Coming into the Country is an unforgettable account of Alaska and Alaskans. It is a rich tapestry of vivid characters, observed landscapes, and descriptive narrative, in three principal segments that deal, respectively, with a total wilderness, with urban Alaska, and with life in the remoteness of the bush. \nReaders of McPhee's earlier books will not be unprepared for his surprising shifts of scene and ordering of events, brilliantly combined into an organic whole. In the course of this volume we are made acquainted with the lore and techniques of placer mining, the habits and legends of the barren-ground grizzly, the outlook of a young Athapaskan chief, and tales of the fortitude of settlers―ordinary people compelled by extraordinary dreams. Coming into the Country unites a vast region of America with one of America's notable literary craftsmen, singularly qualified to do justice to the scale and grandeur of the design.

The narratives in this book are of journeys made in three wildernesses - on a coastal island, in a Western mountain range, and on the Colorado River in the Grand Canyon. The four men portrayed here have different relationships to their environment, and they encounter each other on mountain trails, in forests and rapids, sometimes with reserve, sometimes with friendliness, sometimes fighting hard across a philosophical divide.

The Control of Nature is John McPhee's bestselling account of places where people are locked in combat with nature. Taking us deep into these contested territories, McPhee details the strageties and tactics through which people attempt to control nature. Most striking is his depiction of the main contestants: nature in complex and awesome guises, and those attempting to wrest control from her - stubborn, sometimes foolhardy, more often ingenious, and always arresting characters.

The uniquely inspiring story of a beloved neighborhood bar that united the communities it served. Coogan's Bar and Restaurant opened in New York City's Washington Heights in 1985 and closed its doors for good in the pandemic spring of 2020. Sometimes called Uptown City Hall, it became a staple of neighborhood life during its 35 years in operation--a place of safety and a bulwark against prejudice in a multi-ethnic, majority-immigrant community undergoing rapid change. Last Call at Coogan's by Jon Michaud tells the story of this beloved saloon, from the challenging years of the late 80's and early 90's, when Washington Heights suffered from the highest crime rate in the city, to the 2010's, when gentrification pushed out longtime residents and nearly closed Coogan's itself; only a massive community mobilization including local politicians and Lin-Manuel Miranda kept the doors open. This book touches on many serious issues facing the country today: race relations, policing, gentrification, and the COVID-19 pandemic. Along the way, readers will meet the bar's owners and an array of its most colorful regulars, such as an aspiring actor from Kentucky who dreams of bringing a theater company to Washington Heights, a television reporter who loves karaoke, and a Puerto Rican community board manager who falls in love with an Irish cop from the local precinct. At its core, this is the story of one small business, the people who worked there, the customers they served, and the community they all called home.

This is an extraordinary tale of life aboard what may be one of the last American merchant ships. As the story begins, Andy Chase, who holds a license as a second mate is looking for a ship. In less than ten years, the United States Merchant Marine has shrunk from more than two thousand ships to fewer than four hundred, and Chase faces the scarcity of jobs from which all American merchant mariners have been suffering.\nWith John McPhee along, Chase finds a job as a second mate aboard the S.S. Stella Lykes, captained by the extraordinary Paul McHenry Washburn. The journey takes them on a forty-two day run down the Pacific coast of South America, with stops to unload and pick up freight at such ports as Cartagena, Valparaiso, Balboa, Lima, and Guayaquil―an area notorious for pirates. As the crew make their ocean voyage, they tell sea stories of other runs and other ships, tales of disaster, stupidity, greed, generosity, and courage. Through the journey itself and the tales told emerge the history and character of a fascinating calling.

The long-awaited guide to writing long-form nonfiction by the legendary author and teacher\nDraft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape nonfiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising―and revising, and revising.\nDraft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.

In the 1960s and 1970s, an American professor of Soviet economics forayed on his own in the Soviet Union, bought the work of underground "unofficial" artists, and brought it out himself or arranged to have it illegally shipped to the United States. Norton Dodge visited the apartments of unofficial artists in at least a dozen geographically scattered cities. By 1977, he had a thousand works of art. His ultimate window of interest involved the years from 1956 to 1986, and through his established contacts he eventually acquired another eight thousand works―by far the largest collection of its kind. \nJohn McPhee investigates Dodge's clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched. The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other. It offers unprecedented insight into Soviet culture at the brink of the Union's collapse.

The Pulitzer Prize-winning view of the continent, across the fortieth parallel and down through 4.6 billion years\nTwenty years ago, when John McPhee began his journeys back and forth across the United States, he planned to describe a cross section of North America at about the fortieth parallel and, in the process, come to an understanding not only of the science but of the style of the geologists he traveled with. The structure of the book never changed, but its breadth caused him to complete it in stages, under the overall title Annals of the Former World.\nLike the terrain it covers, Annals of the Former World tells a multilayered tale, and the reader may choose one of many paths through it. As clearly and succinctly written as it is profoundly informed, this is our finest popular survey of geology and a masterpiece of modern nonfiction.\nAnnals of the Former World is the winner of the 1999 Pulitzer Prize for Nonfiction.

Most people think of New Jersey as a suburban-industrial corridor that runs between New York and Philadelphia. Yet in the low center of the state is a near wilderness, larger than most national parks, which has been known since the seventeenth century as the Pine Barrens.\nThe term refers to the predominant trees in the vast forests that cover the area and to the quality of the soils below, which are too sandy and acid to be good for farming. On all sides, however, developments of one kind or another have gradually moved in, so that now the central and integral forest is reduced to about a thousand square miles. Although New Jersey has the heaviest population density of any state, huge segments of the Pine Barrens remain uninhabited. The few people who dwell in the region, the "Pineys," are little known and often misunderstood. Here McPhee uses his uncanny skills as a journalist to explore the history of the region and describe the people―and their distinctive folklore―who call it home.

A classic of reportage, Oranges was first conceived as a short magazine article about oranges and orange juice, but the author kept encountering so much irresistible information that he eventually found that he had in fact written a book. It contains sketches of orange growers, orange botanists, orange pickers, orange packers, early settlers on Florida's Indian River, the first orange barons, modern concentrate makers, and a fascinating profile of Ben Hill Griffin of Frostproof, Florida who may be the last of the individual orange barons. McPhee's astonishing book has an almost narrative progression, is immensely readable, and is frequently amusing. Louis XIV hung tapestries of oranges in the halls of Versailles, because oranges and orange trees were the symbols of his nature and his reign. This book, in a sense, is a tapestry of oranges, too―with elements in it that range from the great orangeries of European monarchs to a custom of people in the modern Caribbean who split oranges and clean floors with them, one half in each hand.

The long-awaited guide to writing long-form nonfiction by the legendary author and teacher\nDraft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape nonfiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising―and revising, and revising.\nDraft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.

The Patch is the seventh collection of essays by the nonfiction master, all published by Farrar, Straus and Giroux. It is divided into two parts. Part 1, “The Sporting Scene,” consists of pieces on fishing, football, golf, and lacrosse―from fly casting for chain pickerel in fall in New Hampshire to walking the linksland of St. Andrews at an Open Championship. Part 2, called “An Album Quilt,” is a montage of fragments of varying length from pieces done across the years that have never appeared in book form―occasional pieces, memorial pieces, reflections, reminiscences, and short items in various magazines including The New Yorker. They range from a visit to the Hershey chocolate factory to encounters with Oscar Hammerstein, Joan Baez, and Mount Denali. Emphatically, the author’s purpose was not merely to preserve things but to choose passages that might entertain contemporary readers. Starting with 250,000 words, he gradually threw out 75 percent of them, and randomly assembled the remaining fragments into “an album quilt.” Among other things, The Patch is a covert memoir.

This account of a tennis match played by Arthur Ashe against Clark Graebner at Forest Hills in 1968 begins with the ball rising into the air for the initial serve and ends with the final point. McPhee provides a brilliant, stroke-by-stroke description while examining the backgrounds and attitudes which have molded the players' games.

This is a book about people who drive trucks, captain ships, pilot towboats, drive coal trains, and carry lobsters through the air: people who work in freight transportation. John McPhee rides from Atlanta to Tacoma alongside Don Ainsworth, owner and operator of a sixty-five-foot, five-axle, eighteen-wheel chemical tanker carrying hazmats―in Ainsworth's opinion "the world's most beautiful truck," so highly polished you could part your hair while looking at it. He goes "out in the sort" among the machines that process a million packages a day at UPS Air's distribution hub at Louisville International Airport. And (among other trips) he travels up the "tight-assed" Illinois River on a towboat pushing a triple string of barges, the overall vessel being "a good deal longer than the Titanic," longer even than the Queen Mary 2.\nUncommon Carriers is classic work by McPhee, in prose distinguished, as always, by its author's warm humor, keen insight, and rich sense of human character.