Lampooned in 406 B.C.E. in a blistering Aristophanic satire, Socrates was tried in 399 B.C.E. on a charge of corrupting the youth, convicted by a jury of about five hundred of his peers, and condemned to death. Glimpsed today through the extant writings of his contemporaries and near-contemporaries, he remains for us as compelling, enigmatic, and elusive a figure as Jesus or Buddha. Although present-day (like ancient Greek) opinion on the real Socrates diverges widely, six classic texts that any informed judgment of him must take into account appear together, for the first time, in this volume. Those of Plato and Xenophon appear in new, previously unpublished translations that combine accuracy, accessibility, and readability; that of Aristophanes' Clouds offers these same qualities in an unbowdlerized translation that captures brilliantly the bite of Aristophanes' wit. An Introduction to each text and judicious footnotes provide crucial background information and important cross-references.

In a 1963 novel, Edna Ferber compared the city of Galveston to Miss Havisham, the gray, mournful abandoned bride of Dickens’ Great Expectations. A thriving port city in the nineteenth century, Galveston suffered catastrophe in the twentieth as a deadly hurricane and shifting economics dropped a pall over its waterfront and Victorian mansions.

Originally conceived as a requiem for the faded city, The Galveston That Was (developed by the Museum of Fine Arts, Houston, and funded by Jean and Dominique de Menil) instead helped resurrect the city. Architect-author Howard Barnstone, renowned portrait photographer Henri Cartier-Bresson, and architect-photographer Ezra Stoller captured the soul of the city in The Galveston That Was and as a result, inspired a major and successful effort to restore Galveston’s historic architectural treasures. Many of the buildings pictured in the book have since been restored, and the pace of demolition slowed dramatically after the book’s initial publication.

In 1994, Rice University Press, in collaboration with the Museum of Fine Arts, Houston, and George and Cynthia Mitchell, published an updated edition of the book. This new printing of the book, now under the Texas A&M University Press imprint, contains the text annotations and updates, plus Peter H. Brink’s afterword, that were added to the 1994 edition.

Reclaiming San Francisco is an anthology of fresh appraisals of the contrarian spirit of the city—a spirit “resistant to authority or control.” The official story of San Francisco is one of progress, development, and growth. But there are other, unofficial, San Francisco stories, often shrouded in myth and in danger of being forgotten, and they are told here: stories of immigrants and minorities, sailors and waterfront workers, and poets, artists, and neighborhood activists—along with the stories of speculators, land-grabbers, and the land itself that need to be told differently.

Contributors include historians, geographers, poets, novelists, artists, art historians, photographers, journalists, citizen activists, an architect, and an anthropologist. Passionate about the city, they want San Francisco to be more itself and less like the city of office towers, chain stores, theme parks, and privatized public services and property that appears to be its immediate fate.

San Francisco is not alone in being transformed according to the dictates of the global economy. But San Franciscans are unusual in their readiness to confront the corporate agenda for their city.