Urban Agenda New York City, Oct. 2014

uRban agenda: new york city

October/November 2014 The Museum of Arts and Design: A Founder’s Vision Urban Health: Breast Reconstruction Brooklyn Navy Yard Joyce Carol Oates A Well-Designed Life

Isabel and Ruben Toledo

“Fashion’s Two-For-One Couple”

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CONTENTS

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Isabel and Ruben Toledo: What’s Love Got To Do With It?

BY ELLEN GI LBERT

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OCT./NOV. 2014

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What Would Mrs. Webb Do? MAD Celebrates its Visionary Founder

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BY ELLEN GI LBERT

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Q & A with Joyce Carol Oates

BY STUART MI TCHNER

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Urban B ooks Joyce Carol Oates

BY STUART MI TCHNER

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Brooklyn Navy Yard Historic Landmark Emphasizes Innovation And Sustainability

BY I LENE DUBE

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Urban Health From Reconstruction to Renewal

BY ANNE LEVI N

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Calendar

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Destination: Hudson River Val ley

Yoga Gear

BY TAYLOR SMI TH

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Cover Image: Ruben and Isabel Toledo, NYC, photo by Jason Schmidt. Courtesy of The Toledo Archives.

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Ruben and Isabel Toledo by Troy House. (opposite-top) Self Portrait with Isabel, watercolor on paper, 2012 by Ruben Toledo. (opposite-bottom) Michelle Obama, wearing Isabel Toledo’s lemongrass yellow wool lace shift dress with matching overcoat to President Obama’s first inauguration, 2009.

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Isabel and Ruben Toledo:

What’s Love Got To Do With It?

BY ELLEN GILBERT | PHOTOS COURTESY OF THE TOLEDO ARCHIVES

I have never seen two other people with so close a symbiotic relationship.

—Valerie Steele

T

hey’ve been described as “fashion’s two-for-one couple;” “creative alter-egos” who enjoy a “poetic partnership.”

What’s love got to do with it? Everything.

Now in their early 50s, Isabel and Ruben Toledo have been in the fashion/art/design business for nearly 30 years, and their work just gets more intriguing: beautifully executed, completely original, and, as a rule, quite unexpected. Their lives—how they look and dress, and the atelier where they live above their studio—seem to intersect seamlessly with their work.

The Toledos, who were both born in Cuba but grew up and met in West New York when they were in ninth grade, are mavericks. They typically opt out of the annual, three-ring circus known as “Fashion Week” in New York City; it was probably no coincidence that the two took off for a trip to Paris on Thursday, September 4, the very day that this year’s Fashion Week in New York opened. Calling for more artists and fewer businesspeople, Isabel worries that up and coming designers are being distracted by the commercial side of the fashion industry.

Their own experience was, in a sense, ideal.

“I think we were never aware of a mainstream,” observes Ruben. Early in their careers, he says, their exposure to “the interlocking worlds of art, fashion, music, theater, nightlife, and commerce” in New York City during the 1970s made an indelible impression on both of them. Players in this “frenzy of intellectual cross-pollination” included Andy Warhol, Keith Haring, Halston, Lena Horne, Diana Vreeland, and Klaus Nomi. This gestalt approach to life seems to inform whatever the Toledos are up to.

THE YELLOW OUTFIT Well-regarded for years, the Toledos hit the public relations jackpot when Michelle Obama wore Isabel’s now-famous lemongrass yellow wool lace shift dress with matching overcoat to President Obama’s first inauguration. “This was a glorious gift from the universe for me,” she

reports. I have always believed fashion is what time looks like, and on that historic day in 2009 I was woven into history itself.”

The Toledos’ work ethic, sheer productivity, and the fact that English is not their first language all help mitigate against thoughts one may have about her being a little over the top in her effusiveness about the experience. Isabel still sometimes refers to herself as a “seamstress,” rather than a “designer,” since “the seamstress is the one who knows fashion from the inside.” The Toledos, though, have become media stars; a recent New York Times article breathlessly reported on Isabel’s daily beauty regime, and numerous magazine articles have detailed where they live.

HOMESPUN The Toledos still have a hands-on approach to publicity: there are no “have your people call my people” exchanges. Signing themselves “I and R,” they personally responded to each call or email in preparation for this article, and these highly imperfect transmissions had a certain charm. The bios they forwarded were largely unformatted and rife with typos, and the random capitalization of certain words in the text suggested their ideas about the important stuff: Ruben “is a painter, sculptor, illustrator, surrealist WIT and fashion critic;” and “ISABEL TOLEDO was A DESIGNERS’ DESIGNER WITH AN UNDERGROUND CULT FOLLOWING” until the Michelle moment.

This down-to-earth accessibility may have something to do with the fact that although they are typically associated with haute couture and rarified art circles, Isabel has designed for popular labels like Lane Bryant, Target, and Payless Shoes. “Good design can be interpreted at any price point,” she says. “Fashion may be the most democratic of all the art forms, because we all have to go through the ritual of dressing ourselves every day.” Some of Isabel’s bon mots appear at the end of Roots of Style, a 2012 manifesto written

by Isabel and charmingly illustrated by Ruben, with the subtitle Weaving Together Life, Love, and Fashion. Other publications associated with the

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The Toledos at work in their Midtown studio, by Norman Jean Roy. (bottom) Image from The Skin and Bones Exhibition: Fashion Meets Architecture, Lacma, watercolor on paper, 2010.

couple include Fashionation and Fashion Dictionary, both exuberantly illustrated by Ruben. Isabel Toledo: Fashion from the Inside Out is a gorgeously illustrated coffee-table size book that celebrates Isabel’s awards (a National Design award from the Cooper Hewitt Museum and a Couture Council award for Artistry of Fashion, given by the Museum of the Fashion Institute of Technology) and documents the Toledos’ story.

“It’s Not Work” The Toledos want you to believe they’re having fun and you do. They credit the veteran fashion observer Bill Cunningham with encouraging them just as they were starting out. “’Kids, keep up your enthusiasm,’” he is quoted as saying, and it’s a philosophy they took to heart. Isabel’s ever-evolving clothing designs continue to surprise and enchant observers, and Ruben appears to be something of a Renaissance man tackling many things at once and doing them all well: designing mannequins, store windows, award statuettes, scarves, fabrics, dishes and carpets, and painting murals, portraits, album covers and barns.

He has worked for the top fashion and design magazines, designed notebooks for Moleskine, and created covers for deluxe editions of Penguin classics like The Scarlet Letter and Wuthering Heights. “The medium can really be anything,” Ruben observes. “It’s the story that’s most important to me.”

The Toledos both talk about Cuba’s influence on them with wistful pride. “We were both born in Cuba after the Revolution and transplanted to New York at an early, impressionable age,” says Ruben. “I think we have the best of both cultures in us.”

Cuba’s warm sensuousness rubbed off on them, as did “the make-do

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attitude, which comes in very handy as an artist.”

“We became American overnight,” Isabel agrees, but adds “its funny how your heritage effortlessly shows through. It’s really embedded in your DNA.” Visionaire editor and friend Stephen Gan has described Ruben as looking like “a cross between Salvador Dali and Ricky Ricardo.” Isabel, he added, is ‘’a combination of Frida Kahlo and Morticia Addams.” A little less edgily, perhaps, Fashion Institute of Technology Museum Director Valerie Steele says that Isabel “looks simultaneously like a Spanish aristocrat and an artistic bohemian.”

The frontispiece of Fashion from Inside Out is an early black and white photograph of the couple in which they manage to look impossibly young, beautiful, and tenderly in love while also conveying a quiet sense of dignity and style.

Their mutual devotion and admiration for each other is, if anything, stronger than ever. “I’m always so curious what he’ll think,” Isabel said recently. She describes Ruben’s style as “cunningly accidental.” He is happy to explain that her work has been referred to as “liquid architecture” because of “the structural complexity of her patterns which morph into pure effortless movement on the body.” However fanciful the design, though, “ingenious engineering” is essential.

“Spontaneity and improvisation are very welcome, but that comes naturally when you really focus on your craft,” says Isabel. “I am well aware that expert craftsmanship is achieved only by the act of doing and caring; it is not for the weak.” She describes her 30-years’ worth of design work as her “vocabulary.”

Ruben agrees, suggesting that by focusing and perfecting one’s craft it eventually becomes “instinct,” and that’s when “the forces of nature take over and introduce the inspired accidents into the mix. This is poetry in action.”

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Barcelona Fashion Week, Isabel Toledo Autumn 2014 Collection. (bottom-left) Isabel Toledo Collection (bottom-right) Isabel Toledo Autumn 1996 Collection: The Metropolitan Museum of Art Costume Institute in front of murals by Ruben Toledo: Photo By Stephen Gan.

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(top-left) Isabel Toledo Collection. (top-center) Isabel Toledo Autumn 2014 Collection; Silk Organza Embroidered Tile Dress. (top-right) Isabel Toledo Autumn Collection 1992, Paris France, photo by Stephen Gan. (bottom-left) Silk Gazar Jumpsuit From Isabel Toledo Spring 1995 Collection, photographed in front of a Ruben Toledo painting by Ruven Afanador. Camel Hair Lid Sleeve Coat With Stove Pipe Hat, Isabel Toledo Autumn 1987 Collection, photographed by Sante Dâ&#x20AC;&#x2122;Orazio.

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Isabel Toledo at work, NYC, photograph by Jason Shmidt 2009.

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Pride and Prejudice, Penguin Books, 2010: Cover art by Ruben Toledo (BOTTOM) Ruben Toledo at work, NYC, Photo by Jason Schmidt, 2009.

AFTER MIDNIGHT Dancers in action were the highlight most recently when the Toledos provided the costumes and set designs for After Midnight, a Jazz at Lincoln Center revue of song-and-dance numbers from the Cotton Club era of the 1920s, featuring music by Duke Ellington, Harold Arlen and others. New York Times critic Charles Isherwood noted the show’s “verve that almost captivates the eye as much as it does the ear. It will be a long time before Broadway hosts music-making this hot, sweet and altogether glorious again,” he added.

“Are you kidding me?” says Isabel when asked about the experience. “The show was a gift. Now we are spoiled forever.” According to Isabel, producer Scott Sanders and choreographer Warren Carlyle (who won the Tony last year for Best Choreography) gave the Toledos carte blanche to visually create a universe inspired by the Harlem Renaissance.

“They did not require a historical period piece, but something brand new,” Isabel recalls. “We started by inventing all the details of that world, including the cars, instruments, architecture and, of course the clothes and styling.”

The Toledos’ concern was not just with the look of the cast as a group, Ruben says, but with how each performer worked. “Isabel wanted to ‘clothe’ their very gestures, to amplify their movements. We watched every rehearsal we could possibly attend.” It was a true collaboration: “Ruben sketched the performers’ motions and steps and caught the essence of their body language,” says Isabel. “Each performer really did inspire my choice of colors and cuts. Every member of this brilliant cast became an individual.” Inspiration came from many sources, including, according to Ruben, “the city rumbling” 12 floors below their atelier. “New York is jazz,” he says. “Even the hem hitting your knees as you’re walking down the street creates a rhythm.”

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Isabel Toledo photograph by Ruven Afanador: Face painting by Ruben Toledo.

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WHAT WOULD

MRS. WEBB DO? MAD CELEBRATES ITS VISIONARY FOUNDER

BY ELLEN GILBERT

Image courtesy of American Craft Council.

A good life is found only where the creative spirit abounds, where people are free to experiment and create new ideas within themselves.

—AILEEN OSBORN WEBB

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Images courtesy of RIT Production Services; American Craft Council.

Aileen Osborn Webb’s involvement with crafts began in the 1930s, during the Depression, to help people sell and make a living.

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eferred to as “MAD,” the Museum of Arts and Design is anything but disordered or wildly foolish, nor does it have anything to do with the eponymous magazine. This MAD was founded in 1956 by arts and design champion Aileen Osborn Webb (1892-1979), and from now through February 28, 2015 it is celebrating her achievements in an exhibit, What Would Mrs. Webb Do? A Founder’s Vision.

“Aileen Osborn Webb was one of the great visionaries of the twentieth century,” observes Glenn Adamson MAD's Nanette L. Laitman Director. “Her progressive conception of how the world around us can be made more humanely, more responsibly, has never been more relevant. With this project, we want to remind people of this amazing woman’s many achievements, and show how the Museum today is carrying her mission forward.”

IN THE GENES “Art patronage was in Aileen’s genes,” writes Craft in America contributor Emily Aiden. Webb was born in Garrison, New York to a family that had investments in mining, railroads and real estate. Her father, William Church Osborn, was a prominent supporter of medicine, culture and the arts. An early force in developing the Metropolitan Museum of Art, he served as president of the board of trustees from 1941 to 1948, and bequeathed most of his private collection to the museum.

Webb’s mother’s side of the family, the Dodges, amassed their own fortune through mid-19th century metal importing. They were already known for their philanthropy when Aileen married Vanderbilt Webb in 1912. “Van,” as she called him, was a lawyer and heir to the Vanderbilt shipping and railroad fortune—yet another family of philanthropists. Their main residence was on

Park Avenue in Manhattan, and, fittingly, Webb counted Eleanor Roosevelt among her good friends.

Webb put her sizable wealth to good use. During the Depression she worked to alleviate poverty by creating a network for men and women to sell handmade goods. In 1940, long before the word “artisanal” became popular, she founded America House, a Madison Avenue storefront that exhibited and sold handmade goods. Years later Director Harold Brennan would recall America House as “a clinical laboratory, providing a testing ground of the most rigorous sort for design, technical handling, and price.”

One satisfying experience in making handmade goods widely available led to another. In 1943, Webb helped to create the American Craft Council. The ACA, as it is known, still exists, celebrating American artists working in a wide variety of media. The World Crafts Council followed in 1964. Before that, in 1944, Webb helped establish the School for American Crafts (SAC), now located at the Rochester Institute of Technology. SAC was particularly instrumental in training returning servicemen on the G.I. Bill for new jobs.

Again and again over the years, Webb showed a special talent for the pragmatic, educating the public about crafts, and working with craftspeople to help them recognize what would be marketable.

“She never looked back, and was always interested in what could be done next to improve what she was involved with,” recalled Paul J. Smith, Director Emeritus of the American Craft Museum in an interview several years ago. “It was just a positive energy that she brought to looking at the craft field with a broad perspective. All of the programs she initiated had a profound effect.”

Despite her own great wealth, “she wasn’t a collector as such,” Smith noted.

She “enjoyed possessing and living with handmade works.”

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Images courtesy of RIT Production Services.

The Museum of Arts and Designâ&#x20AC;&#x2122;s curatorial program builds upon a rich history of exhibitions that emphasize a cross-disciplinary approach to art and design, and reveals the workmanship behind the objects and environments that shape our everyday lives.

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Photography by Ken McCown.

The Museum of Arts and Design, based in Manhattan, is a center for the collection, preservation, study, and display of contemporary handmade objects in a variety of media, including: clay, glass, metal, fiber, and wood.

“THE THING OF THE SPIRIT”

SAVE THE DATES

“It is the things of the spirit, the arts of the country, which have always led mankind forward, and it is to this spirit that the craftsmen of the world must lend themselves,” Webb observed in 1964. Some years earlier she had overseen the opening of MAD, which was then known as the Museum of Contemporary Crafts. “It took many years for craft art to be accepted in the U.S. as a legitimate art form that would earn the respect of museums, galleries, collectors, universities, and the general public,” notes a recent article by NYCitywoman.com founder Barbara Lovenheim.

Organized by adjunct curator Jeannine Falino and curatorial assistant Barbara Gifford, the new exhibit includes over 100 works in glass, ceramics, wood, metalwork, and fiber, nearly all from the MAD’s permanent collection.

Craftspeople whose work appears in the show, include Annie Albers (textiles); Sam Maloof and Joris Laarman (furniture); Jack Lenor Larsen and Lia Cook (textiles); Peter Voulkos and Jun Kaneko (ceramics); Harvey Littleton and Judith Schaechter (glass); and John Prip and Myra Mimlitsch-Gray (metal).

The exhibit also recognizes the contributions of Nanette L. Laitman and the Windgate Foundation, two current key supporters of skilled makers.

What Would Mrs. Webb Do? also taps into the landmark exhibition Objects: USA, which opened in 1969 at the Smithsonian Institution. Featuring highlights of the Johnson Collection of Contemporary Crafts, it eventually traveled to over twenty other museums around the world. On display were a ceramic mini-couch and chair by Richard Shawin, a three-dimensional wall hanging by Dominic Di Mare, and works by more than 250 other craftsmen that asked the question: is craft art? Writer Bella Neyman reports that when America House closed in 1971, “American crafts were no longer an anomaly, and the desire for them had never been stronger. Mission accomplished.”

Several special events are being held at MAD in conjunction with What Would Mrs. Do? On Thursday, October 16, at 7PM, three directors of non-profit art centers, Alanna Heiss of Clocktower, Patricia Jones of Eyebeam, and Creative Time’s Anne Pasternak will take a look at not-for-profit organizations of the past, and consider how they are currently adapting to new “urgencies and resources.” This program is free of charge.

On Thursday, November 13, at 6:30PM MAD will offer a guided tour focusing on the people behind the works on view in the exhibition, and how Aileen Osborn Webb influenced them. This program is free with Pay-WhatYou-Wish Admission.

The Museum of Art and Design is located at 2 Columbus Circle in New York City. It is open Tuesday to Sunday from 10AM to 6PM Thursday and Friday from 10AM to 9PM, and closed on Mondays and major holidays. For more information write to info@madmuseum.org or call 212.299.7777.

A seven-minute YouTube video makes effective use of words and images to tell Aileen Osborn Webb’s story. The video on YouTube is titled: “Aileen Osborn Webb: 2012 RIT Innovation Hall of Fame.”

An unpublished memoir by Aileen Osborn as well as an oral history interview conducted with her in the spring of 1970, are held by the Archives of American Art at the Smithsonian Institute, the world’s largest and most widely used resource dedicated to collecting and preserving the papers and primary records of the visual arts in America. For more information visit www.aaa.si.edu. U

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QA

United States President Barack Obama presents the 2010 National Humanities Medal to author Joyce Carol Oates in the East Room of the White House in Washington, DC on March 2, 2011. The annual awards are managed by the National Endowment for the Arts. UPI/Pat Benic

Joyce Carol Oates

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interview by stuart mitchner

R

ecently asked to name his favorite living novelist by the New York Times Book Review, Larry McMurtry replied, “Joyce Carol Oates...a natural-born writer.” As John Updike once said of her, “If the phrase ‘woman of letters’ existed,” she would be “the person most entitled to it.” The National Book Award-winner, who has been teaching at Princeton University since 1978, will continue to make Princeton her home after her official retirement next summer.

UA: What are your plans after you teach your last class? Will you stay in the area? How would you describe the changes you’ve seen in the college community since you moved to Princeton?

JCO: Though I am retiring from Princeton in July 2015, I am returning to teach a single workshop that fall. I will probably teach workshops here and there for a while, perhaps at NYU, UC-Berkeley, or elsewhere. I enjoy teaching very much, and love to work closely with young or not-so-young writers.

We have no plans to move from Princeton. The most obvious change in the area is in population density, construction, and traffic congestion. Not very good changes for the environment, unfortunately.

UA: Can you say a bit about how you conduct class? Will you have more time for your own work now? Your thoughts on literary prizes?

JCO: My workshops are probably quite like other fiction workshops. Students have read their classmates’ work beforehand, have printed out stories, and are prepared to discuss them. These are like editorial conferences, and are usually quite intense, though all criticism is “constructive.” At the end of the workshop, students pass copies of the stories to the writers. Of course, I also meet with student-writers in my office. I usually have two seniors who are writing senior theses, and these students I meet with, as in a tutorial, in my office through the semester.

I don’t really need “more time” for my writing. My schedule is ideal for my purposes—if I have an unlimited amount of time, I will usually squander it.

Most people feel that literary prizes are good for publishing. There is a long tradition of prizes for the arts dating back to ancient Greek theater… a tradition of some individuals singled out while many are ignored.

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Obviously this is not a good situation, but it is not likely to change in the near future.

UA: Any current or upcoming projects of your own that you’d like to mention?

JCO: My next project is a memoir titled The Lost Landscape: A Writer’s Memoir. I am just completing this and it is scheduled for fall 2015 publication.

The memoir is mostly about my childhood, girlhood, parents and family background, rather more than about myself. My marriage to Raymond Smith is touched upon, but only minimally. (Since A Widow’s Story dealt with Ray and our lives together in great detail.)

UA: You clearly enjoy tweeting. You have a nice sentence about Twitter: “Reliquary of lost thoughts, brilliant insights, fleeting hopes.” Does this medium of expression in itself qualify as a new art form?

JCO: Twitter is an intriguing new forum for communication and for abbreviated, sometimes Zen-like thoughts.

Of course it is not always elevated, but we can avoid “negative” material. Twitter is particularly valuable if you are following a particular subject, for instance contemporary art, neuroscience, poetry, philosophy, feminism, noir movies, animal shelters and animal rights activism.

But can one live without Twitter? Yes! Social media are luxuries in our civilized lives that some have come to feel necessary. But they are not.

UA: How do you feel about the future of the book, the durability of the print medium and the benefits or downside of devices like Kindle and e-books?

JCO: After some initial interest, my husband Charlie Gross does not use his iPad very much, for some reason. When we travel, the Kindle or iPad can be particularly valuable, but for much of the time we seem to both prefer books. I don’t find the e-book a negative experience, though it is not particularly positive either—rather more neutral, depending upon the material. But one does miss the aesthetic beauty of some books—covers, texture of paper.

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UA: Can you say something about what you find most exciting, interesting, or challenging in the arts right now?

JCO: One of the reasons that I enjoy contemporary films and some TV series is that I don’t have to write about them. If I admire Ida, Calvary, A Separation, A Touch of Sin, Five Broken Cameras, Ajami, Breaking Bad, Mad Men, The Fall and many others, I am not required to have any professional opinions about these interesting and engaging works, which is a relief. As a reviewer, primarily for The New York Review of Books, it seems that I am always presenting a case, a statement, an assessment, an “opinion”….

UA: Speaking of the series as an art form, have you been attracted by the idea of venturing into that genre yourself? Blonde was a mini series back in 2001, and is being taken up as a film with Jessica Chastain. Any comments on that?

JCO: I am not involved in this project though I’ve read the excellent screenplay adaptation by Andrew Dominik, the director. It is quite a challenge for a young actress to try to impersonate Marilyn Monroe, so I wish this young woman much luck. (Poppy Montgomery, in the CBS TV movie, was excellent. I think it may have been her breakthrough role.) In her later films, like The Misfits, the unhappy Marilyn Monroe was forced to try to impersonate herself, a dilemma.

UA: This is Shakespeare’s 450th anniversary. Would you rather read the plays or see them performed? Any memorable productions you could mention?

JCO: I don’t think it’s realistic to make this an either/or proposition. Most people who see the plays have probably read them. Directors edit the plays so that, in some cases, you might have difficulty knowing the sequence of scenes. The most memorable production of Shakespeare recently was the Kenneth Branagh Macbeth at the Park Avenue Armory, a few months ago.

UA: You met President Obama when you received the 2010 Medal of the Arts. What was your sense of him in person? Was this your first visit to the White House?

JCO: It was a very nice occasion not yet overcast by quite so much political ill-feeling as we seem to have at the present time. Both Barack Obama and Michelle Obama are gracious individuals, quick-witted and funny, exuding what is called charisma. President Obama was personally involved in the National Medals ceremony in that he seemed quite familiar with the careers of the recipients—especially those in music. It was not my first visit to the White House since I’d been a guest at the National Book Festival some years before hosted by Laura Bush, who was most gracious also, a wonderful promoter of libraries and books.

UA: As editor of New Jersey Noir and now Prison Noir, does this reflect your interest in the Hollywood genre and old movies in general? Influence of noir on your own work?

JCO: My work is often called noir—perhaps it is a helpful term since it seems to have a poetic ring. Most noir movies are somewhat plot-driven and present noir heroines, or anti-heroines—they are somewhat misogynist fantasies, though often very entertaining. Recently we attended a femme noir festival at the Film Forum in New York where the 1953 Niagara was outstanding—Marilyn Monroe in her last complex, noir portrait. The studio would not ever again allow their blond actress to portray an evil woman.

UA: Your interest in boxing is well known. How did you get to know Mike Tyson? Did he read your book?

JCO: When I was researching my book On Boxing, I became acquainted with Mike Tyson and his wonderful manager, the late, much-missed Jimmy Jacobs. I had also been asked to cover Tyson’s first championship fight, against Trevor Berbek, for Life in 1986. Tyson, whom I first met when he was 19 and rapidly ascending the heavyweight division, is a far more complicated individual than his popular-culture persona would suggest; but like so many other young athletes, and young celebrities, he was more or less corrupted by success and fame. As Floyd Patterson, another young heavyweight champion, once said, “When you have millions of dollars, you have millions of friends.”

UA: I have to ask about cats. If you had to speak up for cats in the great cat-dog debate, what would you say? What is it about cats that enhances your life?

JCO: What is there to say about cats? The felines among us are absolutely beautiful, irresistible, and untrustworthy. As a long-ago farm girl, I grew up with barn cats and just one dog, a sweet mixed breed named, for some reason, Toby. I’ve always thought that I would like a dog also, but cats are much easier to live with; if you are often traveling, a cat can more easily be taken care of by another person.

My cat Cherie was a 9/11 kitty—born a few months before the terrorist attack and adopted by my husband and me from the Hopewell Animal Shelter about a week after, as a way of helping to bolster our morale.

Like so many others, we were feeling crushed, and terribly helpless. A new young cat in the household, all innocence and unknowing, and very affectionate, was therapeutic.

Mike Tyson with Loraine Jacobs and Joyce Carol Oates in 1987.

UA: Fifty years ago the Beatles film A Hard Days Night came out. Did their influence musically and otherwise affect your perception of the sixties?

JCO: Though I admire the Beatles, I was not greatly caught up in their work at the time. I played classical piano—that is, I tried to play classical piano. If/ when I played piano, it was classical music: Chopin, Beethoven, Bach. The piano is my favorite instrument.

UA: Can you comment on your second marriage? Your husband is among other things a gifted photographer. Have you taken it up as well?

JCO: My husband Charlie Gross is retired from the Psychology Department at Princeton, where he taught neuroscience and was a research scientist for many years. He is indeed a talented and energetic photographer who loves to travel; he has been to China a dozen times, and is returning in November to teach in Shanghai. He is drawn to places in the world we are not supposed to call “exotic” any longer—but they are certainly far from Princeton.

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A Writer’s Faith J

by stuart mitchner

oyce Carol Oates had been living in Princeton for 25 years when she published The Faith of a Writer: Life, Craft, Art (Ecco 2003), one of two works she named when asked to mention books that were “close to her heart.” The author, who will be teaching her last class at Princeton University in the spring semester of 2015, also cited High Lonesome: New & Selected Stories 1966-2006 (Ecco 2006), which contains “my favorite stories of my own up to that time.”

New work published this month includes Lovely, Dark, Deep (Ecco), a collection of short fiction, and Prison Noir (Akashic), the second book she’s edited, after New Jersey Noir, for Akashic’s Noir Series. The Sacrifice, a novel due early in 2015, is set in a “racially troubled” New Jersey city in the late 1980s; she is also working on a memoir to be published in fall 2015.

The Act of Writing The Faith of a Writer is a landmark in the literary genre most famously represented by The Paris Review’s Writers at Work series, the fifth of which includes an interview with Oates, along with, among others, John Cheever, Joseph Heller, Pablo Neruda, and Joan Didion. Oates also edited the eighth volume in the series, providing an introduction that concludes by paraphrasing Flannery O’Connor and John Hersey to the effect that “the very act of writing is an act of hope” and that “writing is the only real reward.”

The assertion of writing’s capacity for hope and fulfillment pervades The Faith of a Writer, which thoughtfully and unaffectedly merges personal history with enlightened appreciations of a range of works, beginning with “the marvel” of Alice in Wonderland and Through the Looking Glass. Illustrated with “bizarre creatures” and “a perpetually astonished-looking Alice,” Lewis Carroll’s book came to “a farm child, in a workoriented household,” as “the great treasure” of her childhood and would prove to be “the most profound literary influence” of her life.

however, is a completely absorbing experience, and feels always as if it were the work I was born to write.” Later, she adds that “each book is a world unto itself and must stand alone, and it should not matter whether a book is a writer’s first, or tenth, or fiftieth.”

Oates touches on similar issues in the afterword to High Lonesome when she speaks for most short story writers in saying that “each of our stories exacts from us the same approximate commitment and hope. Prose fiction is, in essence, the realization of an elusive abstract vision in elaborate and painstaking construction, sentence by sentence, word by word. The daunting task for a writer is: what to include? what to exclude? Throughout our lifetimes a Sargasso Sea of the discarded accumulates, far larger than what is called our ‘body’ of work, for each story is an opening into the infinite, abruptly terminated and sealed in language.”

On Productivity When you open Lovely, Dark, Deep, the first thing you see, under the heading “Also by Joyce Carol Oates,” is a list of 25 volumes that for most writers would be the total of their published work. But these are 25 story collections. You’d need another full page to list the novels, volumes of poetry, plays, childrens books, and essays. Interviewing her for the Paris Review, Robert Philips addresses the issue upfront “We may as well get this one over with first: you’re frequently charged with producing too much.” After noting that “productivity is a relative matter,” Oates points out that “it may be the case that we all must write many books in order to achieve a few lasting ones....Each book as it is written,

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The JCO Dynamic What might called the JCO dynamic can be seen in the contrast between the language of the afterword and that of the voices and styles assumed in the narratives of particular stories. The title piece in High Lonesome offers a striking example. The tone in the opening and closing sentences, though more personal, is at least remotely comparable to the tone of the afterword. The

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story opens with a question: “The only people I still love are the ones I’ve hurt. I wonder if it’s the same with you?” and ends, “This lonesome feeling I’d make a song of, if I knew how.”

To construct a story to fit between that invitingly suggestive opening and those poignant last words would be a challenging exercise for students of creative writing, after perhaps including the admission that follows the opening question: “Only people I’m lonely for. These nights I can’t sleep.”

Right away Oates has sounded the terms of the theme with which she begins The Faith of a Writer: “Writing is the most solitary of arts.” And at this point the voice is not all that distinct from the authorial self responding to questions in the interview or composing an afterword or “autobiographical essays on the craft of writing.”

In the short story “High Lonesome,” however, there’s a transition in tone as the voice changes from asexual neutrality to masculine immediacy: “See my heartbeat is fast. It’s the damn medication makes me sweat. Run my fingers over my stub-forefinger—lost most of it in a chain-saw accident a long time ago.”

As you learn, the truth is that a portion of the narrator’s forefinger was bitten off by his cousin, a deputy sheriff whose skull he crushed with a claw-hammer. Here in full force is the violent, full-blooded, visceral presence that inhabits the author’s most characteristic work. What redeems the graphic account of the killing for literature is the sound rising out of the violence, “a high keening sound” the narrator associates with the singing of his in-law grandfather whose suicide after a police sting gave the killer his motive (“the deputy sheriff betraying his own kind”). At first he thinks the keening sound is coming from his dying victim, “but making this high sharp lonesome sound it finally comes to me, is me, myself.”

At the end, the metaphorical integrity of the concept gives literary force to the “phantom pain” in the “ugly stub-finger” (“a kind of comfort like your finger is a whole finger somewhere”) and to objects such as the sheriff’s badge and gun taken and saved like relics of the act by his killer, and even the “bloody clothes” buried in “the marshy pasture” where the

old man who sang “this high old lonesome sound like a ghost tramping the hills” killed himself. The effect suggests a line that the author quotes from W.B. Yeats in The Faith of a Writer—“A terrible beauty is born.” The more neutral voice returns at the end (“such a mood comes over me here”) as Oates takes implicit possession of the story (“This lonesome feeling I’d make a song of, if I knew how”), turning the “feeling” and the “mood” into a song that is very much her own. As a reader, I might feel more comfortable with a story like “Small Avalanches,” where the point of view of the female narrator coheres more fluidly with the author’s, and where the narrative situation inspires thoughts of other writers.

But the brutal poetry of “High Lonesome,” and the dynamic driving the narrative, are one hundred per cent Joyce Carol Oates, and that’s as it should be.

Only Have Faith It’s interesting to find a less explicit but no less driven version of the JCO dynamic in “To a Young Writer,” perhaps the frankest, most uninhibited chapter in The Faith of a Writer, where an author who has endured more than her share of critical/litchat abuse says, “Don’t expect to be treated justly by the world. Don’t even expect to be treated mercifully.”

In the next paragraph, the young writer is told that “Life is lived head-on, like a roller coaster ride.” Though the sentence proceeds to contrast the ride to “cooly selective art” that can be created only in retrospect, the author rollercoasters right over the qualifier, “Better to invent wholly an alternate life. Far better!” You can feel the passion that invests the piece building toward the end—“Only have faith: the first sentence can’t be written until the last sentence has been written.”

Which brings to mind the first and last sentence of “High Lonesome” and a word as resonant as “faith” in Oates’s celebration of the writing life, repeated twice in the italicized admonition of the first and last sentences of the essay: “Write your heart out.”

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BROOKLYN NAVY YARD

HISTORIC LANDMARK EMPHASIZES INNOVATION AND SUSTAINABILITY

PH O TO S B Y: LA G U AR D I A & W A R N E R A C RC H IV E S

BY ILENE DUBE

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PH O TO S B Y: LA G U AR D I A & W A R N E R A C RC H IV E S

P HO T O S B Y : B RO WN I N N O V A T I O N S ( L E F T P A GE , LARGE PHOTO)

S

Brooklyn Navy Yard entrance from Sands Street, in 1900. ( ROU ND

tanding on the rooftop of the Brooklyn Navy Yard, looking out on the Manhattan and Williamsburg bridges spanning the East River, we can see water towers, smokestacks and red brick housing below us, and Freedom Tower in the distance. It has been called the best view of New York.

Our tour group—a family from Paris and a young urban farmer wannabe from Queens—is surrounded by an acre of soil in which everything from Swiss chard and hyssop to tomatoes, root veggies and micro greens grows. With beehives and chickens, the two-year-young Brooklyn Grange is the world’s largest rooftop farm, and one of the innovative and creative adaptive re-uses of the Brooklyn Navy Yard. The 300-acre site—this year added to the National Register of Historic Places—occupies parts of DUMBO/Vinegar Hill, Williamsburg and Fort Greene. Polytechnic Institute, New York City College of Technology and Pratt University are all nearby.

The development boom at the Yard has brought 300 businesses in design, filmmaking, manufacturing and woodworking, operating out of buildings that have been adaptively re-used or built according to the U.S. Green Building Council’s LEED (Leadership in Energy and Environment Design) Silver standards. Some of the businesses serve the city’s cultural institutions and housing markets, and others are in e-commerce fulfillment, maritime ship repair and warehouse distribution. Emphasizing innovation and sustainability, these businesses employee nearly 7,000 workers. On the horizon is a mega supermarket where Admiral’s Row, the dilapidated townhouses formerly used by naval officers, stands.

Under the leadership of the nonprofit Brooklyn Navy Yard Development Corporation, along with support from the City of New York, as well as State and Federal agencies, the Navy Yard is a model for urban manufacturing. The focus today is on the Maker Movement, with its revolution in product design and business development in everything from furniture and home goods to lighting and energy resiliency.

The boom of construction is everywhere. Hang onto your hat as you gaze up at workers on steel girders. There are signs for businesses such as Mercedes Distribution Center and Bower Publishing and on a loading dock are stacks of leather-bound books with Hebrew lettering.

The tour begins at BLDG 92. Signs throughout point to green energy features: water pipes embedded in concrete flooring warm the lobby. A tank, originally a tunnel made of brick, built more than 100 years ago as part of the

INS E RT )

Yard’s water system, is now used to store rainwater, saving 68,000 gallons of water per year.

A peaceful garden, reminiscent of the natural meadow grasses growing on the High Line, welcomes visitors to BLDG 92, as does the anchor of USS Austin, commissioned into the Navy in 1965.

BLDG 92 is home to the Brooklyn Navy Yard Museum. Its three floors tell the story of the past, present and future of the Yard, from its use by Native Americans to its role in the American Revolution. Here you can view films and other exhibits telling how Henry Hudson explored New York Bay and prompted Dutch merchants and investors to establish Nieu Netherlands, a chain of settlements from Delaware to Albany when the land was tended by indigenous Lenape people.

First opened in 1806, the Brooklyn Navy Yard was once the premier shipyard of the U.S. Navy. During its peak in World War II, the Navy Yard employed 70,000 people. Among the ships built here were the USS Maine, Niagara, Monitor, Virginia, Ohio, Arizona, Jersey and Wyoming.

E.R. Squibb, a Naval surgeon, was appalled by the terrible pain patients suffered, and after being assigned to the Naval Hospital in 1882, distilled a pure and consistent form of ether. The pharmaceutical company he went on to found provided the majority of medical supplies for the Union Army during the Civil War. In 1907, opera singer Eugenia Farrar recorded the first song broadcast over wireless radio from the Yard. Historian and A People’s History of the United States author Howard Zinn came here as an apprentice ship fitter and the job enabled his family to move out of a tenement and into Fort Greene Houses before he went on to become a labor organizer.

In 1960, disaster struck. Aircraft carrier USS Constellation was heavily damaged when a forklift pierced a fuel tank, igniting a fire that claimed 50 lives and injured 323. The repair cost $75 million, and the incident irreparably tarnished the reputation of the Yard.

Closed by the federal government in 1966 and sold to New York City the following year, the Navy Yard languished. Employment dropped to a low of approximately 1,000 jobs in the late 1970s and into the early 1980s. The Brooklyn Navy Yard Development Corporation took over in 1981, with a 99-year lease from the city to manage the property. BNYDC has undertaken the Yard’s largest expansion since World War II and made environmental sustainability, preservation and the celebration of the Yard’s history essential features of the revitalization.

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Naval employee, 1918. (A B O V E ) Brooklyn Navy Yard Museum.

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PHOTOS BY (CLOCKWISE): ALLISON MEIER, MANHATTAN WOMENS CLUB, LVLD, McMILLIAN FURLOW (ABOVE LEFT) BLDG

92 celebrates the Brooklyn Navy Yard's past, present and future. (ABOVE RIGHT) Honey from Brooklyn Grange urban farm, and Kings County Distillery creates chocolate “flavored” whiskey, bourbon whiskey, and moonshine. (BELOW) Manhattan sunset view from the Brooklyn Navy Yard rooftop.

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PHOTO BY: SETH WENIG

Dry Dock 1, the 3rd oldest dry dock in the country, completed in 1851 and costing $2 million at the time. The dock still maintains and repairs ships today.

In 2004, Steiner Studios—the Yard’s biggest tenant—opened its 310,000square-foot facility becoming the largest U.S. film and production studio complex outside of Hollywood. Among the major motion pictures filmed at Steiner Studios have been The Producers: The Movie Musical, The Hoax, The Nanny Diaries, Spider-Man 3, Men in Black 3, Mr. Popper’s Penguins, The Adjustment Bureau, Sex and the City 2 and The Sorcerer’s Apprentice.

A partnership with Brooklyn College will introduce the city’s first public graduate film school and become the only film school in the country on a working film lot. The school will be located in the Greek Revival building that formerly housed the naval hospital.

Developer Douglas C. Steiner, who owns Steiner Studios, envisions turning some of the smaller buildings on the hospital site into “writing bungalows” that could be leased by production companies, producers and directors. A Hollywood-style back lot where filmmakers could re-create New York locations like Chinatown or a subway car might also attract tourists.

Art star Jeff Koons and Lady Gaga held an ArtRAVE at the Yard last year, and many artists maintain studios here: mixed-media installation artist Bridget Mullen, performance and video artist Wayne Coe, sculptor Susan Woods and textile artist Susan Steinbrock, among many others. BLDG 92 offers a shuttle to tour artist studios.

Kings County Distillery, New York City’s oldest operating whiskey distillery, crafts moonshine and bourbon out of the 115-year-old Paymaster Building. The distillery grows corn and barley at a small farm onsite, and spent grain is recycled as compost and pig feed. Tours and tastings are offered Saturdays.

For more information: kingscountydistillery.com Up on the roof, we don’t hear any of the construction noise below as our tour guide tells us about beekeeping classes, concerts, film screenings, wine

tastings and sunset yoga in sight of the sunflowers that are taller than we are.

Farms are heavy. With 1.5 million pounds of soil, equipment and people on the roof, a strong structure is needed. A roof membrane prevents leaks beneath the lasagna layers of felt and porous rock below the 8 to 12 inches of soil. All that soil had to be brought up. A “green roof” helps to insulate a building, keeping heating and cooling costs down, and reduces impervious surfaces in a city’s hardscape so that storm water can be absorbed.

Founders Ben Flanner, an industrial engineer, Anastasia Cole Plakas, a food writer and radio host, and urban farmer Gwen Schantz started the for-profit Brooklyn Grange with a Kickstarter campaign. Serving restaurants, farmers’ markets and CSAs, the Grange is providing jobs as well as veggies. The space is available for party rentals, that help to generate income.

The nice thing about farming up on a roof is there are no vermin competing for your precious tomatoes, and most of the weeds that grow are of the edible variety, such as purslane. But the wind on a city roof can blow away all the soil, so clover is planted to keep it rooted. A dragonfly suddenly alights on a tomato. Lady bugs, too, are among the insect-eating insects.

At the farm stand, open only for the Wednesday tours, we purchase honey, ground cherry tomatillos and hot sauce, all grown on the roof of the Navy Yard. Before leaving BLDG 92, we visit Ted and Honey Café for a BBQ quinoa salad and latte. Serving breakfast, lunch and dinner seven days a week, along with local Brooklyn beers and coffees, Ted and Honey—a brother-sister team who use their childhood nicknames—cook with seasonal organic produce, meat and eggs from local farms. They even make their own pickles, mustard and ketchup. Sitting in trendy industrial metal chairs, we look out onto warehouses, contrasting the work of today to the black and white mural of workers from the Yard’s heyday. U

For information on visiting the Brooklyn Navy Yard Museum in BLDG 92, taking a tour and special programs: http://bldg92.org

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URBAN AGENDA New York City

37

10/10/14 9:33:31 AM

Registration begins at 8:30 a.m. â&#x20AC;˘ Programs begin at 9:00 a.m.

Avon Old Farms believes strongly in the benefits of a singlesex education and understands the unique learning styles of young men. A structured academic day includes regular all-school meetings, family-style meals, athletic practices, and quiet evening study hours. Core values such as brotherhood, integrity, scholarship, and sportsmanship are emphasized and modeled by a caring and committed faculty who also serve as coaches, dormitory masters, counselors, valued mentors, and friends.

Avonâ&#x20AC;&#x2122;s diverse academic program is both challenging and supportive. Avon Old Farms is a fully-accredited college preparatory school and its graduates represent their school proudly at some of the finest colleges and universities in the nation and abroad.

Avon Old Farms is located 15 minutes northwest of Hartford, offering a magnificent campus with outstanding facilities.

QUICK FACTS: Established: 1927 Enrollment: 405 boys States/Countries Represented: 22/22 Average Class Size: 12 Student-Teacher Ratio: 6:1 Campus Size: 860+ wooded acres Interscholastic Sports: 15

To RSVP or schedule an interview, call us at 800-464-2866, email us at admissions@avonoldfarms.com, or online at www.AvonOldFarms.com/OpenHouse 500 Old Farms Road, Avon, Connecticut 06001

www.AvonOldFarms.com

Follow us:

Avon Old Farms School welcomes students of any race, color, national and ethnic origin.

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10/10/14 12:27:17 PM

Meet

Erin O’Connell

Director of Pennington’s senior internship program

D

Erin lives on campus and teaches Upper School Honors English and Irish Literature, is a beloved faculty advisor, and the director of our Peer Leadership program—in which select seniors support and guide freshmen, lead service projects and develop important leadership skills. As director of Pennington’s unique Horizon internship program, Erin matches every member of the senior class with a mentor in the community to offer a month-long internship, which may include jobshadowing, service, travel or research. Erin’s creative approach to the study of literature and her enthusiasm for her subject and her students inspire them to write with honesty, integrity, and passion.

Meet Erin, along with the rest of our extraordinary faculty, at our upcoming Open House. We look forward to welcoming you.

Grades 6–12, coed, day and boarding

Visit classes, take a tour, meet new Headmaster Bill Hawkey, and find out why The Pennington School may be the best choice for you.

PRINCETON BASKETBALL & HOCKEY 2014-15 SEASON TICKETS ON SALE NOW

Men’s Basketball

Women’s Basketball

The 2014-15 Princeton women’s basketball schedule includes 11 home games. The Tigers non-conference slate features Drexel and Georgetown, and will be followed by the seven-game Ivy season.

Men’s Hockey

The 2014-15 Princeton men’s basketball schedule features 14 games. Princeton will host its seven Ivy opponents as well as seven non-league games.

Highlights include Harvard, Penn, Stony Brook and Rider.

Season Tickets Pricing Adult................................. $130 Youth (14 and under) ..... $115

Season Tickets Pricing All Tickets ........................... $30

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The 2014-15 Princeton men’s hockey schedule features 11 exciting ECAC Hockey contests, plus non-league games against Michigan State and Army, and an international showcase against the Russian Red Stars.

GoPrinceetonTigers.com/tickets • (609) 258-4TIX OCTOBER/NOVEMBER 2014

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10/10/14 12:22:57 PM

calendar highlights October

21

The Skin Cancer Foundation Gala at the Mandarin Oriental New York presents “Skin Sense” awards for achievements in skin health, sun protection and cancer prevention. www.skincancer.org.

More than 125 boutique-like holiday shops are housed in Bryant Park’s own custom-designed kiosks at the Bank of America Village at Bryant Park (through March 2015). www.wintervillage.org.

October

30

November

This year’s Park Avenue Armory Gala has a masquerade theme in honor of Halloween. www.armoryonpark.org.

Diane von Furstenberg in Conversation with Tina Brown at the Barnes & Noble at New York’s Union Square.

Furstenberg will discuss her latest book, Diane von Furstenberg: The Woman I Wanted to Be. www.barnesandnoble. com.

4

Dick Cavett and Alec Baldwin reflect on Hollywood legends, American cultural icons, and the comedy of everyday life in “Dick Cavett in Conversation with Alec Baldwin” at the 92nd Street Y. www.92y.org.

November

11

Disney on Ice presents Frozen at the Barclays Center in Brooklyn (through November 16). www.barclayscenter.com.

10/31

10/30

11/4 October

22

october

The 16th Annual debra of America “Casino Night” Benefit at New York’s B.B. King Blues Club in celebration of National Epidermolysis Bullosa Awareness Week. www.debra. org/2014benefit.

October

24

Celebrate the traditions and flavors of American Cider at New York’s Cider Week (through November 2). Hudson Valley celebrates local cider producers November 14 through 23. www.ciderweekny.com.

October

25

Demi Lovato’s World Tour arrives in Newark at the Prudential Center. www. prucenter.com.

October

26

The Bronx Zoo’s “Boo at the Zoo!” with costume parades, magic shows, hay mazes, and musical theater (also on October 27, November 2, and November 3). www.bronxzoo.com.

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November October

31

The Village Halloween Parade on Sixth Avenue from Spring to W. 16th Streets. www.halloween-nyc.com.

November

2

The 2014 New York City Marathon, the world’s largest marathon. www. tcsnycmarathon.org.

November

3

5

The New York Comedy Festival features stand-up performances by Tig Notaro, Dane Cook, Bill Maher, Amy Schumer, and Nick Offerman at locations throughout Manhattan (through November 9). www.nycomedyfestival. com.

The Big Apple Film Festival presented by the Big Apple Film Society at the world famous Tribeca Cinemas (through November 9). www.bigapplefilmfestival.com.

Impressionist and Modern Art Day Sale at Sotheby’s New York. www.sothebys. com.

7

“Autism Speaks to Wall Street: 8th Annual Celebrity Chef Gala” at Cipriani Wall Street. This is the Wall Street community (and celebrity chef) gathering of the year, featuring over 100 chefs preparing meals to help battle autism. www.autismspeaks.org.

November

His Holiness the Dalai Lama presents “Profound Wisdom and Vast Compassion: Lama Tsong Khapa’s Essence of True Eloquence” twice daily on Monday and Tuesday, November 3, 4 at the Beacon Theatre. www.beacontheatre.com.

The New Jersey Harvest Wine Festival at the Hilton Short Hills is New Jersey’s favorite fall tasting event with more than 150 wines from the wine library, artisan foods, and live jazz music. www. newjerseywinefestivals.com.

The Radio City Christmas Spectacular opens for the 2014 holiday season at Radio City Music Hall (through December 31). www.radiocity.com.

November

12

“Autumn in Central Park,” a Benefit for the Central Park Conservancy at the Naumburg Bandshell in Central Park. Over 500 guests will gather in celebration of the iconic beauty of Central Park. www.centralparknyc.org.

November

14

Flamenco Vivo Carlota Santana performs “The Soul of Flamenco” at the Brooklyn Center for the Performing Arts. www.brooklyncenter.org.

November

15

The Renegade Craft Fair NYC Market will pop-up at the Metropolitan Pavilion for a festive weekend of shopping and craft creativity (through November 16). www.renegadecraft.com.

“Nature’s Fury: The Science of Natural Disasters” opens at the American Museum of Natural History. From earthquakes and volcanoes to hurricanes and tornadoes, learn how nature’s forces shape our planet and affect people around the world. www.amnh.org.

october/november 2014

10/10/14 9:34:20 AM

November

17

November

The Holiday Market at Grand Central opens for the season with over 76 vendors in Vanderbilt Hall (through December 24). www. grandcentralterminal.com.

Brooklyn Nets vs. the Miami Heat at the Barclays Center in Brooklyn. www. barclayscenter.com.

20

November

Opening of the Union Square Holiday Market in Union Square Park. Shop for handmade toys, fine art, jewelry, ornaments, food and drink (through December 24). www.urbanspacenyc. com/union-square-holiday-market.

The San Francisco Symphony performs at Carnegie Hall. www.carnegiehall.org.

11/19

11/7

23

Art Exhibitions:

Watch decorated boats float down the Patchogue River at the Patchogue Christmas Holiday Boat Parade on Long Island. www.patchogue.com.

November

“El Greco in New York;” Metropolitan Museum of Art “Zero: Countdown to Tomorrow, 1950s-60s;” Guggenheim Museum “Cy Twombly: Treatise on the Veil;” The Morgan Library & Museum

27

Nothing kicks off the holiday season like Thanksgiving in New York City highlighted by the Macy’s Thanksgiving Day Parade. www.social.macys.com/ parade.

“The All-Knowing Buddha: A Secret Guide;” Rubin Museum of Art “What Would Mrs. Webb Do?;” The Museum of Arts and Design (MAD) “Annie Leibovitz: Pilgrimage;” New-York Historical Society “Chris Ofili: Night and Day;” The New Museum

11/2

“Helena Rubinstein: Beauty is Power;” The Jewish Museum “Killer Heels: The Art of the High-Heeled Shoe;” Brooklyn Museum

Theatre Performances: The Book of Morman; Eugene O’Neill Theatre The Lion King; Minskoff Theatre Wicked; Gershwin Theatre Aladdin; New Amsterdam Theatre Kinky Boots; Al Hirschfeld Theatre Les Miserables; Imperial Theatre Chicago; Ambassador Theatre If/Then; Richard Rodgers Theatre Pippin; Music Box Theatre The River; Circle In The Square Theatre

ONGOING

November

10/25

November

19

New York Rangers vs. the Philadelphia Flyers at Madison Square Garden. www. thegarden.com.

21

Sip cocktails in the Conservatory at The New York Botanical Garden’s Bar Car Nights at the Holiday Train Show (through January 10). www.nybg.org.

November

22

The Pier Antique Show returns to New York at Pier 94 with new dealers and expanded categories (through November 23). www.pierantiqueshow. com.

OCTOBER/NOVEMBER 2014

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11/3

NOVEMBER

Bullets Over Broadway; St. James Theatre

URBAN AGENDA New York City

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10/10/14 9:34:39 AM

Exciting New Contemporary Condominiums in Downtown Princeton

Bailiwick House Hunterdon County, NJ

Go through a covered bridge to fully restored 5+acre stone farmhouse. Abundant charm in 4BR, 3+bath house, barn office/studio and carriage house apartment.

Located in the heart of Princeton, New Jersey, set back from quiet Greenview Avenue, is an enclave of seven exciting new homes designed by J. Robert Hillier. These stunning townhomes offer four levels of contemporary living space plus private courtyards, roof decks, yards, and reserved two-car parking. Enormous windows fill the homes with natural light and offer terrific neighborhood views. Two of the remaining homes feature two-story ceilings and elevators. Architecturally-inspired living in an unbeatable location - close to library, restaurants, Palmer Square, and Princeton University. Summer Occupancy!

Five homes still available with prices ranging from $895,000 to $975,000

Midway between NYC & Philadelphia, 30 minutes to Princeton.One-of-a-kind has it all. Offered at $1.5M

URBAN AGENDA New York City

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Broker Associate (609) 915-5000 bblackwell@callawayhenderson.com For more information about properties, the market in general, or your home in particular, please give me a call.

Photos & information at www.4sanfordroad.com

42

Barbara Blackwell

OCTOBER/NOVEMBER 2014

10/13/14 11:51:58 AM

Downtown style.

Local flavor.

You’ll find it here at Palmer Square in Princeton.

SHOPPING

Palm Place, A Lilly Pulitzer Signature Store

Aerosoles

The Papery of Princeton

Ann Taylor / Ann Taylor Petites

PNC Bank

Au Courant Opticians

Ralph Lauren

Barbour

Salon Pure

bluemercury

Talbots

Botari

Urban Outfitters

Brooks Brothers

Zastra

Bucks County Dry Goods

Zoë

Cranbury Station Gallery Dandelion Design Within Reach The Farmhouse Store Indigo by Shannon Connor Interiors J.Crew

S P E C I A LT Y F O O D & D R I N K

The Bent Spoon Carter & Cavero Old World Olive Oil Company Halo Pub / Halo Fete Lindt Olsson’s Fine Foods

Jack Wills

Princeton Corkscrew Wine Shop

jaZams kate spade new york Kiosk

Rojo’s Roastery Thomas Sweet Chocolate

Kitchen Kapers

DINING

Lace Silhouettes Lingerie

Chez Alice Gourmet Café & Bakery

Lacrosse Unlimited

Mediterra

lululemon athletica

Princeton Soup & Sandwich Company

Luxaby Baby & Child

Teresa Caffe

Origins

Winberie’s Restaurant & Bar

Pacers Running Stores (Opens November 2014)

Yankee Doodle Tap Room

Brand name stores, one of a kind boutiques and great places to dine. palmersquare.com

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9/24/143:21:16 10:16PM AM 10/9/14

FROM REC NSTRUCTION

TO RENEWAL T BY

ANNE LEVIN

K

athy Kowalewski had just stopped breast-feeding her toddler son when she noticed her right breast felt different from her left. With no family history of breast cancer, and at 38 still too young to have begun annual mammograms, the Hunterdon County mother of two wasn’t particularly concerned. But she consulted her doctor, who recommended a screening. On seeing the results, the doctor urged Kowalewski to have a biopsy of both breasts right away.

It was cancer—in her left breast. But the right side looked suspicious, too. Stunned, Kowalewski was referred to a breast surgical oncologist who recommended she have her left breast removed. After recovering from shock and weighing the options, she made the difficult decision to have both breasts removed and undergo reconstructive surgery.

“The decision process was so fast,” she recalls. “It was like being on a train and going and going and I couldn’t get off. But I had a two-year-old and a four-year-old, and I wanted to make sure I’d be here for them, for a long time.”

Kowalewski dreaded the surgery, a 10-hour process that involved her breast surgeon and a reconstructive surgeon. The recovery wasn’t easy. But a year later, she is swimming almost daily, doing yoga, and running around with her children. Last spring, she biked through Maine’s Acadia National Park.

“It was hard in the beginning. It was painful,” Kowalewski says. “But my husband helped me, and step by step, I got back to feeling like myself. Today, I’m so glad I had the surgery at the same time as the mastectomy. I can’t imagine having to wake up from the surgery and not feel anything there, where my breasts had been.”

No one wants to hear that they have breast cancer. While some women with early stage tumors can be treated with breast-conserving lumpectomy, it isn’t appropriate for every-one. Treatment for a breast tumor depends on the stage, severity, and type of cancer. Mastectomy is often the advised treatment.

Then there are women who don’t have breast cancer, but are at high risk for developing the disease. An increasing number are choosing to undergo prophylactic mastectomy and reconstructive breast surgery. Actress Angelina Jolie’s decision last year to go public with her decision to do just that brought the prevention and treatment of breast cancer into sharp focus.

Jolie’s mother had died of cancer, and she had tested positive for a genetic mutation that put her at high risk for breast and ovarian cancer. Her disclosure was praised by some as a courageous move that would inspire women to take action and consider their own family histories.

Prophylactic mastectomy is not without controversy. It is major surgery, and some experts feel the difficulties associated with it are underestimated.

“It’s definitely a hot topic,” says Dr. Brian Buinewicz, a Doylestown, Pennsylvania-based plastic surgeon who is Chief, Plastic & Reconstructive Surgery Division of Abington Memorial Hospital’s Rosenfield Cancer Center.

Dr. Buinewicz will be a speaker at the December 6 gathering of the Susan G. Komen Foundation’s annual “Sisters for the Cure” conference at the Philadelphia Marriott Hotel.

“There are recent articles out there saying there isn’t an improvement in survival rates for women who have this surgery. But when you’re dealing with one person at a time, with high risk or difficult breasts, statistics can fly out the window,” he says.

Breast reconstruction is an increasingly common way for women to deal with the effects of the surgery that can save their lives. “The point is, women with breast cancer have choices,” says Dr. Philip Wey, the reconstructive surgeon who treated Kowalewski. Dr. Wey is with Plastic Surgery Arts of New

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Jersey, which has offices in New Brunswick and Princeton. “The focus now is beyond survival,” he continues. “It has evolved. It’s about maximizing quality of life. There is always a positive spin on what can be somebody’s worst moment. Not only can you beat this, but you can emerge better than when you started. The goal of reconstruction is not just to rebuild a breast, but to make it as similar to the other as possible. And if women want, we can make their breasts better than they were before.”

Continuing advances and new surgical techniques have created a host of options for women considering reconstruction. Each has its own potential benefits and risks. While some reconstructive techniques may be appropriate for one woman, they may not suit another. The first choice, once a patient decides on reconstruction, is whether to make the new breast from muscle or fat taken from elsewhere in the body, or to have implants. Whether silicone or saline, the implant procedure is less expensive than tissue transfer. But implants can be problematic and do not last a lifetime. “Implants last up to 20 years,” says Dr. Wey. “I tell people, that’s a good problem. There’s nothing I’d rather do than see a patient 20 years down the line because they need a new implant. But using body tissue is best.”

Another option is to not have reconstruction at all. The decision does not have to be made right away. “It depends. It’s a woman’s choice,” says Dr.

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1

2

Doreen Babott, a medical oncologist at University Medical Center of Princeton at Plainsboro. “Obviously, if you’re younger, it may be more important to you.

If you’re 80, you probably don’t care. And younger people heal better, too.

Prostheses are better today, but it’s just not the same.” Most women today opt for reconstruction, Dr. Babott says, and do it at the same time of their mastectomy. “They don’t want to have more surgery, and it’s easier to just do it at the same time. So you have a breast cancer surgeon and a plastic surgeon involved. The women I see who do it are very satisfied with the results. You don’t wake up without a breast. When you recover from surgery, you have something, and that’s very nice.” Breast surgeon Dr. Rachel Dultz, who treated Kowalewski and others interviewed for this article, stresses that reconstructive breast surgery does not impact and negatively affect survival.

"That's very important," she says. "There are enough studies that tell us that.

The other thing local patients should know is that in this area, we now have such a wide choice of breast surgeons and plastic surgeons that you don't have to go elsewhere to have this done."

Dr. Wey has patients from age 25 to 75. “Treatment is customized,” he says.

“All cancers, mastectomies, and reconstructions are different. Sometimes women have too many options. It’s our job as doctors to guide them down the right path for them. We’re constantly reinventing ourselves. The technology and the research is constantly getting better.”

During her recovery from surgery, Kowalewski had physical therapy sessions with Beth Rothman, who was familiar with the process because she went through it herself. A Princeton-based professor at Union County College and an adjunct in Rutgers University’s physical therapy program, Rothman changed the focus of her practice to helping women recover from mastectomy and reconstructive surgery.

Now 56, she was 49 when a mammogram revealed a stage one tumor behind one nipple. She went to Dr. Dultz, who told her she had a choice between a lumpectomy and mastectomy. “I knew I just wouldn’t be comfortable having to check every few months,” Rothman says. “I decided to do the mastectomy.”

After consulting with a few plastic surgeons, she chose Dr. Wey. “I saw pictures of the work he had done,” she says. “You want to go to somebody who does the procedure all the time.” He operated on Rothman using latissimus dorsi flap surgery, better known as “lat flap,” taking tissue from her upper back, which is then tunneled under the skin to the breast area, creating a pocket for an implant. The results were “phenomenal,” Rothman says.

“I look better than I did before. The nipples look absolutely real. It’s warmer,

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it’s softer, they just look real. I was unbelievably grateful to wake up with a breast. I wasn’t going to, but my husband said ‘You’ll be sorry if you don’t.’

And he was right. I look better, I feel better, and I can do absolutely everything I could do before.”

After the surgery, Rothman was advised to be tested for the gene that predisposes a woman to breast and ovarian cancer. When it came back positive, she immediately elected to have a mastectomy on her other breast.

“I didn’t expect it, but once I knew I had the gene, I knew I would do it,” she says. “I knew how good it was going to look, because I had already had it on the other breast. It just made sense. So I did it after I finished chemotherapy from the first surgery. I wasn’t scared—it was all prophylactic. I went to work with my drains in because I wasn’t worried about it. I think I overdid it because I was kind of cocky, having been through it once already. I hurt my shoulder, but I went for physical therapy and after a week I was fine.” Laura Martin is the program coordinator for the Breast Cancer Resource Center at the YWCA of Princeton. The center offers support groups, exercise and wellness programs, and a free wig and prosthesis boutique in an informal setting at the Y’s Bramwell House. “I wish I’d had a place like this when I had surgery,” says Martin, whose “lat flap” reconstruction was in 2007.

Dr. Dultz was Martin’s breast surgeon; Dr. Wey did the reconstruction. “I started on my stomach,” she says matter-of-factly. “He got the muscles out.

Then they flipped me over, and Dr. Dultz removed my breasts. She left, he came back, and he put the muscles where he wanted them. Then he put in saline implants. It took about seven hours, so it was all done in one day–one and done.”

A few months later, Martin had her nipples reconstructed. “I went on my lunch hour,” she says. “Three little cuts–not a big deal. Then three months after that, they tatooed them. There’s a color chart, like with Benjamin Moore paints. People’s nipples match their lips, apparently.”

No one denies that reconstructive breast surgery is major, and it carries risks. Infection, bleeding, scarring, ruptures or leaks, muscle weakness—all of these can happen. And if an implant is being put in, it is a multi-step process.

“Until things are really, really done, I usually tell patients, it’s a full year from diagnosis to feeling normal and complete again,” says Dr. Buinewicz.

Surgeons agree that the best results are usually when reconstruction is done at the same time as mastectomy. “It’s easier. Everything has been set up,” says Dr. Wey. Then women don’t have to wake up from surgery without a breast. The patient is in control. But you don’t have to do anything. It’s up to you. It’s a very optimistic way of taking on a negative experience.” U

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5

4

7

8

9

resources

10

1. Dr. Philip Wey, Plastic Surgery Arts of New Jersey 60 Mount Lucas Road Princeton, NJ 609. 921.2922 78 Easton Avenue New Brunswick, NJ 732.418.0709 www.psanj.com

5. Dr. Gary A. Tuma, Plastic Surgery Associates of NJ Suite 505 2 Capital Way Pennington, NJ 08534 609.537.7000 www.plasticsurgeryofnj.com

9. Capital Health Center for Comprehensive Breast Care Capital Health Medical Center - Hopewell 1 Capital Way Pennington, NJ 08534 609.537.6767 www.capitalbreast.org

6. Dr. Brian Buinewicz Buinewicz Plastic Surgery 10. Breast Plastic Surgery 3655 U.S. 202 Center at NYU Langone Doylestown, PA 2. Breast Cancer Resource Center YWCA Princeton 215.230.4013 Medical Center 59 Paul Robeson Place www.lemedspabucks.com 307 E 33rd Street Princeton, NJ New York, NY 7. Memorial Sloan Kettering 609.497.2100 ext. 349 212.263.5834 www.ywcaprinceton.org/bcrc www.nyumc.org Cancer Center 1275 York Avenue 3. Dr. Rachel Dultz New York, NY 300B Princeton Hightstown Road and suburban locations East Windsor, NJ 800.525.2225 609.688.2729 www.mskcc.org www.racheldultzmd.com 8. Abington Memorial 4. Dr. Doreen Babott Hospital Princeton Healthcare Old York Road 5 Plainsboro Road Abington, PA Ste. 300 215.481.2000 Plainsboro, NJ www.abingtonhealth.org 609.853.7272 www.princetonhcs.org

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URBAN AGENDA New York City

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10/10/14 9:31:29 AM

Images courtesy of Peloton Cycle®

Urban Health

Peloton Cycle

®

BringingYour Spin Class Home by taylor smith

P

eloton Cycle is bringing the boutique indoor cycling experience into the comfort of your own home. For the cost of the bike ($1,995) and a monthly subscription ($39), users are able to stream an unlimited number of live classes to their living room.

These classes are filmed and broadcast from Peloton’s New York studio in Chelsea. From the seat of your bike, you will see the instructor, hear the music, and pedal along to the rhythm of your fellow classmates. And don’t worry about timing; you can live stream any of the classes catalogued on the Peloton server (past and present) at anytime of day.

The Peloton bike is attractive, streamlined, and exceptionally quiet.

It is also outfitted with a large touchscreen console that displays class offerings and allows you to select a particular class based on time, music, instructor, etc. The result is a fast-paced, engaging workout that offers an extra dose of fun because you can track your resistance, miles, and calories burned against the other people in the class. This feature keeps the athome rider engaged and adds a note of competition.

Although the price tag may seem hefty, consider the cost of Flywheel and Soul Cycle classes, which average $32 to $35 for a single class. Even if you bought several hundred dollars worth of class packages, the Peloton bike would still save you a significant amount of money per month. For those with an indoor cycling addiction, the ability to take an unlimited number of classes per day for no additional cost is extremely appealing.

Peloton Cycle’s geographic reach is expanding rapidly. You will notice riders from Switzerland, Mexico, and Australia on your touch screen. At any one time, you could be racing against someone in Florida and San Francisco. The company is hopeful that their bikes will soon be selling to an even greater international market, with the intention of streaming classes in foreign languages. Users can also “follow” one another, adding a social element to the programming.

If you would like to try out the technology in-person, visit their permanent store locations at Short Hills Mall and the Garden State Plaza.

In New York, try The Westchester in White Plains, East Hampton or their original Chelsea studio.

Learn more at www.pelotoncycle.com.

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october/november 2014

10/10/14 9:42:41 AM

URBAN HEALTH

Product selection by Taylor Smith

Yoga Gear Gaiam Sol Dry Grip Yoga Mat, $69.98; www.gaiam.com Weargrace Alchemy two-way stretch-jersey top, $150; www.net-a-porter.com Live the Process Floral-print stretch-jersey sports bra, $85; www.net-a-porter.com Stella McCartney for Womenâ&#x20AC;&#x2122;s Adidas Yoga bag, $70; www.adidas.com Satya Jewelry Gold Boa Earrings, $99; www.satyajewelry.com Athleta Pixy Drifter Tight, $79; www.athleta.gap.com BluePrint Juice (Prices Vary By Location); www.wholefoodsmarket.com Sweaty Betty Anna Headband, $16; www.sweatybetty.com

OCTOBER/NOVEMBER 2014

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URBAN AGENDA New York City

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10/13/14 12:08:30 PM

AR Building

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Antonio Ramondini CEO P - 609-751-8934 Princeton NJ M - r.a@arbuildingtechnologies.com

Importer of Finest Italian Plasters and Decorative Finishes

PR MICHAEL GRA

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2014

m i c h a e l g r av e s past as prologue ON VIEW OCTOBER 18, 2014 - APRIL 5, 2015 COLOR SPECIFICATIONS Michael Graves is renowned internationally as one of the world’s leading architects, designers and artists. Past as Prologue will celebrate the 50th anniversary of his firm and five decades pantone 1805C pantone 542Cof visionary work.

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Set against the backdrop of Grounds For Sculpture’s lush 42-acre sculpture garden, Past as Prologue is not to be missed!

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Michael Graves, Alessi Tea Kettle, 1984, stainless steel, poly amides, 9 x 9.75 x 8.75 inches, Courtesy of Michael Graves Design Group. Michael Graves, Denver Library, South Elevation, 1994, pencil and colored pencil on yellow tracing paper, 14 x 26 inches, Courtesy of Michael Graves & Associates, photo: Ken Ek. Michael Graves, Model of Brighton Pavillion for Target Target, 2003, cardboard, paper, paint, 12 x 15.5 x 15.5 inches, Courtesy of Michael Graves & Associates, photo: Ken Ek. Michael Graves, Model of Portland Building, 1982, cardboard, paper, paint, 10 x 8 x 8.5 inches, Courtesy of Michael Graves & Associates, photo: Ken Ek. ALTERNATIVE BLACK & WHITE LOGO VERSIONS

Grounds For Sculpture (GFS) in Hamilton, New Jersey is easily reached by car or train, just one hour from NYC and Philadelphia and features over 270 contemporary sculptures in an exquisite 42-acre arboretum. In addition to mounting over a dozen exhibitions annually, GFS presents concerts, performances, workshops, and tours and offers fine dining at the renowned Rat’s Restaurant. For additional information, directions and a calendar of events visit groundsforsculpture.org.

Open year-round | Tuesday – Sunday, 10 am – 6 pm | 18 Fairgrounds Rd. Hamilton, NJ 08619 | (609) 586-0616

GROUNDS FOR SCULPTURE m i c h a e l g r av e s

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DESTINATIONS

The Estates of the Hudson RiverValley

BY TAYLOR SMITH

D

irectly north of New York City lies the Hudson River Valley, a unique place that has inspired generations of artists and creative types. The art and history museums are numerous and could easily occupy a traveller for a week, but there are also several dozen “can’t miss” Hudson River Estates, many of which are open to the public. Large mansions overlooking the lush, loamy farmland and seductive landscape of the Hudson Valley, these sites were once home to the rich, famous, and downright eccentric.

Philipse Manor Hall, Yonkers, NY (www.philipsemanorhall.blogspot. com) is a wonderful place to bring children. With a working gristmill and costumed guides, there is plenty to stimulate a child’s imagination.

The manor house was built in the 1600s by Frederick Philipse, a wealthy Dutchman who eventually presided over a 52,500 acre estate. Since 1911, the manor has functioned as a museum of art and history. It is currently home to the Cochran Collection of American Portraiture.

Sunnyside, Tarrytown, NY (www.hudsonvalley.org/historic-sites/ washington-irvings-sunnyside). Washington Irving was one of New York City’s original commuters. In 1835 he moved into a farmhouse in Tarrytown that he re-named Sunnyside. Irving imagined that a home in the country would help him to concentrate on his writing while still being able to travel into New York City. Almost immediately upon moving in, Irving began adding ponds, gables, and new doors, almost completely remodeling the place. When the 17-room, wisteria-draped home was finished, Irving was said to have remarked that the home was “as full of angles and corners as an old cocked hat.”

Lyndhurst, Tarrytown, NY (www.lyndhurst.org) was shaped over three centuries by three different occupants: former New York City mayor William Paulding, merchant George Merritt and railroad tycoon Jay Gould. The rather dark and dimly lit Gothic Revival mansion was designed

by Alexander Jackson Davis in 1838. Much of Gould’s art and furniture collection fills the house. Surrounding the mansion are 67 manicured acres of gardens and walking paths, but don’t overlook the romantic ruins of an enormous greenhouse that once housed a world-class orchid collection.

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Kykuit, Tarrytown, NY (www.hudsonvalley.org/historic-sites/kykuit) is Dutch for “lookout” and was only opened to the public in 1994. The home served as a weekend residence for several generations of the Rockefeller family. While the Beaux-Arts style home is beautiful, the tour really gets interesting when it descends to Rockefeller’s below-ground art gallery filled with works by Picasso, Léger, and Warhol.

Van Cortlandt Manor, Croton-on-Hudson, NY (www.hudsonvalley.org/ historic-sites/van-cortlandt-manor) was home to Oloff Van Cortlandt and his son, Stephanus Van Cortlandt, the first native-born mayor of New York City. At one time, the Van Cortlandt family owned land stretching from Croton all the way east to Connecticut. The family was also very active politically. They were staunch supporters of the Revolution and played host to a variety of political figures including George Washington.

Locust Grove, Poughkeepsie, NY (www.lgny.org), one of the smaller estates, has nonetheless a fascinating history. The Italianate villa was originally the home of scientist-artist-philosopher Samuel F.B. Morse, the inventor of the telegraph. The Museum Pavilion showcases early models of Morse’s telegraph. The exhibition also chronicles Morse’s lifelong love of art, showcasing paintings, portraits, and landscapes all created by the scientist.

Roosevelt Estates, Hyde Park, NY (www.nps.gov/hofr) was where F.D. Roosevelt was born and grew up. He and Eleanor raised their five children in this home, and this is where they resided while Roosevelt climbed the political ladder from New York Governor to President of the United States. The home remains very intimate. A dog leash for FDR’s beloved Scottish terrier Fala hangs from a hook in the foyer and magazines lie scattered in the sitting room.

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Images courtesy of WikiMedia Commons

Sunnyside

Vanderbilt Mansion

Roosevelt Estates

Olana State Historic Site

Val-Kill, Hyde Park, NY (www.nps.gov/elro) was Eleanor Roosevelt’s escape. In 1924, she built the home as a weekend retreat, decorating the place with simple furnishings and photographs. After FDR’s death, ValKill became Eleanor’s permanent residence. Compared to the Roosevelt Estate, Val-Kill receives very few visitors. It is fascinating to consider that Eleanor drafted the U.N. Declaration of Human Rights here in her living room.

Vanderbilt Mansion, Hyde Park, NY (www.nps.gov/vama). The Vanderbilts did not skimp on extravagance when building this mansion, two miles north of the Roosevelt homes. Be sure to notice the goldleaf ceilings and walls, hand-painted lampshades, luxurious rugs, and Flemish tapestries. Nonetheless, the Vanderbilts only used this estate in the spring and fall.

Staatsburgh State Historic Site, Staatsburg, NY (www.nysparks.com/ historic-sites/25/details.aspx) was the home of Ogden Mills and his wife Ruth Livingston Mills. Ogden made his money by investing in newly established banks, railroads, and mines. He was also an enthusiastic thoroughbred racehorse owner. The 25-room Greek Revival style home stands on a hill overlooking the Catskill Mountains and the Hudson River.

It boasts 23 fireplaces.

Wilderstein, Rhinebeck, NY (www.wilderstein.org). Thomas Suckley and his wife Catherine Murray Brown purchased the property Wilderstein when it was still a sheep field attached to a neighboring estate. The name, Wilderstein (“wild man’s stone”), refers to a nearby Native American petroglyph found by the owners. The Suckleys envisioned their new home as a romantic getaway. Joseph Burr Tiffany designed the original interiors and architect Calvert Vaux laid out the grounds.

Wilderstein stands apart from the other Hudson Valley mansions due to its appearance, which can be described as Queen Anne style. The house is also completely made out of wood.

Montgomery Place, Annandale-on-Hudson, NY (www.hudsonvalley. org/historic-sites/Montgomery-place) was designed in the 1860s by Alexander Jackson Davis. The home was constructed with classical revival style exteriors and sweeping views of its surroundings. The estate’s grounds are also worthy of a tour. Woodland trails (laid out more than 100 years ago) lead to the waterfalls of Saw Kill. Bountiful apple orchards border the estate and the produce is available in season at the Montgomery Place Orchards Farm Stand. Herb gardens designed in the early 20th century give insight into the landscape designs popular during this particular era.

Clermont State Historic Site, Germantown, NY (www.friendsofclermont. org) was built by Robert Livingston, Jr. between 1740 and 1750. A royal patent secured by his father ensured that the younger Robert had the privileges of a manor lord and 160,000 acres stretching from Germantown to the border of present day Massachusetts. Today, Clermont plays host to tour groups, school children, arts events, and even weddings.

Olana State Historic Site, Hudson, NY (www.olana.org) was the home of Hudson River School landscape artist Frederick Church. The Middle Eastern inspired palace was designed by Church with the help of architect Calvert Vaux. Church had just returned from travelling in the Middle East and was quite taken with the artistry of the region. Persian rugs and lettering detail the home, along with paintings by both Church and Thomas Cole.

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