the Marcus Garvey projects to go see my cousin Vince, who lived in the Van Dyke projects, I had to walk through four projects to get there—and each project could be considered “turf.” In fact, each building could be considered turf. But on Staten Island, you can walk from the Park Hill projects to the Stapleton projects, and in between those two projects is something else—”normal” hardworking homeowners, you know. Not projects. When I was on Staten Island I walked a lot—I’d walk from Park Hill to Stapleton, and then from Stapleton to New Brighton. I would take the route that led up Targee Street, and make the right down Van Duzer, and then take Cebra. And on Cebra and Van Duzer, I saw what we’d consider mansions then, big homes. And I think seeing another side of life, that wasn’t ghetto life—I think there was something healthy about that. When I was living in Staten Island in sixth grade, when a snowstorm happens, guess what I’m able to do—I’m able to get out, pull out a shovel, and make $15 hustling, shoveling snow. That wasn’t available in Brownsville. You had breathing space. You were able to walk a few blocks, not worried about fighting, defending, stealing, robbing—things that happen every day in the projects.

To read the rest of the interview, purchase Nonstop Metropolis: A New York City Atlas wherever books are sold.

Nonstop Metropolis

Meanwhile, please sit back and listen to some Wu-Tang Clan.


JJ Schapiro

Dance RecitalNonstop Metropolis: A New York City Atlas is the final volume in our trilogy of atlases by Rebecca Solnit, Joshua Jelly-Schapiro, Rebecca Snedeker, and a host of notable contributors. Following the publication of the critically lauded Infinite City (San Francisco) and Unfathomable City (New Orleans), we bring you this homage—and challenge—to the way we know New York City, an exquisitely designed and gorgeously illustrated atlas that excavates the many buried layers of all five boroughs of New York City and parts of New Jersey.


A visit to the Nonstop Metropolis is around the corner

Nonstop Metropolis: A New York City Atlas will soon be released into the world. To kick things off, we’ll be celebrating with a launch party in partnership with the Queens Museum on October 2, from 2–5 pm.

The launch party will feature:

  • Remarks by Queens Museum Executive Director Laura Raicovich, and Nonstop Metropolis authors Rebecca Solnit and Joshua Jelly-Schapiro.
  • Hands-on map-making workshop facilitated by Queens Museum educators.
  • “Songs of the City,” a unique mix of songs and music referenced in the book.
  • Drop-in readings of essay excerpts found in the book by Rebecca Solnit, Joshua Jelly-Schapiro, Garnette Cadogan, Jonathan Tarleton, and many other contributors.
  • Book sale and signings by the authors and contributors in attendance.
Maps from Nonstop Metropolis: A New York City Atlas in the Queens Museum’s Watershed Gallery

If you’re unable to attend on Oct. 2nd, make sure you head to the Queens Museum regardless to experience the exhibition tie-in to the book which opened in April (and is currently ongoing), “Nonstop Metropolis: The Remix.” The exhibition features original artwork by Miriam Ghani and Duke Riley, a series of on-site and off-site public programming, along with gratis map/essay broadsides excerpted from the book that are tied into the event programming.

The Queens Museum has been presenting a series of public talks, walks, and urban adventures led by the essay writers from the book, artists, and other imaginative thinkers addressing topics that include water and power, linguistic diversity in Queens, walking as an embodied act, the conjoined histories of environmental and financial disaster in Lower Manhattan, wilderness in the city, and Latino radio in NYC. There will be additional educational opportunities and map-making workshops taking place during the coming months.

The launch party at the Queens Museum isn’t the only opportunity to see Rebecca Solnit and Joshua Jelly-Schapiro (along with many of the contributors to the project) discussing Nonstop Metropolis. Events taking place throughout October include:

You can order Nonstop Metropolis at your local bookstore, Indiebound, Barnes & Noble, Amazon, or through UC Press.


Dance Recital JJ Schapiro

Nonstop Metropolis: A New York City Atlas is the final volume in our trilogy of atlases by Rebecca Solnit, Joshua Jelly-Schapiro, Rebecca Snedeker, and a host of notable contributors. Following the publication of the critically lauded Infinite City (San Francisco) and Unfathomable City (New Orleans), we bring you this homage—and challenge—to the way we know New York City, an exquisitely designed and gorgeously illustrated atlas that excavates the many buried layers of all five boroughs of New York City and parts of New Jersey.