A teriffic book. Clear and well organized. My only warning to you is, don't expect to get the prices the book suggests. I find that 1/3 to 2/3 of suggested prices are more realistic for all but the rarest pieces.

This is a must for the Granite ware buyers prices are great and great learning instruction of what to look for and how to tell if it is old or new I love this book and look at it often as I am looking on ebay alot. A must for the Granite people

I found this book very helpful as a new collector of Granite Ware. I especially appreciate the items being grouped by color for easy identification with the price values on the same page. Now I am searching to find some backgound information on the makers and enameling techniques.

I just bought a brand new granite counter top for my kitchen(Blue Peral) and I am so glad I read Mr. Hueston's book first. I almost made a major mistake in not looking at the slabs before my counter top was made. The slab they were going to cut my top from had a major mark in the center which would have been awful. Thanks for this tip, I ssaved a lot of headaches and some major money. Thank you for such a wonderful book. I would recommend this book to anyone thinking about granite or any stone for their kitchen.

Thank you for such great info. I just bought a new house and had granite counter tops installed(Blue Peral granite). I almost made a major mistake in not looking at the slab before my top was made. Mr. Hueston outlined some great tips and saved me a mojor headache. Thank you for providing such useful info. I would highly recommend thsi book to anyone even thinking about purchasing a stone or granite counter top.

WOW, finally a book that tells it like it is. I just purchased some granite for my new house and I am so glad I bought this book. I almost made a major mistake that was outlined in the book. I would recommend this book to anyone even thinking about buying granite counter tops.

On one level Flesh and Stone is the story of a nineteenth-century New England coastal town, Stony Creek, Connecticut, and its engagement with the granite industry. From riveting narrative to superb illustrations it brings art and literature to one page in such stunning detail that words on paper cannot possibly capture its great achievement. To be appreciated this book has to be read--and seen.

On a deeper level, Flesh and Stone narrates a history of America. What is "America" but a combination of towns and cities whose whole is greater than the sum of its parts? By looking intensively at one town--its people, its economy, its politics, and its environment--readers of Flesh and Stone receive a graphic sense of history from the bottom up. Ordinary people come to life and assume extraordinary significance as living, breathing, case studies in Americanization.

Readers as far away as Miami, Florida or Seattle Washington, or the mythic Cabot Cove, Maine, will see and appreciate one New England town and, in the process, come to appreciate their own local history. Ideally, superb local history like Flesh and Stone will inspire imitators across the country. They could look at no better model for how to proceed than Flesh and Stone.
Harry S. Stout
Professor of American History
Yale University

The marvelous,plentiful photos plus historical information about quarries and granite make this a book that schools,libraries and collectors should own.Many professionals from geologists, physicians,historians, and others have written revealing essays for the book. There are maps (even of the original earth landmass) and the sites of various quarries. Equally important are the personal pictures and stories of the quarry workers. A book to treasure.

Parker Tyler's 1945 epic poem, The Granite Butterfly, was hailed by William Carlos Williams as "the best long poem in English since The Waste Land." This beautiful facsimile edition includes the important reviews (by Williams, Marius Bewley & others) and correspondence concerning the poem (with, for example, Bewley, Williams, Ezra Pound & Kenneth Burke), as well as a charming introduction by Charles Boultenhouse, Tyler's partner, exploring the poem's central theme: his lifelong fetish for the matinee idol Carlyle Blackwell and its grafting on to the poet's Oedipus complex.

One of the finest literary works of the twentieth-century, lovingly reprinted in this edition. An epic about cinema and sexuality and what it is to be human. The accompanying essays are priceless.

Of the half-dozen books I bought in preparation for recycling some of the old stonewalls up through the woods on our farm into a new retaining wall, this is my clear favorite. It is more detailed than John Vivian's Building Stone Walls, particularly when it comes to retaining walls. Because it is not as glossy and illustrated as Haywards' Stone in the Garden or David Reed's Stonescaping (which are, by the way, both excellent in their own right), I'm not as wary about taking it out to the project with me.

The text is clear and concise, and includes a healthy dose of stone philosophy and the index is detailed enough to help the do-it-yourselfer find what he needs, but short enough so that he can find what he wants, even if he does not know the proper name for it.

However, the main reason I like this book so much is Gardner's assurance that anyone who puts his mind to it -- which includes me -- can build a stone wall. While his respect for old stone walls and the art of building them is obvious, he also has a healthy dose of practicality. "The notion that all, or even most, of the old stone-work we see around New England is the result of concentrated applicaion of arcane skill," he write, " is demonstrably false." Once that sacred cow was out of the way, my confidence level went up and anything seemed possible.

The black & white drawings that illustrate the text are clear and very helpful.

This is a wonderful book...it's about stone walls, and about building stone walls, and all the things stone walls have meant and done for 350 years, and what it feels like to live and work in a place where just past the urban sprawl every one of those 350 years blends with this one (and if you look out the corner of your eye there're older times than that hiding in the shadows.)

It's not a homeowner howto, though it's got everything you can learn from a book. It's a book for masons who love their craft, New Englanders who love their home place, and anyone who likes good work. Whatever that means to you.

My wife and I recently decided to drive through New England, mainly visiting Vermont, New Hampshire and Maine. On a friend's advice, I bought the Scheller's Best Vermont Driving Guide and after reading that, went out and bought this guide to New Hampshire. Both of these books are absolutely terrific, giving you information about places that is just about impossible to find anyplace else. There are lots of interesting tidbits that made our trip a lot more fun, and the books have a nice sense of humor, unlike a lot of dry guidebooks. We did two of the recommended drives in each state and found them very rewarding. Using the guide books, we were able to discover little hidden places like small museums and other attractions that we never could have found on our own--and we met some really great people along the way, too. If you're planning to drive through VT or NH I highly recommend both of these books.

I 'm not a reader, but this book kept me reading until the end. The ending was kind of expected, but there was so much resistance between them, you didn't know how it would end for sure. A Great Romantic Tale.

There's a story told about a Buddhist monk who could look into your eyes and see your grandmother's soul. The collaboration between author Howard Frank Mosher and photographer John M. Miller, called "Granite & Cedar: The People and the Land of Vermont's Northeast Kingdom" gives the common reader a chance for a similar view. This remarkable book gives a profound opportunity to see into and beyond the familiar of "home."
"Granite & Cedar" is set in Vermont's Northeast Kingdom; the black and white photographs (most taken between 1971 and 1976) represent a simpler time when the region was a world unto itself. Then the Interstate rolled through, and it was suddenly easier to have second homes here. Long-time residents could come and go with ease, and the world of the Northeast Kingdom changed. Patterns of life shifted, and familiar traditions suddenly reappeared as people, places and ways that were different.
Mosher's haunting story of Aunt Jane Hubbell weaves through the photographs like hand washed thread turning into fine lace. The story opens in 1965 as the plans for the Interstate are introduced. Aunt Jane has fierce stubbornness and loyalty to family, both living and dead. Will she stand up to the engineers at the public hearing for the highway, or will she back down in deference to her 78 years and ancestors lying at rest? How will she be remembered?
We see the time-worn buildings standing tall beside symbols of an emerging era of rapid obsolescence; we see wool jackets and spruce boards holding their ground to synthetic fleece and vinyl siding; we see men and women whose lives and ways are somehow very familiar although today - they are gone.
We see into a place and time well used by those who lived off the land and were shaped by it and who like Aunt Jane were, above all, practical. Mosher and Miller have unwrapped the gift we thought unique to the legendary monk.
For those with connections to the Northeast Kingdom "Granite & Cedar" will be tenderly familiar. And yet strictly regional, this book is not. For those who only know Vermont's fringe from a distance, the connection to home will prevail.
"Granite & Cedar" is Mosher and Miller at their best.

I used this book in my MBA accounting class and found it very relevant to real life accounting and book keeping. It is quite easy to complete with a few tricky questions. Despite its ease of use and a few challenging problems, it does get tedious towards the end. It takes about 10 to 15 hours to complete this simulation.

Margaret Rabb's first full-length poetry collection is consistently delightful. These poems have nothing to do with confession and everything to do with reveling in the language itself. Many are in traditional forms: there are two sestinas, two villanelles, a pantoum, poems in ottava rima, several sonnets, and other poems in rhymed stanzas. Critics of contemporary formalistic poetry complain (often rightly) that it reeks of the exercise, that it's merely about conforming to templates. That's hardly the case here: Rabb's poems always exhibit a Paul Muldoon-ish sense of exuberance, of playfulness.

There are some marvelous reworkings. "On Melancholy Again" harks back to Keats's "Ode on Melancholy," and "To Autumn" recalls Keats's ode of the same name. And the best poem in the book may be "Quitting Byzantium," an ingenious sequel to W.B. Yeats's classic "Sailing to Byzantium."

If your first impulse on reading a poem is to reduce it to a one-sentence paraphrase, do not buy this book. These are densely textured poems whose first demand is to be read aloud for the sound of them. It's a terrific book, a terrific debut.