Poetry Books

Book SynopsisThe publication of The Broadview Anthology of Seventeenth-Century Verse and Prose is a literary event; this comprehensive volume is the first anthology of the period to reflect the breadth of seventeenth-century studies in recent decades. Over one hundred writers are included, from John Chamberlain at the beginning of the century to Elisabeth Singer Rowe at its end. There are generous selections from the work of all major writers, and a representation of the work of virtually every writer of significance. The work of women writers figures prominently, with extensive selections not only from canonical writers such as Behn and Bradstreet, but also from other writers (such as Katherine Philips and Margaret Cavendish) who have been receiving considerable scholarly attention in recent years.The anthology is broadly inclusive, with writing from America as well as from the British Isles. Memoirs, letters, political texts, travel writing, prophetic literature, street ballads, and pamphlet literature are all here, as is a full representation of the literary poetry and prose of the period, including the poetry of Jonson; the prose of Bacon; the metaphysical poetry of Donne, Herbert, Marvell, and others; the lyric verse of Herrick; and substantial selections from the poetry and prose of Milton and Dryden. (While Samson Agonistes is included in its entirety, Milton’s epic poems have been excluded, in order to allow space for other works not so readily accessible elsewhere.)The editors have included complete works wherever possible. A headnote by the editors introduces each author, and each selection has been newly annotated.Trade ReviewPraise for The Broadview Anthology of Seventeenth-Century Verse and Prose:“There are many good things to be said about The Broadview Anthology of Seventeenth-Century Verse and Prose—not least that it comes to help relieve a quarter-of-a-century’s dearth of decent anthologies, that it covers the whole century, and that it includes a number of women writers…This ambitious and thoughtful anthology deserves a large audience.” — Tom Clayton, Regents Professor of English, University of MinnesotaTable of ContentsJOHN CHAMBERLAIN Letters The Death of Queen Elizabeth (1603)The Marriage of Princess Elizabeth (1613) LANCELOT ANDREWES A Sermon Preached Before the King’s Majesty at Whitehall (1609)NICHOLAS BRETON The Good and the Bad (excerpts) (1616) An Atheist or Most Bad ManA Wanton WomanA Quiet WomanAn Unworthy Lawyer FRANCIS BACON Essays (excerpts) Of TruthOf Simulation and DissimulationOf Marriage and Single LifeOf LoveOf Seditions and TroublesOf TravelOf EmpireOf the True Greatness of Kingdoms and EstatesOf PlantationsOf Masques and TriumphsOf StudiesOf Studies Aphorisms (excerpts) The IdolsIdols of the TribeIdols of the CaveIdols of the Market-placeIdols of the TheatreApplication of the Method KING JAMES VI/I A Speech to the Lords and Commons (1610)AEMILIA LANYERTo the Virtuous ReaderLADY MARGARET HOBY The Diary of Lady Margaret Hoby 1599-1605 (excerpts)JOHN DONNE Devotions: Upon Emergent Occasions (excerpts) IV. ExpostulationV. MeditationXVII. MeditationXXI. Meditation The second of my Prebend Sermons (January 29, 1626) WILLIAM LAUDDiary (excerpts)ELIZABETH CLINTON, COUNTESS OF LINCOLN The Countess of Lincoln’s Nursery (excerpts)ROBERT BURTON The Anatomy of Melancholy (excerpts) Democritus Junior To the ReaderLove of Learning, or Overmuch Study THE OVERBURIAN CHARACTERA Good WomanA Fair and Happy MilkmaidA WatermanA PrisonerTHOMAS HOBBES Leviathan, or The Matter, Form, and Power of a Commonwealth (excerpts)The IntroductionChapter XIIIChapter XVIIChapter XVIIIChapter XIXChapter XXChapter XXIChapter XLVIIA Review, and Conclusion LADY ELEANOR DAVIES The Lady Eleanor Her Appeal (excerpts) (1646)SIR ROBERT FILMER Patriarcha (excerpts)Directions for Obedience to Government in Dangerous or Doubtful Times WILLIAM BRADFORD History of Plymouth Plantation (excerpts) Book I, Chapter 9Book II, Chapter 19 ANNE CLIFFORD The Knole Diary (1603-1619) (excerpts) 160316161617 BENJAMIN LANEY The Study of Quiet, in Two SermonsA Sermon Preached Before His Majesty at Whitehall, March 12, 1665A Sermon Preached before the King At Whitehall, March 18, 1666 WILLIAM CAVENDISH, DUKE OF NEWCASTLE Advice to Charles II (excerpts) For TradeFor Ceremony and OrderThe Errors of State and Their RemediesThe Recreations for Your Majesty’s People EDWARD WINSLOW Good News from New England (excerpt) The Religion and Customs of the Indians Near New Plymouth RACHEL SPEGHT A Muzzle for Melastomus To Joseph SwetnamOf Woman’s Excellency THOMAS EDWARDS Gangraena (1646) (excerpt) The Catalogue of Errors KING CHARLES I A Proclamation and Declaration to Inform Our Loving Subjects of Our Kingdom of England of the Seditious Practices of Some in Scotland (1639)BATHSUA MAKIN An Essay to Revive the Ancient Education of Gentlewomen (excerpts) To her Highness the Lady MaryCare ought to be taken by us to Educate Women in LearningPostscript WILLIAM WALWYN The Bloody Project (1649)JOHN EARLE Microcosmography To the ReaderA ChildA SurgeonPaul’s Walk OWEN FELLTHAM Resolves Of PuritansOf PovertyOf WomanOf Poets and PoetryA Rule in Reading Authors SIR THOMAS BROWNE Religio Medici To the ReaderThe First Part (excerpts)The Second Part (excerpts) Hydriotaphia, Urne-Burial Chapter 1 (excerpts)Chapter 2 (excerpts)Chapter 5 JOHN MILTONfrom The Reason of Church Government (1641)Areopagitica (1644)Of True Religion, Heresy, Schism, and Toleration (1673)QUEEN HENRIETTA MARIA The Queen’s LetterThe Queen’s Letter Sent to the King’s most excellent Majesty from Holland EDWARD HYDE, EARL OF CLARENDON The Life of Edward Earl of Clarendon and The History of the Rebellion and Civil Wars in England (excerpts) The Character of William LaudThe Temper and Spirit of the Nation after 1660The Plague and the Fire of London, 1665—6 GERRARD WINSTANLEY A Declaration from the Poor Oppressed People of England (1649)The Diggers’ SongANNE BRADSTREETTo My Dear ChildrenJEREMY TAYLOR A Funeral Sermon, Preached at the Obsequies of the Right Honourable and Most Virtuous Lady The Lady Frances, Countess of Carbery The Rule and Exercises of Holy Living (excerpt) Consideration of the general instruments, and means serving to a holy life: by way of introduction The Rule and Exercises of Holy Dying (excerpt) Three precepts preparatory to a holy death to be practised in our whole lifeOf daily examination of our actions, in the whole course of our health, preparatory to our death-bedReasons for a daily examination SAMUEL BUTLERA Romance-WriterA RabbleMARGARET FELLWomen’s Speaking Justified, Proved, and Allowed of by the ScripturesLAWRENCE CLARKSON (CLAXTON) The Lost Sheep Found (1660)RICHARD OVERTONThe Proceedings of the Council of State Against Richard Overton, now Prisoner in the Tower of London, 1649SIR ROGER L’ESTRANGE Considerations and Proposals in Order to the Regulation of the Press (1663)ABRAHAM COWLEYExtracts from the Preface to the Poems of 1656Of SolitudeOf ObscurityOf My SelfABIEZER COPPE A Fiery Flying Roll and A Second Fiery Flying Roll (excerpts)JOHN EVELYN The Diary of John Evelyn (extracts) The RestorationThe Fire of London LUCY HUTCHINSON The Life of Mrs. Lucy Hutchinson Written by Herself, A FragmentMemoirs of the Life of Colonel Hutchinson (excerpts)MARGARET CAVENDISH, DUCHESS OF NEWCASTLE The Philosophical and Physical Opinions To the Two Universities Nature’s Pictures Drawn by Fancy’s Pencil to the Life The Loving Cuckold Orations of Diverse Sorts, Accommodated to Diverse Places An Oration for Liberty of ConscienceAn Oration against Liberty of ConscienceAn Oration proposing a Mean betwixt the two former Opinions CCXI Sociable Letters (excerpts)Philosophical Letters: or, Modest Reflections (excerpts) MARY HOWGILLA Remarkable Letter of Mary Howgill to Oliver Cromwell, Called ProtectorLADY ANNE HALKETT The Memoirs of Anne, Lady Halkett (excerpts)KATHARINE EVANS AND SARAH CHEVERSThis is a Short Relation of Some of the Cruel Sufferings (For the Truth’s Sake) of Katharine Evans and Sarah Chevers, in the Inquisition in the Isle of Malta (excerpts)JOHN AUBREY Brief Lives (excerpts) Lancelot Andrewes (1555-1626)Sir Francis Bacon (1561-1626)Venetia Digby (1600-33)Thomas Fairfax (1612-71)Thomas Hobbes (1588-1679)Robert Hooke (1635-1703)Andrew Marvell (1621-78)Sir Robert Moray (d.1673)John Milton (1608-74) DOROTHY OSBORNE The Letters of Dorothy Osborne to Sir William Temple, 1652-54 Saturday, January 8, 1653Thursday–Saturday, June 2–4, 1653October 1653October 1653Saturday, February 4, 1654Saturday, February 11, 1654March 18, 1654 JOHN BUNYAN Grace Abounding to the Chief of Sinners (excerpt)The Pilgrim’s Progress (excerpt) Christian and Faithful visit Vanity Fair KING CHARLES II The Declaration of Breda (1660)ANTHONY À WOOD The Life and Times of Anthony à Wood (extracts) Notes on Oxford during the InterregnumThe Restoration Athenae Oxoniensis (excerpts)Robert BurtonJeremy Taylor JOHN LOCKE An Essay Concerning Human Understanding (excerpt) Of Enthusiasm GEORGE SAVILE, MARQUIS OF HALIFAX A Character of King Charles II (excerpts) Of his ReligionHis Amours, Mistresses, &cHis Conduct to his MinistersOf his Wit and ConversationHis Talents, Temper, Habits, &cConclusion SAMUEL PEPYS The Diary of Samuel Pepys (excerpt) The Fire of London ROBERT SOUTHEcclesiastical Policy the Best Policy: or Religion the Best Reason of StateMARY ROWLANDSON The Sovereignty and Goodness of God Together, with the Faithfulness of His Promises Displayed; Being a Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson (excerpts) The First RemoveThe Second RemoveThe Third RemoveThe Fourth RemoveThe Eighth RemoveThe Twentieth Remove THOMAS SPRAT The History of The Royal Society of London (excerpts) A Proposal for Erecting an English AcademyTheir Manner of Discourse THOMAS TRAHERNE The Third Century (excerpt)APHRA BEHNLove Letters by Mrs A. BehnThe Dumb Virgin: Or, The Force of ImaginationPIERRE-ESPRIT RADISSON Travel Journal: Lake Superior, 1659—60 (excerpts)BISHOP GILBERT BURNET History of My Own Time The Restoration Reign of King Charles II ELINOR JAMES Mrs. James’s Vindication of the Church of England, in an answer to a pamphlet entitled A New Test of the Church of England’s Loyalty (excerpts)COTTON MATHER Diary of Cotton Mather (excerpts)ELIZABETH JOHNSONPreface to the Reader, Poems on Several Occasions.Written by Philomela A MISCELLANYLETTERSOliver Cromwell to Colonel Valentine WaltonCharles I to Prince RupertEleanor Gwynne to Laurence HydeJohn Evelyn to Sir Christopher WrenINFORMATION FROM THE SCOTTISH NATION to all the True English, Concerning the Present Expedition (1640)THE PUTNEY DEBATESThe Putney Debates: The Debate on the FranchiseTHE TRIAL OF KING CHARLES I The King’s Reasons for Declining the Jurisdiction of the High Court of JusticeThe Sentence of the High Court of Justice Upon the King A TRUE RELATION, of the Inhumane and Unparallel’d Actions and Barbarous Murders of Negroes or Moors: Committed on three English-men in Old Calabar in Guinny (1672)THE GENTLEWOMAN’S COMPANION (1673) The Introduction What Qualifications Best Become and are Most Suitable to a GentlewomanOf the Government of the EyeOf Speech and ComplementOf Wanton Songs, and Idle BalladsWhat Recreations and Pleasures are Most Fitting and Proper for Young Gentlewomen THE JUDGMENT AND DECREE OF THE UNIVERSITY OF OXFORDPassed in Their Convocation, July 21, 1683, against Certain Pernicious Books and Damnable Doctrines, Destructive to theSacred Persons of Princes, Their State and Government, and of All Humane Society (1683)INDEXESINDEX OF AUTHORS AND TITLES

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Book SynopsisA unique sourcebook designed to raise issues of nationalism and sexuality in Canada through a rich and diverse selection of fiction, poetry, criticism, and history. Structured so as to provide an interactive study of these issues, the collection considers topics as wide-ranging as First Nations sexuality, censorship, assisted reproduction, and religion.Literary works by Alice Munro, Jane Rule, Timothy Findley, Leonard Cohen, Irving Layton, Lynn Crosbie, Michael Turner, and many others are juxtaposed with criticism and historical documents, many of which were previously out of print or unavailable. Selections include Marshall McLuhan's 1967 article "The Future of Sex" and excerpts from Stan Persky and John Dixon's Kiddie Porn, SKY Lee's Disappearing Moon Cafe, and Margaret Atwood's A Handmaid's Tale.Trade Review“I read this brave book in a canoe. A tribute both to its Canadianness and to Cavell and Dickinson’s balancing act in assembling this rich stew of literary nuggets and historical analysis. Sexing the Maple will be an indispensable resource for any future exploration of sexuality and gender in English Canada whether through a cultural or a historical point of view. Indeed its provocative lesson is that the two cannot be separated in any serious excursion into sexuality in this country or any other. Canonical and non-canonical, queer, queering and beyond, here is a sturdy paddle for those upcoming rapids.” — Thomas Waugh, Concordia University“Sexing the Maple takes sex out of Canada’s cultural closet. Richard Cavell and Peter Dickinson have assembled an outstanding anthology with fiction and poetry by leading Canadian writers, rare and out-of-print material, and a superb selection of critical articles. The historical and cultural range of topics is impressive, covering the gamut of Canuck sex from anti-masturbation tracts and weird sex in Canadian film to reproductive laws and transgender surgery. This is the first book to theorize and document how stories about our sexualities articulate our sense of Canadian nationhood. The research is impeccable, the theorizing trailblazing, the writing compelling. This book is bold, ambitious, and provocative.” — Irene Gammel, Ryerson UniversityTable of ContentsAcknowledgementsSex and Canada: A Theoretical IntroductionSex and the FamilyAlice Munro, “Family Furnishings,” Hateship, Friendship, Courtship, Loveship, Marriage (2001)Ivan E. Coyote, “Just Like My Dad,” Boys Like Her (1998)Gertrude Pringle, from Etiquette in Canada (1949)Michael Bliss, “‘Pure Books on Avoided Subjects’: Pre-Freudian SexualIdeas in Canada,” Historical Papers (1970)Mariana Valverde, “Families, Private Property, and the State:The Dionnes and the Toronto Stork Derby,” Journal of CanadianStudies 29.4 (1994–95)Sex and MediaIrving Layton, “The Improved Binoculars,” Collected Poems (1971)Persimmon Blackridge, from Prozac Highway (1997)Nicole Markotic, from Yellow Pages: A Catalogue of Intentions (1995)Marshall McLuhan and George B. Leonard, “The Future of Sex,”Look Magazine (1967)Katherine Monk, from Weird Sex and Snowshoes (2001)Sex and MedicineDerek McCormack, “Stargaze,” Dark Rides (1996)Trish Salah, “Surgical Diary,” Wanting in Arabic (2002)Patricia Baird, et al., Proceed with Care: Final Report of the Royal Commissionon New Reproductive Technologies: Summary and Highlights (1993)John Colapinto, from As Nature Made Him (2000)Sex and GenderDorothy Livesay, “On Looking into Henry Moore,” Collected Poems (1972)Jane Rule, “The Killer Dyke and the Lady,” Outlander (1981)Daphne Marlatt, from Ana Historic (1988)Lyndell Montgomery, “Border Crossing: On the Edge,” Boys Like Her (1998)Roberta Hamilton, “Representation and Subjectivity: Women as SexualObjects,” Gendering the Vertical Mosaic: Feminist Perspectives on CanadianSociety (2004)Sex and RaceSKY Lee, from Disappearing Moon Café (1990)Ian Iqbal Rashid, “An/other Country,” from Black Markets, White Boyfriendsand other acts of elision (1991)Gregory Scofield, from Thunder Through My Veins: Memories of a MétisChildhood (1999)Martin Cannon, “The Regulation of First Nations Sexuality,” CanadianJournal of Native Studies 18.1 (1998)Karen Dubinsky and Adam Givertz, “‘It was Only a Matter of Passion’:Masculinity and Sexual Danger,” Gendered Pasts: Historical Essays inFemininity and Masculinity in Canada (1999)Sex and ReligionTimothy Findley, from Not Wanted on the Voyage (1984)Leonard Cohen, from Beautiful Losers (1966)Margaret Atwood, from The Handmaid’s Tale (1985)Nancy Christie, “Sacred Sex: The United Church and the Privatizationof the Family in Post-War Canada,” Households of Faith (2002)Iain A.G. Barrie, “A Broken Trust: Canadian Priests, Brothers,Pedophilia, and the Media,” Sex, Religion, Media (2002)Sex and the LawMichael Turner, from The Pornographer’s Poem (1999Lynn Crosbie, from Paul’s Case (1997)Jane Rule, Detained at Customs: Jane Rule Testifies at the Little Sister’s Trial (1995)Gary Kinsman, “‘These Things May Lead to the Tragedy of Our Species’:The Emergence of Homosexuality, Lesbianism, and Heterosexualityin Canada,” The Regulation of Desire: Homo and Hetero Sexualities (1996)Stan Persky and John Dixon, from On Kiddie Porn (2001)Sources

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Book SynopsisLydia Huntley Sigourney (1791–1865) was the most widely read and respected pre-Civil War American woman poet in the English-speaking world. In a half-century career, Sigourney produced a wide range of poetry and prose envisaging the United States as a new kind of republic with a unique mission in history, in which women like herself had a central role. This edition contributes to the current recovery of Sigourney and her republican vision from the oblivion into which they were cast by the aftermath of the Civil War, the construction of a male-dominated American “national” literary canon, and the aesthetics of Modernism.In this Broadview edition, a representative selection of poetry and prose from across her career illustrates Sigourney’s national vision and the diversity of forms she used to promote it. In the appendices, letters and documents illustrate her challenges and working methods in what she called her “kitchen in Parnassus.”Trade Review“When Edgar Allan Poe wrote to Lydia Huntley Sigourney that his magazine would not be complete without a poem by her, he correctly gauged his reader’s interest. Sigourney was the most popular American woman poet in both the United States and England in the early nineteenth century, and she earned this reputation by virtue of her remarkable skill as a writer and the extraordinary range of her themes, poetic forms, and literary genres. This rich collection of her poetry, fiction, and essays amply demonstrates her advocacy on behalf of women’s domestic culture, the new republican nation, Christian evangelism, and the American landscape. Gary Kelly’s wide selection of Sigourney’s work introduces the reader—at long last!—to the broad compass of her themes.” — Dorothy Z. Baker, University of Houston“Gary Kelly’s much needed edition will make a critical difference to many fields by making Lydia Sigourney’s work available for students and general readers in a comprehensive manner. His brilliant interdisciplinary introduction will allow scholars to take Sigourney seriously and in doing so to revise their understanding of Romanticism, American Studies, and women’s writing.” — Mary Lou Kete, University of VermontTable of ContentsAcknowledgementsIntroductionLydia Huntley Sigourney: A Brief ChronologyA Note on the TextLydia Sigourney: Selected Poetry and Prose From Moral Pieces in Prose and Verse (1815) “The Desertion of the Muse”“The Rose”“The Creation” From The Square Table (1819) “The Advice of Tabitha Thistle, to Young Women, who are Desirous of Getting Married” From Traits of the Aborigines of America (1822) From Sketch of Connecticut, Forty Years Since (1824) From Poems (1827) “Grave of the Mother of Washington”“The Coral Insect”“Africa”“Caroline Matilda, to Christian the Seventh of Denmark”“To a Wasp”“To an Ancient Rocking Chair” From The Token (1833) “To a Fragment of Silk” From How to Be Happy (1833) From Letters to Young Ladies (1833) From Letter I: “On the Improvement of Time” From Letter II: “On Female Employments” From Letter III: “On Dress, Manners, and Accomplishments” From Letter IV: “On Books” From Letter V: “On Conversation” From Letter VI: “On Doing Good” From Letter VII: “On Self-Government” From Letter VIII: “On Motives to Exertion” From Sketches (1834) “The Father” From American Annals of Education (1834) “On the Policy of Elevating the Standard of Female Education” From Poetry for Children (1834) “The Rat”“War”“Difference of Color” From Poems (1834) “Connecticut River” “The War-Spirit” “Slavery” “The Liberated Convict” “Indian Names” From Tales and Essays for Children (1835) “Hymn” From Zinzendorff, and Other Poems (1835) “Niagara” “Death among the Trees” “Agriculture” “The Deaf, Dumb and Blind Girl of the American Asylum at Hartford, Con.” “Napoleon’s Epitaph” “Death of Mrs. Harriet W.L. Winslow, Missionary to Ceylon” “Religious Tracts” From Olive Buds (1836) “Walks in Childhood” From Select Poems (1838) “To a Shred of Linen” “On the Admission of Michigan into the Union” From Letters to Mothers (1838) Letter I: “Privileges of the Mother” From The Works of Mrs. Hemans (1840) From “Essay on the Genius of Mrs. Hemans” From Pocahontas, and Other Poems (1841) “The Butterfly” “To a Fragment of Cotton” “The Milliners and Fishes” From Pleasant Memories of Pleasant Lands (1842) “Carlisle”From “Westminster Abbey” From Pleasant Memories of Pleasant Lands (1844) “The Rose Geranium” From Poetry for Seamen (1845) “The Whaler’s Song“ From Scenes in My Native Land (1845) From “Niagara” From Myrtis: with Other Etchings and Sketchings (1846) “The Yankee” From Water-Drops (1848) “Woman’s Patriotism” From Illustrated Poems (1849) “Oriska”“The Thriving Family” From The Ladies’ Wreath (1851) “The Crushed Mouse” From The Ladies’ Repository (1854) “Are the Aged a Privileged Order?” From The Western Home, and Other Poems (1854) “Wild Flowers” “Fallen Forests” “Powers’s Statue of the Greek Slave” “The Muse” From Past Meridian (1854) “The Pleasures of Winter” From Sayings of the Little Ones, and Poems for Their Mothers (1855) “Humorous, or Peculiar Uses of Language” “High Principles, or Sweet Sentiments and Affections” “Piety: or Words Preceding Death” “Poems for Mothers”: “Household Festivals” “Thoughts in a Church-Yard” From The Ladies’ Repository (1855) “Miss Tabitha’s Farming” From Lucy Howard’s Journal (1858) From The Daily Counsellor (1859) “January II” “February IX” “June XIV” From Gleanings (1860) “Up and Doing” “The Sewing Machine ” “Breakfast” From Selections from Various Sources (1862) “Use of Biography, to History” “Precepts of Queen Christina” “Song” “The Provisions for Life” “From Mrs. Hemans” “Religion in the Family” “Fame” From Letters of Life (1866) From Letter X: “Love and Marriage”From Letter XIII: “Literature” Appendix A: Letters and ManuscriptsAppendix B: Views and Reviews of Sigourney and Her Work Select Bibliography

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Book SynopsisThe Basset Table follows the fortunes of Lady Reveller, who runs a table where her friends play the card game basset, and her struggle to avoid marrying Lord Worthy. Meanwhile, Lady Reveller's cousin, Valeria, spends her time conducting scientific experiments and dissections, but her father intends to marry her off to the bluff sea-captain Hearty. How can Lady Reveller be persuaded to forego the delights of gambling? And how can Valeria avoid an unwanted marriage? This witty play paints a seductive picture of the thrills of the Restoration gaming table and challenges contemporary stereotypes of the learned lady.Appendices to this Broadview Edition include materials on female education, gambling, and writing for the stage, as well as eighteenth- and nineteenth-century critical writing on Centlivre and The Basset Table.Trade Review“Jane Milling has provided an exemplary edition of one of the most enjoyable of eighteenth-century comedies. Her very full introduction provides a critically perceptive study of the play and of Centlivre’s theatrical milieu, with detailed documentation of the social and intellectual changes on which the comedy draws: the rise of science, and the debates about gambling and female education. The appendices of primary material relating to these topics are extremely helpful and well chosen. This is expert scholarship, deployed in engaging advocacy for a delightful play, and will be invaluable both for students and professional scholars.” — Derek Hughes, University of Aberdeen“Susanna Centlivre’s important comedy The Basset Table is finally available in a scholarly, lucid, and user-friendly edition that makes the play accessible as both a literary and a theatrical text. Jane Milling adds substantial and revealing contextualization on Centlivre’s life and career, the original reception of the play, female education, and gambling. The play’s themes of buying and selling, giving and taking, risking and investing have never come into sharper focus.” — Jacqueline Pearson, University of ManchesterTable of ContentsAcknowledgementsIntroductionSusanna Centlivre: A Brief ChronologyA Note on the TextThe Basset TableTextual NotesAppendix A: Female Education From Mary Astell, A Serious Proposal to the Ladies (1697) Satire on Mary Astell, The Tatler ( June 1709) From Daniel Defoe, An Essay upon Projects (1697) From Bathsua Makin, An Essay to Revive the Ancient Education of Gentlewomen in Religion, Manners, Arts and Tongues (1673) From Mary Chudleigh, Essay on Several Subjects in Prose and Verse (1710) Appendix B: Gambling From Charles Cotton, “Basset,” The Compleat Gamester (1710) From Joseph Addison, The Guardian (1713) From Jeremy Collier, An Essay upon Gaming (1713) From Theophilus Lucas, Memoirs of the Lives, Intrigues, and Comical Adventures of the most Famous Gamesters (1714) Appendix C: Writing for the Stage Susanna Centlivre, Dedication to The Platonick Lady (1707) Susanna Centlivre, Preface to Love’s Contrivance (1703) From Jeremy Collier, A Short View of the Immorality and Profaneness of the English Stage (1698) From John Dennis, The Usefulness of the Stage (1698) From Colley Cibber, The Lady’s Last Stake (1707) Appendix D: Criticism of Centlivre and The Basset Table From Arthur Bedford, The Evil and Danger of Stage Plays (1706) From Richard Cumberland, “Critique,” The British Drama (1817) Works Cited

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Book SynopsisThe Importance of Being Earnest marks a central moment in late-Victorian literature, not only for its wit but also for its role in the shift from a Victorian to a Modern consciousness. The play began its career as a biting satire directed at the very audience who received it so delightedly, but ended its initial run as a harbinger of Wilde's personal downfall when his lover's father, who would later bring about Wilde's arrest and imprisonment, attempted to disrupt the production.In addition to its focus on the textual history of the play, this Broadview Edition of Earnest provides a wide array of appendices. The edition locates Wilde's work among the artistic and cultural contexts of the late nineteenth century and will provide scholars, students, and general readers with an important sourcebook for the play and the social, creative, and critical contexts of mid-1890s English life.Trade Review“Samuel Lyndon Gladden’s edition of The Importance of Being Earnest continues Broadview Press’s proven tradition of excellence. This book will serve the undergraduate, general reader, and scholar. Gladden’s introduction is provocative, and the ancillary materials are especially welcome. Gladden balances familiar with unexpected contemporary works — from Gilbert and Sullivan to Ada Leverson, playbills to reviews, poems to pictures, conduct manuals to dandy tracts — plus excerpts of Wilde’s writings, including an earlier version of the play. Bibliography and chronology complete the presentation as one-stop shopping for an earnest acquaintance with Wilde’s charmer as social text.” — Frederick S. Roden, University of Connecticut“Broadview’s Importance of Being Earnest carries on the press’s excellent series of texts for general readers and students alike. Samuel Lyndon Gladden presents the three-act text, as well as an appendix with important scenes and lines from the original four-act version. The volume includes many useful annotations and glosses, appendices with contextual information, illustrations, and extracts from letters and documents that will enhance understanding and interpretation of the play. The introduction places the play in up-to-date critical and biographical contexts, illuminating issues without closing down other approaches to making sense of Wilde’s carefully composed dramatic nonsense.” — Philip E. Smith, University of PittsburghTable of ContentsAcknowledgementsIntroductionOscar Wilde: A Brief ChronologyA Note on the TextThe Importance of Being Earnest:A Trivial Comedy for Serious PeopleAppendix A: Playbills for The Importance of Being Earnest (1895) The First, Uncensored Playbill The Second, Censored Playbill Appendix B: Reactions and Reviews From The Daily Graphic (15 February 1895) From William Archer, The World (20 February 1895) From The Observer (17 February 1895) From The Times (15 February 1895) From Bernard Shaw, Saturday Review (1895) From Max Beerbohm, Around Theatres (1902) Appendix C: Ada Leverson’s “The Advisability of Not Being Brought Up in a Handbag” (1895) Ada Leverson, “The Advisability of Not Being Brought Up in a Handbag,” Punch; or,The London Charivari (2 March 1895) Telegram from Oscar Wilde to Ada Leverson (15 February 1895) Appendix D: Three Works by Gilbert and Sullivan From W.S. Gilbert and Arthur Sullivan, Patience; or, Bunthorne’s Bride (1881) From W.S. Gilbert and Arthur Sullivan, The Gondoliers; or, The King of Barataria (1889) From W.S. Gilbert and Arthur Sullivan, HMS Pinafore; or, The Lass That Loved a Sailor (1878) Appendix E: From J.G.F. Nicholson, Love in Earnest(1892)Appendix F: Conduct Manuals From Mrs. Humphrey, Manners for Men (1897) From Julia McNair Wright, Practical Life; or,Ways andMeans for Developing Character and Resources (1881) Appendix G: On Dandyism and on Wilde as a Dandy From Charles Kendrick, Ye Soul Agonies in Ye Life of Oscar Wilde (1882) George Frederick Keller, “The Modern Messiah,” Wasp (31 March 1882) Linley Sambourne, “O.W. [Punch’s Fancy Portraits 37],” Punch; or,The London Charivari (25 June 1881) From Lloyd Lewis and Henry Justin Smith, “No Wave of His Chiseled Hand” (1936) “Aestheticism as Oscar Understands It” (1882) “Mr. Wild [sic] of Borneo” (1882) W.H. Beard, “The Aesthetic Monkey” (1882) Appendix H: Other Works by Wilde From “A Few Maxims for the Instruction of the Over-Educated” (1894) From “Phrases and Philosophies for the Use of the Young” (1894) From “Preface,” The Picture of Dorian Gray (1891) From “The Decay of Lying” (1889) From De Profundis (1897; published 1962) Letter to Philip Houghton (February 1894) Letter to George Alexander (July 1894) Letter to George Alexander (September 1894) Letter to George Alexander (October 1894) Letter to an Unidentified Correspondent (February 1895) Letter to Lord Alfred Douglas (February 1895) Letter to R.V. Shone (February 1895) Appendix I: From the Original Four-Act Version Passages Regarding Algernon’s and Ernest’s Past-due Accounts Passages Illuminating the Characters and Roles of Miss Prism and Canon Chasuble Additional Passages Bibliography

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Book SynopsisThe Rivals and Polly Honeycombe revolve around young women who wish the world would conform to novelistic convention. Unlike most eighteenth-century heroines keen on novel reading, however, Lydia Languish and Polly Honeycombe are neither deluded nor in any real danger. Rather, they inhabit a world in which everyone is engaged in some sort of quixotic performance; the more appealing characters are just willing to admit it. Both farcical and wise, these plays teasingly celebrate the perennial appeal of fiction, while never letting us forget how much it relies upon the everyday rituals of performance.The introduction to this Broadview edition explores the interrelations between print and performance in the eighteenth century, including a detailed and well-illustrated account of what it was like to go to the theater. Appendices include material on the original casts, the often dubious reputation of novel reading and circulating libraries, Sheridan’s high-profile elopement with Elizabeth Linley (which made him a celebrity before he ever staged a word), and the narrative possibilities conjured up by setting The Rivals in the resort city of Bath.Trade Review“These two comedies, about ‘novel-reading girls gone wild,’ make for an inspired pairing; in this edition, David A. Brewer makes the pairing pay off handsomely. With its revelatory illustrations, its deft notes, its brief biographies of the plays’ original performers, its varied and very amusing supplementary readings, and its ingenious, down-to-earth introduction, Brewer’s edition does the best job I’ve seen of getting readers not only through the plays but to the playhouse: of helping them to imagine the daily experiences—of work and leisure, print and public life—that shaped both actors and audiences, and that inflected their interactions during the first runs of these two hugely entertaining shows.” — Stuart Sherman, Fordham University“David A. Brewer’s new edition of The Rivals and Polly Honeycombe is a fantastic resource for scholars and students studying eighteenth-century British literature and culture. The plays are, in themselves, two of the most entertaining works of the period, and they remain remarkably relevant for our own time, given their focus on the impact of popular culture. But what really make this edition stand out are the editorial apparatus and the rich historical and visual materials provided in the introduction and appendices. This edition can’t teach itself, but it will certainly help others teach this material to best effect.” — Matthew J. Kinservik, University of DelawareTable of ContentsList of IllustrationsAcknowledgementsIntroductionGeorge Colman the Elder and Richard Brinsley Sheridan: A Brief ChronologyA Note on the TextsPolly Honeycombe, A Dramatick Novel of One Act, George Colman the ElderThe Rivals, A Comedy, Richard Brinsley SheridanAppendix A: The Original Casts of the PlaysAppendix B: Novel-Reading and Its Discontents From [Samuel Johnson], The Rambler (31 March 1750) From [Francis Coventry], The History of Pompey the Little:or, The Life and Adventures of a Lap-Dog (1752) [William Whitehead], The World (10 May 1753) From [William Dodd], The Sisters; or, The History of Lucy and Caroline Sanson, Entrusted to a false Friend (1754) From [Owen Ruffhead], The Monthly Review (1761) From The Critical Review (1765) From [James Fordyce], Sermons to Young Women (1766) From [Hester Chapone], Letters on the Improvement ofthe Mind, Addressed to a Young Lady (1773) From The Monthly Review (1773) From [William Enfield], The Monthly Review (1775) From The Critical Review (1775) Appendix C: “Such Paragraphs in the News-Papers!” Report of Sheridan’s Elopement with Elizabeth Linley, The Daily Advertiser (26 March 1772) Thomas Mathews’s Denunciation of Sheridan, The Bath Chronicle (9 April 1772) Report of the First Duel, The London Evening-Post (2-5 May 1772) Contradiction of The London Evening-Post Report, The Bath Chronicle (7 May 1772) Mathews’s Apology to Sheridan, The Bath Chronicle (7 May 1772) Draft of an unsent (?) letter from Sheridan (c. late June 1772) Report of Sheridan’s Second Duel with Mathews, The Bath Chronicle (2 July 1772) Report of Sheridan’s Wounding in the Second Duel, The London Chronicle (2-4 July 1772) Another Report of the Second Duel, The London Evening-Post (2-4 July 1772) Report on Sheridan’s Wounds, The Public Advertiser (8 July 1772) Another Report on Sheridan’s Wounds, The Bath Chronicle (9 July 1772) From “Anecdotes of the Maid of Bath (With an Elegant Engraving),” The London Magazine (September 1772) Yet Another Report on Sheridan’s Wounds, The St. James’s Chronicle (10-12 November 1772) “Miss Linley, the syren of Bath,” The Westminster Magazine (March 1773) Report of a Sheridan-Linley Marriage, The Bath Chronicle (1 April 1773) Letter probably written by Sheridan, The Bath Chronicle (15 April 1773) Report on The Rivals, The Gazetteer and New Daily Advertiser (17 January 1775) Another Report on The Rivals, The Town and Country Magazine (January 1775) Appendix D: The Narrative Possibilities of Bath From [Christopher Anstey], The New Bath Guide: or, Memoirs of the B—r—d Family. In a Series of Poetical Epistles (1766) From [Tobias Smollett], The Expedition of Humphry Clinker (1771) Report of an Elopement, The Bath Chronicle (9 September 1773) Select Bibliography

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Book SynopsisThe Merchant of Venice is best known for its complex and ambiguous portrait of the Jewish moneylender Shylock—and of European anti-Semitism. Fascinating in its engagement with prejudice, the play is also a comedy of cross-dressing and disguise, and a dramatic exploration of justice, mercy, and vengeance.This volume contains the full text of the play with explanatory footnotes and marginal glosses for contemporary readers. An extensive introduction and well-rounded selection of background materials not only illuminate anti-Semitism in early modern England but also provide context for other facets of the play, including its comic plot of love and marriage, its examination of commerce and international trade, and its themes of revenge and the law.Trade Review“… extremely useful. The introductory materials are lucidly written and very thorough. Most impressive, I thought, was the range of background primary sources the editor provides…. The volume strikes me as suitable for courses not only in Shakespeare and early English drama but also those that look at the history of antisemitism and of Jewish-Christian relations in Europe…. The next time I teach Merchant I am definitely going to assign it!” — Lisa Lampert-Weissig, University of California, San Diego“Students and their teachers will welcome this excellent new edition of The Merchant of Venice. Julie Sutherland’s introduction to the play sets up the major issues of and conflicts surrounding Shakespeare’s representation of his Jewish character, Shylock. The volume’s carefully chosen and excerpted supporting materials supply lively perspectives on the historical, social, religious, and theatrical contexts of Shakespeare’s enigmatic and always fascinating play.” — Judith Page, University of Florida“With a sensitive scholarly introduction, well-chosen illustrations, and extensive annotations, this edition of The Merchant of Venice is accessible enough for secondary school students and challenging enough for undergraduate and even graduate students. The contextual materials on topics from ‘The Shakespearean Theater’ to ‘Jews and Christians’ to ‘Women, Family and Obedience,’ to name but a few, make this edition a superlative resource for teaching and researching one of Shakespeare’s most significant and controversial plays.” — Bernadette Andrea, University of Texas at San Antonio“…a classroom-ready Broadview edition … presented along with a rich collection of source and contextualizing materials …” — Studies in English Literature 1500-1900Table of Contents Acknowledgements Introduction The Merchant of Venice Appendix A: Sources and Context From Cursor Mundi (14th century) From Giovanni Fiorentino, The Simpleton (Il Pecorone) (1378) From Christopher Marlowe, The Jew of Malta (c. 1590) Appendix B: Jews, Christians, and the Religion of Revenge Jews and Christians 1. The Geneva Bible on Jews 2. From Edward I's Edict of Expulsion (1290) 3. Anonymous, Desecration of the Host (c. 1500) 4. From Richard Morrison, A Remedy for Sedition (1536) 5. From Thomas Coryate, Coryat's Crudities (1611) 6. From Edward Coke, The Second Part of the Institutes of the Laws of England (1642) Revenge 1.The Geneva Bible on Lex Talionis 2.Francis Bacon, ""Of Revenge,"" The Essays (1625) Appendix C: Commercial Life: Of Venice, Merchants, Usurers, and Debtors The Geneva Bible on Usury and Generosity Hieronymo Feruffino, Letter Regarding Expelling the Marranos from Venice (1550) From Zuane di Andrea Zane and Brothers, "The Activities and Misfortunes of a Merchant Family, The Zane" (1550) Pieter Brueghel, The Storm at Sea (1568) From Thomas Wilson, A Discourse upon Usury by way of Dialogue and Orations (1572) From Thomas Lupton, The Second Part and Knitting Up of the Book Entitled Too Good to Be True (1581) From Anthony Copley, Witts Fittes and Fancies (1595) From Thomas Lodge, Wit's Misery, and the World's Madness (1596) From Giovanni Botero, Relations, of the Most Famous Kingdoms and Common-weales Through the World (1611) Case 11: Courtney against Glanvil (1615; report printed 1791) From Francis Bacon, "Of Usury" (1625) Appendix D: Love and Family Friendship and Love 1.From Cicero, Of Friendship (44 BCE) 2.From Christopher Marlowe, Edward II (1594) 3.Richard Barnfield, Sonnet 8, Cynthia, with Certain Sonnets, and the Legend of Cassandra (1595) 4.From Michel de Montaigne, "Of Friendship," Essays (1580) Family and Obedience 1.From Juan Luis Vives, The Instruction of a Christian Woman (1524) 2.From Baldassare Castiglione, The Courtier (1528) 3.From Thomas Becon, The Catechism (c. 1550) 4.From Elizabeth Cary, The Tragedy of Mariam (1613) Works Cited and Recommended Reading

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Book SynopsisThe second of Shaw's “unpleasant” plays, written in 1893, published in 1898, but not performed until 1905, The Philanderer is subtitled “A Topical Comedy.” The eclectic range of topical subjects addressed in the play includes the influence of Norwegian playwright Henrik Ibsen on British middle-class social mores (the second act of The Philanderer is set in the fictional Ibsen Club), medical follies, the rise of the “New Woman,” and, in particular, the destructive impact of Victorian marriage and divorce laws. Just as Shaw’s other “unpleasant” plays, Widowers’ Houses and Mrs Warren’s Profession, call, respectively, for reform of laws that allow corrupt property owners to exploit the poor and for radical change to economic structures that drive women into prostitution, so The Philanderer makes the case for more liberal legislation to allow easier divorce—particularly for women—when marriages become irretrievably broken.Shaw’s attack on divorce laws becomes even clearer and stronger in the final act that he wrote for the play but discarded in favour of the version he published. The discarded version is published for the first time in this Broadview edition of the play.Trade Review“This is the indispensable version of one of Shaw’s most misunderstood plays. L.W. Conolly’s edition of The Philanderer finally makes Shaw’s original final act widely available for scholars and performers. Conolly provides the perfect biographical, historical, and philosophical source documents to decide whether or not Shaw was right to suppress his first ending—an important dramatic treatise on divorce laws and gender equality that is the foundation of later plays. Conolly is a sure-footed, amiable guide, illuminating the play’s production and reception history while providing the reader with all the tools she needs to understand why this ‘restored’ text is not simply a neglected curiosity, but instead a major event in the history of modern drama.” — Lawrence Switzky, University of Toronto“L.W. Conolly’s excellent scholarship expertly guides both students and scholars through the tangled and fascinating history of Shaw’s controversial first draft of The Philanderer. Expressly prohibited by Shaw’s own will, the original third act was supposed to have been burned on the advice of a friend. Thankfully Shaw didn’t follow that advice, and Conolly offers a richly detailed, terrifically readable, and insightfully persuasive justification for going against Shaw’s will.” — Michael M. O’Hara, Ball State University Not until L.W. Conolly’s excellent edition of The Philanderer were we able to read Shaw’s original last act in printed pages. It has been worth waiting for…Conolly’s first-rate introduction includes an account of Shaw’s efforts to secure a production of The Philanderer and its production history. More importantly, it treats Shaw’s changes to the final act…Conolly’s explanatory footnotes are invaluable for teachers, directors, and actors as well as students.— Bernard F. Dukore, English Literature in Transition 1880—1920Table of ContentsAcknowledgementsAbbreviationsIntroductionBernard Shaw: A Brief ChronologyA Note on the TextThe PhilandererAppendix A: Shaw’s Original Final Act to The Philanderer (1893)Appendix B: Shaw’s Prefaces to Plays: Pleasant and Unpleasant and The Philanderer From the Preface to Plays: Pleasant and Unpleasant (1898) Prefatory Note to The Philanderer (1931) Appendix C: Shaw and Ibsen From Clement Scott’s Review of Ghosts, Daily Telegraph (14 March 1891) From the Daily Telegraph Editorial on Ghosts (14 March 1891) From Bernard Shaw, The Quintessence of Ibsenism (1928) Appendix D: Marriage and Divorce From the “Solemnization of Matrimony,” Book of Common Prayer (1901) From An Act to Amend the Law Relating to Divorce and Matrimonial Causes in England (1857) From “Indissolubility of Marriage,” Lipincott’s (July 1890) From Shaw’s Preface to Getting Married (1911) Appendix E: Medicine and Vivisection From Shaw’s Preface to The Doctor’s Dilemma (1911) From Shaw’s Speech on Vivisection, Queen’s Hall, London (22 May 1900) Appendix F: Contemporary Reviews From The Illustrated London News (9 February 1907) The Athenaeum (9 February 1907) From Max Beerbohm, “The Philanderer,” The Saturday Review (9 February 1907) From The Era (9 February 1907) The Sketch (13 February 1907) From the New York Herald (29 December 1913) From the New York Tribune (29 December 1913) From The Theatre, New York (February 1914) From St John Ervine, “The Philanderer,” The Observer (4 February 1923) Select Bibliography and Works Cited

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Book SynopsisThe Alchemist has long been admired as one of Ben Jonson's best dramas-Samuel Taylor Coleridge famously deemed it one of the most 'perfect' plots in literature. Its satiric cleverness and metatheatricality have delighted audiences from its first performance to the present day; readers and play-goers are swept up in the schemes of a fake alchemist and other determined fraudsters whose scams appear to offer easy wealth and immortality to their morally compromised victims. While no characters emerge unscathed by Jonson's satire, and while alchemy itself is revealed as most likely a sham, the play is nonetheless a tribute to the transformative - indeed, the alchemical-powers of the theater.This edition includes a helpful introduction to the play, including discussion of its performance history and background information on alchemy. Thorough annotations to the text are also provided, as are contextual materials, including a selection of Jonson's sources, further materials on alchemy, and an example of the 'rogue' or 'coney-catching' literature that informs Jonson's portrayal of the grifters in the play.Trade ReviewIntroducing students to this witty, farcical play will be so much easier with the new Broadview edition. The joy of this play is its topical satire, and to access it students need a thorough grounding in alchemy and in the contemporary culture of early modern London, both of which this edition provides."—Margaret J. Oakes, Furman UniversityThe new Broadview edition of The Alchemist, edited by John Greenwood, is a delight. The play’s annotations are clear and complete. The edition includes extensive contextual materials, including coney-catching pamphlets, an alchemist’s guide, and some of Jonson’s own commonplace book’s entries. I am looking forward to teaching the play with this exciting new text."—Rebecca Ann Bach, University of Alabama at Birmingham"John Greenwood’s edition of Ben Jonson’s riotous early modern comedy, The Alchemist, captures the play’s essentials for student and more advanced scholar alike with its concise and informative introduction, helpful notes, and judiciously chosen appendix material. The edition will be a delight to use in the classroom."—Mathew Martin, Brock UniversityTable of Contents Introduction The Alchemist In Context On Alchemy: from Geoffrey Chaucer, 'The Canon's Yeoman's Tale,' from The Canterbury Tales (1387-1400) Desiderius Erasmus, 'The Alchemist' (1524) from Martin Ruland, A Lexicon of Alchemy (1612) On Criminals and 'Coney-Catching': from Robert Greene, A Disputation Between a He Cony-Catcher and a She Cony-Catcher (1592) Image: from Thomas Harman, A Caveat or Warning for Common Cursetors vulgarly called Vagabonds (1566; revised 1567/68) On Playwriting: from Aristotle, Poetics from Ben Jonson, Timber, or Discoveries made upon men and matter as they have flowed out of his daily Readings, or had their reflux to his peculiar Notion of the Times (1641)

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Book SynopsisFew medieval plays in English have attracted as much twenty-first-century interest as the Digby Mary Magdalene, an early-fifteenth-century drama that, as Chester Scoville puts it, is “probably the most spectacular of the late medieval English plays.” This new edition presents a modernized text of the play, with extensive annotation (both marginal glosses and explanatory footnotes), an insightful introduction, and a helpful selection of background contextual materials.Trade Review“This new Broadview edition makes medieval England’s most extraordinary play accessible to a broader audience. With modernized spelling throughout, brief yet informative notes and glosses, and an introduction that highlights the play’s extravagant dramatic complexity, Scoville’s edition welcomes students into the fascinating world of this text. Material from biblical and hagiographical sources that would have been familiar to both the playwright and his late medieval audience provide further context for understanding the female character at its center, while reproductions of two of the sole surviving manuscript’s pages offer a glimpse of the process by which the script was preserved for future generations. This is an important addition to the Broadview library.” — Joanne Findon, Trent University“Scoville’s Digby Play of Mary Magdalene offers an accessible and expertly-glossed text in modernized spelling. Its introduction discusses the play’s poetic and thematic features, along with its manuscript history, and provides production information. The explanatory and textual notes and the biblical sources enable undergraduate students to access the greatness and complexity of this play and to join the scholarly conversation about it.” — Frank Napolitano, Radford University“[The Broadview Mary Magdalene] is a text that reads well, is clear and easy to follow, and reduces the language barrier that many undergraduates find difficult to overcome. Perhaps the most pedagogically valuable part of Scoville’s edition is the ‘In Context’ section, [which]… provides some source material associated with the story of Mary Magdalene, alongside photographic facsimiles and transcriptions of two folios from the Digby manuscript. … Scoville’s edition is valuable and well suited to introducing first-year undergraduates to the play of Mary Magdalene; accessible, affordable, and with basic contextual information, it invites students to engage with this remarkable play without feeling overwhelmed by its strangeness and cultural difference.” — Speculum“I have seen enough book covers that bear little resemblance to the inside contents to appreciate one that does! But more importantly, the editing of the text is excellent and the apparatus ideal for a student or general audience. … those who choose to read or teach this text will find this edition to be a valuable tool.” — Jenny Rytting, Studies in Medieval and Renaissance TeachingTable of Contents Acknowledgments Introduction The Digby Play of Mary Magdalene In Context Source Material from the Douay-Rheims Bible from Mark 16 from Luke 7 from John 11 from John 20 from Jacobus de Voragine, Legenda Aurea(The Golden Legend ) The Manuscript Folio 95r Folio 116r

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Book SynopsisTrojan Women tells the story of the survivors of the Trojan War, the women and children taken into slavery by the victorious Greek army. Through the tragedy's central character, the matriarch Hecuba, this late play (415 BCE) demonstrates Euripides' commitment to speaking on behalf of the less powerful and offers a scathing critique of Athenian behavior as the city fought its own disastrous war with its southern neighbor, Sparta. Trojan Women features well-known characters from Greek mythology, including the prophetess Cassandra, the gods Athena and Poseidon, and most notably, the infamous Helen, the cause of the war, who must defend herself to the husband she abandoned. This new translation features a text committed to accuracy and clarity, one developed in collaboration with actors for clear reading and performance. Appendices provide other important literary treatment of the women in the play, from Homer to Shakespeare.Trade ReviewWhile Euripides' tragedies are universally celebrated, they somehow seem just beyond the typical undergraduate's appropriating grasp. This new edition of Trojan Women, by a distinguished translator and historian of ancient Greek drama, provides a point of entry to the non-specialist, and especially to those approaching classical theater for the first time. The introduction succinctly and engagingly lays out the important facts about Euripides' life, the theatrical conditions and conventions of Greek theater, and the remarkably prescient issues explored in Trojan Women for the twenty-first-century world. The text itself is the highlight, transferring Euripides' ideas, word play, even humor, into English as it channels the poetic voice and pathos of the great matriarch at the tragedy's center, Hecuba. So for today's theater practitioner, as well as for teachers and students of classical literature and theater, this edition has no rivals."- Paul Whitfield White, Purdue University; "Paul Streufert's translation of Trojan Women is a director's dream. His clear, concise language retains Euripides' soaring poetry, but it does so with a contemporary touch that is accessible to actors and audience members alike. His light and nuanced treatment of the text allows actors to navigate the play's complex spoken arias with relative ease, which frees actors to shape their characters into compelling, full-bodied humans worthy of the stage. In short, Streufert humanizes Euripides' tragic lament for our contemporary ears, which is no small feat!"- Rhett Luedtke, George Fox UniversityTable of Contents APPENDICES Appendix A: Hecuba 1. From Euripides, Hecuba 2. From Ovid, Metamorphoses 3. From William Shakespeare, Hamlet Appendix B: Cassandra 1. From Aeschylus, Agamemnon 2. From Seneca, Agamemnon Appendix C: Andromache 1. From Homer, Iliad 2. From Euripides, Andromache Appendix D: Helen 1. Lyric Poets a. Sappho, Fragment 16 b. Alcaeus, Fragment 283 c. Alcaeus, Fragment 42 2. From Gorgias of Leontini, Encomium of Helen 3. From Euripides, Helen 4. From Joseph of Exeter, Trojan War

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Book SynopsisThe armed conflict in the east of Ukraine brought about an emergence of a distinctive trend in contemporary Ukrainian poetry: the poetry of war. Directly and indirectly, the poems collected in this volume engage with the events and experiences of war, reflecting on the themes of alienation, loss, dislocation, and disability; as well as justice, heroism, courage, resilience, generosity, and forgiveness. In addressing these themes, the poems also raise questions about art, politics, citizenship, and moral responsibility. The anthology brings together some of the most compelling poetic voices from different regions of Ukraine. Young and old, female and male, somber and ironic, tragic and playful, filled with extraordinary terror and ordinary human delights, the voices recreate the human sounds of war in its tragic complexity.Trade ReviewFeatured in the TLS (June 22 2018)"Maksymchuk and Rosochinsky note in their introduction that poetry has often been used in the service of political power.""...Through their collection, they "sought to patch together the pieces of this disintegrating world".""The kind of poetry included in these collections is the antithesis of propaganda; these poetic dialogues are a valuable reminder that there is nothing immutable about Russian-Ukrainian enmity." "The words and images create an impression of a shimmering landscape that keeps shifting and changing. It is these moments that move us most – the moments when things no longer make sense, but are about to start making sense again. Meanings change, old words acquire new connotations, language itself wrings out of the usual course and meanders. In principle, there is nothing strange about language evolving to describe the changing reality. What’s uncanny is how quickly this happens. It’s like watching a blossom burst out of a bud, open and close rapidly a dozen of times, wilt away, and disappear, all in a matter of seconds. War puts language change in fast-forward." - Poetry International Online“These are poems in which the spirit of creative imagination, free expression, emotional clarity, and ethical courage reigns supreme.” – Stephanie Sandler, Harvard UniversityTable of Contents Preface Oksana Maksymchuk and Max Rosochinsky Introduction: “Barometers” Ilya Kaminsky ANASTASIA AFANASIEVA she says we don’t have the right kind of basement in our building You whose inner void from Cold She Speaks On TV the news showed from The Plain Sense of Things Untitled Can there be poetry after VASYL HOLOBORODKO No Return I Fly Away in the Shape of a Dandelion Seed The Dragon Hillforts I Pick up my Footprints BORYS HUMENYUK Our platoon commander is a strange fellow These seagulls over the battlefield When HAIL rocket launchers are firing Not a poem in forty days An old mulberry tree near Mariupol When you clean your weapon A Testament YURI IZDRYK Darkness Invisible Make Love ALEKSANDR KABANOV This is a post on Facebook, and this, a block post in the East How I love — out of harm’s way A Former Dictator He came first wearing a t-shirt inscribed “Je suis Christ” In the garden of Gethsemane on the Dnieper river A Russian tourist is on vacation Fear is a form of the good Once upon a time, a Jew says to his prisoner, his Hellenic foe KATERYNA KALYTKO They won’t compose any songs, because the children of their children April 6 This loneliness could have a name, an Esther or a Miriam Home is still possible there, where they hang laundry out to dry He Writes Can great things happen to ordinary people? LYUDMYLA KHERSONSKA Did you know that if you hide under a blanket and pull it over your head How to describe a human other than he’s alone The whole soldier doesn’t suffer A country in the shape of a puddle, on the map Buried in a human neck, a bullet looks like a eye, sewn in that’s it: you yourself choose how you live I planted a camellia in the yard One night, a humanitarian convoy arrived in her dream When a country of — overall — nice people Leave me alone, I’m crying. I’m crying, let me be the enemy never ends every seventh child of ten — he’s a shame you really don’t remember Grandpa — but let’s say you do BORIS KHERSONSKY explosions are the new normal, you grow used to them all for the battlefront which doesn’t really exist people carry explosives around the city way too long the artillery and the tanks stayed silent in their hangars when wars are over we just collapse modern warfare is too large for the streets my brother brought war to our crippled home Bessarabia, Galicia, 1913–1939 Pronouncements MARIANNA KIYANOVSKA I believed before in a tent like in a nest we swallowed an air like earth I wake up, sigh, and head off to war The eye, a bulb that maps its own bed Their tissue is coarse, like veins in a petal Things swell closed. It’s delicious to feel how fully Naked agony begets a poison of poisons HALYNA KRUK A Woman Named Hope like a blood clot, something catches him in the rye someone stands between you and death like a bullet, the Lord saves those who save themselves OKSANA LUTSYSHYNA eastern europe is a pit of death and decaying plums don’t touch live flesh he asks — don’t help me I Dream of Explosions VASYL MAKHNO February Elegy War Generation On War On Apollinaire MARJANA SAVKA We wrote poems Forgive me, darling, I’m not a fighter january pulled him apart OSTAP SLYVYNSKY Lovers on a Bicycle Lieutenant Alina 1918 Kicking the Ball in the Dark Story (2) Latifa A Scene from 2014 Orpheus LYUBA YAKIMCHUK Died of Old Age How I Killed Caterpillar Decomposition He Says Everything Will Be Fine Eyebrows Funeral Services Crow, Wheels Knife SERHIY ZHADAN from Stones“We speak of the cities we lived in . . .” “Now we remember: janitors and the night-sellers of bread . . .” from Why I’m not on Social MediaNeedleHeadphonesSectRhinocerosThey buried him last winter Three Years Now We’ve Been Talking about the War“A guy I know volunteered . . .”“Three years now we’ve been talking about the war . . .” “So that’s what their family is like now . . .” “Sun, terrace, lots of green . . .”“The street. A woman zigzags the street . . .” “Village street – gas line’s broken . . .”“At least now, my friend says . . .” Thirty-Two Days Without Alcohol Take Only What Is Most Important A city where she ended up hiding Afterword: “On Decomposition and Rotten Plums: Language of War in Contemporary Ukrainian Poetry” Polina Barskova Authors Translators Glossary Geographical Locations and Places of Significance Notes to Poems Acknowledgements Acknowledgement of Prior Publications

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Book Synopsis"In this expanded edition of his distinguished Sappho: Poems and Fragments (2002), Stanley Lombardo offers over 100 fragments not included in the original edition, as well as the new poems discovered in 2004 and 2014. His translation of this latter material yields fresh insights into Sappho's representations of old age, two of her brothers, and her special relationship with Aphrodite. Pamela Gordon’s engaging, balanced, and informative Introduction has been revised to incorporate discussion of the new fragments, which subtly alter our previous understanding of the archaic poet’s corpus. Complete Poems and Fragments also offers a useful updated bibliography, as well as a section on 'Elegiac Sappho' that presents the reception of the Lesbian poet in later Greek and Latin elegiac poems. A wonderful find for any Greekless reader searching for a complete and up-to-date Sappho. —Patricia A. Rosenmeyer, Department of Classics, University of Wisconsin–MadisonTrade Review"Very good indeed to have a complete and up-to-date Sappho for the non-specialist reader, and especially one with such an intelligent and helpful Introduction to the poet herself." —Jenny March, in The Reading Room, classicsforall.org.uk

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Book SynopsisPython Love is a collection of free verse poetry weaving together experiences of childhood abuse and birth trauma from the perspective of a medical doctor who is also a mother.

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Book SynopsisBaird's poems traverse through joy, loss, parenting, domestic violence, and isolation. Steely, tender, and sensual, this collection creates a reverent container for a broken world.

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Book SynopsisA Times Literary Supplement Book of the Year 2020. A Review 31 Book of the Year 2020. With The Barbarians Arrive Today, Evan Jones has produced the classic English Cavafy for our age. Expertly translated from Modern Greek, this edition presents Cavafy's finest poems, short creative prose and autobiographical writings, offering unique insights into his life's work. Born in Alexandria, Egypt, Constantine Petrou Cavafy (1863-1933) was a minor civil servant who self-published and distributed his poems among friends; he is now regarded as one of the most significant poets of the late nineteenth and early twentieth centuries, an influence on writers across generations and languages. The broad, rich world of the Mediterranean and its complex history are his domain, its days and nights of desire and melancholy, ambition and failure - with art always at the centre of life.Trade Review'Do we need another Cavafy, the most translated of modern Greek poets? Surprisingly, Evan Jones shows us that the answer is a resounding 'yes.' Cavafy famously left behind a body of 154 'canonical poems,' a number corresponding conveniently with the number of Shakespeare's sonnets. But he also left us with 37 'repudiated' poems, some of which were composed in the synthetic literary 'katherevousa' register of Greek, 75 'hidden' poems, and 30 'unfinished' or 'imperfect' poems. Cavafy also wrote prose about some of the same subject matter, and that explored his ideas about poetry. Jones does not attempt to give us a complete overview of Cavafy's work, but by putting poems in thematic categories, and allowing 'hidden' poems to brush up against 'canonical' ones (one could note that the manuscript of 'The Horses of Achilles' and of the much less well known 'Priam's Night March' are written on two sides of the same piece of paper) we see them in a new, revealing light. Jones is sensitive not only to the sense, but the sound of the Greek, rhyming where the original does, and his afterword, while wearing its considerable scholarship lightly, reorients Cavafy's oeuvre for the reader. It is a great pleasure - one of the most important Cavafyian words - to have these poems and prose writings in one volume.' - A.E. Stallings; 'Evan Jones merits the rewards of modesty; not improving what needs no improvement, nor trumping the ace with jokers of his own, lean and keen he ghosts cleverly along, oddly angular Poet of the City on his arm.' - Frederic Raphael

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Book Synopsis"Painting Rain" explores an Ireland where uncontrolled development is tearing apart a sustaining ecology. Paula Meehan sifts through the lore and memory available to her: her own journey through life, the small victories and large defeats that shape a world. Hers is an ambitious meditation, from that point where private memory, mythology and ecology meet. The home, the city's heart, neglected suburban battlegrounds, all are shot through with visionary light. In poems of loss, hymns to the empty world, celebrations of people and place, Meehan confronts the darkness that everywhere threatens. These are poems that sustain belief in the power of language to reveal, interrogate and heal.Trade ReviewIn Painting Rain Paula Meehan makes music that is a powerful confluence of themes: a field lost to a housing development, a north wind that whines through the dunes, an Irish mother whose daughters 'taught their mother barring orders and legal separation'. Each poem is powerful on its own, demanding and holding the white space of each page, but the cumulative effect is one of great wisdom and authority. Meehan had that special grace from the start, but now immensities have crystallized around each lyric she writes. Don't miss this work: Painting Rain is her finest book yet. Thomas McCarthy These are poems fuelled by a fierce perception and generosity of spirit, joyfully and sorrowfully open to human frailty, passion, the natural world - what it means to be human. Even in the darkness of grief and loss Paula Meehan celebrates life with a visceral, flaying attention. It is as if anger, grace and wit have been hammered white-hot into the finest shining tool and ornament. Maura Dooley

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Book SynopsisA.S.J. Tessimond (1902-1962) was one of the most individual, versatile and approachable voices in 20th century poetry. Influenced at first by the Imagists, his poetry is remarkable for its lucidity and formal exactness and for its witty, humane depiction of life in the modern city. Out of step with his contemporaries - both Pound and Eliot as well as Auden and his followers - Tessimond was always a marginalised figure, publishing only three collections in his lifetime, one in each decade from 1934 to 1958. Yet his work has been popular enough to be included in numerous anthologies and has been a perennial favourite with listeners of radio programmes such as Poetry Please. This edition is a long awaited reissue of the posthumous Collected Poems edited by his friend the writer Hubert Nicholson, who characterised his poems as 'beautiful, shapely, well wrought and elegant, whether in public of private mode', penetrating the heart of both London and England: 'His hallmark, his unique contribution to the body poetic, is to be found in those poems encapsulating urban types - and the institutions that shape and demarcate their lives, the popular press and radio, films, money, advertising, houses, tube stations, the implacable streets...He wrote a good deal about love, its hopes and ecstasies and its frustrations and sadness.' As Nicholson has pointed out, Tessimond wrote many poems in the first person, 'but they are not in the least egotistical. They are imaginative projections of himself into types, places, generalised Man, even God or Fate.' He was 'entirely a man of the city', his 'landscape' pieces depicting Hyde Park Corner, Chelsea Embankment, a Paris cafe and even an overcrowded bus in Jamaica. 'He loved the life around him and was a meditative as well as an observant man. He reflected, and reflected on, the passing show, kindly, honestly, and with wit and wisdom.' Tessimond has been described as an eccentric, a night-lifer, loner and flaneur. He loved women, was always falling in love, but never married. He suffered from frequent bouts of depression, alleviated neither by a succession of psychiatrists nor by electric shock therapy. The fact that he was plagued by self-doubt and was fiercely critical of his own work must have contributed to his work being too little published and too much neglected, despite being championed by an extraordinary variety of admirers, from Michael Roberts, John Lehmann and Ceri Richards to Bernard Levin, Maggie Smith, Bill Deedes and Trevor McDonald. Maggie Smith read his poem 'Heaven' at the funeral of Bernard Levin, for whom Tessimond was 'a quiet voice, which makes it easy to miss the resonances, but they are there, and although I doubt if he will achieve a widespread fame, I am sure that any future anthology of twentieth-century English verse that does not include a sample of his work will be less complete, less representative and less valuable than it might have been.' In an obituary for The Times, Tessimond's friend, the critic George Rostrevor Hamilton, said he was 'modest about his poetry, and sometimes thought it too small to be worthwhile. But over and above a dry wit and fancy, he had an exquisite feeling for words, meticulous but, like himself, without affectation. In his own way he was unrivalled.'

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisLandfall is New Zealand's foremost and longest-running arts and literary journal. Published twice a year, each volume showcases two full-colour art portfolios and brims with vital new fiction, poetry, cultural commentary, reviews, and biographical and critical essays. Bringing together a range of voices and perspectives, from established practitioners to emerging talents, Landfall is an exciting anthology that has its finger on the pulse of innovation and creativity in Aotearoa today.Landfall 247: Autumn 2024 announces the winner of the Landfall Young Writers' Essay Competition, an annual competition that encourages young, up-and-coming writers to explore the world around them through words. Landfall 247 will feature the winning essay, alongside the judge's report from Landfall editor, Lynley Edmeades.Landfall 247 also includes essays from the 2024 collaboration between Landfall and RMIT University's nonfiction/Lab. These trans-Tasman essays, written

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Book SynopsisMessage is one of the greatest poems in the whole of Portuguese literature. It was also Fernando Pessoa's only book written in Portuguese to be published during his lifetime. At the time of its release, in October of 1934 (just over a year before the author's death), Europe of the Enlightenment and freedom was succumbing to the advance of modern dictatorships, the escalation of expansionary nationalisms and a brand of imperialism based on atheistic materialism which, half a decade later, would trigger the Second World War. It is out of this atmosphere of general European decline, and with unwavering focus on his own country in particular, that Pessoa orchestrates his Message: a telling of the great events and protagonists behind the genesis of Portugal, of the golden age of maritime discovery and of subsequent national entropy, all of it predictive and flowing towards the future construction of a new and different empire: the Fifth Empire, which, in the author's vision, would be a m

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Book SynopsisIn a series of timeless and modern-day renditions, Maurice Riordan brilliantly introduces us to the poems that founded Ireland''s rich literature. Memorable and accessible, these early lyrics are presented in their classic incarnations by literary giants from both sides of the Irish Sea: in examples by W. H. Auden, Flann O''Brien, Alfred Lord Tennyson, John Montague, Robert Graves and Frank O''Connor. But the anthology is much more than a survey of canonical texts; through a series of specially commissioned poems, fresh eyes are brought to bear on these ancient poems: by Seamus Heaney and Eiléan Ní Chuilleanáin, by Paul Muldoon and Kathleen Jamie, by Ciaran Carson and Christopher Reid, and many others. The experience is enhanced still further by the enabling hand of Riordan himself, in a sweep of exquisite translations of his own made especially for this publication. Unforgettable and inspirational, a book for giving and for keeping: The Finest Music by some of the art-form''s f

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Book SynopsisWINNER OF THE MICHAEL MURPHY MEMORIAL PRIZEPOETRY BOOK SOCIETY CHOICEIn the language of fan fiction, a Mary Sue' is an idealised and implausibly flawless character: a female archetype that can infuriate audiences for its perceived narcissism.Such is the setting for this brilliant and important debut by Sophie Collins. In a series of verse and prose collages, Who Is Mary Sue? exposes the presumptive politics behind writing and readership: the idea that men invent while women reflect; that a man writes of the world outside while a woman will turn to the interior.Part poetry and part reportage, at once playful and sincere, these fictivefactive miniatures deploy original writing and extant quotation in a mode of pure invention. In so doing, they lift up and lay down a revealing sequence of masks and mirrors that disturb the reflection of authority.A work of captivation and correction, this is a book that will resonate with anyone

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Book SynopsisTable of ContentsA. America, you are so big, I feel endless What is the difference Light without her body Stained Glass Butterflies America, do you remember So much depends upon America, what do you hide Sus-toss The Country Who no Longer Wanted Her Children America, I visited Visit Conversation The Way I Pray to St. Catherine America, you made me in your image He Catches a Magic Fish A Man and a Woman in a Bedroom Once America, you watched me change Honey, this is the scary truth To the Foreign Woman... in the Post Office Dear Numbness America, here is the answer Dear One There once was a woman who wanted to be a better mother America, there will be nothing left Shame is a private punishment I Shame, Therefore I Am Wasn't it easier with less awareness? America, I love doing stupid things At some point you stopped The entire day I loved someone It's a Great Day to Burn, the Man Said Some Catastrophes Approach Slowly America, It's complicated 8th Floor Balcony Ghazal So, You Miss Your Depression I don't know America, if your eyes are dry Better Darling Everybody needs a pen America, what you have You'll be given everything, twice By the end of your life You look for proof America, if there were a rule The Body, the Collateral and in the morning, we saw a moth America, now I know We Must Be Very Careful When Using the Word Home Black Stone Over White Stone America, I don't know The Apple Who Wanted to Become a Pinecone A Dream America, would you be a part of me Imagine a raw egg Creative Spurt As I'm writing this America, I dally Bo from the Choctaw Nation What Happens to the Prophet B. Theorem: America is the greatest country in the world. Proof Conclusion Alternate ending Alternate conclusion Acknowledgements and Notes Brief Bio

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Book SynopsisIt''s chaotic -- a bit of love, a bit of lust and there you are. We don''t ask for life, we have it thrust upon us. Written by Shelagh Delaney when she was 19, A Taste of Honey is one of the great defining and taboo-breaking plays of the 1950s. When her mother, Helen, runs off with a car salesman, feisty teenager Jo takes up with a black sailor who promises to marry her before he heads for the seas, leaving her pregnant and alone. Art student Geoff moves in and assumes the role of surrogate parent until misguidedly, he sends for Helen and their unconventional setup unravels. A Taste of Honey offers an explosive celebration of the vulnerabilities and strengths of the female spirit in a deprived world. Bursting with energy, this exhilarating and angry depiction of harsh, working-class life in post-war Salford is shot through with love and humour, and infused with jazz. The play was first presented by Theatre Workshop at the Theatre Royal Stratford, London, on 27Trade ReviewA tough, tenacious play with an emotional bite that proves it is more than raucous comedy * Michael Billington, The Guardian *Miss Delaney brings real people on to her stage, joking and flaring and scuffling and eventually, out of the zest for life she gives them, surviving * Kenneth Tynan, 1958 *Tough, humorous ... exhilarating * The Times, 1958 *A work of complete, exhilarating originality … a real escape from the middlebrow, middle-class vacuum of the West End * Lindsay Anderson, Encore, 1958 *Table of ContentsForeword by Celia Brayfield The Play

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Book SynopsisA poetry collection that playfully questions the meanings of words. Walter Ancarrow’s collection Etymologies considers language as a process, rather than as a singular fixed history. These poems build imaginative worlds with a variety of creative word uses. They form a playful amalgamation of linguistic interpretations that flips and questions conventional narratives about word origins—including the idea that clear origins even exist. Throughout the collection, Ancarrow questions the intent of writers who use etymology in attempts to prove a specific meaning for any word. In so doing, Etymologies pays particular attention to relationships between the cultures and conflicts, the migrations and hegemonies, that create our words, and it considers how their meanings are furthered by us as we keep them alive through speech.Etymologies won Omnidawn’s 2021 Open Poetry Book Prize, selected by John Yau.Trade Review"Both analogy and allegory find lyric form and concrete-poetic form throughout Ancarrow’s book." * Los Angeles Review of Books *"Ancarrow's Etymologies, mostly comprised of brief prose pieces, opens with three words: 'ahuakatl / aguacate / avocado,' encompassing Aztec origins, Spanish colonialism, and branding at the hands of California farmers in the early twentieth century. This entry, and the collection's closing two words 'banana / banana'—which follows, from the previous page, 'A search ensued for the loose word, that if pulled out, would cause indescribable destruction'—frame the book’s imaginative linguistic dives." * Harriet Books (Poetry Foundation) *“Ancarrow combines extreme precision with a wild imagination. In a ‘Note’ at the end of the book, he writes: ‘The etymologies in this book are correct, though not necessarily complete, sometimes poetically so.’ And therein lies the magic of Etymologies. The author seems to have made nothing up, to have been, it would appear, coolly objective throughout the writing of each study of a word’s origin. And yet, despite this claim, which I do not doubt, feelings and fancifulness emerge–like a swarm of genies freed from many bottles–at once impish, amatory, mysterious, provocative, funny, delightful, and dazzling.” -- John Yau, Judge for the 2021 Omnidawn Open, and author of Genghis Chan on Drums"Ancarrow's fabulist maxims are laced with surprises. His entries are either notational or so profound, they seem etched in stone: 'we live between impermanences of language—building a home is settling on translation.' Etymologies are glorious distillations of mischief and erudition." -- Cathy Park Hong, author of Minor Feelings and Engine Empire"With Etymologies, Ancarrow returns us to the source and medium of all literary art: language itself. Formally playful, brimming with knowledge, and a poetic event with the subtle, yet dazzling contours of a puzzle, this collection unveils new insights on every page. Etymologies marks a marvelous debut!" -- John Keen, author of Punks: New and Selected Poems and Counternarratives

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Book SynopsisPrince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night. The evil spirit Von Rothbart, arbiter of Odette’s curse, disguises his daughter Odile as Odette to trick Siegfried into breaking his vow of love. Fooled, Siegfried declares his love for Odile, and so dooms Odette to suffer under the curse forever. Swan Lake was Tchaikovsky’s first score for the ballet. Given its status today as arguably the best-loved and most admired of all classical ballets, it is perhaps surprising that at its premiere in 1877 Swan Lake was poorly received. It is thanks to the 1895 production by Marius Petipa and Lev Ivanov that Swan Lake has become part of not only ballet consciousness but also wider popular culture. That success is secured not only by the sublime, symphonic sweep of Tchaikovsky’s score but also by the striking choreographic contrasts between Petipa’s royal palace scenes and the lyric lakeside scenes created by Ivanov. Swan Lake has had a special role in the repertory of The Royal Ballet since 1934. Since then there has been a succession of productions, the most recent of which was overseen by Anthony Dowell. This 2019 Season sees a new production with additional choreography by ROH Artist-in-Residence Liam Scarlett. Scarlett, while remaining faithful to the Petipa-Ivanov text, will bring fresh eyes to the staging of this classic ballet, in collaboration with his long-term designer John Macfarlane. This beautifully produced new Royal Ballet branded book with photographs by Bill Cooper is a collection of exclusive photographs which shines the spotlight on Swan Lake. These exquisite photos feature some of the finest dancers on stage today and give an exclusive insight into the Royal Ballet’s work.Table of ContentsForeword by Kevin O'Hare Introduction by Liam Scarlett Prologue Act I Act II Act III Act IV Production Afterword by John Macfarlane 2017/18 Season Image Captions

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Book SynopsisThe Safety of Small Things meditates on mortality from a revealing perspective. Images of stark examination rooms, the ravages of chemotherapy, biopsies, and gel-soaked towels entwine with remembrance to reveal grace and even beauty where they are least expected. Jane Hicks captures contemporary Appalachia in all of its complexities: the world she presents constantly demonstrates how the past and the present (and even the future) mingle unexpectedly. The poems in this powerful collection juxtapose the splendor and revelation of nature and science, the circle of life, how family and memory give honor to those we've lost, and how they can all fit together. This lyrical and contemplative yet provocative collection sings a song of lucidity, redemption, and celebration.Table of ContentsInto Night I The Unseen Spotlight Safe Route Abscission PTSD Birthday, 1956 Shine The Dark Age of Providence Caesura Mam Recounts Family History This Morning, In the Mist The Time I Stole Dancing in the Stars Pocket Money Night Music Ode on an Onion Persimmons II Notes from the Forgotten Year Closed Hold Shadows Lair What I Learned Mississippi, 1964 Haiku Take This Leaf Longing Jack Higgs Walks Alone at Hindman Kept Things Persist Pyburn Creek Safety of Small Things Follow After Chemo #2 Neophyte Tobacco An East Tennessee Parking Lot III Remnants of a Saving Life Communion Drawn Cumberland Gap Above the Furnace The Farmer's Son Begs Relief Changeling Eclipse Solstice Bird Boy Walking the Wilderness Road at Cumberland Gap Buick Reverie Menagerie First Morning Publications Acknowledgements

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Book SynopsisNYT Bestselling Author Frederick Joseph explores a new genre in this captivating poetry collection that seeks to find joy in moments of difficulty whether through illuminating the beauty of being Black, highlighting the hope that can be found in childhood, or by sharing intimate truths revealed on a mental health journey. This book will appeal to both new and established readers of poetry.Step into the world of We Alive, Beloved, where its words will resonate within the deepest corners of your soul, leaving a mark on your heart and a renewed appreciation for the beauty of being alive. We Alive, Beloved moves beyond being a poetry collection; it''s a celebration of the profound aspects of our existence. Each poem seeks to immortalize the fleeting moments of joy, love, resilience, and inspiration that often slip through the grasp of our fast-paced lives. In this poetic testament, we defy the ephemeral nature of beauty and goodness, daring to

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Book SynopsisRabindranath Tagore's profound meditations on life, nature, grace and brokenness in the Gitanjali won him the Nobel Prize for Literature in 1913. Sing of Life is Priya Sarukkai Chabria's virtuosic revisioning of this world classic. Limned with daring, intuition and poetic imagination, it rings true to Tagore's search for spiritual splendour, and her own questing. Chabria writes in the introduction to the work, I believe a great poem is one that often serves as a draft or raft for someone else's poem. Or that is how it should be: a spark or a shift in another's consciousness.'

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Book Synopsis“Serious art does not need to be weighty or explicitly topical. It can be, as it is here, apparently as light as a feather: The Lumberjack’s Dove is, in its manner, a folktale; it is also a meditation on attachment, on loss, on transformation. Like its less humble relatives, myth and parable, it is pithy, magical, its many insights, its cautions and clarifications, unfolding in a chain of brief scenes and koan-like revelations. This is a book of unexpected lightness and buoyancy, as necessary in our tense period as the more urgent confrontations.” --Louise Gluck A boldly original and visceral debut collection from the winner of the 2017 National Poetry Series Competition, selected by Louise GluckIn the ingenious and vividly imagined narrative poem The Lumberjack’s Dove, GennaRose Nethercott describes a lumberjack who cuts his hand off with an axe—however, instead of merely being severed, the hand

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