Books like Reconstructing the View — picked by fans

I love a writer who is willing to put his life at risk to solve a mystery. And I love history and biography. The mystery? What happened to Glen and Bessie Hyde, a young couple who vanished on their honeymoon while trying to run the length of the canyon in 1928 in a scow—a boat that looked like a water trough.

Dimock, a Grand Canyon guide and builder of wooden dories, researched this type of craft and, together with his wife, braved the rapids because he thought this would provide clues about the disappearance. Having rowed unwieldy baggage boats in the canyon myself, I emphasized with their plight, and the story of the honeymooners is one guides often tell the clients sitting in camp chairs in the after-dinner circle.  

This book covers the most famous canoe trip of them all: John Wesley Powell's courageous exploration through the Grand Canyon of the Colorado River. No one knew what the Grand Canyon was like; no one had ever run it, and no one even knew where it ended. What I particularly liked about the book is the way it is written, a genuine thriller, and as a reader, I am right there in the boats with Powell and his small crew, most of whom had never been in a boat before…to say nothing of the most dangerous water in America. Another big plus is that the narrative draws on the diaries of three of the members, so I am reading the complaints and hardships from several sources. 

Rather, miraculously, they built their own boats and then plunged into the "unknown." Major Powell took the lead boat, and the fact that he… show more.

I once dislocated a shoulder while crossing the canyon’s Thunder River raging with snowmelt; another time, I got lost on the Paria Plateau, separated from my pack, and spent a miserable night in a tee-shirt and shorts while thunder and lightning scared the Bejesus out of me. So, these tales of death and disaster compiled by two canyon veterans cut close to the bone.

They’re not depressing reading, surprisingly. There are accounts of amazing survival, and much can be learned from these cases to avoid getting yourself into trouble. Not something most readers will read cover to cover, but I did and dip into it still on occasion.

I love the artwork: funny, pictograph-style vignettes of the different ways you can die in the canyon (many more than you’d think). 

Having attempted my own Grand Canyon thru-hike, on the largely trail-less north side of the Colorado River, I have walked in Fletcher’s shoes, metaphorically speaking. Mine started to come apart—with their soles delaminating—on day 1; before the end of day 40, I had to have a replacement pair brought in. Those pinched, and I lost toenails.

Beyond the minutiae of long-distance backpacking, the Welsh author of this classic of outdoor literature makes plenty of room for contemplation. At the end of a long, hot, hard, blistering day, I, too, spent many an hour perched on the rim, with a glimpse of the river far below, pondering my role in the grand scheme of things. Then it was always on to supper, which never has tasted better.

There’s an image of a large white horse standing above a man who’s kneeling in front of him, gesturing toward the horse’s face with one hand. He is having a conversation with this horse, trying to convince him of something. It’s one of the most beautiful photographs ever! On another page is a fully feathered chicken being dried out, hanging upside down from a clothesline in what appears to be a field of wheat. It’s astonishing how beautiful this image is. Josef Koudelka is one of the great masters of photography who has taught us all how to see the mystery and awe in places we walk by every day. Through his work, Koudelka has shown me the breadth and depth that photography embraces.

Legendary travel photog Steve McCurry has developed a bad reputation over the decades for reportedly mistreating his subjects (notably “Afghan Girl” Sharbat Gula), for allegedly staging and digitally manipulating images (as opposed to the candid shots he claims they are), and for profiting handsomely from it all. But gosh dang if his photographs aren’t gorgeous! In light of his purported misdeeds, I do not intend on dropping any more money on his newest retrospective books, but 2000’s South Southeast – based on his early work in Asia – will always remain on my bookshelf.

In the 1940s, a young American woman named Mariana Yampolsky came to Mexico to study and never looked back. Throughout the 1960s, she wandered around the country taking shots of the rural and indigenous people she met. Her lens conveyed the poorest aspects of Mexican culture with empathy and artistry that no other photographers of the time demonstrated. Inexplicably, for all its vast and varied geography, ethnicities, and societal classes, rivaling even China in terms of its photogenic diversity, there are very few photography books on Mexico, making The Edge of Time a timeless literary benchmark.

In contrast to John Berger’s Marxist aesthetic, Barthes’s approach to visual experience and photographic images draws upon the tradition of semiotics and, to a degree, postmodern theories of text and intertextuality. Barthes leads his reader into the codes and conventions of the image. How images signify is thus made a central topic that provokes self-reflection and reflexive challenges to conventional image analysis. Where Berger’s work is expository and analytic, Barthes's book is exploratory and novelistic (Barthes would have his reader approach the work as a kind of intertextual fiction). As the title of the work suggests, this is Barthes at his most personal and reflective. His fascination remains with the photographic image which is presented as one of the defining aesthetic objects of modernity. But the act of photography is now itself complex, mediated, and open to a range of concrete experiential impulses.

Here the viewer of the photograph is… show more.

On Photography is Sontag’s attempt to develop the thought of Barthes, Benjamin, and others and apply the resultant perspective to the critical understanding of the fundamental role of photography in modern life. The book is constructed as a series of interconnected essays, each of which explores the moral and dialectical character of photographic interventions. Photography embodies the moral ambiguity of human activity: the camera claims to deliver truth but is essentially selective and partial; photography reveals and conceals the real; the photograph is an artificial mode of representation but claims to provide a `picture’ of life that can only be captured through the camera.

This ambiguous ontology of the image impacts upon both the act of image-making and the interpretive task of reading and understanding the image. With modern photography the viewer is constituted in a dual movement of separation (and alienation) and connectivity (and communality). Photographic engagement constitutes,… show more.

The black-and-white images of Ralph Eugene Meatyard have long fascinated me and informed my visual work and writing. Meatyard was, by profession, an optician in Lexington, Kentucky, yet his personal passion was making photographs. His subjects were his wife, children, and family friends, who he often posed in murky settings as they wore masks and held dolls. These images are both disquieting and euphonious, tapping into something primal that hints at the secretive world of childhood.