Both is available here from Amazon.

Both, a dual biography of botanist Rupert Barneby and artist Dwight Ripley, was a finalist for the Lambda Literary Award in biography and named a Stonewall honor book in nonfiction by the American Library Association. An exhibition based on the book, Unlikely Angel: Dwight Ripley and the New York School, was mounted at Poets House in 2006. Ripley's drawings have been featured in Esopus 11, at Esopus Space in 2009, and in an exhibition at Tibor de Nagy Gallery in 2012. Barneby's botanical work has been extensively catalogued at the Mertz Library and also at the Starr Virtual Herbarium of the New York Botanical Garden.

Both: A Portrait in Two Parts

"The fascinating account of two avant-garde English botanists who played a hitherto unrecorded role in the vibrant New York art scene of the 1950s."
John Ashbery

"Ripley and Barneby first met while students at Harrow. They moved to America and fashioned a new family among the artistic elite of New York; Ripley funded the Tibor de Nagy gallery and Barneby continued his taxonomical labors at the New York Botanical Garden. Crase's work, as its title playfully suggests, is itself a reclassification, in which taxonomy becomes poetry, paintings serve as love letters, and gardens rival art."
The New Yorker

"Crase brings us the powerful, page-turning story of Dwight and Rupert's life together: a beautiful, 50-year love between two men who not only changed each other's lives, but who also helped science and art flourish in the 20th century."
InsightOut Book Club

"Their sparkling circle included Cyril and Jean Connolly, Peggy Guggenheim (with whom Ripley had a torrid affair), Clement Greenberg, and the decidedly odd couple of Willard Maas (with whom Barneby had an equally torrid affair) and his wife, experimental filmmaker Marie Menken. Both is a great read for botanists, lovers of obscure biographies laden with precious insider gossip, and folks who yearn for a time when New York was the center of the world."
L. D. Beghtol, Time Out New York

"An insider's insider's account."
Matthew Price, Newsday

"Both is so multidimensional it cries out to be cast as a movie."
Rudolf Schmid, Taxon

Judith Moore: "Why should we care about all these people Ashbery, Schuyler, Dwight Ripley, and Jean Connolly and Clem Greenberg and Frank O'Hara?"
Douglas Crase: "Well, because we're their children."
JM: "You and I are."
DC: "Yes, and others, too, in ways they probably know nothing about. People like Connolly were self-conscious about the need to make a culture and preserve and carry it. I think what's interesting for an American, for me in particular to realize, is that those attitudes were transported across the Atlantic. They were brought to New York, not just by the Surrealists from Paris, but they were brought by these English refugees that we don't hear much about. I used to like to think that the culture that came out of the postwar period that of Frank O'Hara, of the New York School poets, of the art scene that it was indigenous. That it was America waiting to happen. But it seems clear, the closer, the more attention we pay, that it's an international movement. And there's some insight there, for us to remember that a great nation can't do it alone, not even in culture."
Judith Moore interviewing the author, San Diego Reader


"The unusual case of a contemporary poet whose most public, expansive voice is his most authentic."
Times Literary Supplement
"reads more like poetry than a commonplace book."
Tin House
"a superb biography."
The New York Times