 140 pages; October 2014, in three editions, only available through the publisher.
Paperback: $44.00
High-quality paperback printed on 80 lb paper. Collector's Edition: $95.00 Limited edition of 250, signed and numbered. Cloth-bound hardcover with dust jacket, Smyth-sewn in signatures, 100 lb paper, images resemble gold-toned photographs of the period. Hardcover with Print: $200 Exactly as above, but including an 8" x 10" signed photographic print. ABOUT THE CONTRIBUTORS
TEJU COLE is a writer, art historian, and photographer. He is Photography Critic for the New York Times, Distinguished Writer in Residence at Bard College, the author of three books, Every Day is for the Thief, Open City, and Known and Strange Things, and the recipient of numerous prizes, including the PEN/Hemingway Award and the New York City Book Award for Fiction. ELIZABETH ADAMS is a writer, publisher, graphic designer and artist. She is the author of Going to Heaven (2006), a biography of Bishop Gene Robinson and history of the religious/political debate over homosexuality, and her blog, The Cassandra Pages, has considered questions of culture, arts&letters, nature, and spirit since 2003 HOYT ALVERSON, Professor of Anthropology, emeritus, taught at Dartmouth College from 1968 to 2011, and has been actively involved throughout his life in social causes such as civil rights, anti-war efforts, and the anti-apartheid struggle in South Africa. STEVE TOZER, an educator for the past 40 years, is Professor in Educational Policy Studies at the University of Illinois at Chicago and Director of the UIC Center for Education Leadership, and the editor of several textbooks on educational theory. |
Photographer Jonathan Sa’adah gives an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Capturing the tipping point when television was just beginning to establish its advertising and journalistic muscle, and corporate power was starting to erode centuries of rural, local identity, the photographs show economic and social dislocation, student and faculty opposition to the Vietnam War, and idealistic young people going back to the land. They delineate a fractured society, in which a threatened younger generation challenged a political elite who were already placing the footings for endless war.
The book's ninety-one sepia photographs are arranged in three sections: "The Roads," "The War," and "The Garden." It includes an introduction by Teju Cole, essays by Elizabeth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer. Both the paperback and hardcover versions are particularly memorable gifts for those who lived through the 1960s, and for their children. "It is a book of a time in a country's life, but also one that obliterates the distance between the present and the charged past. The photographs are the work of a master, one who somehow aligned his heart with his head, and aligned both of those with his soul."
— Teju Cole, author of Open City and Every Day is for the Thief "That amazing, exhilarating, exhausting, frightening era
is beautifully expressed and preserved in this book: a true testament to a way of living, a way of believing, to idealism, to youth itself." — Frank Robinson, Richard A. Schwartz Director of the Johnson Museum of Art, Cornell University, 1992 - 2011 ABOUT THE PHOTOGRAPHER
JONATHAN SA'ADAH was born in 1950, two years after his family immigrated to the United States, landing in the small uphill Vermont community of Woodstock. By the age of 16 he had learned the overall outline, if not the mastery, of what it meant to be a photographer.
He studied art history and photography at Dartmouth College (1968-1972), and at MIT with Minor White. After completing his formal education he worked as a photographer, selling prints to collections and individuals. He received a Reynolds Fellowship in 1975 which he spent in Paris working with film director Joseph Losey. On returning to the United States, he began receiving larger professional assignments, and in 1981 founded a communications firm in Vermont with his wife, a graphic designer. The couple moved to Montreal in 2005. Jonathan Sa'adah’s main interests as a photographer have been portraiture, street photography, and pictures of social change. The photographs in this book are early examples, where the film was illuminated by the experiences and conditions of the time. You can find more of his work online at jonzphoto.com Read an article about the photographer and this project by Alex Hansen (pdf) "What happened to the optimism of these young people and why are there so few of them today? As a child in the 1940s I studied Margaret Bourke-White's photographs in the book
You Have Seen Their Faces. They have stayed with me for more than six decades. I hope Sa'adah's How Many Roads? will have the same impact on young people today." — Jon Appleton, composer, teacher, and pioneer in electro-acoustic music "Our generation has the pride of having tried to do so much, and we can smile a bit because it all looks a bit dated. But the hopes, ideals and goals of this attempt at a better world jump out at us and suggest there is still time and opportunity." — Rev. Dr. Roger Balk, Anglican priest and director of medical ethics, Ville-Marie Medical Centre |
How Many Roads? is also an exhibition. Below are scenes from the installation of 33 prints at AVA Gallery and Arts Center, Lebanon, New Hampshire, April-May 2015. For more information about exhibition possibilities or prints, please use our contact form.