ELT & Literary Studies Books

Book SynopsisAn original investigation into the reading strategies and uses of books by Jews in the Soviet era. In The Soviet Jewish Bookshelf, Marat Grinberg argues that in an environment where Judaism had been all but destroyed, and a public Jewish presence routinely delegitimized, reading uniquely provided many Soviet Jews with an entry to communal memory and identity. The bookshelf was both a depository of selective Jewish knowledge and often the only conspicuously Jewish presence in their homes. The typical Soviet Jewish bookshelf consisted of a few translated works from Hebrew and numerous translations from Yiddish and German as well as Russian books with both noticeable and subterranean Jewish content. Such volumes, officially published, and not intended solely for a Jewish audience, afforded an opportunity for Soviet Jews to indulge insubordinate feelings in a largely safe manner. Grinberg is interested in pinpointing and decoding the complex reading strategies and the specifically Jewish uses to which the books on the Soviet Jewish bookshelf were put. He reveals that not only Jews read them, but Jews read them in a specific way. Trade Review“[An] informative, engagingly written work that . . . pairs thorough research with the personal reading experiences of the author and those close to him.” * Los Angeles Review of Books *“Grinberg’s The Soviet Jewish Bookshelf is mandatory reading for students of Soviet and Jewish history. There is also much in it for the larger Jewish reading public for whom Soviet Jews remain a paradox, a story that is not merely of survival, but also of fashioning a durable path to Jewishness uniquely their own.” * Jewish Journal *“This academic book offers deep insights into decades of Soviet Jewish culture, considering how they read, and what they wrote, all under the deep blanket of repression.” * Bookishly Jewish *“As Grinberg shows in his book The Soviet Jewish Bookshelf, Soviet Jews had a deep interest in books on Jewish topics. Their bookshelf was quite wide. Here were Russian translations of Yiddish and Hebrew, of world fiction, original works of Soviet authors, popular historical and philosophical books, and even the anti-Zionist propaganda since it also contained bits of useful information. . . . Particularly interesting is Grinberg’s ingenious analysis. . . . of the works of the brothers Arkady and Boris Strugatsky.” * Forward *“Undoubtedly—as Grinberg states—we can and should talk about the existence of Soviet Jewish culture which, although very heterogeneous, was nevertheless capable of struggling to organize, recreate, and preserve its own Jewish self. The author of the book has therefore achieved his goal—to break the silence around Wiesel’s silent Jews.” * Iudaica Russica *“Grinberg conveys with special power the way in which Soviet Jews embraced the Russian literary tradition. . . . We live in an age when totalitarian ways of thinking are on the rise and anti-Semitism has again begun to flourish. If we are to combat these trends, we must understand them.” * Gary Saul Morson, Mosaic Magazine *“Soviet Jews were the People of the Book. Denied all access to Scripture, they turned their bookshelves into major memory sites, fashioning a personal and collective identity out of historical fiction, science fiction, poetry, children’s verse, memoirs, travelogues, translations from Yiddish and modern Hebrew, and even anti-Zionist propaganda. Here is the untold story of their ongoing, multigenerational struggle for self-determination as told by a native son with great clarity, thoroughness, and empathy. Were this not enough, Marat Grinberg has also redefined Jewish literature as that which a living polity has rescued through conscious acts of creative rereading.” -- David G. Roskies, Sol & Evelyn Henkind Emeritus Professor of Yiddish Literature and Culture, The Jewish Theological Seminary“What made Soviet Jews Jewish? Superbly researched and lucidly argued, The Soviet Jewish Bookshelf makes a convincing case for the formation of a unique Soviet Jewish identity through subversive and generative reading practices. The eponymous bookshelf, an important material and intellectual feature of the Soviet Jewish home, was capacious enough to hold a variety of texts, from Leon Feuchtwanger’s sweeping historical novels, to Alexandra Burshtein’s and Lev Kassil’s coming-of-age tales, and the Strugatsky brothers’ science fiction. Soviet Jews mined the contents of the shelf for references to Jewishness—overt and oblique, empowering and disparaging—to bolster a sense of selfhood and peoplehood. Over and above making a significant scholarly contribution, Grinberg’s book bears witness to a community’s heroic struggle to survive against impossible odds.” -- Helena I. Gurfinkel, Southern Illinois University Edwardsville“Marat Grinberg’s original and engaging study locates the core of Russian-Jewish identity not in a particular language or religious faith, but in a canon of treasured books, both Jewish and non-Jewish, and a practice of reading ‘between the lines.’ Along the way, he offers provocative new interpretations of Soviet and non-Soviet classics alike.” -- Adrian Wanner, Pennsylvania State UniversityTable of ContentsIntroduction: The Soviet Jewish Bookshelf: There’s “there, there”Chapter One: Lion Feuchtwanger – the Soviet Jewish ScriptureChapter Two: The Core: Salvage FragmentsChapter Three: “Translated from Jewish”: Read and UnreadChapter Four: The Bottom Shelf: Between the Lines of “Reactionary” Judaism and Anti-ZionismChapter Five: Signs of the Times: Yuri Trifonov and the Strugatsky BrothersEpilogue: Perestroika and BeyondNotesBibliography

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Book SynopsisA pack of four small books edited by Dafydd Glyn Jones: Carolau Haf Huw Morys a''i Gyfoeswyr, Cerddi Talhaiarn, Tri Hen Brydydd (Mathew Owen, John Morgan, Elis ab Elis) and Emynau Morgan Rhys.

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Book SynopsisShelter in Text examines how writing can create, illuminate, and complicate ideas about dwelling, belonging, or finding safe harbour.

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Book Synopsis'A holiday in the complex, joyful, indelicate medieval world'John Higgs, author of Watling StreetChaucer's People is an absorbing and revealing guide to the Middle Ages, populated with Chaucer's pilgrims from The Canterbury Tales. These are lives spent at the pedal of a loom, maintaining the ledgers of an estate or navigating the high seas. Drawing on contemporary experiences of a vast range of subjects including trade, religion, toe-curling remedies and hair-raising recipes, bestselling historian Liza Picard recreates the medieval world in glorious detail.Trade ReviewLiza Picard, a chronicler of London society across the centuries, now weaves an infinity of small details into an arresting tapestry of life in 14th-century England. Her technique - pursued with the verve and spirit for which she is already justly admired - is to celebrate Chaucer's pilgrim portraits by resituating them within an enlarged field of medieval practices and assumptions ... Picard concludes with a speculative Chaucer continuation ... Most notably, she - a woman who has herself lived long and thought much - creates an inner monologue for the Wife of Bath, who, after visiting the shrine, drifts into a Molly Bloomian soliloquy, reflecting on the pros, cons, and possible personal advantages of taking the veil. As in the rest of the book, we here encounter not presumption but homage, an enthusiast enacting her respect for Chaucer's enduring and indelible accomplishment -- Paul Strohm * The Spectator *Chaucer's pilgrims are the first historical characters who feel like real people, and now Liza Picard makes their world as vivid and three-dimensional as the merry band themselves. Chaucer's People is a holiday in the complex, joyful, indelicate medieval world - an approachable, engaging and highly recommended account of an England which is long gone, but whose spirit lingers -- John Higgs, author of Watling StreetAs you read this book, Chaucer's writing gains a depth and pungency it usually lacks ... Sometimes these snippets, in their oddness, distance the toiling pilgrims from us. At others, they bring them much closer ... There is a Chaucerian pleasure in plain sentences, plainly written. This is more almanac than argument, but no less enjoyable for that. If you were to reread The Canterbury Tales, you'd get so much more from it with this at your side ... And there are some excellent titbits -- Catherine Nixey * The Times *An absorbing and revealing companion volume to The Canterbury Tales * The Oldie *Wonderfully readable and full of delights ... It buoyed me up with its brilliant insights, many of them entirely new to me -- John Simpson, BBC World Affairs EditorEngaging and fun ... The premise of this entertaining book is to provide historical context for the multitude of figures in Geoffrey Chaucer's Canterbury Tales. It is well researched and packed with intriguing nuggets - from the etymology of the word "haberdasher" (from an old Icelandic word meaning a pedlar's sack), to the story of Richard Steris, "one of the cunningest players at the tenys in England", and a wonderful selection of medieval recipes ... Picard provides a wealth of detail both about the occupations of the various characters, and the wider contexts in which they operated. The section on the overwhelmingly complex nature of medieval law is particularly clear and effective -- Hannah Skoda * BBC History Magazine *Chaucer's fourteenth-century story collection The Canterbury Tales is a classic hook on which to hang an exploration of the Middle Ages, and this take pleasingly spirals outwards to cover the characters (the nun, the knight, the miller) and the lives they would have led * History Revealed *Instructive fun ... The writing is always lively, and there are excellent colour illustrations -- Dr G. R. Evans * Church Times *Brings to life the social history of a period we still know little about. A jolly good read for historians * This England *

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Book Synopsis1988: at four-years-old, he short-circuited his home with a silver spoon and a Betamax video player. 1989: stopped a 700-strong student assembly with a tantrum. 1995: was chased through jungle growth by a crazed, frustrated French teacher called Monsieur Batcock...Misfit? Apparently – until a little family research reveals a pattern of mischief reaching as far back as a great grandfather, and so the story begins: I'm from a long line of trouble makers, of ash skinned Africans, born with clenched fists and a natural thirst for battle only quenched by breast milk. They'd suckle as if the white silk sliding between gums were liquid peace treaties from mums. The 14th Tale is a beautiful mellifluous narrative that tells the hilarious exploits of a natural born mischief, growing from the clay streets of Nigeria to rooftops in Dublin and finally to London by award-winning writer and performer Inua Ellams.Trade ReviewA sharp reminder of the power of language and rhythm" The Scotsman; "original, experimental, beautiful * Culture Wars *Inua Ellams captures our attention as soon as he opens his mouth * The Times *

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Book Synopsis`The title of journalist is probably very noble, but I lay no real claim to it. I am, I think, a novelist and a musical composer manque: I make no other pretensions ...' (Anthony Burgess). Despite his modest claims, Anthony Burgess was an enormously prolific journalist. During his life he published two substantial collections of journalism, Urgent Copy (1968) and Homage to Qwert Yuiop (1986); a posthumous collection of occasional essays, One Man's Chorus, was published in 1998. These collections are now out of print, and Burgess's journalism, a key part of his prodigious output, has fallen into neglect. The Ink Trade is a brilliant new selection of his reviews and articles, some savage, some crucial in establishing new writers, new tastes and trends. Between 1959 and his death in 1993 Burgess contributed to newspapers and periodicals around the world: he was provocative, informative, entertaining, extravagant, and always readable. Editor Will Carr presents a wealth of unpublished and uncollected material.

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Book Synopsis**LONGLISTED FOR THE WOMEN’S PRIZE FOR NON-FICTION 2024**'Enthralling and exuberant ... Here is a wonder-book for word-lovers' Jeanette Winterson‘A lively, entertaining, and illuminating read. I loved it’ Susie DentWhat do three murderers, Karl Marx's daughter and a vegetarian vicar have in common?They all helped create the Oxford English Dictionary.The Oxford English Dictionary has long been associated with elite institutions and Victorian men. But the Dictionary didn't just belong to the experts; it relied on contributions from members of the public. By 1928, its 414,825 entries had been crowdsourced from a surprising and diverse group of people, from astronomers to murderers, naturists, pornographers, suffragists and queer couples.Lexicographer Sarah Ogilvie dives deep into previously untapped archives to tell a people's history of the OED. Here, she reveals, for the first time, the full story of the making of one of the most famous books in the world - and celebrates the extraordinary efforts of the Dictionary People.** A Financial Times, TLS and Daunt Books Book of the Year 2023 **'Utterly fascinating, entertaining, astonishing and as clever as a box of monkeys ... I completely love it' Joanna Lumley'Full marks to Sarah Ogilvie... guaranteed to grab those of us obsessed with books, language and mystery' Financial Times'[An] astonishing book' Sunday Times'Touching ... The oddities [of language] enliven the book' Observer *Book of the Day*'[An] affectionate and accomplished book' TLS'Engaging' Spectator'Marvellous, witty and wholly original' Alan Rusbridger'Glorious and surprising' Richard Ovenden, Bodley's Librarian and author of Burning the Books‘A fascinating and delightful exploration of the Victorian world … Wonderful’ Nicola Shulman, TLS PodcastTrade ReviewSarah Ogilvie has brought to centre stage a gallery of remarkable characters quite as astonishing, hilarious, terrifying and beguiling as any found in Dickens. The “ordinary” people who helped create the Oxford English Dictionary reveal themselves to be anything but ordinary. At the back of it all we are reminded that words themselves are not abstract units of meaning, they are every bit as alive, elusive and enchanting as the people who devote themselves to their study. The Dictionary People serves also, incidentally, as a marvellous record of the incidentals, the daily details, manners and modes of 19th century life. An unmissable wonderful achievement. -- Stephen FryProof that not only do our words have extraordinary lives, but so do the people who have documented them for us. A lively, entertaining, and illuminating read. I loved it -- Susie DentUtterly fascinating, entertaining, astonishing and as clever as a box of monkeys... I am bowled over by Sarah Ogilvie's book and every home should have a copy. I completely love it * Joanna Lumley *Who knew such mysteries lay behind the Oxford English Dictionary? This is a fascinating, unique and original book which uncovers the people behind the words. A jaw-dropping cross-section of society are revealed for the first time in all their complexity * Janina Ramirez, author of Femina *Exquisitely written ... A lively, funny book full of eccentrics * Jamaica Kincaid *Enthralling and exuberant, Sarah Ogilvie tells the surprising story of the making of the OED. Philologists, fantasists, crackpots, criminals, career spinsters, suffragists, and Australians: here is a wonder-book for word-lovers * Jeanette Winterson *I love words and I cherish my OED ... having the background of it explained was fascinating * Val McDermid *Astonishing * Kathryn Hughes, The Sunday Times *Fascinating * Observer *'An erudite and vivid exploration of the origins of the OED in the first crowdsourcing of contributions from thousands of individuals - including murderers, lunatics and cannibals. Marvellous, witty and wholly original' * Alan Rusbridger *

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Book SynopsisThis book is an entertaining, informative and enchanting introduction to its subject – just as those medieval banes of the farmyard, the Fox and the Vixen, were enchanting in escapades from fables and funny tales, from beastly epic poems and bestiaries, and from medieval material culture (in Danish wall-paintings and Dutch manuscript illustrations and statues, stained-glass and Italian mosaics). There exist books on medieval fox stories and on the animal’s iconography, which are important themes in this study, but this book is the first holistic approach to all types of manifestations of foxes in medieval culture – from medical recipes and fur trade, to Bible commentaries and hunting manuals.Table of ContentsPreface List of Illustrations Introduction The Fox and Medieval Religion The Fox and Medieval Scholarship The Fox and Medieval Literature Postscript Appendix Endnotes Further Reading Select Bibliography Index

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Book SynopsisDrawing on historical, literary and cultural studies perspectives, this book examines the phenomenon of the “Returned Yank” in the cultural imagination, taking as its point of departure the most exhaustively discussed Returned Yank narrative, The Quiet Man (dir. John Ford, 1952). Often dismissed as a figure that embodies the sentimentality and nostalgia of Irish America writ large, this study argues that the Returned Yank’s role in the Irish cultural imagination is much more varied and complex than this simplistic construction allows. Throughout the twentieth century and into the twenty-first, s/he has been widely discussed in broadcast and print media, and depicted in plays, novels, short stories and films. The imagined figure of the Returned Yank has been the driving impetus behind some of Ireland's most well-known touristic endeavours and festivals. In the form of U.S. Presidential visits, s/he has repeatedly been the catalyst for questions surrounding Irish identity. Most significantly, s/he has been mobilised as an arbiter in one of the most important debates in post-Independence Ireland: should Ireland remain a "traditional" society or should it seek to modernise? His/her repeated appearances in Irish literature and culture after 1952 – in remarkably heterogeneous, often very sophisticated ways – refute claims of the “aesthetic caution” of Irish writers, dramatists and filmmakers responding to the tradition/modernity debate.Trade Review'An incisive and impressively contextualized study of the trope of "the Returned Yank" in Irish culture. This fascinating and outstanding book will make an invaluable and timely contribution to Irish and American Studies, as well as to diaspora studies more widely.'Dr Tony Murray, Director of the Irish Studies Centre at London Metropolitan University'Extremely commendable in its scope and ambition, this book offers a valuable contribution to Irish cultural studies, in particular to research on the complex relationship between "tradition" and "modernity" in Irish culture. It fills a genuine gap in existing scholarship, and its sustained analysis across several decades and multiple forms of representation is especially impressive, as it allows the reader to track a complex and historically-informed narrative arc for the "Returned Yank" figure.'Dr Stephanie Rains, Senior Lecturer in the Department of Media Studies, Maynooth UniversityReviews 'Sinéad Moynihan’s Ireland, Migration and Return Migration is an impressively wide-ranging and insightful study of migration to and from the United States in Irish literature, film, and culture. This book pushes beyond simplistic models of deracination, exile or the émigré, to think about the recurring nature of migration and return migration, and raises questions about decolonization, neo-colonialism, and the nature of “modern” Ireland both before and after the Celtic Tiger. Moynihan's work interrogates gendered mythologies about maternity and return, and similarly reworks notions of return in relation to literary forebears and genres. She combines an impressive range of cultural sources with nuanced close readings in an important and timely contribution to Irish Studies.' 2019 ACIS Michael J. Durkan PrizeTable of ContentsAcknowledgementsIntroduction - “The Meanest Form of Animal”?: The Returned Yank in the Cultural ImaginationChapter 1. “Quiet Men”: Film and Filmmaking in Returned Yank Fictions of the TroublesChapter 2. “Mother Macree ad nauseam”: Maternity, Modernity and the Female Returned Yank Chapter 3. Erin’s Acres: The Returned Yank, Property Disputes and the Rise and Fall of the Irish EconomyChapter 4. “The Secret Dotted Line”: Return, Roots Journeys and Irish Literary GenealogiesCoda - “We are where we are”: Mythologies of Return and the Post-Celtic Tiger MomentWorks CitedIndex

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Book SynopsisGentle chaos sets in when the absent-minded Mr Pim calls in to see George Marden, bearing some innocent news... George is a fine upstanding citizen and a stickler for doing the right thing. He has a devoted wife, Olivia, and is guardian to his somewhat flighty niece, Dinah.But his careful peace is broken when Mr Pim casually announces that he’s recently seen an ex-convict from Australia, Telworthy. The only thing is that the character sounds awfully like Olivia’s first, and supposedly deceased, husband… and if he’s eally still alive, then Olivia is a bigamist.

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Book Synopsis'A very special book' DIANA HENRY. 'Perfect' NINA STIBBE. The Little Library Year takes you through a full twelve months in award-winning food writer Kate Young's kitchen. Here are frugal January meals enjoyed alone with a classic comfort read, as well as summer feasts to be eaten outdoors with the perfect beach read to hand. Beautifully photographed throughout, The Little Library Year is full of delicious seasonal recipes, menus and reading recommendations. 'A wonderful, brilliant book' RUBY TANDOH. 'The best present a food-obsessed bookworm could ask for' OLIA HERCULES. 'Tender, gorgeous, clever and generous' ELLA RISBRIDGER. 'Bibliophile foodies have a treat in store for them. Many treats, in fact' JASPER FFORDE.Trade ReviewRecipes you long to cook, suggestions for books you want to read, a sense of place and season, and tales of a life lived thoughtfully and well. This is a very special book, written with great generosity. I loved it -- Diana HenryA cookbook and culinary almanac that celebrates the books and characters conjured by each season and its food. Leafing through a cookery book has never been so satisfying. Perfect -- Nina StibbeA wonderful, brilliant book. Instantly comforting, effortlessly beautiful and suffused with the generosity that's at the heart of any good meal -- Ruby TandohBibliophile foodies have a treat in store for them. Many treats, in fact -- Jasper FfordeCombines two of my most favourite things – interesting and flavour-packed recipes, and reading lists. The best present a food-obsessed bookworm could ask for -- Olia HerculesTender, gorgeous, clever and generous... A book to be both treasured and treated as the hands-on, practical food bible it really is. As perfectly balanced as her recipes – with photographs like Vermeer paintings, stories the never overwhelm the food itself, and lovely, lyrical writing – I want to eat everything Kate cooks, and I want to cook everything she writes, and I want to buy this book for everyone I love. I loved it' -- Ella RisbridgerI love this so much. It's so cheering in an I Capture the Castle way of not being able to be depressed when there is a good egg tea inside you. I love Kate Young's writing and the way she weaves herself, the books, and the food together. What a treat -- Cathy RetzenbrinkKate's writing is as delicious and vibrant as her recipes. Her passion for food, for books, and for seasonal home cooking is completely infectious. This book sings with love, with flavour, with invention: I want to cook everything in it -- Olivia PottsMakes me want to read, cook and eat in equal measure -- Sue Quinn.A deeply personal book written in a sincere voice; reading it is like talking to your best and greediest book-loving friend * Daily Telegraph. *[An] engaging cookbook... Young's culinary almanac is sure to inspire an appetite for reading as well as cooking' * Town & Country UK *This is the book to curl up with on Christmas Day. It's a big cosy hug of a read, written with such love and care... Kate's recipes and suggestions for timely books to read as you cook and then eat are seamlessly blended' * Haverhill Echo *Bookworm Kate Young has penned the perfect gift for foodie friends who revel in the meal descriptions in their favourite novels' * Sainsbury's Magazine *What to eat when, and with what perfect read in your hand, need never be a cause for concern again thanks to Kate Young's latest cookbook. She considers the art of eating, imagination and literature in the most hunger-inducing ways * Dorset Echo *A beautifully presented, written and illustrated book, which gives real insight into the author and her love of the English seasons, and should inspire anybody to both cook and read more * Crumbs *

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Book SynopsisIf Greek tragedies are meant to be so tragic, why do they so often end so well? Here starts the story of a long and incredible misunderstanding. Out of the hundreds of tragedies that were performed, only 32 were preserved in full. Who chose them and why? Why are the lost ones never taken into account? This extremely unusual scholarly book tells us an Umberto Eco-like story about the lost tragedies. By arguing that they would have given a radically different picture, William Marx makes us think in completely new ways about one of the major achievements of Western culture. In this very readable, stimulating, lively, and even sometimes funny book, he explores parallels with Japanese theatre, resolves the enigma of catharsis, sheds a new light on psychoanalysis. In so doing, he tells also the story of the misreadings of our modernity, which disconnected art from the body, the place, and gods. Two centuries ago philosophers transformed Greek tragedies into an ideal archetype, now they want to read them as self-help handbooks, but all are equally wrong: Greek tragedy is definitely not what you think, and we may never understand it, but this makes it matter all the more to us.Trade ReviewWilliam Marx doesn't take anything for granted. Here, his thoughts take us to the most established concept in literature, "Greek tragedy", and then undermines it. His tools: the integration of in-depth historical analysis, detailed understanding of the antique plays, studying the traces of lost plays, and a rethinking of what always seemed obvious but is in fact anachronistic. He questions the very concept of the tragic, revises other basic concepts such as catharsis, and offers a fresh reading of those texts that re-become vital for the history of literature and our contemporary world. -- Mieke BalThis is an immensely enjoyable book on Athenian tragedy, written in lyrical prose and elegiac mode. -- Johanna Hanink * The Classical Review *Thus, from one book to the other, William Marx proposes a research path that will enjoy a bright future: "Catching literature by using what escapes literature." -- Jean-Louis Jeannelle * Le Monde *As a faraway, but irrevocable echo of Duras' "You saw nothing in Hiroshima", the reception of Greek tragedy makes with The Tomb of Oedipus its definite entrance into the postmodern era. -- Guillaume Navaud * Critique d’art *William Marx is one of the most original scholars of our time. The Tomb of Oedipus is a revolutionary rethinking of our relationship to the ancient world: its myths, its literature, its outlook. With this slim book, Oedipus's curse has been lifted at long last. -- Alberto Manguel, Director of Espaço Atlântida, The Centre for Research into the History of Reading, LisbonThis is an original and eye opening book. Its fundamental idea is quite simple. Only 32 Greek tragedies from the 5th century BCE have been preserved, which corresponds to less than 5% of the tragedies that had been put on stage. Can we consider this sample to be representative? The selection has been the product of a judgments about what constituted a good, a typical tragedy, a tragedy that should be read by children at school; but these were judgments from Roman imperial times, that are possibly and likely very different from the taste of the original Athenian audience. Has the tragedy of the 5th century really been tragic in the sense that Roman school teachers seem to imply? Marx's attempt to answer this question is intellectually sophisticated, wonderfully readable - and full of surprising insights. -- Luca GiulianiMarx, a comparative literature professor at the Collège de France, refreshes ancient literature and the concept of tragedy in this intelligent work of criticism....Elliott's translation is smooth and elegant, matching the sophistication of Marx's thought as he reinvigorates Greek tragedy. * Publishers Weekly *

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Book SynopsisJohn Donne: In the Shadow of Religion explores the life of one of the most significant figures of the English Renaissance. The book not only provides an overview of Donne’s life and work, but connects his writing and thinking to the ideas, institutions and networks that influenced him. The book shows how Donne’s faith underpinned his career, from aspirational courtier to phenomenally successful clergyman and preacher, when he became dean of St. Paul’s Cathedral. Donne emerges as a figure obsessed with himself, tormented by the fear that his transgressions may have condemned him to eternal damnation. This fine new account uses Donne’s correspondence, writing and poetry to give a rounded portrait of a bold, experimental thinker, who was never afraid of taking risks that few others would have countenanced.Trade Review"Hadfield evidently has wide knowledge of the period." * Sunday Times *“The great achievement of Hadfield’s book, and what sets it apart, is how convincingly it connects the seemingly disparate strands of Donne’s life and work—his lifelong struggle with matters of the soul, his paradoxical erotic and religious poetry, his marriage, his friendships, his sermons—allowing us to see above all Donne the brilliant and restless thinker.” -- James Shapiro, author of "1599: A Year in the Life of William Shakespeare"“Hadfield’s exemplary study of John Donne—a notoriously ‘difficult’ writer—is lucid and informative, yet always ready to probe towards new interpretations. Exploring lesser-known corners of Donne’s extensive output, he celebrates the ‘capacious and interconnected’ imagination of this complex, charismatic figure.” -- Charles Nicholl, author of “The Lodger: Shakespeare on Silver Street”

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Book SynopsisMina Loy was born in London in 1882, became American, and lived variously in New York, Europe, and finally, Aspen, Colorado until she died in 1966. Flamboyant and unapologetically avant-garde, she was a painter, poet, novelist, essayist, manifesto-writer, actress, and dress and lampshade designer. Her life involved an impossible abundance of artistic friends, performance and spectacular adventures in the worlds of Futurism, Christian Science, Feminism, Fashion, and everything modern and modernist. This new account by Mary Ann Caws explores Mina Loy's exceptional life, and features many rare images of Loy and her husband, the swiss writer, poet, artist, boxer and provocateur Arthur Cravan, who disappeared without trace in 1918.Trade Review'Reading Mary Ann Caws' book today reminds me of the excitement I felt when I first encountered Mina Loy's writing nearly fifty years ago. Mina Loy is not for everyone, I wrote at the time. She is an acquired habit. But if she gets into your system, you may become addicted. In fact you may not ever get over her, in which case this charismatic book will not help you. It will only make withdrawal more difficult.' - Roger Conover, writer, editor and Mina Loy's literary executor

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Book SynopsisNow available in paperback, Concrete Poetry: A 21st-Century Anthology is the first overview of concrete poetry in many years. Selective yet wide-ranging, this anthology re-evaluates the movement, singling out its most distinctive and influential works, including the little-known Japanese concretists, the Wiener Gruppe, Augusto de Campos, Ian Hamilton Finlay, Eugen Gomringer, Dieter Roth, Henri Chopin, Cia Rinne, Susan Howe and many others. Perloff's anthology presents individual poems, reproduced in their original languages, together with lively commentaries that explicate and contextualize the work, allowing readers to discover the intricacy of poems that some have dismissed as simple, even trivial, texts.Trade Review"Beautifully produced. . . . Whether you leap in and buy it or consult a library copy I think it's well worth your time. A book for poets, readers, and art lovers. Your own formally composed verses, on the still white page, ought to be ruffled, alarmed, and if not fully converted, at least have the 'look' of them excitingly challenged."-- "High Window Review" "Instead of simply reprising 'Concrete Poetry's Greatest Hits, ' Perloff's anthology covers a wide range of formal approaches and aesthetics, and we are introduced to work from throughout Europe and North America, as well as important poetry from Japan, and especially, Brazil, where the poets associated the Noigandres group, among other innovations, made poetry by 'pursuing an analogy between musical instruments and components of language.'"-- "California Review of Books" "Perloff's lively style and tone in this book help to give new life to old forms, conveying something of the sense of adventure felt among those of us still young enough to remember being part of this postwar cultural movement. Written in a highly accessible way, with a fine choice of accompanying poems, it's a book to generate new interest as well as to inform existing initiates."--Hansjoerg Mayer, poet, typographer, and publisher "Perloff's new anthology presents a wide sampling of what is known as concrete poetry. Through the book's rich introduction to the nearly 200 color and black-and-white illustrations and the commentary below each, readers learn much about this postmodernist poetic genre. . . . Recommended."-- "Choice" "This is an exciting and engaging summary of an important and still misunderstood field, the value of which lies in the intelligence and sensitivity of Perloff's close readings."-- "Burlington Contemporary" "This new anthology is to be welcomed. It features a wide range of international poets who contributed to the movement, and displays prime examples of their poetic output in its original setting. Perloff offers personal commentaries on the individual poems, and provides a historical introduction which also conveys her belief in the enduring legacy of the movement."--Stephen Bann CBE, emeritus professor of history of art, University of Bristol, editor of "Concrete Poetry: An International Anthology" "This wonderfully rich anthology reveals the experimentation and internationalism of concrete poetry and its continuing significance. Perloff's fresh selection, including the work of poets from Austria and Japan, offers scholarly insight alongside helpful notes to each poem."--Andrew Nairne OBE, director, Kettle's Yard, University of Cambridge "What is undoubtedly valuable about the book is the way that it carefully arranges, in a beautifully printed hardback, a selection of concrete poetry's keystones. The first half of Perloff's selection triangulates Brazil, Austria and Scotland through the work of three key figures: Augusto de Campos, Gerhard Ruhm, and Ian Hamilton Finlay. For the anglophone reader, she glosses the foreign words involved, prising apart the heavy punning that sparked the concrete imagination."--Jeremy Noel-Tod "Times Literary Supplement" "Most of the poems in Concrete Poetry fill a full page (and sometimes two). Under each is Perloff's critical gloss, never more than a few sentences long, and often brilliant . . . These glosses by Perloff set a new higher standard for the critical reading of avant-garde poetry, whether concrete or visual. The two pioneering critics of avant-garde poetry, Dick Higgins and Bob Grumman, would have loved them, as do I."-- "Rain Taxi Review of Books" "Perloff's Concrete Poetry: A 21st-Century Anthology offers a present-day perspective on the concrete poetry movement of the 1950s through to the 1970s. The curator takes us back to that defining period, which most scholars identify as the heyday of concretism, with the aim of establishing a sort of 'canon' of the most interesting and enduring contributors to the movement. Here is a body of work . . . which deserves a wider audience and greater critical attention."-- "Fortnightly Review" "This groundbreaking book finally legitimizes one of the most important--yet most neglected--strains of contemporary poetic practice. By rigorously framing concrete poetry within a critical discourse, Perloff forcefully positions concrete poetry as essential to understanding our digital world. More than a mere history or a survey, Concrete Poetry's landmark achievement signifies an essential reshuffling of the historical deck."--Kenneth Goldsmith, University of Pennsylvania, founding editor of UbuWebTable of ContentsAUTHOR'S NOTE PREFACE INTRODUCTION AUGUSTO DE CAMPOS GERHARD RUEHM IAN HAMILTON FINLAY BRAZIL AUSTRIA JAPAN UNITED KINGDOM SWITZERLAND GERMANY AND FRANCE UNITED STATES AND CANADA POSTLUDE BIOGRAPHIES REFERENCES ACKNOWLEDGEMENTS PHOTO ACKNOWLEDGEMENTS

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Book SynopsisNumerous books have attempted to chronicle the life of Dante Alighieri, yet essential questions remain unanswered. How did this self-taught Florentine become the celebrated author of the Divine Comedy? Was his exile from Florence so extraordinary? How did Dante make himself the main protagonist in his works, in a literary context that advised against it? And why has his life interested so many readers? In Dante's New Lives, eminent scholars Elisa Brilli and Giuliano Milani answer these questions and many more. Their account reappraises Dante's life and work by assessing archival and literary evidence and examining the most recent scholarship. The book is a model of interdisciplinary biography, as fascinating as it is rigorous.Table of ContentsAbbreviations and Works Cited Preface Prologue: Lineages 1 Adolescence 2 Youth in Florence 3 Youth in Exile 4 Old Age Epilogue: Legacies References Bibliography Acknowledgements Photo Acknowledgements Index

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Book SynopsisTextile imagery is pervasive in classical literature. An awareness of the craft and technology of weaving and spinning, of the production and consumption of clothing items, and of the social and religious significance of garments is key to the appreciation of how textile and cloth metaphors work as literary devices, their suitability to conceptualize human activities and represent cosmic realities, and their potential to evoke symbolic associations and generic expectations.Spanning mainly Greek and Latin poetic genres, yet encompassing comparative evidence from other Indo-European languages and literature, these 18 chapters draw a various yet consistent picture of the literary exploitation of the imagery, concepts and symbolism of ancient textiles and clothing. Topics include refreshing readings of tragic instances of deadly peploi and fatal fabrics situate them within a Near Eastern tradition of curse as garment, explore female agency in the narrative of their production, and argue for broader symbolic implications of textile-making within the sphere of natural wealth The concepts and technological principles of ancient weaving emerge as cognitive patterns that, by means of analogy rather than metaphor, are reflected in early Greek mathematic and logical thinking, and in archaic poetics. The significance of weaving technology in early philosophical conceptions of cosmic order is revived by Lucretius’ account of atomic compound structure, where he makes extensive use of textile imagery, whilst clothing imagery is at the center of the sustained intertextual strategy built by Statius in his epic poem, where recurrent cloaks activate a multilayered poetic memory.

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Book SynopsisIn the 1880s and 1890s, Walter Besant was one of Britain’s most lionized living novelists. Like many popular writers of the period, Besant suffered from years of critical neglect. Yet his centrality to Victorian society and culture all but ensured a revival of interest. While literary critics are now rediscovering the more than forty works of fiction that he penned or co-wrote, as part of a more general revaluation of Victorian popular literature, legal scholars have argued that Besant, by advocating for copyright reform, played a crucial role in consolidating a notion of literary property as the exclusive possession of the individuated intellect. For their part, historians have recently shown how Besant – as a prominent philanthropist who campaigned for the cultural vitalization of impoverished areas in east and south London – galvanized late Victorian social reform activities. The expanding corpus of work on Besant, however, has largely kept the domains of authorship and activism, which he perceived as interrelated, conceptually distinct. Analysing the mutually constitutive interplay in Besant’s career between philanthropy and the professionalization of authorship, Walter Besant: The Business of Literature and the Pleasures of Reform highlights their fundamental interconnectedness in this Victorian intellectual polymath’s life and work.Trade Review'This dedication to the complex network of ideas and lived practice makes Walter Besant more than a mere love letter to a forgotten Victorian. Rather, it provides an integral contribution to the history of publishing and of literary production, and to studies of libralism and reform as they appeared at the end of the century.' Peter Katz, Victorians Institute Journal‘Kevin A. Morrison’s recent volume of essays, Walter Besant: The Business of Literature and the Pleasures of Reform, offers a timely and important meditation on the restoration of authors who have fallen out of favor or slipped into obscurity… The essays in this volume offer nuanced reflections on Besant’s marginal status, thoughtful speculations about his fall from popularity, and compelling arguments for bringing him back into the Victorian studies.’ Heidi Kaufman, Victorian StudiesTable of ContentsIntroduction1. Walter Besant Now Kevin A. Morrison Part One: Literary Collaborations 2. Besant and Collaboration Kirsty Bunting 3. ‘Another like me’: The Literary Partnership of Walter Besant and James Rice Richard Storer 4. ‘I have altered nothing’: Walter Besant’s Completion of Blind Love Maria K. Bachman and Don Richard Cox Part Two: Reforming Authorship 5. Walter Besant and Copyright Reform Mary Ann Gillies 6. The Author Function in Walter Besant’s Fiction: the Notion of Artistic Value in the Wake of Copyright Law and the Nationalist Restructuring of the Trade Alberto Gabriele 7. Besant, Chatto and Watt: a Literary Income in the 1890s Simon Eliot 8. Workers as Artists: From Copyright to the Palace of Delight in Besant’s Writings Ayşe Çelikkol Part Three: Authoring Reforms 9. Altruism and The Monks of Thelema: Ideals and Realities Geoffrey A.C. Ginn 10. The Ethics of Perception and the Politics of Recognition: Walter Besant’s All Sorts and Conditions of Men Kevin Swafford 11. From Happy Individuals to Universal Sisterhood: Affective Reforms in All Sorts and Conditions of Men and Children of Gibeon Vicky Cheng and Haejoo Kim Part Four: Literary Relations 12. Moral Perfectionism, Optatives, and the Inky Line in Besant’s All in a Garden Fair and Gissing’s New Grub Street Tom Ue 13. Walter Besant: A Latter-Day Dickens? Andrzej Diniejko

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Book SynopsisAristotle’s Meteorologica concentrates on the meteorological aspects of Aristotle’s work published as Meteorologica books A-D, and on how they compare now with our understanding of meteorology and climate change. In other words, how well did Aristotle fair when he tried to explain weather 2,300 years ago when there was only logic, eye observation, and past experience, with only primitive instrumentation and a few personalized measurements? While there are scientific issues behind Aristotle’s writings, this book is written for the non-specialist. The book uses simple examples to present its case, which will be easily followed by general readers.Trade Review'[Aristotle's] explanation of climate change and natural variability [is[ remarkable. Through sound logic – based on the resources available to him at the time – and keen observation, Aristotle made more progress in meteorology than was made in the entire millennium that followed his thesis. Overall, this [book] serves as an interesting and pertinent reminder of how atmospheric science has evolved from Aristotle’s time to today.' - Leilani Dulguerov and Jürg Luterbacher, WMO Secretariat (2022), Meteoworld'This most recent English commented translation of Aristotle’s Metereologica focuses on how Aristotle’s treatise compares with our understanding of meteorology and climate change. In their extensive commentaries, the editors explain how Aristotle tried to explain weather 2.300 years ago, having at his disposal only logic, eye observation, past experience, and primitive instrumentation. The book uses telling examples and can be easily followed by general readers.' - Riccardo Pozzo (2022), Proceedings of the European Academy of Sciences & Arts'This bookfulfills a definite need and offers an authoritative scientificbackground for the study of Aristotle’s weather theory.' – Daniel W.Graham (2023): Aestimatio 3.1Table of ContentsProlegomena ; Introduction: about Aristotle ; His life ; His works ; BOOK A FROM ΜΕΤΕΩΡΟΛΟΓΙΚΑ ; Aristotle’s universe with a glimpse on climate change ; Meteorology now, part 1 ; Analogies and contrasts ; Key points of meteorology now, part 1 ; Back to Aristotle’s Meteorologica ; Meteorology now, part 2 ; Key points of meteorology now, part 2 ; Analogies and contrasts ; Back to Aristotle’s Meteorologica ; BOOK B FROM ΜΕΤΕΩΡΟΛΟΓΙΚΑ ; On winds ; Stormy weather ; Meteorology now, part 3 ; Key points of meteorology now, part 3 ; Back to Aristotle’s Meteorologica ; BOOK C FROM ΜΕΤΕΩΡΟΛΟΓΙΚΑ ; Aristotle’s optics Preparatory introduction ; Aristotle’s general theory of colour ; The halo ; Rainbow ; Sun dogs and light pillars ; Aurora Borealis ; BOOK D FROM ΜΕΤΕΩΡΟΛΟΓΙΚΑ ; Aristotle’s notion on thermodynamic equilibrium ; Concluding remarks ; Appendix I: Aristotle’s poem ‘Ode to Virtue’ ; Appendix II: Aristotle on climate change

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Book SynopsisScholars in disciplines from architecture and the fine arts, to the various branches of history and social studies, will find this study timely given contemporary European controversies over what constitutes national identity and what parts are played by race, philosophy and religion, economics, immigration, and invasion. Many major European national identities barely predate the nineteenth century and were shaped not just by wars, philosophies, industrial change, and governmental policies, but also by artistic manipulation of how people perceived public spaces: landscapes, cityscapes, religious and cultural structures, museums, and monuments commemorating conflict. Among the most masterful manipulators of the day were popular nineteenth-century French and British novelists, who gave famous buildings a special prominence in their writing. Some, like Victor Hugo are still read and respected by scholars. Others, like Alexandre Dumas, though still widely read, are undervalued by contemporary critics. Still others, like William Harrison Ainsworth, a prolific English writer, are all but forgotten. These three writers authored architectural novels which gave major ancient Gothic buildings a new and portable cultural presence well beyond their physical location. During these revolutionary times, when national symbolism was being questioned and challenged, the threatened rupture with the past was admirably addressed through their art.

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Book SynopsisDo you want to write a poem? This book will show you how to grow your own poem'Kate Clanchy has been teaching people to write poetry for more than twenty years. Some were old, some were young; some were fluent English speakers, some were not. None of them were confident to start with, but a surprising number went to win prizes and every one finished up with a poem they were proud of, a poem that only they could have written their own poem.Kate's big secret is a simple one: to share other poems. She believes poetry is like singing or dancing and the best way to learn is to follow someone else. In this book, Kate shares the poems she has found provoke the richest responses, the exercises that help to shape those responses into new poems, and the advice that most often helps new writers build their own writing practice.If you have never written a poem before, this book will get you started. If you have written poems before, this book will help you to write more fluently and confidently, more as yourself. This book not like other creative writing books. It doesn't ask you to set out on your own, but to join in. Your invitation is inside.

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Book SynopsisA collection that brings together Spivak’s wide-ranging writings on translation for the first time.Living Translation offers a powerful perspective on the work of distinguished thinker and writer Gayatri Chakravorty Spivak, revealing how, throughout her long career, she has made translation a central concern of the comparative humanities. Starting with her landmark “Translator’s Preface” to Jacques Derrida’s Of Grammatology in 1976, and continuing with her foreword to Mahasweta Devi’s Draupadi and afterword to Devi’s Chotti MundaandHis Arrow, Spivak has tackled questions of translatability. She has been interested in interrogating the act of translation from the ground up and at the political limit. She sees at play at border checkpoints, at sites of colonial pedagogy, in acts of resistance to monolingual regimes of national language, at the borders of minor literature and schizo-analysis, in the deficits of cultural debt and linguistic expropriation, and, more generally, at theory’s edge, which is to say, where practical criticism yields to theorizing in untranslatables. This volume also addresses how Spivak’s institution-building as director of comparative literature at the University of Iowa—and in her subsequent places of employment—began at the same time. From this perspective, Spivak takes her place within a distinguished line-up of translator-theorists who have been particularly attuned to the processes of cognizing in languages, all of them alive to the coproductivity of thinking, translating, writing. Table of Contents“Foreword” by Emily Apter “Preface: Earliest Engagements with Translation: Institution-Building” by Aron Aji and Maureen RobertsonPolitics of TranslationTranslator’s Preface to Of Grammatology by Jacques DerridaThe Politics of TranslationCultures of TranslationTranslation as CultureTranslating into EnglishThe Most Intimate Act of Reading“Draupadi”Translator’s Afterword to Chotti Munda and His Arrow by Mahasweta DeviNecessary, Yet ImpossibleQuestioned on Translation: AdriftNecessary, Yet ImpossibleWhat Is It, Then, to Translate?Teaching, Learning, Unlearning TranslationTranslation in the Undergraduate CurriculumScattered Speculations on Translation StudiesTranslating in a World of LanguagesGlobal?Teaching Black Skin“Afterword: Translating the Planet?” by Avishek Ganguly “Gramsci and Spivak: Politics of Translation” by Mauro Pala

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Book SynopsisOne of Europe’s greatest living philosophers, Giorgio Agamben, analyzes the life and work of one of Europe’s greatest poets, Friedrich Hölderlin. What does it mean to inhabit a place or a self? What is a habit? And, for human beings, doesn’t living mean—first and foremost—inhabiting? Pairing a detailed chronology of German poet Friedrich Hölderlin’s years of purported madness with a new examination of texts often considered unreadable, Giorgio Agamben's new book aims to describe and comprehend a life that the poet himself called habitual and inhabited. Hölderlin’s life was split neatly in two: his first 36 years, from 1770 to 1806; and the 36 years from 1807 to 1843, which he spent as a madman holed up in the home of Ernst Zimmer, a carpenter. The poet lived the first half of his existence out and about in the broader world, relatively engaged with current events, only to then spend the second half entirely cut off from the outside world. Despite occasional visitors, it was as if a wall separated him from all external events and relationships. For reasons that may well eventually become clear, Hölderlin chose to expunge all character—historical, social, or otherwise—from the actions and gestures of his daily life. According to his earliest biographer, he often stubbornly repeated, “nothing happens to me.” Such a life can only be the subject of a chronology—not a biography, much less a clinical or psychological analysis. Nevertheless, this book suggests that this is precisely how Hölderlin offers humanity an entirely other notion of what it means to live. Although we have yet to grasp the political significance of his unprecedented way of life, it now clearly speaks directly to our own. Trade Review"A work of retrieval. . . Agamben's main project is to uncover the political implications for the difference between the chronological life and the biographical life. This book is both creative and profound." * Choice *

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Book SynopsisFrank and refreshing, Brigitte Reimann’s collected diaries provide a candid account of life in socialist Germany. With an upbeat tempo and amusing tone, I Have No Regrets contains detailed accounts of the author’s love affairs, daily life, writing, and reflections. Like the heroines in her stories, Reimann was impetuous and outspoken, addressing issues and sensibilities otherwise repressed in the era of the German Democratic Republic. She followed the state’s call for artists to leave their ivory towers and engage with the people, moving to the new town of Hoyerswerda to work part-time at a nearby industrial plant and run writing classes for the workers. Her diaries and letters provide a fascinating parallel to her fictional writing. By turns shocking, passionate, unflinching, and bitter—but above all life-affirming—they offer an unparalleled insight into what life was like during the first decades of the GDR.Trade Review“Her work deserves a much wider reading public outside Germany, where she remains best known for her ambiguously autobiographical final novel Franziska Linkerhand...The eight years of irregular diary entries that make up I Have No Regrets, edited in German by Angela Drescher and now translated into English by Lucy Jones, are a welcome introduction to Reimann’s work.” * Times Literary Supplement *“Reimann left behind a string of novels and several years’ worth of diaries that shed vivid light on life in East Germany from the 1950s to the 1970s. This volume picks up her story shortly after a suicide attempt following a miscarriage.” -- Charlie Connelly * The New European *

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Book SynopsisA German twist on an Anglophone tradition, Science Fiktion provides a disturbing vision of the future from the other side of the Berlin Wall. When a young reader once asked Franz Fühmann if he considered his work to be science fiction, he was quick to deny it: he wanted nothing to do with the genre. As he began writing the stories that make up this volume, however, he found himself coming around to the idea of a hybrid genre—what he calls in German Saiäns-Fiktschen, "science fiktion" with a k. In seven interlocking stories, Science Fiktion offers a steampunk takedown of the logic of the Cold War. In this imagined future, two nations compete for global dominance: Uniterr, an exaggeration of the Eastern Bloc, in which personal freedom is curtailed and life regulated with cartoonish strictness; and Libroterr, in which the decadence of the West has been pushed beyond all reason. The stories follow three young citizens of Uniterr: Jirro, a young neutrinologist whose life is forever changed by a year spent abroad in Libroterr; Janno, a causologist condemned to a life of mediocrity in Uniterr’s bureaucracy for the briefest of impure thoughts; and Pavlo, an inventor and a drunkard, whose mind pushes against the limits of what his world allows. Through these three lives, Fühmann gradually unfolds the contours of their bizarre world in a master class of understated world-making. As the reader is swept up in the madness of Libroterr’s predator ads (which grab you on the street) and Uniterr’s mandatory mind readings, Fühmann’s dark comedy from the last century comes to seem all the more prescient in ours.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisPlaywright Harold Pinter, singer-songwriters Bob Dylan, David Gray, and Ian Curtis, of 1970s band Joy Division, would appear to have little in common as artists. But delve beneath the surface and amazing similarities suddenly reveal themselves. The form of their work might differ, yet the content is remarkably consistent. Who would have thought, for instance, that that quintessential Pinter play, The Caretaker, and Dylan song “Visions of Johanna” deal with the same subject? Similarly, Dylan, Curtis and Gray all describe a similar spiritual journey in their song-writing, however different their songs might appear on a first hearing. Artists, in fact, shows how the artists featured in this book all have the same mind-set, one that’s not new - Shakespeare shared it, too - but one which is spreading fast in the modern world. This is a must-read for any fan who is interested in seeing the meaning behind the words, any words, of a great artist.

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Book SynopsisA biography of the poet Stevie Smith

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Book SynopsisThe Underground Sea is a succinct, urgent collection of writing from John Berger''s archive. It brings together for the first time his work on mineworkers and the miners'' strikes and has been edited as a set of actions for today. Publication of The Underground Sea marks the 40th Anniversary of the 1984-5 Strike, at a time when people are rediscovering the necessity, power and possibilities of collective action.Including transcripts and image-essay of his rarely-seen BBC programme, Germinal; interviews and his essay ''Miners'', it places itself in the heart of a Derbyshire mining village, with reflections on the everyday life of a typical pit community. Berger grapples with the politics of witness as he studies the miners'' labour and the wider community shaped in service to this work. Reflecting on their precarity, he goes back to Zola''s novel for hope that ''a new world is germinating underneath the ground. And when it arrives, it will crack open the

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Book SynopsisWalking in the Luxembourg Garden, exchanging letters about tea with an irascible Tolstoy, Rainer Maria Rilke's French translator Maurice Betz enjoyed a rare intimacy with the great poet. This account of their collaborative translation of Rilke's only novel brings the reader along on a tour of the glittering cultural scene of interwar Paris. An elegant, poignant look at the great writer's final years, Betz's memoir is a portrait of genius, an evocation of a lost world, and a testament to enduring friendship.

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Book SynopsisA succinct, urgent and never-before seen collection of Berger's writing on mineworkers and miners' strikes celebrating both his acclaimed writing and deep-rooted politics

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Book SynopsisDiscover – or rediscover – the major achievements of Chinese culture and civilization. Great Books of China offers concise introductions – each of them accompanied by generous quotation (in English) from the book in question – to sixty-six works in the canon of Chinese literature. The books chosen reflect the chronological and thematic breadth of Chinese literary tradition, ranging from such classics as The Book of Songs and the Confucian Analects, through popular dramas and novels (The Romance of the Western Chamber; The Water Margin), twentieth-century political and biographical works (Quotations from Chairman Mao, the autobiography of the last emperor) and modern novels that are little known in the West (Memories of South Peking, Six Chapters from a Cadre School Life). Frances Wood presents a comprehensive, accessible and richly informative primer for the uninitiated; a box of delights that opens up an entire literary culture to the inquisitive reader.Trade ReviewPRAISE FOR FRANCES WOOD'S CHINA'S FIRST EMPEROR AND HIS TERRACOTTA WARRIORS: 'Fascinating book' Mail on Sunday. 'Wry, concise and authoritative' Times Literary Supplement. '[Wood's] close reading of these sources offers fresh insight' Publishers Weekly. '[An] interesting and informative work' Booklist. 'Wonderfully descriptive' * Library Journal *

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Book SynopsisIn Balzac’s vast Human Comedy, a body of ninety-one completed novels and stories, he endeavoured to create a complete picture of contemporary French society and manners. Within this work is a loving ode to Paris and an incomparable introduction to the first capital of the modern world.To this ageless city he makes a declaration of love in an accumulation of finely observed detail - the cafés, landmarks, avenues, parks - and captures the populace in countless meticulously drawn portraits: its lawyers, grisettes, journalists, concierges, usurers, salesmen, speculators.Balzac gathered the elements of this Paris by sauntering through it. ‘To saunter is a science,’ he writes, ‘it is the gastronomy of the eye. To take a walk is to vegetate; to saunter is to live.’ Eric Hazan follows in Balzac’s footsteps, criss-crossing the city in the novelist’s outsize boots, running between printers, publishers, coffee merchants, mistre

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Book SynopsisOne of America's best-loved poets, Edna St. Vincent Millay (1892-1950) burst onto the literary scene at a very young age and won the Pulitzer Prize for Poetry in 1923. Her passionate lyrics and superbly crafted sonnets have thrilled generations of readers long after the notoriously bohemian lifestyle she led in Greenwich Village in the 1920s ceased to shock them. Millay's refreshing frankness and cynicism and her ardent appetite for life still burn brightly on the page more than half a century after her death.

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Book SynopsisW. B. Yeats believed that a poet's life should be an experiment in living. His poems fashion into memorable words the sometimes puzzling emotions that hover over important life events. Yeats's remarkable work can clarify our own thinking about similar situations. Joseph M. Hassett's Yeats Now: Echoing into Life extracts and distils the rich harvest of Yeats's experiment. As Yeats's biographer Roy Foster comments, Yeats Now is 'a personal, quizzical, imaginative testament that ranges through Yeats's thought and writings, showcasing and discussing a series of ringing statements, suggestions and aphorisms that evolve into a kind of vade-mecum or guide to life. The subjects cover love, anger, friendship, politics, violence and the competing claims of perfecting the life, or the work'. This book is a wonderful companion to the work of this significant poet. Hassett's writing provides an excellent frame of context through which to explore one of Ireland's greatest poets.Trade ReviewHassett seeks always to restore the full poetic and personal context to many famous lines. … The result is one of the most beautiful and enjoyable books on Yeats ever to call forth the skills of a gifted designer [a]nd of a true critic. -- Declan Kiberd * Dublin Review of Books *Subtle and often illuminating study of what we can learn from Yeats … and how we can let his words echo in our own lives. -- Michael O'Loughlin * Irish Times *Thought-provoking, a fresh, accessible look at the shimmering legacy of WB Yeats in all its wonder and poise. -- Paddy Kehoe * RTE *This is a handsome and stylish book, both in looks and, more importantly, in its capacity to appreciate the magic of William Butler Yeats’s poetry. -- Michael Langan * NBC-2 *I can’t think of a more inspiring way to fill the unforgiving minute than to read this book, to be renewed and invigorated by Yeats’ relevance today – Now – and to rediscover the nobility of his poetry, the endurance of his hope. -- Anne Cunningham * Anne Cunningham Blog *

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Book SynopsisThis novel by Maylis Besserie, the first of her Irish trilogy, shows us Samuel Beckett at the end of his life in 1989, living in Le Tiers-Temps retirement home. It is as if Beckett has come to live in one of his own stage productions, peopled with strange, unhinged individuals, waiting for the end of days. Yell, Sam, If You Still Can is filled with voices. From diary notes to clinical reports to daily menus, cool medical voices provide a counterpoint to Beckett himself, who reflects on his increasingly fragile existence. He remains playful, rueful, and aware of the dramatic irony that has brought him to live in the room next door to Winnie, surrounded by grotesques like Hamm or Lucky, abandoned by his wife Suzanne who died before him. Besserie delights in Beckett’s bilingualism and plays back and forth between the francophone and anglophone properties of language, summoning James Joyce as Beckett reminisces about evenings the two spent together singing, talking and drinking. Largely written in the library of the Centre Culturel Irlandais, Besserie has kept the hum of Irish voices throughout this work. Yell, Sam, If You Still Can won the “Goncourt du premier roman”, the prestigious French literary prize for first time novelists, just before the country went into lockdown. Besserie is now planning a further two novels that will explore the links between Ireland and France and is touted as the new star of the French literary world. Financial Times Book of the Year 2022Trade Review‘Maylis Besserie and her translator Clíona Ní Ríordáin create Beckett's inner voice so convincingly in the novel that at times you think it might have been written by the man himself.’ Judge David Mills, Scott Moncrieff Prize Recounting the last days of a writer whose main subject was finitude is a challenge. Maylis Besserie pulls off the exercise with finesse. -- Virginie Block-Lainé * Elle *The last months of Samuel Beckett’s life are tested by the inner voice of the writer in the retirement home where he ended his life. Lunar and poignant. -- Antoine Perraud * La Croix *The author uses her radio-producing skills to create a polyphonic world with a collage of distinct and interweaving documents and voices. -- Kathleen Shields * Dublin Review of Books *remarkable ... [Besserie] carries it off so convincingly, with such elan and poetic force ... she evokes, subtly and with great skill, a fitting intensity, bleak lyricism and black humour ... Yell, Sam, If You Still Can is the work of a writer already in command of a resonant style and a broad artistic reach JOHN BANVILLE, THE GUARDIAN'imaginative, informed, magnificently written book about Samuel Beckett's last days in a Parisian nursing home ... full of Beckettian gallows humour' ANNE CUNNINGHAM, MEATH CHRONICLE'genuinely impressive ... heartfelt emotion and sincerity are alternated with bathetic absurdity to dizzying but wonderful effect ... experimental, bold, and polyphonic ... a thought-provoking and powerful achievement.' Eva Wall, Curiouser Books'Besserie generates a pleasing mixture of black humour and occasional lyrical intensity. Credit here must also go to Clíona Ní Ríordáin, for her adroit translation ... [a] provocative, intriguing, rewarding and audacious act of imagination' Eoghan Smith, Books IrelandFINANCIAL TIMES BOOK OF THE YEAR‘Remarkable’ SUNDAY INDEPENDENT‘Seriously impressive … the action bounces between Paris and Ireland and is remarkably evocative … this exquisite, moving, and ambitious book would be a great present for any fiction reader in your life.’ SARAH HARTE, IRISH EXAMINERA captivating and emotionally charged narrative. MIDIA MOHAMMADI, IRISH INDEPENDENT

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Book SynopsisEssays exploring medieval castration, as reflected in archaeology, law, historical record, and literary motifs. Castration and castrati have always been facets of western culture, from myth and legend to law and theology, from eunuchs guarding harems to the seventeenth- and eighteenth-century castrati singers. Metaphoric castration pervadesa number of medieval literary genres, particularly the Old French fabliaux - exchanges of power predicated upon the exchange or absence of sexual desire signified by genitalia - but the plain, literal act of castration and its implications are often overlooked. This collection explores this often taboo subject and its implications for cultural mores and custom in Western Europe, seeking to demystify and demythologize castration. Its subjects includearchaeological studies of eunuchs; historical accounts of castration in trials of combat; the mutilation of political rivals in medieval Wales; Anglo-Saxon and Frisian legal and literary examples of castration as punishment; castration as comedy in the Old French fabliaux; the prohibition against genital mutilation in hagiography; and early-modern anxieties about punitive castration enacted on the Elizabethan stage. The introduction reflects on these topics in the context of arguably the most well-known victim of castration in the middle ages, Abelard. Larissa Tracy is Associate Professor of Medieval Literature at Longwood University. Contributors: Larissa Tracy, Kathryn Reusch, Shaun Tougher, Jack Collins, Rolf H. Bremmer Jr, Jay Paul Gates, Charlene M. Eska, Mary A. Valante, Anthony Adams, Mary E. Leech, Jed Chandler, Ellen Lorraine Friedrich, Robert L.A. Clark, Karin Sellberg, LenaWånggrenTrade ReviewAnyone interested in the multiple premodern meanings of castration will enjoy this morbidly fascinating collection; it deserves the attention of all who work on ancient, medieval or early modern masculinities. * REVIEW OF ENGLISH STUDIES *Each contribution is equally engaging and provides an account that can be read as a stand-alone work; likewise, read in conjunction, the fourteen essays sit well together to provide a detailed picture of castration in medieval society. * PARERGON *Its wide temporal and geographical range, its sheaf of disciplinary approaches, make Castration and Culture a valuable collection and one that achieves a notable coherence. * ÓENACH *Table of ContentsIntroduction: A History of Calamities: The Culture of Castration - Larissa Tracy Raised Voices: The Archaeology of Castration - Kathryn Reusch The Aesthetics of Castration: The Beauty of Roman Eunuchs - Shaun Tougher Appropriation and Development of Castration as Symbol and Practice in Early Christianity - Jack Collins 'Al defouleden is holie bodi': Castration, the Sexualization ofTorture, and Anxieties of Identity in the South English Legendary - Larissa Tracy The Children He Never Had; The Husband She Never Served:Castration and Genital Mutilation in Medieval Frisian Law - Rolf H. Bremmer The Fulmannod Society: Social Valuing of the (Male) Legal Subject - Jay Paul Gates 'Imbrued in their owne bloud': Castration in Early Welsh and Irish Sources - Charlene Eska Castrating Monks: Vikings, the Slave Trade, and the Value of Eunuchs - Mary A. Valante 'He took a stone away': Castration and Cruelty in the Old Norse Sturlunga saga - Anthony Adams The Castrating of the Shrew: The Performance of Masculinity and Masculine Identity in La dame escolliee - Mary E Leech Eunuchs of the Grail - Jed Chandler Insinuating Indeterminate Gender: A Castration Motif in Guillaume de Lorris's Romans de la rose - Ellen Lorraine Friedrich Culture Loves a Void: Eunuchry in Eunuchry in De Vetula and Jean Le Fèvre's La Vieille - Robert L. A. Clark The Dismemberment of Will: Early Modern Fear of Castration - Lena Wånggren and Karin Sellberg

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Book SynopsisYour battle wounds are scars upon my heart' wrote Vera Brittain in a poem to her beloved brother, four days before he died in June 1918. The rediscovery of TESTAMENT OF YOUTH has reminded a new generation of the bitter sufferings of women as well as men in the terrible madness of the First World War. This, the first anthology of women war poets for over sixty years, will come as a surprise to many. It shows, for example, that women were writing protest poetry before Wilfred Owen and Siegfried Sassoon, and that the view of 'the women at home', ignorant and idealistic, was quite false.Many of these poems come out of direct experiences of nursing the victims of trench warfare, or the pain of lovers, brothers, sons lost. Poets include: Nancy Cunard, Rose Macaulay, Charlotte Mew, Alice Meynell, Edith Nesbit, Edith Sitwell, Marie Stopes, Katharine Tynan. Here, as elsewhere, 'the poetry is in the pity' - a moving record of women's experience of war.

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Book SynopsisWhen the Trinidadian novelist, Harold Sonny Ladoo was found dead soon after the publication of his classic novel, No Pain Like This Body, for Christopher Laird, it became an obsession to try to discover the writer behind the work and what had brought about his untimely end. Equal to Mystery – words written by Ladoo – is the record of that pursuit.When, as the editor of a Trinidadian literary journal in the radical years of the early 1970s, Christopher Laird was sent Harold Sonny Ladoo’s novel, No Pain Like This Body (1973) to review, he knew he was looking at something revolutionary in Caribbean fiction. It is a novel that has recently been republished as a Penguin Modern Classic. But the next news Laird heard of Ladoo was that he had returned to Trinidad from Canada and had been found dead – very probably murdered – in the canefields outside his family’s village of McBean. Laird follows in the path of Ladoo to Canada, where he went to make a name for himself as a writer, and tracks him as a student and young married man through conversations with his widow and other family members. He looks in detail at his relationships with two Canadian writers, Dennis Lee and Peter Such, who supported his work, and in Lee’s case published him. Here there is an acute account of their meetings across the line of race, of the mix of generous contact and elusive flight in their relationship. Above all, with access to Ladoo’s unpublished material -- short stories and fragments of the vast body of fiction he announced he was writing -- Laird offers acute analysis of what is there, honest bafflement about just what Ladoo was up to, with a tragic sense of the talent that was lost through his untimely death.

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Book SynopsisShakespeare's absolute pre-eminence is simply unparalleled. His plays pack theatres and provide Hollywood with block-buster scripts; his works inspire mountains of scholarship and criticism every year. He has given us many of the very words we speak, and even some of the thoughts we think.Nick Groom and Piero explore how Shakespeare became so famous and influential, and why he is still widely considered the greatest writer ever. They investigate how the Bard has been worshiped at different times and in different places, used and abused to cultural and political ends, and the roots of intense controversies which have surrounded his work. Much more than a biography or a guide to his plays and sonnets, Introducing Shakespeare is a tour through the world of Will and concludes that even after centuries, Shakespeare remains the battlefield on which our very comprehension of humanity is being fought out.

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