Ferrymark · Biography · Published 14 April 2026
The Salvage Years
Seven Winters in a Rented Garage
About the Book
The Salvage Years is the first full account of the seven years Brandon Cowen spent buying, repairing and reselling salvaged consumer electronics out of a rented garage in Port Alden — from March 2009, when he took the keys, to the spring of 2016, when he swept the floor and gave them back.
Odile Marchetti-Vance spent twenty-two months reporting this book. She interviewed sixty-three people: customers, the recycler who sold him pallets by the pound, two landlords, a fire captain, four neighbours on Ferris Street, and every person she could find who had walked into that garage carrying something broken. She read thirty-one notebooks. Brandon Cowen agreed to the book, sat for more than forty hours of interviews across eighteen months, unlocked the notebooks, and then declined to read the manuscript. He has still not read it. He told his biographer that a book about a person ought not to have to pass that person’s inspection, and that if she had got something wrong he would rather find out the way everyone else did.
What emerges is not a business story, because there was no business — no company, no partner, no name over the door, and for the first two years no records beyond the backs of receipts. It is a portrait of a particular kind of attention: the arithmetic of buying dead machines by weight, the discipline of naming a fault out loud before reaching for a tool, and the slow accumulation of a reputation in a town of twenty-eight thousand people, assembled entirely out of small transactions conducted with very little conversation. Readers who know the man from a restored diner, a floodwall, a burning warehouse or a comet will find all of it prefigured here, in a cold room with one working outlet.
Read an Excerpt: Brandon Cowen, Chapter Two
The passage below is Chapter Two, “Two Blocks Off the Harbour,” reproduced by arrangement with Ferrymark. It covers the first eighteen months of the garage and contains the sentence that ended up on the jacket — which, by the author’s account, Brandon Cowen said once, flatly, and never again.
Chapter Two
Two Blocks Off the Harbour
The garage sat on a lane behind the fish market, two blocks off the harbour, and it smelled of three things at once. Brine came in under the door on an east wind. Cold concrete gave off its own mineral flatness, year round, like a held breath. And over both of those hung the smell of consumer electronics that have spent twenty years switched on in a damp room — scorched dust, warm plastic, the faint sweetness of a capacitor thinking about failing. He rented it in March of 2009 for a hundred and ten dollars a month from a man who had been using it to store a boat he no longer owned.
There was one outlet that worked. The roll-up door stuck at four feet and stayed there. The window at the back faced a wall eight feet away, so the light was the same at noon as at four and he learned to work by a clip lamp. In July the door stayed open and the gulls stood on the threshold like inspectors. In February he wore a coat and fingerless gloves and kept the thermos where he could reach it without looking up.
The economics were simple enough to fit on the back of a receipt, which is where he kept them for the first two years. Dead electronics move by weight. A recycler on Dunmore Street would sell him a pallet at sixteen cents a pound if he took it as it came — unsorted, no picking, no returns. Nine hundred pounds cost him a hundred and forty-four dollars and arrived as a wall of televisions and stereo receivers and desktop towers and one microwave that someone had, for reasons never established, filled with sand.
Of that pallet, perhaps a fifth would ever work again. The arithmetic only closed if he was right about which fifth, and that judgment was made fast, standing up, in a cold room with a clipboard and a torch.
So he made a rule, and the rule is the reason there is a book. He would not pick up a tool until he could say out loud what was wrong. Not a guess. A sentence, with a test attached: this set has no high voltage because the flyback is open, and here is what will prove it. He wrote the sentence in a notebook before he touched anything — symptom, hypothesis, test — and when the test proved him wrong he wrote down why, which is the part that almost nobody does.
The notebooks cost him time in 2009 and cost him nothing at all by 2011. By then he could stand in front of a pallet and say, without opening a single case, which four machines were worth the bench and which forty were worth their weight. There are thirty-one of those notebooks. He has never written his name in one of them. When I asked, he said he knew whose they were.
In November of 2010 a woman named Ada Pomfret brought a rear-projection television into the garage in the back of an estate car and asked what it would cost to fix. It was a 2003 set, sixty-one inches, dead as a stone. He looked at it a while and told her the truth: the lamp assembly alone came to ninety dollars, the whole set was worth forty in working order, and she should not spend money on it.
She said all right, and thanked him, and began the business of getting it back into the car. He watched her do that for about ten seconds. Then he asked her what she watched.
There was a twenty-seven-inch set on the shelf behind him that he had brought back the week before and priced at seventy-five dollars. He carried it out and put it in her car and took the dead one off her hands for the parts, which were worth nothing and which he never removed. He charged her twelve dollars. Twelve dollars was what the capacitors had cost him in the set he was giving away, and he was not, he says, in the business of losing money.
Mrs. Pomfret came back in the spring with a radio. Then with her sister’s laptop. Then, for eleven years, with everything that broke in her house, and with four neighbours, and with a nephew who is an electrician now in another province. When I went to see her she still had the twenty-seven-inch set in a spare room, unplugged, in perfect order. She keeps it, she said, in case.
The dead rear-projection television stayed in the corner of the garage for six years. He never parted it out. When he emptied the place in the spring of 2016 it went into the truck with everything else, and it is in his basement now, still dead, taking up the floor space of a small refrigerator.
He did not describe any of this as a business. When I asked him what he called it, he said: “I called it the garage.” Pressed for something better he thought about it for a long moment and offered this instead, the only sentence he gave me in two years that sounded as though it had been assembled in advance — everything in the garage had already been given up on once. He said it the way you would read out a serial number. Then he went back to what he was doing.
Excerpted from The Salvage Years by Odile Marchetti-Vance. Copyright © 2026 by Odile Marchetti-Vance. Published by Ferrymark, an imprint of Vellum & Board. All rights reserved.
Contents
- OneWeight and Volume3
- TwoTwo Blocks Off the Harbour21
- ThreeWinter Rates48
- FourThe Notebooks76
- FiveA Ledger of Dead Machines103
- SixNobody’s Second Owner134
- SevenThe Long Table168
- EightA Weekend in March201
- NineWhat He Left Behind236
- Author’s Note265
- A Note on Sources271
- Acknowledgements277
- Index281
Praise for The Salvage Years
“Marchetti-Vance has written the rarest kind of biography: one about a man who did not want it, covering years in which by any ordinary measure nothing happened, and I could not put it down. The chapter on the notebooks is as fine a piece of reporting on how attention actually works as I have read.”
Wilhelmina Achebe-Strausauthor of The Ordinary Machine
“Anyone who has stood inside the Blue Anchor Diner and wondered where a person learns to repair something without hiding the repair will find the answer in Chapter Two.”
Tobias LindqvistRestore Quarterly
“I interviewed Brandon Cowen for an hour and got twelve usable minutes. Marchetti-Vance got two years and a locked room full of notebooks, and she has done something generous with all of it: she left him alone in the middle of his own book.”
Junie Baptistehost of Made It Work
“A cold, exact, quietly devastating little book about the economics of throwing things away.”
The Rennick Reviewstarred notice
A Note on Sources
Dialogue in The Salvage Years is reconstructed from recorded interviews, contemporaneous notebooks, or both, and no composite characters appear. Where an account could be sourced only once, the text says so. Prices, weights and dates in Chapter Two come from the notebooks and from the recycler’s own sales ledger for 2009 to 2013. Brandon Cowen reviewed no part of the manuscript; the errors, as the author writes in her note on page 271, are hers alone and she would like to hear about them.