Literary studies: c 1900 to c 2000 Books

Book SynopsisF.T. Prince (1912-2003) is now emerging as one of the most distinctive voices of twentieth-century Anglophone poetry. Born in South Africa, he came to England in the 1930s, where he studied alongside Stephen Spender and W.H. Auden. First published by T.S. Eliot, and celebrated in his day by poets as various as Siegfried Sassoon and John Ashbery, his poems have long intrigued readers with their formal experiments, Baroque influences, and intellectual puzzles. During his own lifetime, he found fame with the war poem ‘Soldiers Bathing’ (1942), and was known chiefly as a Milton scholar. However, this collection of specially commissioned essays sheds new light on his achievements and reveals his central place in the story of modern poetry. Enthralled by the canon, yet embraced by the avant-garde, he has influenced poets from Geoffrey Hill to Susan Howe, a unique conduit between modernism and the Movement, British regionalism and American cosmopolitanism. Yet his poetry is not merely of interest for its continuing influence on wider tradition. Subtle, original, and various, F.T. Prince’s poetry asks important questions about power, responsibility, and collective memory.Trade ReviewReviews 'Reading F. T. Prince, the first book-length collection of critical responses, emerging from a centenary conference at Southampton University, offers a welcome opportunity for reassessment and celebration [of Prince].' Tim Dooley, Times Literary Supplement'Reading F. T.Prince develops something of a consensus about which poems matter most. A good many works are discussed, but only a few recur repeatedly. This is an impressive collection, which helps to make further work possible.' Sean Pryor, The Review of English StudiesTable of ContentsAcknowledgementsAbbreviationsChronologyIntroduction Will MayPart One: Styling Prince1. F.T. Prince’s Syllabics Derek Attridge2. The Intaglio Element in Prince’s Verse Gareth Farmer3. F.T. Prince: Truth in Style Peter RobinsonPart Two: Debts and Legacies4. Learned Poetry: F.T. Prince, Milton and the Scholar-Poet Michael Molan5. ‘We see all things as they might be’: F.T. Prince and John Ashbery Oli Hazzard6. F.T. Prince’s Overlooked Lustre of Rhetorical Language Todd SwiftPart Three: Bodies of Knowledge7. ‘My soldiers’: F.T. Prince and the Sweetness of Command Adam Piette8. ‘The completed story incomplete’: F.T. Prince and the Portrayal of National Bodies David Kennedy9. Fugitive Pieces: F.T. Prince and Sculpture Natalie PollardSelected BibliographyIndex

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Book SynopsisTouchstones examines the ways in which John McGahern became a writer through his reading. This reading, it is shown, was both extensive and intensive, and tended towards immersion in the classics. As such, new insights are provided into McGahern’s admiration and use of writers as diverse as Dante Alighieri, William Blake, James Joyce, Albert Camus and several others. Evidence for these claims is found both through close reading of McGahern’s published texts as well as unprecedented sleuthing in his extensive archive of papers held at the National University of Ireland, Galway. The ultimate intention of the book is to draw attention to the very literary and writerly nature of McGahern as an artist, and to place him, not just as a great Irish writer, but as part of a long and venerable European tradition.Trade ReviewReviews 'Well-organized, well-written, passionate when needed, and intensely readable... I was thrilled to find so much that is new in Shovlin’s study.' Eamonn Wall, Smurfit-Stone Professor of Irish Studies, University of Missouri-St. Louis'Frank Shovlin elegantly and insightfully weaves a tapestry of allusions and linkages around [McGahern's] work.'Ruth Gilligan, Times Literary Supplement'This is a smart, convincing, and approachable study. ... Frank Shovlin’s Touchstones gives abundant insights into how this art came about and as such makes for an ideal introduction to the various influences and precedents at play in John McGahern’s impressive fictional world.'Gerald Dawe, Irish University ReviewTable of ContentsAcknowledgements Abbreviations Touching Stones: Matthew Arnold and the Canon 1 We Other Clerks: James Joyce and the Classical Temper 2 A Walking Mirror: Stendhal, Horace, Nietzsche 3 One lone paperback: Tolstoy and Religious Sensibility 4 Magic: The Centrality of W. B. Yeats 5 Instinct: Douglas Stewart and Sex 6 The fume of muscatel: Yeats's Ghosts 7 Bohemian Rhapsody: Patrick Kavanagh and Generation X 8 Absurdity: Camus comes to Clones 9 Aristocracy: Andrew Marvell, W. B. Yeats and the Curse of Cromwell 10 The Consolations of Nothingness: William Blake, W. B. Yeats and Prayer 11 Deliberate Happiness: W. B. Yeats and the Inner Life 12 Stranger in Paradise: Dante and Epic Style Conclusion: What Then? Bibliography

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Book SynopsisWhat kinds of pleasure do we take from writing and reading? What authority has the writer over a text? What are the limits of language’s ability to communicate ideas and emotions? Moreover, what are the political limitations of these questions? The work of the French cultural critic and theorist Roland Barthes (1915–80) poses these questions, and has become influential in doing so, but the precise nature of that influence is often taken for granted. This is nowhere more true than in poetry, where Barthes’ concerns about pleasure and origin are assumed to be relevant, but this has seldom been closely examined. This innovative study traces the engagement with Barthes by poets writing in English, beginning in the early 1970s with one of Barthes’ earliest Anglophone poet readers, Scottish poet-theorist Veronica Forrest-Thomson (1947–75). It goes on to examine the American poets who published in L=A=N=G=U=A=G=E and other small but influential journals of the period, and other writers who engaged with Barthes later, considering his writings’ relevance to love and grief and their treatment in poetry. Finally, it surveys those writers who rejected Barthes’ theory, and explores why this was. The first study to bring Barthes and poetry into such close contact, this important book illuminates both subjects with a deep contemplation of Barthes’ work and a range of experimental poetries.Trade ReviewReviews 'Roland Barthes had little interest in poetry, but, surprisingly, his occasional remarks on the subject and thoughts about literature in general played a provocative role, Callie Gardner shows, for poets in the UK and especially the US and contributed especially to arguments about L=A=N=G=U=A=G=E writing. Gardner’s lucid and wide-ranging discussion shrewdly illuminates the odd fortunes of literary ideas.' Professor Jonathan Culler, Cornell University'Callie Gardner's subtle and shifting account of how the work of Roland Barthes has been read and re-used by English-speaking poets since the 1970s is a tour de force that will long resonate with poetry specialists and literary theorists alike.' Dr Andy Stafford, Leeds UniversityTable of ContentsAcknowledgements Abbreviations Introduction: A Great Indelicacy • ‘Insular and Pragmatical Minds’: Barthes’ First Readers in English • Barthes and the Poets 1. Barthes and Forrest-Thomson • ‘S/Z’ • ‘Drinks with a Mythologue’ • ‘L’effet du réel’ • Poems with Footnotes • ‘After Intelligibility’ • Poetic Artifice • Conclusion2. Barthes in America • Robert Duncan’s ‘Kopóltuš’ • Ron Silliman’s Nine Poets • Bernadette Mayer’s Experiments • Lyn Hejinian’s Erotics of Materials • Conclusion3. Barthes in Journals • Approaching Poetry Journal Culture • Poetics and Art Journalism: New York and Paris • Barthes in the ‘Language-Centred’ Poetics Journals • Wch Way • Michael Palmer’s Barthes • L=A=N=G=U=A=G=E’s Barthes • ‘Code Words’ • Open Letter • Barthes in Poetics Journal • UK Poetics • Barthes and Oulipo • Conclusion 4. Barthes and Love • Reading A Lover’s Discourse • ‘Lonely Girl Phenomenology’ • Anne Carson: Nuance and Eros • Deborah Levy: The Suburbs of Hell • Kristjana Gunnars: Roland Barthes in Winnipeg • Gunnars’ Transition: Longing to Zero • Conclusion5. Rejections of Barthes • Rejection and/as Influence • The Signifier as Fetish • Barthes and Race • John Yau and ‘The Death of the Author’ • Queer Barthes • New Narrative Writing and Queer Subjecthood • Acker, Barthes, Bataille • Conclusion Conclusion: Nothing Better Than A Theory BibliographyIndex

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Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. As the prominence of the recent #WakingTheFeminists movement illustrates, the Irish theatre world is highly conscious of the ways in which theatre can foster social emancipation. This volume of essays uncovers a wide range of marginalised histories by reflecting on the emancipatory role that the Dublin Gate Theatre (est. 1928) has played in Irish culture and society, both historically and in more recent times. The Gate’s founders, Hilton Edwards and Michéal mac Liammóir, promoted the work of many female playwrights and created an explicitly cosmopolitan stage on which repressive ideas about gender, sexuality, class and language were questioned. During Selina Cartmell’s current tenure as director, cultural diversity and social emancipation have also featured prominently on the Gate’s agenda, with various productions exploring issues of ethnicity in contemporary Ireland. The Gate thus offers a unique model for studying the ways in which cosmopolitan theatres, as cultural institutions, give expression to and engage with the complexities of identity and diversity in changing, globalised societies. CONTRIBUTORS: David Clare, Marguérite Corporaal, Mark Fitzgerald, Barry Houlihan, Radvan Markus, Deirdre McFeely, Justine Nakase, Siobhan O'Gorman, Mary Trotter, Grace Vroomen, Ian R. Walsh, Feargal WhelanTrade ReviewReviews‘The excellent essays in this collection add significantly to our knowledge of the Gate Theatre and its social and cultural practices and their contexts.’ Professor José Lanters, University of Wisconsin-Milwaukee‘This rich stimulating collection revisions the work of Dublin’s Gate Theatre and celebrates how it posed radical challenges to Irish society’s social and cultural sore points and no-go-areas. Through a dazzling diversity of case studies in production, performance and theatrical practices the essays argue convincingly for the role of the Gate in confronting audiences with images and impacts that countered attitudes and assumptions about sexuality, gender, class divisions, racialization and Irish (including language) identity. While the Gate’s acknowledged theatrical aesthetics are not neglected, the book stresses the Gate Theatre’s achievement in juggling localism and cosmopolitanism with invigorating and engaging tension.’Dr Cathy Leeney, University College Dublin'A Stage of Emancipation is full of outstanding theatre scholarship from emerging and established voices. It provides fascinating insight into the role that the Dublin Gate Theatre has played in promoting social, economic, and cultural change within Irish society since the late 1920s. Most notably, it highlights the valiant efforts by key figures in the theatre’s history to bring marginalised stories and progressive attitudes to the Irish stage. This is an enormously valuable book for students, academics, and practitioners alike.'Dr Fiona McDonagh, Mary Immaculate College, Limerick'This collection makes room to breathe in Irish theatre – allowing us to inhale the extraordinary diversity of identities and artistry which were embodied on the Gate stage. Our eyes are opened once again to these forgotten legacies which challenge singular concepts of nation and society, transforming not only our understanding of the past but liberating our approach to theatre now.'- Dr Melissa Sihra, Trinity College DublinTable of Contents1. IntroductionMarguérite Corporaal and Ruud van den BeukenI: Liberating Bodies2. Queering the Irish Actress: The Gate Theatre Production of Children in Uniform (1934)Mary Trotter3. Maura Laverty at the Gate: Theatre as Social Commentary in 1950s IrelandDeirdre McFeelyII: Emancipating Communities4. ‘Let’s Be Gay, While We May’: Artistic Platforms and the Construction of Queer Communities in Mary Manning’s Youth’s the Season–?Grace Vroomen5. Images and Imperatives: Robert Collis’s Marrowbone Lane (1939) at the Gate as Theatre for Social ChangeIan R. WalshIII: Staging Minority Languages 6. Authenticity and Social Change on the Gate Stage in the 1970s: ‘Communicating with the People’Barry Houlihan7. Micheál mac Liammóir, the Irish Language and the Idea of FreedomRadvan MarkusIV: Deconstructing Aesthetics8. The Use of Minority Languages at Dublin’s Gate Theatre and Barcelona’s TeatreLliureFeargal Whelan and David Clare9. Mogu and the Unicorn: Frederick May’s Music for the Gate TheatreMark Fitzgerald10. Tartan Transpositions: Materialising Europe, Ireland and Scotland in the Designs of Molly MacEwenSiobhán O’GormanV: Contesting Traditions in Contemporary Theatre11. From White Othello to Black Hamlet: A History of Race and Representation at the Gate TheatreJustine Nakase12. Bending the Plots: Selina Cartmell’s Gate and Politics of Gender InclusionMarguérite Corporaal

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Book SynopsisThe romances of Herman Melville, author of Moby-Dick and Billy Budd, Sailor, are usually examined from some setting almost exclusively American. European or other planetary contexts are subordinated to local considerations. But while this isolated approach plays well in an arena constructed on American exclusiveness, it does not express the reality of the literary processes swirling around Melville in the middle of the nineteenth century. A series of expanding literary and technological networks was active that made his writing part of a global complex. Honoré de Balzac, popular French writer and creator of realism in the novel, was also in the web of these same networks, both preceding and at the height of Melville’s creativity. Because they engaged in similar intentions, there developed an almost inevitable attraction that brought their works together. Until recently, however, Balzac has not been recognized as a significant influence on Melville during his most creative period. Over the last decade, scholars began to explore literary networks by new methodologies, and the criticism developed out of these strategies pertains usually to modernist, postcolonial, contemporary situations. Remarkably, however, the intertextuality of Melville with Balzac is quite exactly a casebook study in transcultural comparativism. Looking at Melville’s innovative environment reveals meaningful results where the networks take on significant roles equivalent to what have been traditionally classed as genetic contacts. Intervisionary Network explores a range of these connections and reveals that Melville was dependent on Balzac and his universal vision in much of his prose writing. Trade ReviewReviews ‘The traditional narrative is that Shakespeare’s works inspired innovations in Melville’s writing style, yielding Moby-Dick (1851). Haydock rescues an orphan strand, arguing that Honoré de Balzac’s La Comédie humaine (1842–55) inspired Melville’s conception of plot, characterization, and psychological analysis.’ American LiteratureTable of ContentsAcknowledgmentsIntroduction: Debt to Honoré de BalzacChapter One: Networked MelvilleChapter Two: International BalzacChapter Three: M. de l’AubépineChapter Four: Hawthorne’s Secret?Chapter Five: Transvisionary TranslatingChapter Six: Balzac’s Types at SeaChapter Seven: Physiology of ThinkingChapter Eight: American ComédieChapter Nine: Toward the Bouddha chrétienChapter Ten: The Clue in the LabyrinthEndnotesIndex

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Book SynopsisDistilled over many years from Henry Louis Gates Jr's legendary Harvard course in African American Studies, The Black Box: Writing the Race is the story of Black self-definition in America through the prism of the writers who have led the way. From Phillis Wheatley and Frederick Douglass, W. E. B. Du Bois and Booker T. Washington, to Zora Neale Hurston and Richard Wright, James Baldwin and Toni Morrison, these writers used words to create a liveable world a home for Black people destined to live in a bitterly racist society. This is a community that defined and transformed itself in defiance of oppression and lies; a collective act of resistance and transcendence that is at the heart of its self-definition. Out of that contested ground has flowered a resilient, creative, powerful, diverse culture formed by people who have often disagreed markedly about what it means to be 'Black', and about how best to shape a usable past out of the materials at hand, to call into being a more just and equitable future. This is the epic story of how, through essays and speeches, novels, plays and poems, a long line of creative thinkers has unveiled the contours of and resisted confinement in the black box that this nation within a nation has been assigned, from its founding to today. It is a book that records the compelling saga of the creation of a people.

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Book SynopsisThe Dinner at Gonfarone’s is organised as a partial biography, covering five years in the life of the young Nicaraguan poet, Salomón de la Selva, but it also offers a literary geography of Hispanic New York (Nueva York) in the turbulent years around the First World War. De la Selva is of interest because he stands as the largely unacknowledged precursor of Latino writers like Junot Díaz and Julia Álvarez, writing the first book of poetry in English by an Hispanic author. In addition, through what he called his pan-American project, de la Selva brought together in New York writers from all over the American continent. He put the idea of trans-American literature into practice long before the concept was articulated.De la Selva’s range of contacts was enormous, and this book has been made possible through discovery of caches of letters that he wrote to famous writers of the day, such as Edwin Markham and Amy Lowell, and especially Edna St Vincent Millay. Alongside de la Selva’s own poetry – his book Tropical Town (1918) and a previously unknown 1916 manuscript collection – The Dinner at Gonfarone’s highlights other Hispanic writing about New York in these years by poets such as Rubén Darío, José Santos Chocano, and Juan Ramón Jiménez, all of whom were part of de la Selva’s extensive network.Trade Review'Peter Hulme’s The Dinner at Gonfarone’s is a masterful, well-written literary history of the origins of modern literary pan-Americanism that offers the first in-depth biography in English of the early life and work of its seminal figure, Salomón de la Selva.' Jonathan Cohen, author of A Pan-American Life: Selected Poetry and Prose of Muna Lee'The Dinner at Gonfarone’s is a brilliant pioneering study of the transcultural origins of literary Nueva York. Hulme is able to recreate and delineate an important community of American writers in the continental sense of the word, thereby illuminating a relatively unknown aspect of New York’s cultural history.' Steven F. White, Professor of Hispanic Studies, St. Lawrence UniversityTable of ContentsIntroduction1. Setting the Scene: New York in 1914The Hispanic PresenceThe Poetic WatersModernity and Modernism2. American Geopolitics in the New Century (1898-1914)The Famous StatesPan-AmericanismRoosevelt’s VisionThe Shakespearean Allegory3. The Changing of the Poetic Guard (1915)Growing up in New York!Rubén Darío in HospitalBefriending Pedro, Loving EdnaThe First Dinner4. New York through Spanish Eyes (1916)Courting ArcherThe Recently Married PoetEdwin Markham on Staten IslandWilson’s Crime in Santo DomingoA Tale from Faerieland5. Goading the Bull Moose (1917)Confronting RooseveltMamita SchaufflerChicago!Introducing Edna6. The Pan-American Dream (1918)Is America Honest?Translating PoetryTropical TownFalling in Love AgainFighting for England7. The Last Dinner (1919)Nueva York!A Soldier ReturnsThe Dinner at Gonfarone’sThe Gulf of MisunderstandingNicaragua Has MeAftermathLeaving New YorkIn MexicoLater lifeTaking accountBiographiesAcknowledgementsSelect BibliographyIndex

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Book SynopsisThe book features previously unpublished manuscripts and correspondence illustrating case studies of John Dos Passos' screen writing for Paramount Pictures (1934); his role in writing and filming The Spanish Earth (1937), a Spanish Civil War relief project whose circumstances culminated in his public break from the Left; the 1936 screen treatment he wrote just before The Spanish Earth in consultation with its director, Joris Ivens; and his later-career attempts, beginning in the 1940s, to adapt his radically innovative trilogy U.S.A. directly for the screen and to realign its leftist politics toward the anti-Communist conservatism reflected in his work and activism after the 1930s and the disillusionments of the Spanish Civil War. It thus provides a new context for and reading of his political reorientation in the 1930s that not only ended his long friendship with Ernest Hemingway but also evoked the opprobrium of his former champions on the Left and redefined his literary career.Trade Review'A rich and engrossing book... John Dos Passos and Cinema will be the authoritative work on this aspect of Dos Passos's career and aesthetics for some time. But it also provides fresh insights into the perennial topic of his political biography and his shift to the right, as well as providing superb detail on the specifics of the networks and aesthetics of transnational, intermedial experiment on the left that galvanized modernist culture in the 1920s and 1930s.'Mark Whalan, Modernism/modernityTable of ContentsIntroduction Part I (1917-1928) From the Screen to the Page: “Goin’ to the movies…” in the Great War Chapter 1 Dos Passos and Soviet Filmmakers: Meyerhold, Vertov, Eisenstein, and the Development of Montage Chapter 2 Dos Passos and U.S. Film: D.W. Griffith, The Birth of a Nation (1915), and Hearts of the World (1918) Chapter 3 “Propaganda for peace”: Film and Narrative in One Man’s Initiation: 1917 (1920) and Three Soldiers (1921)Part II (1934-37) From Paramount Studios to the Spanish Front: Writing Hollywood, Filming History Chapter 4 “[T]he world’s greatest center of…propaganda”: Hollywood and The Devil Is a Woman Chapter 5 Dos Passos and Joris Ivens: “Dreamfactory” and Meta-film Chapter 6 Dos Passos, Ivens, and Hemingway: The Spanish Earth and the Death of Jose Robles Chapter 7 “Go home and try to tell the truth”: Revision and Reception of The Spanish Earth Part III (1947-70) U.S.A. From Page to Stage to Screens: Political and Structural Revisions Chapter 8 Filmic Narrative Into Narrative Film: Dos Passos Drafting U.S.A. for the Screen (1947-56) Chapter 9 Negotiation and Adaptation: U.S.A. Under Option, Adapted for Television, and Produced for the Stage (1959-60) Chapter 10 Early Aesthetics Through the Lens of Late Politics (1960-70)

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Book SynopsisThe late-Victorian era has been extensively researched as a period of Gothic literature, and this study seeks to build upon this body of work by connecting the content of such studies to the early decades of the twentieth century, which are less often seen in terms of Gothic or supernatural literature. Beginning with the quintessentially urban Gothic space of fin de siècle London, as represented in classic texts such as Dracula and Arthur Machen’s The Great God Pan, the study proceeds to ask how the themes and energies which emerge in this moment evolve throughout the early twentieth century. In the ghost stories of authors like M.R. James, the Edwardian era witnesses an uncanny return to the rural English landscape, in which modernity encounters the re-emergence of suppressed fears and forces. After World War One, London again experiences a renewal of Gothic themes, with figures such as D.H. Lawrence and T.S. Eliot representing the city as a stricken and desolate space, haunted by the trauma and ghosts of the recent conflict. That legacy of violence and loss is also evident in rural representations of place in the 1920s and 1930s, along with a renewed interest in supernaturalism and paganism found in authors like Sylvia Townsend Warner and Mary Butts. Ultimately, this study argues, this period of dramatic social and cultural change is shadowed by a corresponding evolution in Gothic literary representation, whether that is expressed through modernist experimentation or more conventional narrative forms. Trade Review‘Locating the Gothic in British Modernity is a scholarly achievement of great distinction, wide ranging, generously attentive to detail and genuinely manages to break new ground exploring this fascinating literary territory.’ Alan Price, Magonia Review of Books'[Wiseman] reinvigorates discussion of the gothic in literature by showing its persistence from the late Victorian period into the modernist period... The writing is clear and purposeful throughout, rendering the book accessible to nonspecialists interested in 20th-century British literature.'J. W. Moffett, CHOICETable of Contents Introduction 1. The Strangely Mingled Monster: Gothic Invasions, Occupations and Outgrowths in Fin de Siècle London 2. The Old Subconscious Trail of Dread: Shadows, Animism and Re-Emergence in the Rural World 3. In the Black Ruins of the Frenzied Night: Spectral Encounters in Wartime and Postwar London 4. From the Waste Land to the Dark Tower: Revitalizing the Rural Gothic in the Interwar PeriodConclusion Index

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Book SynopsisThe essays collected in Samuel Johnson Among the Modernists frame this major writer in an unfamiliar milieu and company: high modernism and its aftermath. By bringing Johnson to bear on the various authors and topics gathered here, the book foregrounds some aspects of modernism and its practitioners that would otherwise remain hidden and elusive, even as it sheds new light on Johnson. Writers discussed include T. S. Eliot, Virginia Woolf, Ezra Pound, Joseph Conrad, James Joyce, Samuel Beckett, Jorge Luis Borges, and Vladimir Nabokov. Chapter contributors include major scholars in their field, including Melvyn New, Jack Lynch, Thomas M. Curley, Greg Clingham and Clement Hawes. These ground-breaking essays offer a vital and exciting interrogation of Modernism from a wholly fresh perspective.Trade Review'These consistently informative, persuasive, and provocative essays should reshape notions of both literary history and Johnson's place in that history.' Elizabeth Kraft, CHOICE'The most interesting essays are those focused on Samuel Beckett, Virginia Woolf, and T. S. Eliot, those Modernists most explicitly concerned with Johnson [...] and Lee becomes very interesting when he turns his attention to their critical judgments; the two are heretical in the same attractive ways. [...] The literary criticism of Johnson and the Modernists [provide] the most fertile site of future scholarship. [...] The essays in the collection are all intellectually alive and well written [and] may provide a model for a new field of study: not biographies of Johnson the man but histories of Johnson the icon.'Lance Wilcox, The Scriblerian'In addition to Lee’s thoughtful introduction, this collection includes nine chapters that put Johnson into conversation with various authors and aspects of the first sixty years of the twentieth century. [...] Any reader of his fine translatio studii will have a deeper appreciation for what Clingham calls the paradoxical “invisibility” of these master prose stylists.[...] Anthony Lee has done Johnsonian and modernists alike a service in bringing these essays together and to light.'John Sitter, 1650-1850: Ideas, Aesthetics, and Inquiries of the Early Modern Era'This is prose written in a Johnsonian spirit, even if the style bears few of the master's hallmarks. [...] Each of its nine chapters proposes a sort of conversation between Johnson and other eighteenth-century writers, or between Johnson and a more recent author, or both. The comparison of Woolf with Johnson is perhaps the most fruitful of all the pairings in the volume, [...] partly because her literary-critical, biographical and essayistic career shared so much ground with his.'Freya Johnston, New Rambler

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Book SynopsisW. B. Yeats is one of the most important writers in English of the twentieth century, and the system of A Vision is generally recognized as fundamental to the power and achievement of his later poetry. Yet this strange mixture of esoteric geometry, lunar symbolism, and sweeping generalization has proven frustrating to generations of readers, who have found it obscure in both matter and presentation. This book helps readers to approach and understand the origins, structure, and implications of the system. Concentrating on the 1937 revised edition of A Vision, the treatment is divided into major topic areas with several levels: a general introduction to each topic; a fuller and deeper examination of that topic, drawing on A Vision's two versions and the manuscript background, and forming the bulk of each chapter; an examination of how the topic manifests in Yeats's literary work; full notes to explore conceptual and textual problems. The first three chapters examine the background and origins of A Vision; the central seven chapters look at the major elements involved in the system; the following four at the major processes of life and history. The main treatment ends with a summary and conclusion, and is supplemented by a glossary of terms and appendices.

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Book SynopsisDavid J. Supino traces in unprecedented detail the lineaments of Joseph Conrad’s authorial career and the fortunes (and misfortunes) of his publishers on both sides of the Atlantic. This work is a model of the integrative scholarly method, combining close bibliographical scrutiny of particular textual artifacts with archival recovery of book-historical information in as much detail as the surviving documents allow. The book is essential reading not only for students of Conrad but also for all those who wish to understand the publishing history of this era.Trade Review'David Supino’s magnificent volume is a remarkable achievement, building on the expertise he demonstrated in his equally authoritative bibliography of Henry James. This treasure-house of fascinating information, based on painstaking original research, will be a required resource for libraries, scholars and collectors, and an unrivalled point of reference for those interested in the oeuvre of this enduringly important author.'- Professor Philip Horne, University College London Table of ContentsPrefaceAcknowledgementsIntroduction AbbreviationsList of PlatesSection A: Principal WorksSection BB1: The PamphletsB2: PlaysB3: Minor WorksSection C: Early Collected EditionsSection D: Tauchnitz EditionsAppendix A: The Publishers of Conrad's Major WorksAppendix B: Conrad in the English Catalogue of Books 1895-1930Appendix C: A Note on Currencies and WorthIndices

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Book SynopsisShortlisted for the British Fantasy Awards (Non-Fiction) 2022Shortlisted for the Locus Science Fiction Foundation Non-Fiction Award 2022SF has long been understood as a literature of radical potential, capable of imagining entirely new worlds and ways of being. Yet SF has been slow to embrace posthumanist ideas about the human subject. The human of the SF tradition is instead a liminal being, caught somewhere between the transcendent ‘Man’ of classical humanism and the subversive ‘cyborg’ of posthumanist thought. This study offers a critical history of the 'human' in SF. By examining a range of SF works from 1818 to the 1970s, it seeks to answer some key questions: What role does technology play in defining what it means to be—or not to be—human? How do these writers understand the relationship between humanity and the rest of nature? And how can we use SF to re-examine our ethical position towards the non-human world and move to more egalitarian understandings of the human subject?Trade Review'This wide-ranging and original study convincingly shows how science fiction has (almost) always been posthuman. Thomas Connolly’s critical and cultural history of “the human” in Anglo-American sf ranges from the nineteenth century through the 1970s, constructing an expansive pre-history of the posthuman before the cyberpunk explosion of the 1980s. This is an exciting new story about the history of science fiction.' Veronica Hollinger, co-editor of Science Fiction Studies"This monograph gives a valuable starting point for considering the developments of human figures in science fiction before posthumanism had been articulated and it contributes productively to current conversations about reading such texts retroactively as engagements with the posthuman and posthumanism."Anna McFarlane, Science Fiction Studies'For those scholars interested to treat posthumanism not as a given of the 21st century, but as a development of the humanism and anti-humanism that came before, Connolly’s book is a valuable resource explaining the lines of thought in sf that have led up to, for example, the cyberpunk multiplication of posthumanism. After Human will help ground current work in contemporary posthumanist criticism by providing a historical perspective.' Lars Schmeink, SFRA ReviewTable of ContentsIntroduction: 'Beyond the common range of men': H.G. Wells, the OncoMouse, and the Human in Anglo-American SF1. Worlds Lost and Gained: Evolution, Primitivism, and the Pre-Human in Arthur Conan Doyle's The Lost World and Jack London's The Iron Heel2. Soma and Skylarks: Technocracy, Agency and the Trans-Human in Aldous Huxley's Brave New World and E.E. 'Doc' Smith's Skylark Series3. Homo Gestalt: Atomics, Empire, and the Supra-Human in Isaac Asimov's Foundation and Arthur C. Clarke's The City and the Stars4. Disaster and Redemption: Utopia, Nature, and the Post-Human in J.G. Ballard's The Crystal World and Ursula K. Le Guin's The DispossessedConclusion: Bio/Techno/Homo: The Future of the Human in SF

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Book SynopsisAs publishers in private printing presses, as writers of dissident texts and as political campaigners against censorship and for intellectual freedom, a radical group of twentieth-century Irish women formed a female-only coterie to foster women’s writing and maintain a public space for professional writers. This book documents the activities of the Women Writers’ Club (1933–1958), exploring its ethos, social and political struggles, and the body of works created and celebrated by its members. Examining the period through a history of the book approach, it covers social events, reading committees, literary prizes, publishing histories, modernist printing presses, book fairs, reading practices, and the various political philosophies shared by members of the Club. It reveals how professional women writers deployed their networks and influence to carve out a space for their writing in the cultural marketplace, collaborating with other artistic groups to fight for creative freedoms and the right to earn a living by the pen. The book paints a vivid portrait of the Women Writers’ Club, showcasing their achievements and challenging existing orthodoxy on the role of women in Irish literary life.Trade Review‘The book is a triumph of archival detective work… Brady’s history chronicles a space laboriously carved out by twenty-five years of wit, courage and cunning… It is a finely drawn, rich and illuminating history, and offers significant insights into the relationship between women’s social networks, cultural activism, and sexual dissidence with implications far beyond mid-twentieth century Ireland.’ Gerardine Meaney, Irish University ReviewTable of ContentsIntroduction1. Intellectual Fraternities? Dublin United Arts Club, the Irish Academy of Letters, and the Irish PEN 2. Coterie Culture and the Women Writers’ Club, 1933-1958 3. ‘A Wild Field to a Later Generation’: The ‘Book of the Year’ Award 4. Women Writers in Irish Print Culture, 1930-1960 5. Coterie Culture and Modernist Presses: The Gayfield Press Conclusion

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Book SynopsisScience fiction might not be the first thing that springs to mind when we think of Irish literature. But in the post-war period in Belfast, two authors, Bob Shaw and James White, began producing science fiction stories, eventually selling them to international markets and gaining the respect of luminaries such as Arthur C. Clarke, Brian Aldiss and Stanley Kubrick.Although lauded in the international science fiction scene for their innovations in the genre, Shaw and White’s work has been relatively ignored within Irish Studies. This book connects the emergence of science fiction in Belfast with the position of the city as the locus of technological development on the island of Ireland, and the development of a corresponding technological imaginary. Breaking new ground in the study of Irish modernity, Richard Howard draws parallels between the narratives of Shaw and White and the persistent influence of historical narratives embodied by the two-traditions paradigm in the region, as well as exploring the figure of the alien both in science fiction and in the history of Northern Ireland. He also considers the works of Shaw and White as utopian gestures against the backdrop of the Irish Troubles, finding both repressive and redemptive elements therein. The book makes an important contribution to the growing conversation about Irish science fiction and our understanding of modernity in Ireland.Trade Review'Howard’s Space for Peace is a valuable contribution to the dynamic body of work emerging at the intersections of Irish literary and sf studies... [Space for Peace] is to be welcomed for its embraided engagement with the overall scholarship in both fields... and, in particular, the lifetime work of Bob Shaw and James White.'Tom Moylan, Science Fiction Studies Table of ContentsIntroduction1. A Proximity to Technology2. Historical Continuity and Alternative Modernities3. The Alien and the Other4. Utopias, Repressive and RedemptiveConclusion

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Book SynopsisThroughout its readings, Digital Culture in Contemporary Fiction traces how each author gestures towards the literary and philosophical hermeneutics of algorithms and, in doing so, defines an emerging tradition of fiction attempting to redefine the novel's relevance within digital culture.

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Book SynopsisThrough essays on Virginia Woolf, Roger Fry, Rebecca West, T.S. Eliot, and E.M. Forster, The Work of the Living contends that modernism's artist-critics elevate criticism to a public mode of art and expression through their craft, rhetorical strategies, techniques, figurative language, and even their chosen circulations for their critical nonfiction.

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Book SynopsisMichaël Ferrier is a prize-winning novelist, essayist and academic whose cosmopolitan life – he grew up in Chad and France, has Mauritian roots and lives in Japan – has inspired him to write some fascinating novels that cross generic and geographical boundaries. This book is the first ever monograph dedicated to his works, which explore themes as various as an African childhood, notions of Frenchness, inter-identities, and post-Fukushima life in Japan. Hybridity is key to his themes, forms and genres, which include – as befits a twenty-first century author – a website, called ‘Tokyo-Time-Table’ and discussed in this study. Kawakami uses an eclectic range of frameworks to analyse Ferrier’s output, ranging from translingualism to Environmental Humanities and Ferrier’s own vision of his oeuvre, which he discloses for the first time in this book in the interview that he grants Kawakami. This interview, first published in this volume, is rich in insights into Ferrier’s views on dreams, Japan, the internet, and collaborating with other artists. This book is an indispensable guide to an author who is one of the rising stars of contemporary French and Francophone literature, and a unique voice that crosses all kinds of borders across the globe.Table of ContentsIntroduction. French, without Borders Chapter 1. Portraying Japan Chapter 2. Scatter and Resist: Ferrier Writing Fukushima Chapter 3. Challenging Space and Time: Mémoires d’outre-mer and Scrabble Chapter 4. Bringing Back the Dead Coda and Conclusion. Scrabble as Photobiography, and Writing without Borders Interview with Michaël Ferrier Bibliography

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Book SynopsisInPart Two, Hughes analyses forms of domination and dressage withreference to Simone Weil's mid-1930s factory journal, Paul Nizan's novel ofclass alienation Antoine Bloyé from the same decade, and Pierre Michon'sVies minuscules [Small Lives] (1984) with its focus on obscure rurallives.

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Book SynopsisKim Stanley Robinson remains one of the most progressive writers working today. In novels such as the post-apocalyptic The Wild Shore, the intergenerational star-ship narrative Aurora, and the tale of Ice Age hunters, Shaman, Robinson creates characters who struggle with and against storytelling.

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Book SynopsisMonsters and other supernatural malefactors disrupt the human world in distinct ways: werewolves and cunning beasts challenge the philosophical distinction between human and animal; demons offer deceptive pacts to prey upon our delusions of mastery over the world; capricious fairies claim dominion over the landscape and exact disproportionate revenge for our intrusions. When a monster appears, human history must halt until it departs.Irish history, meanwhile, has been punctured by dramatic ruptures, such as the Great Famine of 1845 to 1849. Monstrous imagery flourishes in these ruptures, so it is hardly surprising that Irish literature boasts a great many rough beasts and ravenous corpses. In this book, various monsters from Irish literature are considered in different historical contexts, to illustrate the role of horror and monstrosity in Ireland’s history and culture. In both English- and Irish-language texts, from the Act of Union to the death of the Celtic Tiger, hordes of night-creatures arise in times of crisis, embodying chaos and absurdity. Building upon the critical framework established in Irish Science Fiction (2014), this study looks at the specific ways in which ghosts, malevolent magicians, shape-shifters, cryptids and the corporeal undead oppose human agency by ‘breaking history’.Trade Review‘What is most impressive about this book is the sheer range of theoretical and fictional material with which it engages. [….] It is a very welcome addition to the growing scholarship on Irish horror fiction.’ Jarlath Killeen, Books Ireland Magazine '[Rough Beasts] opens up new possibilities in both Irish studies and the theory of horror. For this reason, it deserves the attention of any reader researching a definitively Irish gothic.'William Hughes, Victorian StudiesTable of ContentsIntroduction: In Defence of FearWe Dare Not Go A-Hunting: Fairies, Deep Time and the Irish WeirdHarbingers of HungerFrom Lore to LawLifting the VeilJust Sign HereThe Undead GenerationsBreeding Breaks OutHaunted Spaces, Monstrous LairsConclusions

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Book SynopsisShortlisted for the British Science Fiction Association Best Non-Fiction Award 2020Shortlisted for the Locus Science Fiction Foundation Non-Fiction Award 2021An Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.Despite the occasional upsurge of climate change scepticism amongst Anglophone conservative politicians and journalists, there is still a near-consensus amongst climate scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to disastrous effect. The resultant climate crisis is simultaneously both a natural and a socio-cultural phenomenon and in this book Milner and Burgmann argue that science fiction occupies a critical location within this nature/culture nexus. Science Fiction and Climate Change takes as its subject matter what Daniel Bloom famously dubbed ‘cli-fi’. It does not, however, attempt to impose a prescriptively environmentalist aesthetic on this sub-genre. Rather, it seeks to explain how a genre defined in relation to science finds itself obliged to produce fictional responses to the problems actually thrown up by contemporary scientific research. Milner and Burgmann adopt a historically and geographically comparatist framework, analysing print and audio-visual texts drawn from a number of different contexts, especially Australia, Britain, Canada, China, Finland, France, Germany, Japan and the United States. Inspired by Williams's cultural materialism, Bourdieu's sociology of culture and Moretti's version of world systems theory, the book builds on Milner’s own Locating Science Fiction to produce a powerfully persuasive study in the sociology of literature. Trade Review'[This] volume offers an interesting introductory overview covering a variety of climate fictions... The clear, easily accessible writing style and overall useful introductory nature of the material would definitely recommend the volume as a text for undergraduates studying climate fictions as part of a literary studies or cultural studies curriculum.'Anya Heise-von der Lippe, Journal of the Fantastic in the Arts'Andrew Milner and J.R. Burgmann’s Science Fiction and Climate Change: A Sociological Approach adds some vitally needed critical rigor to the burgeoning subgenre of SF literature and media Daniel Bloom has labelled “cli-fi,” that is, climate fiction.'Jerome Winter, SFRA Review'Science Fiction and Climate Change is a comprehensive examination of the current state of CF [climate fiction]. It is pleasingly open to genre and form, and Milner and Burgmann's accessible style results in a book that is at once objective sociological-literary commentary and personal reflection on the practice of CF research.' Jasmin Kirkbride, Green LettersTable of Contents1. Ice, Fire and Flood: A Short Pre-History of Climate Fiction 2. A Theoretical Interlude 3. Climate Fiction and the World Literary System 4. The Classical Dystopia in Climate Fiction 5. The Critical Dystopia in Climate Fiction 6. The Problem of Fatalism in Dystopian Climate Fiction 7. Base Reality Texts and Eutopias 8. Cli-Fi in Other Media 9. Changing the Climate: Some Provisional Conclusions

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Book SynopsisThe psychologist may appear in science fiction as the herald of utopia or dystopia; literary studies have used psychoanalytic theories to interpret science fiction; and psychology has employed science fiction as an educational medium. Science Fiction and Psychology goes beyond such incidental observations and engagements to offer an in-depth exploration of science fiction literature’s varied use of psychological discourses, beginning at the birth of modern psychology in the late nineteenth century and concluding with the ascendance of neuroscience in the late twentieth century. Rather than dwelling on psychoanalytic readings, this literary investigation combines with history of psychology to offer attentive textual readings that explore five key psychological schools: evolutionary psychology, psychoanalysis, behaviourism, existential-humanism, and cognitivism. The varied functions of psychological discourses in science fiction are explored, whether to popularise and prophesy, to imagine utopia or dystopia, to estrange our everyday reality, to comment on science fiction itself, or to abet (or resist) the spread of psychological wisdom. Science Fiction and Psychology also considers how psychology itself has made use of science fiction in order to teach, to secure legitimacy as a discipline, and to comment on the present.Trade ReviewReviews'Setting up an encounter between the histories of science fiction and psychology might portend a collision of alienworlds. Instead, Gavin Miller's Science Fiction and Psychology constructs a reflexive dialogue, which results in aunique synthesis of these two cultures.'David C. Devonis, Journal of the History of the Behavioral Sciences‘Miller’s work stays focused on the core argument, with no chance of descending into minutiae, errata, or apocrypha. This structure is a reflection of the careful and insightful scholarship Miller brings to bear on the subject. I highly recommend it for any waihang interested in a deeper understanding of the relationship between science fiction and the science of the mind.’ Nathaniel Isaacson, Science Fiction Studies‘Indeed, Miller’s book “wittingly or unwittingly” encourages a well-deserved shift in attention to marginalized science fictions and sciences.’ Sydney Lane, Journal of Science Fiction ‘Gavin Miller’s Science Fiction and Psychology is a fantastic foundation for science fiction scholars to further explore the relevance of psychological novum in science fiction, and I have no doubt scholars working in other interdisciplinary fields would also appreciate understanding the “cultural traffic between the two territories” (242) which have shaped the 20th century and continue to affect our current understanding of the human mind and its relationship to its environment.’ Beata Gubacsi, The Polyphony ‘Science Fiction and Psychology is a rich, densely-argued study in how science fiction and psychology overlap… [It] is incredibly detailed and painstakingly outlined in its aims and goals, which is to initiate an inquiry into the fruitful intersection of science fiction and psychology.’ Sue Smith, SFRATable of ContentsIntroduction1. Evolutionary Psychology2. Psychoanalytic Psychology3. Behaviourism and Social Constructivism4. Existential-Humanistic Psychology5. Cognitive PsychologyConclusion: Science Fiction in PsychologyWorks Cited

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Book SynopsisAnita Brookner was known for writing boring books about lonely, single women. Misreading Anita Brookner unlocks the mysteries of the famously depressed Brookner heroine by creating entirely new ways to read six Brookner novels.Drawing on Brookner’s legacy as a renowned historian of French Romantic art and on diverse intertextual sources from Charles Baudelaire to Henry James, Renée Vivien and Freud, this book argues that Brookner’s solitary twentieth-century women can also be seen as variations of queer nineteenth-century male artist archetypes. Conjuring a cast of Romantic personae including the flâneur, the dandy, the aesthete, the military man, the queer, the analysand, the degenerate and the storyteller, it illuminates clusters of nineteenth-century behaviours which help decode the lives of Brookner’s twentieth-century women. This exploration of Brookner’s ‘performative Romanticism’ exposes new depths within her outsider introverts, who are revealed as a subversive blend of the historical, the contemporary, the masculine and the feminine.Trade ReviewReviews ‘Anita Brookner deserves this detailed, sophisticated, brilliant reading that appreciates Brookner’s peculiar genius and uncovers the ways in which she “does indeed write a different kind of novel.” Given the intertextual, allusive nature of Brookner’s work and her extraordinary expertise on eighteenth- and nineteenth-century European art and literature, Dr Mayer’s “misreading” of Brookner’s “performative romanticism” is entirely appropriate.' Ann Holbrook, Professor of English at Saint Anselm College'By tracing the ways in which Brookner’s intellectual achievements as an art historian informed her fiction, Mayer celebrates the subversive potential of Brookner’s performative Romanticism, and offers an important reevaluation of this author’s too long underrated body of work.'Kathryn Pallant, Contemporary Women's WritingTable of ContentsIntroduction1. The Military Man, the Analysand and the Queer in A Friend from England (1987)2. The Aesthete in A Misalliance (1986)3. The Dandy in Brief Lives (1990)4. The Flâneur in Undue Influence (1999)5. The Degenerate in Falling Slowly (1998)Epilogue

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Book SynopsisLaw and Literature: The Irish Case is a collection of fascinating essays by literary and legal scholars which explore the intersections between law and literature in Ireland from the eighteenth century to the present day. Sharing a concern for the cultural life of law and the legal life of culture, the contributors shine a light on the ways in which the legal and the literary have spoken to each other, of each other, and, at times, for each other, on the island of Ireland in the last three centuries. Several of the chapters discuss how texts and writers have found their ways into the law’s chambers and contributed to the development of jurisprudence. The essays in the collection also reveal the juridical and jurisprudential forces that have shaped the production and reception of Irish literary culture, revealing the law’s popular reception and its extra-legal afterlives.List of contributors: Rebecca Anne Barr, Max Barrett, Noreen Doody, Katherine Ebury, Adam Gearey, Tom Hickey, James Kelly, Colum Kenny, David Kenny, Heather Laird, Julie Morrissy, Gearóid O'Flaherty, Virginie Roche-Tiengo, Barry Sheils.Table of ContentsProem: ‘Protection of Life During Pregnancy Act, 2013’ Julie MorrissyIntroduction: Law and Literature / The Irish Case Adam Hanna and Eugene McNultyOpening Argument: Interpretation in Law and Literature Tom Hickey and David KennyPart I: Alternative Jurisdictions1. Saying Unsaid: Law Transformed in Annemarie Ní Churreáin’s Bloodroot (2017)Adam Gearey2. Laughter Before the Law: Censorship, Caricature and Hunger Strike in Modern Irish Literature and ArtBarry Sheils3. Citizenship and Connection in Doireann Ní Ghríofa’s Clasp (2015)Adam Hanna 4. Writing Law(lessness): Legal Pluralism and Narrative Structure in Emily Lawless’s Hurrish (1886).Heather LairdPart II: The Writer in Court5. Imagination versus the Law: Oscar Wilde Noreen Doody6. Fiat Justitia Ruat Caelum - Revisiting the Wildes on Trial Gearóid O’Flaherty 7. World War II Treason Trials and the Legacy of Irish Rebellion in Rebecca West’s The Meaning of Treason (1948) Katherine Ebury8. Legible Letters: The Cases of Patrick Pearse and the ‘English’ Alphabet Colum KennyPart III: The Court in Writing9. Through a Legal Looking-Glass: Maria Edgeworth’s Castle Rackrent (1800) and the LawMax Barrett10. Rape Narratives, Women’s Testimony, and Irish Law in Asking for It and Dark ChapterRebecca Anne Barr 11. ‘Pleading My Cause’: Literature and the Law in Irish RomanticismJames Kelly12. The Judge and The Human Hansard in Brian Friel’s TheatreVirginie Roche-Tiengo13. Moral Legibility: Dion Boucicault and the Melodramatic Legal SceneEugene Mc Nulty 

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Book SynopsisWinner of the Science Fiction Research Association Book Award 2021.This is the first book-length study of the relationship between science fiction, the techno-scientific policies of independent India, and the global non-aligned movement that emerged as a response to the Cold War and decolonization. Today, we see the trend of science fiction writers being used by governments as advisors on techno-scientific policies and defence industries. But such relationships between literature, policy and geo-politics have a long and complex history. Glimpses of this history can be seen in the case of the first generation of post-colonial Indian science fiction writers, the policies of scientific and technological development in independent India, and the political strategy of non-alignment advocated by India’s first prime minister, Jawaharlal Nehru, who proposed that Third World nations should maintain an equal distance between Washington and Moscow. Such a perspective reveals the surprisingly long and relatively unknown life of Indian science fiction, as well as the critical role played by the genre in imagining alternative pathways for scientific and geo-political developments to those that dominate our lives now. Trade ReviewReviews‘Final Frontiers is path breaking not only in being the first book-length study of non-Anglophone Indian science fiction, but also in Mukherjee’s provocative consideration of the form alongside the “combined and uneven” historical axes of Cold War Non-Alignment, Nehruvian techno-scientific policy, and Indian modernization in the twentieth-century world-system. This intelligent, sophisticated, and scrupulous book makes a much-needed contribution to postcolonial studies, science fiction studies, world literature studies, and cultural studies and will no doubt inform scholarly conversation in these fields for some time to come.' Eric D. Smith, University of Alabama in Huntsville'This is an exciting and vital new work in the field of sf studies. Its focus on an under-represented set of authors is welcome; its analytical frameworks are contemporary and productive, and give new and exciting insights and directions to the fields of sf studies, energy humanities and world-literature.' Rhys Williams, University of Glasgow'Final Frontiers is a meticulously researched and engagingly argued book that foregrounds an sf tradition largely unknown outside of South Asia.'Suparno Banerjee, Science Fiction StudiesTable of ContentsIntroduction: Science, Fiction and the Non-Aligned World1. Laboratory Lives2. The Uses of Weapons3. Energy MattersConclusion: Science, Fiction and the End of Non-Alignment

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Book SynopsisCriminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre’s full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of ‘genre’, ‘formula’ or ‘popular’; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.Trade ReviewReviews'The three editors of this rich collective volume are driven by the ambitious desire to radically revise crime fiction studies, sweeping away existing prejudices and providing a new conceptual framework to the study of the genre... in a few years, this work will be acknowledged as a turning point in the history of crime scholarship.'Stefano Serafini, Linguæ &'Criminal Moves is an excellent resource for scholars who are reconsidering how they research and teach foundational texts in the crime fiction genre. It can also help readers identify ways to analyse and appreciate transnational works outside of the traditional British-American canon without confining them to a fixed taxonomy.'Jennifer Schnabel, Crime Fiction Studies'Criminal Moves is an exciting venture. [...] It asks provocative questions about the transparency of narrative. [...] It is the reader, as consumer and companion of the detective and author, who is at the core of the experience. Also, the issue of the reader’s gaze and attention are important considerations.'Fred Isaac, CluesTable of ContentsIntroduction: Criminal Moves: Towards a Theory of Crime Fiction MobilityJesper Gulddal, Stewart King and Alistair RollsMobility of Meaning1. Behind the Locked Door: Leblanc, Leroux and the Anxieties of the Belle ÉpoqueJean Fornasiero and John West-Sooby2. Moving Fergus Hume’s The Mystery of a Hansom Cab and Breaking the Frame of Poe’s 'The Murders in the Rue Morgue’Alistair Rolls3. Reading Affects in Raymond Chandler’s The Big SleepHeta Pyrhönen4. Contradicting the Golden Age: Reading Agatha Christie in the Twenty-First CenturyMerja MakinenMobility of Genre5. Criminal Minds: Reassessing the Origins of the Psycho-ThrillerMaurizio Ascari6. Foggy Muddle: Narrative, Contingency and Genre Mobility in Dashiell Hammett’s The Dain CurseJesper Gulddal7. Burma’s Bagnoles: Urban Modernity and the Automotive Saccadism of Léo Malet’s Nouveaux mystères de Paris (1954-1959)Andrea Goulet8. Secrecy and Transparency in Hideo Yokoyama’s Six FourAndrew PepperTransnational Mobility9. The Reader and World Crime Fiction: The (Private) Eye of the BeholderStewart King10. From Vidocq to the Locked Room: International Connections in Nineteenth-Century Crime FictionStephen Knight11. Brain Attics and Mind Weapons: Investigative Spaces, Mobility and Transcultural Adaptations of Detective FictionMichael B. Harris-Peyton 

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Book SynopsisSubjectivity and Nationhood in Yeats, Joyce, and Beckett: Nietzschean Constellations reconceptualises Friedrich Nietzsche’s position in the intellectual history of modernism and substantively refigures our received ideas regarding his relationship to these Irish modernists. Building on recent developments in new modernist studies, the book demonstrates that Nietzsche is a modernist writer and a modernist philosopher by drawing new parallels between his engagement with established philosophical theories and the aesthetic practices that Ezra Pound and T. S. Eliot identified as quintessentially modernist. With specific reference to key Nietzschean philosophemes – eternal recurrence, the Übermensch, transnationalism, cultural paralysis, and ethical perspectivism – it challenges the longstanding assumption that Yeats, who repeatedly acknowledged his admiration for Nietzsche, is the most 'Nietzschean' of these Irish modernists. While showing how both Joyce and Beckett are in many important ways more 'Nietzschean' than Yeats, this interdisciplinary study makes a number of significant and timely contributions to the fields of Irish studies and modernist studies.Table of ContentsIntroduction: Nietzschean Modernism1. Foundational Systems and the Eternal Recurrence of the Same2. Aesthetic Potentiality and the Übermensch Ideal3. Cultural Paralysis and the Transnational State of Being4. Consciousness and the Ethics of AlterityConclusion: Nietzschean Constellations

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Book SynopsisThe T. S. Eliot Studies Annual is the leading venue for the critical reassessment of Eliot’s life and work in light of the ongoing publication of his letters, critical volumes of his complete prose, the new edition of his complete poems, and the forthcoming critical edition of his plays. All critical approaches are welcome, as are essays pertaining to any aspect of Eliot’s work as a poet, critic, playwright, or editor. This Waste Land centenary volume of the Annual appears at a crossroads in Eliot studies. In recent years, editions of his prose, annotated poems, and letters have vastly expanded what we know about Eliot, his life, oeuvre, composition practices, and circle of acquaintances. Further, in January 2020, over one thousand letters by the poet to his muse Emily Hale were opened at Princeton University Library, where they had been sealed when Hale donated them in 1956. Articles re-examine the Waste Land in light of these new insights, as well as looking at drama and performance, and Eliot and Europe. John D. Morgenstern, General Editor Editorial Advisory Board: Ronald Bush, University of Oxford David E. Chinitz, Loyola University Chicago Anthony Cuda, University of North Carolina–Greensboro Robert Crawford, University of St Andrews Frances Dickey, University of Missouri John Haffenden, University of Sheffield Benjamin G. Lockerd, Grand Valley State University Gail McDonald, Goldsmiths, University of London Gabrielle McIntire, Queen’s University Jahan Ramazani, University of Virginia Christopher Ricks, Boston University Ronald Schuchard, Emory University Vincent Sherry, Washington University at St. Louis

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Book SynopsisSpeculative Epistemologies is about truth effects in sf, which stands for both science fiction and speculative fiction. It examines six narratives, one from each decade from the 1960s to the 2010s, that challenge dominant assumptions about the normal, the possible, and the real. It asks what the patterns of overlap and interference generated by texts located in border territories that make their identification as sf problematic, and sometimes controversial, can reveal about the dynamics of sf’s multiple subcultures (e.g. professionals, academics, and fans); the complexity of the genre’s communities of practice and their routes of production, distribution, and reception; and the genre’s shifting position within a broadly conceived field of literary and cultural production. The “speculative epistemologies” in these stories are counter-hegemonic ways of knowing, ways of imagining knowing differently, and the focus of this study is their effect on the formation of identities and communities. Combining the methods of genre theory, reception theory, and the sociology of cultural production, the readings of these six narratives trace a history of sf’s increasingly feminist, racially and ethnically diverse, philosophically ambitious, and politically engaged character from the 1960s to the present.Trade Review“A new book by John Rieder is an event, and Speculative Epistemologies delivers. It is, exactly as its title promises, ‘eccentric,’ in the best possible sense – reorienting science fiction studies to unconventional vistas, alternate possibilities, and roads not taken. It’s not to be missed.”Gerry Canavan, Marquette University‘In Speculative Epistemologies… [Rieder] displays his uncanny knack for spotting those things bobbing and flickering in the corner of sf studies’ eye, of gathering them together and placing them center stage, and of saying things about sf that immediately strike you as obvious and true—but only after he has said them.’ Mark Bould, Science Fiction Studies'Speculative Epistemologies is a reminder of Rieder's expertise and a concerted investigation into the grand narrative of sf via some of its minor literature… More of us should be producing "eccentric" scholarship of this nature in an effort to spark new coversations about sf from voices that can get lost in the shadow of history.' D. Harlan Wilson"Rieder’s reputation as a wide and generous reader precedes him, and the chapters devoted to each work in this book are testament to a body of knowledge and experience that puts my own to shame. What I can say with certainty is that he provides ample reason to seek out the stories I haven’t read, and to return to those I have.' Paul Graham Raven, SFRA Review "Table of Contents1. SF, Disciplinary Knowledge, and Mass Culture 2. The Canonical Marginality of Pamela Zoline’s “The Heat Death of the Universe”3. How Leslie Marmon Silko’s Ceremony Became SF4. Power and the Proper Fiction in Samuel R. Delany’s “The Tale of Plagues and Carnivals”5. Theodore Roszak’s The Memoirs of Elizabeth Frankenstein and the Feminist Critique of Science6. Albert Wendt’s Postcolonial Wonderwork: The Adventures of Vela7. What Kind of Genre Fiction Is This? Donna Haraway’s “The Camille Stories”8. Conclusion: Truth and SF in 2020

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Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.This volume contributes to the vibrant, ongoing recuperative work on women’s writing by shedding new light on a group of authors commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The neologism ‘interfeminism’ – coined to partner Kristin Bluemel’s ‘intermodernism’ – locates this group chronologically and ideologically between two ‘waves’ of feminism, whilst also forging connections between the political and cultural monoliths that have traditionally overshadowed them. Drawing attention to the strengths of this ‘out-of-category’ writing in its own right, this volume also highlights how intersecting discourses of gender, class and society in the interwar and postwar periods pave the way for the bold reassessments of female subjectivity that characterise second and third wave feminism.The essays showcase the stylistic, cultural and political vitality of a substantial group of women authors of fiction, non-fiction, drama, poetry and journalism including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. Additional exploration of the popular magazines Woman’s Weekly and Good Housekeeping and new material from the Vera Brittain archive add an innovative dimension to original readings of the literature of a transformative period of British social and cultural history.List of contributors: Natasha Periyan, Eleanor Reed, Maroula Joannou , Lola Serraf, Sue Kennedy, Ana Ashraf, Chris Hopkins, Gill Plain, Lucy Hall, Katherine Cooper, Nick Turner, Maria Elena Capitani, James Underwood, and Jane Thomas.Trade Review'This new collection of essays is a welcome addition to scholarship on twentieth-century women’s writing. [...] This is a recuperative project that insists on a dismissal of middlebrow from our critical lexicon in favour of an appreciation of ‘interfeminism’. Latent throughout are attempts to answer unspoken questions: did this period produce women’s writing that merits critical attention? And just how innovative was it? Where was its energy? Its revolt? Its exigency? Everywhere, this collection asserts, we just have to read it.'Lydia Fellgett, Women: A Cultural ReviewTable of ContentsIntroductionSue Kennedy and Jane ThomasPart I: Women Within and Beyond: Visions of ‘This Island’ 1930-19601. 'Pacifism , Fascism and The Crisis of Civilization’: Vera Brittain, Storm Jameson and Nancy Mitford in the 1930sNatasha Periyan2. Lower-Middle-Class Domestic Leisure in Woman’s Weekly, 1930 Eleanor Reed3. ‘Unsettled’ and ‘Unsettling’ Women: Migrant Voices After the WarMaroula Joannou Part II: Women Bearing Witness: The Temperature of War4. Supporting and Resisting the Myth of the Blitz: Ambiguity in Susan Ertz's Anger in the Sky (1943)Lola Serraf5. ‘The Lure of Pleasure’: Sex and the Married Girl in Marghanita Laski’s To Bed with Grand Music (1946)Sue Kennedy6. The Ambivalence of Testimony in The Heat of the Day (1949), Elizabeth BowenAna Ashraf7. Re-presenting Wrens: Nancy Spain's Thank you Nelson (1945), Eileen Bigland's The Story of the WRNS (1946), Vera Laughton Matthews' Blue Tapestry (1948) and Edith Pargeter's She Goes to War (1942) Chris HopkinsPart III: Women Writing Men: Interwar, War and Aftermath8. ‘We must feed the men’: Pamela Hansford Johnson’s Maternal Plotting. Too Dear For My Possessing (1940), An Avenue of Stone (1947) and A Summer to Decide (1948)Gill Plain9. Men of the House: Oppressive Husbands and Displaced Wives in Second World War and Post-War Literature (Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier)Lucy Hall 10. British Women Writing War: The Case of Storm Jameson Katherine CooperPart IV: New Realities for Women: A Forward Glance11. Barbara Comyns and New Directions in Women’s WritingNick Turner12. A New Reality: Shelagh Delaney’s A Taste of Honey (1958)Maria Elena Capitani13. Stevie Smith: Poetry and PersonalityJames Underwood14. ‘Whoever She Was’: Penelope Mortimer, Beyond the Feminine MystiqueJane Thomas

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Book SynopsisThis is the first book-length study of Forster’s posthumously-published novel. Nine essays focus exclusively on Maurice and its dynamic afterlives in literature, film and new media during the twentieth and twenty-first centuries. Begun in 1913 and revised over almost fifty years, Maurice became a defining text in Forster’s work and a canonical example of queer fiction. Yet the critical tendency to read Maurice primarily as a ‘revelation’ of Forster’s homosexuality has obscured important biographical, political and aesthetic contexts for this novel. This collection places Maurice among early twentieth-century debates about politics, philosophy, religion, gender, Aestheticism and allegory. Essays explore how the novel interacts with literary predecessors and contemporaries including John Bunyan, Oscar Wilde, Havelock Ellis and Edward Carpenter, and how it was shaped by personal relationships such as Forster’s friendship with Florence Barger. They close-read the textual variants of Forster’s manuscripts and examine the novel’s genesis and revisions. They consider the volatility of its reception, analysing how it galvanizes subsequent generations of writers and artists including Christopher Isherwood, Alan Hollinghurst, Damon Galgut, James Ivory and twenty-first-century online fanfiction writers. What emerges from the volume is the complexity of the novel, as a text and as a cultural phenomenon.Trade ReviewReviews'Twenty-First-Century Readings of E.M. Forster's Maurice is a smart and wide-ranging collection of essays on a critically neglected novel whose time is very much now. Exploring the novel’s queer politics, historical contexts, and aesthetic afterlives, the contributors elevate it in the Forster canon and establish its vital relevance to contemporary LGBT life.'Benjamin Bateman, University of Edinburgh'I would absolutely recommend the book. Twenty-First-Century Readings not only encapsulates and expands the present state of research concerning Maurice but above all, it invites and creates space for further Maurice related discussions... A real treat for the fans of Maurice and its author.'Anna Kwiatkowska, Polish Journal of English Studies'The scholarly ambition and intellectual range of the essays collected in Emma Sutton and Tsung-Han Tsai’s new volume suggest that scholarly work on E.M. Forster retains a pleasing energy and vibrancy in the author’s anniversary year... a deeply satisfying collection... It will undoubtedly send readers to the greenwood afresh, copies of Maurice in hand.'Fraser Riddell, Language and Literary Studies of WarsawTable of ContentsIntroduction: Maurice Through TimeEmma Sutton and Tsung-Han TsaiPart I. Forebears and Friends1. ‘An unspeakable of the Oscar Wilde sort’: E. M. Forster, Maurice, and the Legacy of AestheticismJoseph Bristow2. Women In and Out: Forster, Social Purity, and Florence BargerGemma Moss3. The Master and the Pupil: E. M. Forster, Christopher Isherwood, and the Forging of a Queer AestheticCharlotte CharterisPart II. Contemporary Contexts4. ‘Flat pieces of cardboard stamped with a conventional design’: Women and Narrative Exclusion in E. M. Forster’s Maurice Anna Watson5. Maurice: Beyond Body and SoulFinn Fordham6. Maurice and ReligionKrzysztof FordońskiPart III. Afterlives7. ‘A man embedded in society’: Homosexuality and the ‘Social Fabric’ in Maurice and Hollinghurst’s The Swimming-Pool LibraryDavid Medalie8. Sexuality, Allegory, and Interpretation: E. M. Forster’s Maurice and Damon Galgut’s Arctic SummerHoward J. Booth9. Maurice without Ending, from Forster’s Palimpsest to Fan-TextClaire Monk

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Book SynopsisWendy Cope is one of Britain’s most popular poets: her first two collections have together sold almost half a million copies, and in 1998, when Ted Hughes died, she was the BBC listeners’ choice to succeed him as Poet Laureate. She is also contrarian and sometimes controversial, and has been celebrated as one of the finest parodists of her, or any, generation. It is perhaps surprising, then, that her popular appeal has been met with critical near-silence. After five major collections, Cope has received only piecemeal critical attention, mostly confined to book reviews. This is the first in-depth study of her poetry. Drawing on Cope's published work, archival material and correspondence, Rory Waterman considers her main collections, her works for children and her uncollected poems, with many close readings, and detailed considerations of her cultural and literary contexts and her poetic development.Table of ContentsIntroduction1. ‘I learned to get my own back’: Making Cocoa for Kingsley Amis (1986)2. ‘He thinks you’re crazy’: Serious Concerns (1992)3. ‘Still warm, still warm’: If I Don’t Know (2001)4. ‘Your anger is a sin’: Family Values (2011)5. ‘About the human heart’: Anecdotal Evidence (2018)6. ‘The gift of changing’: Cope’s Poems for Children7. ‘They waited patiently’: Uncollected Cope

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Book SynopsisPublished here for the first time, Maura Laverty’s plays Liffey Lane, Tolka Row and A Tree in the Crescent are rooted in 1950s Dublin, its territories and enclaves. Teeming with the lives of the poor, the ambitious, the trapped and the struggling, the plays are moving, funny and vividly alive. They capture the capital in a state of transformation – reaching for modernisation while still enmired in stagnant class divisions, poor housing and narrow social values. Key to all three plays are questions of home, the lives of women and girls, and the impact of conservative government policies and church attitudes. Already a public figure in Irish life, and an influencer before her time through her fiction, cookery books and broadcasting, Laverty’s plays met with huge success when staged in 1951 and 1952 by Hilton Edwards of the Gate Theatre Company at Dublin’s Gaiety and Gate Theatres and on tour. Laverty’s trilogy is a significant and long-awaited part of the twentieth-century Irish theatrical canon. This volume presents the Trilogy, including a preface by Christopher Fitz-Simon, who knew and worked with Laverty. The editors’ introduction contextualises Laverty’s work and considers the theatrical values of the plays.Trade Review‘Maura Laverty bore vivid witness to newly independent Ireland in her journalism, broadcasting, cookery writing, novels for adults and children, and in the plays she wrote for the Gate Theatre in the 1950s. In publishing these three plays and providing valuable editorial commentary on them, Cathy Leeney and Deirdre McFeely have resurrected one brilliant writer’s perceptions of the problems, challenges, joys and sorrows of Dublin life in a decade of slow-burning social change.’ Caitriona Clear, Senior Lecturer in Modern Irish and European History, University of Galway‘Maura Laverty’s Dublin Trilogy was hugely popular when it premiered in Ireland in the 1950s. This landmark publication explains why, making these important plays available to a new generation of readers and theatre producers – while also providing a fascinating and comprehensive introductory essay that places these works in their social and theatrical contexts. The book’s overall impact is to retrieve the work of a writer who was celebrated in her own time, and who deserves to be better known in the present.’ Patrick Lonergan, Professor of Drama and Theatre Studies, University of Galway‘The trilogy is a significant and long-awaited part of the Irish theatrical canon.’ Books IrelandTable of ContentsPrefaceIntroduction: Maura Laverty’s Dublin TrilogyLiffey LaneTolka RowA Tree in the CrescentBibliography and Further Reading

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Book SynopsisThis book explores the literary afterlives of one of Ireland’s most enigmatic, shape-shifting and controversial sons, Roger Casement. A seminal human rights activist, a key figure in the struggle for Irish independence, a traitor to British imperialism and an enthusiastic recorder of a sexual life lived in the shadows: through Casement, writers have been able to commune and negotiate with a difficult past. Casement can be found in the most curious of places: from the imperial horrors of Heart of Darkness (1899) to the gay club culture of 1980s London in Alan Hollinghurst’s The Swimming-Pool Library (1998); from George Bernard Shaw’s play Saint Joan (1923) to a love affair between spies in Elizabeth Bowen’s The Heat of the Day (1948); from the post-Easter Rising elegies of Eva Gore-Booth and Alice Milligan to the beguiling, opaque poetry of Medbh McGuckian. Drawing upon a variety of literary and cultural texts, alongside significant archival research, this book establishes dialogues between modernist and contemporary works to argue that Casement’s ghost opens a fault line in our uneasy engagement with the cross-currents between history and memory, reality and fiction. It positions Casement as a vital and fascinating figure in the compromised and contradictory terrain of Anglo-Irish history.Trade Review'This is a welcome study, learned, wide-ranging and on a fascinating and timely topic.'Professor Matthew Campbell, University of York'As with all queer pasts the archive remains somewhat out of reach, incomplete, hidden, silenced and disputed; Casement will, as Garden rightfully notes, "continue to haunt us", but this work makes his haunting less of a ghostly white on white text, and is a worthy addition to Casement studies.' Mary McAuliffe, Irish Historical Studies'Garden writes an admirably nuanced and elaborately and systematically interwoven text […] This study adds much to the fields of memory studies, to gender studies, to the nationalist histories of Ireland and Britain, and to literary studies.' Frances Devlin-Glass, Australasian Journal of Irish Studies'Garden embraces all that is "complex, contradictory and messy" in Casement’s legacy: unrestricted by text or canon, she ... demonstrates how the "queer archival trail" of Roger Casement continues to disturb neat narratives of history.' Galen D. Bunting, Modernism/Modernity'This is a courageous, profoundly researched and theoretically challenging work that synthesizes the expanding Queer archive of Casement material and builds on the pioneering work by the American literary historian, Lucy McDiarmid. Garden’s opening chapter on Conrad and Sebald must rank as one of the most stimulating interventions on the "archival, textual and historical dialogue" between Heart of Darkness and The Rings of Saturn.' Angus Mitchell, Review of Irish Studies in EuropeTable of ContentsIntroduction: Casement's Queer GhostI. 'He could tell you things! Things I've tried to forget, things I never did know': Conrad, Sebald and Spectres of ImperialismII. The Black Diaries: Sex, Race and Empire in The Swimming-Pool Library and The Lost WorldIII. Queer Nationalism and Colonial Ireland: Ulysses and At Swim Two BoysIV. Saint Casement: The 'National Political Trial', Partition and the Dramatic Troubles of Sir RogerV. The Traitor and the Hero: War, Betrayal and EspionageVI. 'The Ghost of Roger Casement': Poetic Afterlives

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Book SynopsisThis book explores Wordsworth’s extraordinary influence on the tourist landscapes of the Lake District throughout the age of railways, motorcars and the First World War. It reveals how Wordsworth’s response to railways was not a straightforward matter of opposition and protest; his ideas were taken up by both advocates and opponents of railways, and through their controversies had a surprising impact on the earliest motorists as they sought a language to describe the liberty and independence of their new mode of transport. Once the age of motoring was underway, the outbreak of the First World War encouraged British people to connect Wordsworth’s patriotic passion with his wish to protect the Lake District as a national heritage – a transition that would have momentous effects in the interwar period, when popular motoring paradoxically brought a vogue for open-air activities and a renewal of romantic pedestrianism. With the arrival of global tourism, preservation of the cultural landscape of the Lake District became an urgent national and international concern. This book explores how patterns of tourist behaviour and environmental awareness changed in the century of popular tourism, examining how Wordsworth’s vision and language shaped modern ideas of travel, self-reliance, landscape and environment, cultural heritage, preservation and accessibility.Trade Review‘For its rigorous research and elucidation of the impact of transport upon the evolving experience of landscape and tourism from the mid-nineteenth century to the early twentieth century, Yoshikawa’s work offers both an insightful and significant contribution to current scholarship.’ Jules Gehrke, Journal of British Studies 'Yoshikawa’s archival work, as ever, is outstanding, and her claims are generally so well grounded as to seem almost obvious once the evidence is presented ... Yoshikawa’s book allowed us to take imaginative journeys while marking advancements in the thriving subdisciplines of Romantic literary geography.' Paul Westover, The Wordsworth Circle‘Saeko Yoshikawa in her new William Wordsworth and Modern Travel: Railways, Motorcars and the Lake District, 1830–1940 includes chapters… with an abundance of fascinating information, anecdotes, and illustrations.’ Eric C. Walker, European Romantic ReviewTable of ContentsIntroduction1. Wordsworth and Railways2. The Railway Controversy in Wordsworth's Lake District3. The Arrival of Motorcars4. Romantic Motorists, Romantic Cyclists5. The First World War and the Lake District6. Post-War Motoring in the Lake District, 1920s-30s7. Wordsworthian Tourism in the Interwar PeriodEpilogue: 'Access for All'

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Book SynopsisGiven the extensive influence of the 'transport revolution' on the past two centuries (a time when trains, trams, omnibuses, bicycles, cars, airplanes, and so forth were invented), and given science fiction’s overall obsession with machines and technologies of all kinds, it is surprising that scholars have not paid more attention to transportation in this increasingly popular genre. Futuristic Cars and Space Bicycles is the first book to examine the history of representations of road transport machines in nineteenth-, twentieth-, and twenty-first-century American science fiction. The focus of this study is on two machines of the road that have been locked in a constant, often bitter, struggle with one another: the automobile and the bicycle. With chapters ranging from the early science fiction of the pulp magazine era in the 1920s and 1930s, to the postcyberpunk of the 1990s and more recent media of the 2000s such as web television, zines, and comics, this book argues that science fiction by and large perceives the car as anything but a marvelous invention of modernity. Rather, the genre often scorns and ridicules the automobile and instead promotes more sustainable, more benign, more restrained technologies of movement such as the bicycle.Trade Review‘With its broad historic reach, its synthesis of a variety of disparate types of research from a variety of scholarly disciplines, its lucid prose, and its welcome readability, Withers' Futuristic Cars and Space Bicycles offers a significant contribution to both ecocritical discourse and the study of science fiction as a genre.’- Lisa Swanstrom, University of UtahTable of ContentsIntroduction1. Perfectibility and Techno-Optimism in the Pulp Era2. Murderous Cars, Space Bikes, and Alien Bicycles in the Golden Age3. Electric Cars, Auto-Dueling, and Bike Shares in the New Wave4. Messenger Skateboards and Messenger Bikes in Postcyberpunk5. Staying Mobile in the Post-Apocalyptic World6. Kids on Bikes in 1980s Nostalgia TextsConclusion

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Book SynopsisThis volume of essays continues the establishment of Lois McMaster Bujold as an important author of contemporary science fiction and fantasy. It argues persuasively that Bujold's corpus spans the distance between two full arcs of US feminism, and has anticipated or responded to several of its current concerns in ways that invite or even require theoretical exploration. The fourteen essays collected here provide wide-ranging scholarly analyses of Bujold’s work and worlds so far, covering not only the science fiction and fantasy series, but taking into account the wealth of ancillary material inspired by her works, such as fan fiction and role-playing games. Examining the major series through a range of perspectives, including feminist readings, queer theory, and disability studies, this volume aims to establish beyond doubt the seriousness of intent behind Bujold’s various artistic projects and provide a set of rich readings of this engaging, experimental, playful, and popular author. Trade ReviewReviews'Biology and Manners: Essays on the Worlds and Works of Lois McMaster Bujold advances scholarship on this important author by light-years. This collection covers nearly the entire chronological range of Bujold’s work, and gives equal attention to her Vorkosiverse science fiction and her Chalion and Sharing Knife fantasy worlds. Lee and McCormack have gathered a set of particularly strong essays applying queer theory and theological analysis to Chalion’s five-god pantheon and its interactions with humanity, and the chapters on women and reproduction are equally thought-provoking. Overall, an impressive and essential addition to Bujold studies.'Janet Brennan Croft, editor of Lois McMaster Bujold: Essays on a Modern Master of Science Fiction and Fantasy'Biology and Manners substantially advances previous scholarship through its comprehensive coverage of Bujold’s fictional range, its depth, and its attention to detail. The various scholarly approaches provide a central holographic reader response to Bujold’s oeuvre that becomes three-dimensional as the chapters come together, providing a clearer image of Bujold’s literary genius as well as her empathy and subversiveness... the accessibility of the prose in these essays makes this anthology of value not only to scholars and libraries, but also to serious fans.'Sandra Lindow, Science Fiction Studies'Biology and Manners is a compelling read. Upon completion, the reader is left with a pronounced feeling the anthology will become a foundational text that promotes future Bujold research... In these ways, Biology and Manners should prove its value to readers for years to come.' Karen Stewart, Journal of the Fantastic in the Arts"Overall, this collection’s use and array of theoretical approaches speaks to the range of Bujold’s writing, the need for further scholarly analysis of her works, and the impact they continue to have on her readers."Rebecca Jones, FoundationTable of ContentsSection 1: The Emergence of Bujold StudiesIntroduction: The Emergence of Bujold StudiesRegina Yung Lee and Una McCormackThe History of Scholarship on Lois McMaster Bujold’s Science Fiction and Fantasy: A Feminist Bibliographic EssayRobin Anne ReidSection 2: Bujold’s WomenUntimely Graces: Gender, Failure, and Sainthood in Lois McMaster Bujold’s Paladin of SoulsRegina Yung LeeYou Wish to Have the Curse Reversed? Traditional Narrative Motifs of Gender Reconfigured in Bujold’s Chalion NovelsCaitlin HeringtonIn Quiet Converse: The Intertextual Speaking of Madame Vorsoisson and Miss PriceKatharine WoodsSection 3: Heroes’ JourneysThe Shape of a Hero’s Soul: Exploring the Paradox of Fate and Free Will in The Curse of Chalion and Paladin of SoulsC. Palmer-PatelThe Road and the River: Genre-Neering a Future in The Sharing Knife SeriesSylvia KelsoPain Made Holy: Narratives of Disability and Pain in The Curse of ChalionJoanne WoiakSection 4: Potential Futures and Imagined PastsQueering Barrayar: The Uterine Replicator in Gentleman Jole and the Red QueenJey Saung‘What you need is a liege lord’: Futuristic Feudalism in The Warrior’s ApprenticeSarah LindsayWomb with a View: Ectogenesis in Ethan of Athos and Brave New WorldAlly WolfeSection 5: Holy FamiliesThe Holy Family: Divine Queerness in The Curse of Chalion and The Hallowed HuntRobin Anne ReidThe Bastard Balances All: The Essential Other in Bujold’s Queer TheologyMeg MacDonaldSection 6: Beyond the BooksThe Naismith Stratagem: Authenticity and Adaptation in Lois McMaster Bujold’s Vorkosigan Saga: Sourcebook and Roleplaying GameJennifer Woodward and Peter WrightCanon Compliance and Creative Analysis in Vorkosigan Saga Fan FictionKristina Busse

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Book SynopsisA unique intersection between periodical and literary scholarship, and class and gender history, this book showcases a brand-new approach to surveying a popular domestic magazine. Reading Woman’s Weekly alongside titles including Good Housekeeping, My Weekly, Peg’s Paper and Woman’s Own, and works by authors including Dot Allan, E.M. Delafield, George Orwell and J.B. Priestley, it positions the publication within both the contemporary magazine market and the field of literature more broadly, redrawing the parameters of that field as it approaches the domestic magazine as a literary genre in its own right. Between 1918 and 1958, Woman’s Weekly targeted a lower middle-class readership: broadly, housewives and unmarried clerical workers on low incomes, who viewed or aspired to view themselves as middle-class. Examining the magazine’s distinctively lower middle-class treatment of issues including the First World War’s impact on gender, the status of housewives and working women, women’s contribution to the Second World War effort, and Britain’s post-war economic and social recovery, this book supplies fresh and challenging insights into lower middle-class culture, during a period in which Britain’s lower middle classes were gaining prominence, and middle-class lifestyles were undergoing rapid and radical change.Table of ContentsIntroduction1. Armistice: November 1918 – November 19192. Not working-class, but not yet middle-class: 19283. Preparing for War: September 1938 – September 19394. War: September 1939 – September 19455. Austerity: 19486. Consumerism: 1958Conclusion

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Book SynopsisThe study of French science fiction – even in France – remains an underexploited field. Only recently have French literary scholars been able to gain recognition for the validity of studying SF, but their works are often literary histories. This is the first book-length study to take into account both French and Anglo-American intellectual trends, theories, and SF scholarship and apply them to a corpus of French works. It shows how contemporary French SF imagines two broad philosophical inquiries into the powerful, yet terrifying geological age of the Anthropocene: posthumanism and transhumanism. While the posthumanist perspective calls attention to the interdependence and co-evolution of humans and nonhumans within a complex ecosystem of life, the transhumanist view of coping with the Anthropocene offers more pragmatic, tool-based solutions, rather than a reworking of the human imagination. Given the history of philosophical thought’s entanglement with literature in France, French SF can tell us a lot about this existential crisis of Anthropos as both destroyer and savior of worlds and bodies alike. With a focus on encounters between humans, nonhumans, and posthumans in selected works, this book investigates both the immaterial (the psychological state of the mind) and material (the body) stakes of posthumanist or transhumanist thinking in French SF.Table of ContentsPart One: Evolutionary and Ecological ShiftsIntroduction1. From Spears to Spaceships: Alien Encounters in the SF of J.H. Rosny aîné2. Becoming Orangutan: Animal Encounters in the Fiction of Éric ChevillardPart Two: Posthuman Bodies, Posthuman Minds3. Cyborg Encounters in the Fiction of Jean-Claude Dunyach and Ayerdhal4. Encounters with Posthuman Women in the Films of Luc BessonConclusion

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Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. Steel City Readers* makes available, and interprets in detail, a large body of new evidence about past cultures and communities of reading. Its distinctive method is to listen to readers' own voices, rather than theorising about them as an undifferentiated group. Its cogent and engaging structure traces reading journeys from childhood into education and adulthood, and attends to settings from home to school to library. It has a distinctive focus on reading for pleasure and its framework of argument situates that type of reading in relation to dimensions of gender and class. It is grounded in place, and particularly in the context of a specific industrial city: Sheffield. The men and women featured in the book, coming to adulthood in the 1930s and 1940s, rarely regarded reading as a means of self-improvement. It was more usually a compulsive and intensely pleasurable private activity.Trade Review\‘This is a fascinating and important study. It will be a rich and rare resource. Mary Grover has done a superb job illuminating the meaning of reading in individual lives as well as giving us insights into the local and national contexts.\’ - Alison Light, author of Common People: The History of an English Family ‘Steel City Readers provides an excellent opportunity to appreciate the power of reading and the changes reading for pleasure brings to a community and its literary legacies.’ - The Sheffield TelegraphTable of ContentsIntroduction: Reading, ‘I saw no living in it’1. At Home with Books2. Running up Eyre Street: Independent Young Readers and the Public Libraries3. Hefty Books and Tuppenny Weeklies4. Reading Scenes: Cultural Networks and Reading5. ‘Getting them Learned’: Books in the Classroom6. The 1937 ‘Confession’ Book of Mary Wilkinson: Reading and the Second World War7. ‘You can read and dance’: Marriage, Work and Play8. ‘Anna Karenina, you know, and all the normal things’: Sheffield Readers, Classics and the ContemporaryThe Last Word

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Book SynopsisThis volume of essays surveys gastronomy across global literary modernisms. Modernists explore public and domestic spaces where food and drink are prepared and served, as much as they create them in the modernist imagination through narrative, language, verse, and style. Modernism as a cultural and artistic movement also highlights the historical politics of food and eating. As the chapters in Gastro-Modernism reveal, critical trends in food studies alert us to many social concerns that emerge in the modernist period because of expanding food literacy and culture. The result is that food production, consumption, and scarcity are abiding themes in modernist literature and culture, reflecting tensions amidst colonial, agricultural, and industrial settings. This timely volume ultimately shows how global literary modernisms engage with food culture known as gastronomy to express anxieties about modernity as much as to celebrate the excesses modern lifestyles produce.Trade ReviewReviews ‘Contributing to an increasingly expanding field, the essays collected in Gastro-modernism explore the personal, collective, political, historical, and aesthetic role of food in a range of modernist works. Gladwin’s collection constitutes a highly useful and readable resource for students and scholars interested in the insightful, sometimes latent, sometimes overt, but always fascinating intersections and connection between food studies and literary modernist studies.’ Maria Christou, University of Manchester, author of Eating Otherwise: The Philosophy of Food in Twentieth Century Literature‘In Gastro-modernism¸ the landscapes of literary modernism become fascinating foodscapes, compelling us to examine its literary, artistic, and epistemic forms anew. There is a lot on the menu here. The domestic dinner party in Woolf’s writing, the synesthetic pleasures of Joyce’s prose, the starving artist of Mina Loy’s work, and the food memoirs of MFK Fisher are only a few of the many offerings. Importantly for students and scholards of the period, this collection is cognizant of significant developments in food studies relating to eco-modernism, modernist gender studies, and postcolonial-modernism, which inform its wide range of essays. Indeed, Gastro-modernism, itself an important key term that frames the essays, is sure to change the way we approach the field at large.’ Gitanjali Shahani, San Francisco State University, author of Tasting Difference and editor of Food and LiteratureThe emergent modernist food studies which [Gastro-Modernism] represent[s] then is very much of its moment and is a logical next step in our continued critical exploration of the legacy of new modernist studies and its political, cross-cultural, and material turn. Rebecca Bowler, Modernism/modernity‘Collections like Gastro-Modernism and others in the latest boom demonstrate the potential for modernist food studies as they sow generative connections and enrich subfields far more effectively than keeping the same canonical texts and authors in their separate silos.’ Jessica Martell, James Joyce Quarterly Table of ContentsIntroduction: Modernism and Gastronomy (Derek Gladwin) Part 1: Culture and Consumption 1. Sweet Bean Jam and Excrement: Food, Humor, and Gender in Osaki Midori’s Writings (Tomoko Aoyama) 2. What Is Eating For?: Food and Function in James Joyce’s Fiction (Gregory Castle) 3. A Woolf at the Table: Virginia Woolf and the Domestic Dinner Party (Lauren Rich) 4. Consuming the Modernist Cookbook: Food Literacy and Culture with Toklas, Dalí, and Marinetti (Derek Gladwin) Part 2: Taste and Disgust 5. Objects of Disgust: A Moveable Feast and the Modernist Anti-Vomitive (Michel Delville and Andrew Norris) 6. “We were very lonely without those berries”: Gastronomic Colonialism in Canada’s Indian Residential Schools (Clint Burnham) 7. From “Squalid Food” to “Proper Cuisine”: Food and Fare in Eliot’s Work (Jeremy Diaper) Part 3: Decadence and Absence 8. The Social and Cultural Uses of Food Separation (Peter Childs) 9. Against Culinary Art: Mina Loy and the Modernist Starving Artist (Alys Moody) 10. Cocktails with Noël Coward (Gregory Mackie) 11. Late Modernist Rationing: War, Power, Class (Kelly Sullivan) Part 4: Appetites and Diets 12. “The Raw and the Cooked”: Food and Modernist Poetry (Lee Jenkins) 13. Weight-Loss Regimes as Improvisation in Louis Armstrong’s and Duke Ellington’s Life Writing (Halloran) 14. Kitchen Talk: Marguerite Duras’ Experiments with Culinary Matter (Edwige Crucifix)

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Book SynopsisThis book, by the eminent poetry critic Neil Corcoran, examines the ways in which the work of significant modern Irish, British and American poets interacts with or ‘negotiates’ different contexts – historical, social, political, artistic and aesthetic. In Part 1 important work by David Jones, Robert Graves, Seamus Heaney and Bob Dylan is shown to negotiate poetic methods – both traditional and modernist – and also the work of major earlier writers to produce strikingly original new forms; and Derek Mahon’s prose is read in the light of these concerns. The books shows how, by negotiating in this way, their work engages profoundly with complex and sometimes terrible histories, including the First World War and the Northern Irish Troubles. Part 2 discusses the ways in which ‘ekphrastic’ work – poems which engage with visual art – by Elizabeth Bishop, W. S. Graham, John Ashbery, Sylvia Plath and Ciaran Carson negotiates comparable poetic and historical inheritances while also inventively responding to work by significant artists, notably Parmigianino, Poussin, de Chirico, Klee and members of the St Ives School. The book is a signal contribution to current critical debates about these poets, situating them in original or newly clarified contexts, and it offers exemplary close readings of noteworthy poems.Trade Review'Corcoran has long been one of our finest critics of modern and contemporary poetry. His blend of elegance and insight is consistently wonderful. This book contains essential reading on David Jones, Seamus Heaney, Elizabeth Bishop, Sylvia Plath, W. S. Graham, and many others. The way he enriches the poetry that he discusses is galvanising, and these essays are a hugely welcome shot in the arm.'- Alan Gillis, Professor of Modern Poetry, University of EdinburghTable of ContentsPrefacePart I. Negotiating Poems1. Spilled Bitterness: David Jones’s In Parenthesis between Myth and History 2. Robert Graves and Modern Poetry3. Irelands and Englands of the Mind: Seamus Heaney reading Shakespeare and Modern English Poetry4. Seamus Heaney and the Classics: Antaeus and Anchises 5. The Mahon Prose6. Beacon and Black Hole: Bob Dylan, Suze Rotolo and Two Songs of PartingPart II. Poems Negotiating Paintings 7. Our Infant Sight: An Elizabeth Bishop Collage8. W.S. Graham, Looking9. Doubting Ashbery 10. The Enigma of Arrival: Sylvia Plath reading de Chirico, Yeats and Klee11. Against Time: On Ciaran Carson’s Still Life

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Book SynopsisThis volume explores Italian science fiction from the nineteenth century to the twenty-first, covering literary texts, films, music and visual works by figures as diverse as Maria Rosa Cutrufelli, Peter Kolosimo, Primo Levi, Antonio Margheriti, Gilda Musa and Roberto Vacca. It broadens the horizons of both Italian studies and the environmental humanities by addressing a long-neglected genre, and expands our understanding of relations between the ecological, the imaginary and the sociopolitical. The chapters draw on a variety of methodological frameworks, including animal studies, ecocriticism, ecofeminism, eco-media studies, energy humanities and posthumanism. The reader will gain insights into consequential topics such as anthropocentrism/speciesism, ecomodernist thought, environmental justice struggles at the planetary and regional level, non-human and new materialist ontologies, utopian/dystopian philosophies and prospects for transitioning beyond the crisis of petro-modernity through the construction of post-depletion futures. Open Access versions of the introduction and six of the book chapters are available on the Liverpool University Press website.Trade Review‘This collection of essays takes the reader to the uncanny territory of Italian science fiction, a world animated by apocalyptic fantasies and ecological dystopias, consumerist annihilations and nonhuman socialities. In an epoch of multiple planetary crises, this revelatory book is a must-read for any archaeologist of the present.’ Federico Luisetti, University of St. Gallen‘If Italian culture has an ecological unconscious, that unconscious is embodied in science fiction. Rarely do so many creative motifs converge in the imagination of our species and the planet within a single literary genre: there are the anxieties of the automaton as an other-than-human, encounters with our spatio-temporal otherness, technological apocalypses, dilemmas of hybridity with real and imaginary life forms, and the desires of new socio-energetic utopias. With a perspective that encompasses cinema, art, and literature, ranging from great classics like Buzzati, Levi, Calvino, and Scerbanenco to “alien archaeologies” and solarpunk, Italian Science Fiction and the Environmental Humanities retrieves this unconscious and inaugurates the entrance of Italian science fiction into the international eco-literary canon. A futuristic and pioneering book that rightfully joins the essential references of environmental humanities studies.’ Serenella Iovino, University of North Carolina at Chapel HillTable of ContentsIntroduction: Greening Italian Science Fiction – New Approaches to a Long-Lasting Genre Daniel A. Finch-Race, Emiliano Guaraldo, Marco Malvestio Section I: Science in the Anthropocene Herbert Pagani’s Mégalopolis: A Rock Opera between Dystopian Science Fiction and Ecological Utopia Eleonora Lima Cultural and Ecological Extinction in Primo Levi’s Science-Fiction Michele Maiolani What Kind of Science? Italian Science Fiction Writers against the Economic Boom Daniele Comberiati Section II: Visions of Extinction Ecofeminist Care at the End of the World: Collaborative Survival in Niccolò Ammaniti’s Anna and Maria Rosa Cutrufelli’s L’isola delle Madri Raffaella Baccolini and Chiara Xausa Barbarism, Animalization, and the End of the World: Fantasies of Regression and Mutation in Italian Science Fiction Simona Micali A Post-Apocalyptic Garden of Eden. Marco Ferreri’s Il Seme dell’Uomo Emiliano Guaraldo Section III: Urban Landscapes and Industrial Capitalism in a Rapidly Changing Country Industrial Wonders and Pitfalls in Émile Souvestre’s Le Monde tel qu’il sera en l’an 3000 (1846) and Agostino della Sala Spada’s Nel 2073! (1874) Daniel A. Finch-Race Spaceships in the Anthropocene: Peter Kolosimo and the End of (Our) Times Marco Malvestio Uncanny Spaces in Inhuman Times: The Art of Giacomo Costa Matteo Gilebbi Against Eco-Fascism: Space and Place in Tullio Avoledo’s Furland Florian Mussgnug Section IV: Posthuman, More-than-Human, and Interspecies Relations Green Traces: Vegetal Imagination in Italian Science Fiction from Gilda Musa to Solarpunk Enrico Cesaretti Bonsai Children, Enchanted Gardens: Nature as Artifice in Paolo Zanotti’s Dystopian Fairy Tale Valentina Fulginiti ‘All We Need is Love’?: Eros, Agape, and Koinonia in the Time of Mass Extinction Danila Cannamela Eco-Horror: Human-Animal Encounters in Italian Science-Fiction Films Robert A. Rushing Solarpunk, or rather Solartivismo: An Interview with Francesco Verso Arielle Saiber

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Book SynopsisThe Russian Revolution was a literary as well as political upheaval. With a focus on the revolutionary works of Andrei Platonov and the futurist collective Oberiu, leading Russian literary thinker Valery Podoroga shows how profoundly the Soviet experiment overturned the traditional expectations of fiction and poetry. The production of this groundbreaking new work was inextricably interwoven with the political and historical debates of the time.This volume expands on Podoroga’s critical exploration of the analytic anthropology of literature. Here he delves into the ways literature can be used in ‘world-building’, both in terms of what happens inside the narrative and how it reflects the external world. He explores the function of the work outside of its time: both as a means to project itself into the future and as a document of a former age. How are we to read the past through these works of the imagination?With an introductory essay from the author

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