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