Three Principles of Garden of Mirrored Flowers: 1 “The sensations that visitors to the theme park will experience are precisely those that classical Chinese literature has always wanted to convey: life as a bewildering maze. As such, we can better comprehend one of the key principles for the construction of the theme park: bewilder—the soul— intensely.” 2 “In the process of construction, I began to increasingly feel that the process should be an intermittent walk from one area to the next, like how a moving essay is extracted from a grand narrative—this is therefore the second principle of designing gardens: the form may disperse but not the spirit.” 3 "Just like the flower fairies, we have all fallen to earth, having lost our inner equilibrium. As such, no one would turn down the opportunity to enjoy the spiritual release and pleasure that this kind of theme park can offer. Garden of Mirrored Flowers is hence a psychodrama of an even higher class. Therefore, we should be able to understand the third principle for the construction of the park easily: the world's experiential center." Fang's novel tells the story of a man in the process of designing a theme park, called Garden of Mirrored Flowers, and is an adaptation and transformation of the classical Chinese novel Jin Hua Yuan, or Flowers in the Mirror, from the Qing Dynasty. Beginning as a pictorial journey through myriad advertisements and the way they allow for many different entries into reality, Fang depicts parallels between the park's actual construction and how it has been imagined, or how it has evolved out of history. For Garden of Mirrored Flowers is less the vision of one author (Fang) and more the result of reality writing itself through this author; that is, a script, or documentary, of life. “It's a book,” Fang states, “written by a ghost writer. Me? Just a traveler floating within the wave of globalization.” Culminating with the park's opening ceremony, Fang creates a space where history seems to have been completely consumed and absorbed by contemporary social movements. It is both a labyrinth to get lost in and a pavilion made of reflective glass. Hu Fang is a novelist, art critic, and the co-founder and artistic director of Vitamin Creative Space, a project and gallery space dedicated to contemporary art exploration and searching for an independent working mode, specifically geared to the contemporary Chinese context. He lives and works in Beijing and Guangzhou.

Hu Fang's Dear Navigator is a collection of ten short stories that reflect on contemporary society, politics, and the human condition. The author takes us on a journey across time and space to hidden realities where we meet culture workers, astronauts, airplanes, Zen masters, and hunger artists. The title story "Dear Navigator" is a collection of letters written during a 520-day simulated space mission to Mars--to test if humans can endure travel from Earth to Mars and back again. "Whale Song" tells the story of XP, a lonely male escort, as he goes on a surreal journey to self-realization, and "The Shame of Participation" tells a tale of two thieving artists who legally steal objects from those living in a city in desperation. When the reality turns into fiction, and the science fiction becomes reality, Hu draws on the experience of everyday life, the past, and the unknown future to create stories of otherworldly melancholy and humor. Hu Fang is a fiction writer and cofounder of Vitamin Creative Space, Guangzhou, and The Pavilion, Beijing. He lives and works in Guangzhou and Beijing. Previously published titles include Troubled Laughter (2012), Garden of Mirrored Flowers (2010), and Pavilion to the Heart's Insight (2008). His stories have been published in e-flux journal, Manifesta Journal, and various publications including Ming Wong: Life of Imitation, Drone Fiction, Odyssey: Architecture and Literature, and Gwangju Folly. Copublished with The Pavilion

"For Northeastern gardeners—all of whom battle the serious problem that is deer browsing—this is definitely one for the library.” —GardenRant The benefits of native plants are plentiful—less upkeep, more pollinators, and a better environment. In Deer-Resistant Native Plants for the Northeast, Ruth Rogers Clausen and Gregory D. Tepper provide a list of native plants that have one more benefit—they are proven to help prevent your garden from becoming a deer buffet. From annuals and perennials to grasses and shrubs, every suggested plant includes a deer-resistance rating, growing advice, companion species, and the beneficial wildlife the plant does attract. Let these beautiful natives help your landscape flourish! For gardeners in Connecticut, Delaware, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, Rhode Island, Vermont, Virginia, West Virginia, and Washington, DC.

A floral tour of the metropolis, filled with sumptuous photography: “A magical and unexpected look at New York . . . lovely and brilliant.” —Laura Dowling, former chief floral designer at the White House From stylish floral studios and corner shops overflowing with fresh-cut blooms, through bustling flower markets, to blooming trees and lush public parks, an unexpected softer side of New York is revealed in photos juxtaposing floral beauty with exquisite botanical details found in the city’s iconic architecture. Author and photographer Georgianna Lane adds to her acclaimed works Paris in Bloom and London in Bloom with this collection including: Parks and gardens Floral studios Market flowers Floral displays Field guides to locating and identifying common spring blooms A list of recommended locations and vendors A tutorial on how to create your own New York–style floral bouquet, and more “A bountiful and effervescent garden that brilliantly dots the landscape of the city that never sleeps.” —Robert Wheeler, author of Hemingway’s Paris

By the time she reached her late twenties, Eudora Welty (1909–2001) was launching a distinguished literary career. She was also becoming a capable gardener under the tutelage of her mother, Chestina Welty, who designed their modest garden in Jackson, Mississippi. From the beginning, Eudora wove images of southern flora and gardens into her writing, yet few outside her personal circle knew that the images were drawn directly from her passionate connection to and abiding knowledge of her own garden. Near the end of her life, Welty still resided in her parents' house, but the garden—and the friends who remembered it—had all but vanished. When a local garden designer offered to help bring it back, Welty began remembering the flowers that had grown in what she called “my mother's garden.” By the time Welty died, that gardener, Susan Haltom, was leading a historic restoration. When Welty's private papers were released several years after her death, they confirmed that the writer had sought both inspiration and a creative outlet there. This book contains many previously unpublished writings, including literary passages and excerpts from Welty's private correspondence about the garden. The authors of One Writer's Garden also draw connections between Welty's gardening and her writing. They show how the garden echoed the prevailing style of Welty's mother's generation, which in turn mirrored wider trends in American life: Progressive-era optimism, a rising middle class, prosperity, new technology, women's clubs, garden clubs, streetcar suburbs, civic beautification, conservation, plant introductions, and garden writing. The authors illustrate this garden's history—and the broader story of how American gardens evolved in the early twentieth century—with images from contemporary garden literature, seed catalogs, and advertisements, as well as unique historic photographs. Noted landscape photographer Langdon Clay captures the restored garden through the seasons.