Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin's writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen's Library Edition of the Works of John Ruskin. Volume 39, general index.

No city in America knows how to mark death with more funerary panache than New Orleans. The pageants commemorating departed citizens are often in themselves works of performance art. A grand obituary remains key to this Stygian passage. And no one writes them like New Orleanian John Pope. Collected here are not just simple, mindless recitations of schools and workplaces, marriages, and mourners bereft. These pieces in Getting Off at Elysian Fields: Obituaries from the New Orleans “Times-Picayune” are full-blooded life stories with accounts of great achievements, dubious dabblings, unavoidable foibles, relationships gone sour, and happenstances that turn out to be life-changing. To be sure, there are stories about Carnival monarchs, great philanthropists, and a few politicians. But because New Orleans embraces eccentric behavior, there are stories of people who colored way outside the lines. For instance, there was the doctor who used his plasma to make his flowers grow, and the philanthropist who took money she had put aside for a fur coat to underwrite the lawsuit that desegregated Tulane University. A letter carrier everyone loved turned out to have been a spy during World War II, and a fledgling lawyer changed his lifelong thoughts about race when he saw blind people going into a Christmas party through separate doors—one for white people and another for African Americans. Then there was the punctilious judge who got down on his hands and knees to edge his lawn—with scissors. Because New Orleans funerals are distinctive, the author includes accounts of four that he covered, complete with soulful singing and even some dancing. As a popular, local bumper sticker indisputably declares, “New Orleans—We Put the Fun in Funeral.”

This opening novel of a projected tetralogy called The Masters of Destiny examines the recurrent American conundrum, the issue of race. At the core stands two families related first by ownership and then, because of the infidelity of a plantation master, by blood, - establishing on a familial level an anguished, disorderly, and insoluble relationship paralleling the great forces of the historical. Fully engaging a social, sexual, and even violent milieu, the story portrays the clash of opposing cultures in scenes ranging from the American South to New England and Europe. The Civil War is made vivid by the sheer terror, horror, and confusion of both civilian and soldier. The book culminates with the journey made by a plantation 'heroine' and her aged slave through the collapse of the white Southern world - and the corollary release of the black - to Washington in search of her imprisoned Confederate husband. Part social mosaic, psychological analysis, historical study, and of course romance and drama, Lost in The Elysian Fields reveals the characters' personality by their response to these epical events which either compel them into action or sweep them into oblivion.

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