One of the more welcome changes in Boston's urban landscape has been the recent transformation of abandoned lots in to flourishing community gardens. In To Dwell Is to Garden, a distinguished scholar and a veteran photographer join forces to provide a history and a celebration of these urban oases and of the people who have made them possible. Sam Bass Warner, Jr., traces the origins of Boston's urban community gardens back to the English allotment gardens created to keep country folk from starving during the first great wave of urbanization. Warner suggests that today's urban community gardens owe their existence not to philanthropy or patriotism but to an activist impulse stemming from the civil rights movement, which emphasized self-help, local autonomy, and personal dignity to combat the problems of urban decay. The spirit of today's urban community gardens is captured in Hansi Durlach's compelling photographs of those individuals, young and old, who have worked together to clear the rubble and till the soil. From China and Chile, from Italy and Arkansas, from the suburbs and from next door, their comments, recorded by Durlach, linger in the mind and in the heart. Originally pubished by Northeastern University Press in 1987. With a new foreword by Jill Eshelman.

There has been a resurgence of community gardening over the past decade with a wide range of actors seeking to get involved, from health agencies aiming to increase fruit and vegetable consumption to radical social movements searching for symbols of non-capitalist ways of relating and occupying space. Community gardens have become a focal point for local activism in which people are working to contribute to food security, question the erosion of public space, conserve and improve urban environments, develop technologies of sustainable food production, foster community engagement and create neighbourhood solidarity. Drawing on in-depth case studies and social movement theory, Claire Nettle provides a new empirical and theoretical understanding of community gardening as a site of collective social action. This provides not only a more nuanced and complete understanding of community gardening, but also highlights its potential challenges to notions of activism, community, democracy and culture.

Much has been written on the traditions of elite gardens but little attention has been directed to the gardens of more humble and popular cultures that reflect regional, localized, ethnic, personal, or folk creations. These articles reflect growing interest in a range of cultural artifacts that demonstrate how culture influences surroundings.

Jimmy's garden on the Lower East Side of Manhattan--an assortment of stones and garbage bags, five tires, a chair, a skid, a refrigerator shelf, some ailanthus trees and goldfish, a wooden fence, and a pond with water carried by hand from a nearby fire hydrant--was recently bulldozed by the city. Jimmy then disappeared. Anna's garden is surrounded by a tall chainlink fence and filled with a menagerie of dolls and stuffed animals. The animals are whole, the dolls are maimed. Anna is a recluse who speaks to no one. The neighbors say she was in a concentration camp as a child. Gardens have always been associated with wealth and leisure, viewed as an addition to home. In this remarkable book a landscape architect and a photographer show us, in word and pictures, gardens built by homeless or impoverished New York City inhabitants. Like traditional gardens, these spaces are designed for pleasure, social activity, or private retreat. Unlike traditional gardens, they are connected to a more active and ephemeral use of the land. Transitory gardens speak the language of our times: here we find the reuse of nearly everything discarded, a sparing use of water and plant materials, an economical treatment of space, and a penchant for icons, toys, flags, and symbols of freedom and nationality. The gardens expand our definition of what makes a garden and what its design means for its creator. Diana Balmori's commentary and Margaret Morton's photographs combine with the garden-makers' own descriptions to encourage us to take note of gardens grown in unlikely places, on abandoned, littered lots, bounded by debris. By focusing on what homeless people make not for material comfort but from social and spiritual need, the book offers insight into both the meaning of landscape and the place of a garden in the life of an individual under duress.