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Book SynopsisC. P. Einarsson takes a closer look at the often peculiar, sometimes incongruous physical movements and gestures that characters perform in Beckettâs drama.

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Book SynopsisFling Diction is a book about the vulnerability of desire; these poems explore different styles of relationships, including queer love, polyamory, familial drama, dog and human companionship, and longing in isolation. The characters find and lose each other in rural and urban settings; their experiences are intensified by the sensuality and ferocity of nature. This book is a record of the speaker’s blunders, embraces, and revelations as she seeks knowledge of the elusive other.

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Book SynopsisThe purpose of The Broadview Anthology of Poetry is to present a wide range of poetry written in English. [Though the poems are arranged chronologically], we have compiled not a historical survey, but rather a collection of poems that represent a variety of times, places and English-speaking cultures. Our selection process was guided by a wish to combine works long accepted as part of the English-language ‘canon’ with material not always well represented in anthologies—such as, most notably, the poetry of women since the seventeenth century..."Another notion implicit in the framing of this anthology is that English-language poetry has dramatically expanded within the last century. Writers in Australia and New Zealand, Canada, India, Africa and the Caribbean all hold in common with writers in Britain and the United States an English-Language tradition that helped to shape their history and their institutions, and that laid the groundwork for new writings..."In trying to include as wide a selection as possible of representative work…we have had to leave out several well-known long poems. In almost all cases, however, we have chosen to represent a poet by several poems, inviting readers to take a broader view of a given writer’s work and ways of thinking." - from the PrefaceTrade ReviewIn reconsidering the canon of English language poetry, the editors have been as creative as they are generous. This is a lively anthology—it shows views where previous anthologies hadn't planned for windows." - David Shevin, Tiffin UniversityTable of Contents GEOFFREY CHAUCER from: The Canterbury Tales (1387?) ENGLISH BALLADS Lord Rendal (c.1400-1500) Sir Patrick Spens (c.1400-1500) Barbara Allan (c.1400-1500) SIR THOMAS WYATT The longe love, that in my thought doeth harbar (1557) Who so list to hounte I knoiv where is an hynde (1557) Ffarewell, love, and all thy lawes for ever; (1557) They fie from me that sometyme did me seke (1557) Blame not my lute, for he must sownd (1557) HENRY HOWARD, EARL OF SURREY The Soote Season (1557) Love, That Doth Reign and Live Within My Thought (1557) SIR WATER RALEGH The Nimphs reply to the Sheepheard (c.1600) Three thinges there bee that prosper up apace (c.1610) EDMUND SPENSER from: Amoretti Sonnet XXXVII (1595) Sonnet LXXV (1595) Sonnet LXXIX (1595) Sonnet LXXXI (1595) Prothalamion (1595) LADY MARY WROTH from: Pamphilia to Amphilanthus When Night’s Black Mantle Could Most Darkness Prove (1621) Faulce hope which feeds butt to destroy, and spill (1621) Love a child is ever criing (1621) SIR PHILIP SIDNEY from: Astrophil and Stella (1598) Leave me 6 Love, which reachest but to dust (1598) CHRISTOPHER MARLOWE The Passionate Sheepheard to his Love (1600) WILLIAM SHAKESPEARE Sonnet 18 (1609) Sonnet 29 (1609) Sonnet 30 (1609) Sonnet 55 (1609) Sonnet 73 (1609) Sonnet 106 (1609) Sonnet 116 (1609) Sonnet 129 (1609) Sonnet 130 (1609) Sonnet 146 (1609) Fear no more the heat o’ th’ sun, (1609) O mistress mine, where are you roaming? (1599?-1600) THOMAS CAMPION My Sweetest Lesbia (1601) When Thou Must Home (1601) There is a Garden in her face. (1617) JOHN DONNE The Good-Morrow (1633) The Sunne Rising (1633) The Canonization (1633) The Flea (1633) A Valediction: Forbidding Mourning (1633) The Extasie (1633) Holy Sonnets (1633) Goodfriday, 1613. Riding Westward (1633) BEN JONSON On my first Sonne (1616) Inviting a friend to supper (1616) Song. To Celia (1616) A Hymne to God the Father (1640) To the Memory of my Beloved, the Author, Mr. ’William Shakespeare: and what he hath left us (1623) ROBERT HERRICK Corinna’s going a Maying (1648) Delight in Disorder (1648) Upon Julia’s Clothes (1648) To the Virgins, to make much of Time. (1648) To Blossoms (1648) GEORGE HERBERT Easter Wings (1633) Prayer (I) (1633) Jordan (1) (1633) The Flower (1633) The Collar (1633) The Pulley (1633) JOHN MILTON Lycidas (1638) On Shakespeare (1632) How Soon Hath Time (1645) On the Late Massacre in Piemont (1673) When I Consider How My Light Is Spent (1673) Methought I Saw My Late Espoused Saint (1673) from: Paradise Lost: Book I (1667) ANNE BRADSTREET The Prologue (1650) The Author to Her Book (1678) Before the Birth of One of Her Children (1678) To My Dear and Loving Husband (1678) A Letter to Her Husband, Absent Upon Public Enployment (1678) Upon the Burning of Our House July Wth, 1666. (1867?) ANDREW MARVELL The Coronet (1681) A Dialogue between the Soul and Body (1681) To his Coy Mistress (1681) The Definition of Love (1681) The Garden (1681) MARGARET CAVENDISH, DUCHESS OF NEWCASTLE The Poetresses Petition (1653) Natures Cook (1653) A Woman drest by Age (1653) KATHERINE PHILIPS A marryd state affords but little Ease (c.1667) L’Amitie: To Mrs M. Awbrey (1664) Friendship’s Mysterys: to my dearest Lucasia (1667?) JOHN DRYDEN To the Memory of Mr. Oldbam (1684) To the Pious Memory of the Accomplisht Young Lady Mrs. Anne Killigrew, Excellent in the two Sister-Arts of Poesie, and Painting. An ODE (1686) from: Absalom and Achitophel (1681) APHRA BEHN Love in fantastick Triumph sat (1684) To Alexis in Answer to his Poem against fruition. Ode. (1688) The Disappointment (1684) LADY MARY CHUDLEIGH To the Ladies (1703) The Resolve (1703) ANNE FINCH, COUNTESS OF WINCHILSEA The Introduction (1689?) A Nocturnal Reverie (1713) The Unequal Fetters (1713) JONATHAN SWIFT A Description of the Morning (1710?) A Description of a City Shower (1710) ALEXANDER POPE from: An Essay on Criticism (1711) from: The Rape of the Lock (1714) LADY WORTLEY MONTAGU The Resolve (1747?) from: Six Town Eclogues (1747) from: Verses Addressed to the Imitator of the First Satire of the Second Book of Horace (1733) THOMAS GRAY Ode on the Death of a favourite Cat, Drowned in a Tub of Gold Fishes (1748) Elegy Written in a Country Church-Yard (1751) Sonnet on the Death of Richard West (1775) CHRISTOPHER SMART from: Jubilate Agno (fragment B) (1759-63, 1939) MARY LEAPOR Strephon to Celia. A Modern Love-Letter (1748) An Essay on Woman (1748) The Epistle of Deborah Dough (1748) WILLIAM COWPER On The Death of Mrs. Throckmorton’s Bulfinch (1788) The Poplar-Field (1785) from: The Task: Book II (1785) The Cast-Away (1.803) ANNA LAETITIA BARBAULD The Mouse’s Petition to Dr. Priestley (1825?) The Rights of Woman (1825) Washing-Day (1825) WILLIAM BLAKE How sweet I roam’d from field to field (1783) from: Songs of Innocence The Lamb (1789) The Chimney Sweeper (1789) Holy Thursday (1789) from: Songs of Experience London (1794) The Tyger (1794) The Sick Rose (1794) The Chimney-Sweeper (1794) Holy Thursday (1794) from: Milton (1804-10) ROBERT BURNS To a Louse (1786) Holy Willie’s Prayer (1785) The Banks O Doon (1792) A Red, Red Rose (1796) WILLIAM WORDSWORTH Lines Composed a few miles above Tintern Abbey (1798) Strange fits of passion have 1 known (1800) She dwelt among the untrodden ways (1800) I travelled among unknown men (1807) Three years she grew in sun and shower (1800) A slumber did my spirit seal (1800) Composed Upon Westminster Bridge, September 3, 1802 (1807) It is a beauteous evening, calm and free (1807) London, 1802 (1807) Nuns fret not at their convent’s narrow room (1807) Ode: Intimations of Immortality (1807) SAMUEL TAYLOR COLERIDGE Kubla Khan (1816) Frost At Midnight (1798) Dejection: An Ode (1817) GEORGE GORDON, LORD BYRON She Walks In Beauty (1815) So We’ll Go No More A-Roving (1836) Stanzas written on the road between Florence and Pisa (1830) from: Childe Harold’s Pilgrimage (1816) The Prisoner of Chilian (1816) On This Day I Complete My Thirty-sixth Year (1824) from: Don Juan (1824) PERCY BYSSHE SHELLEY Mont Blanc (1816) Ozymandias (1816) Sonnet: England in 1819 (1839) Ode to the West Wind (1820) The Cloud (1820) To a Skylark (1820) JOHN KEATS On First Looking into Chapman’s Homer (1816) When I have fears that I may cease to be (1848) If by dull rhymes our English must be chain’d (1836) La Belle Dame sans Merci (1820) Ode to a Nightingale (1820) Ode to a Grecian Urn (1820) Ode on Melancholy (1820) To Autumn (1820) RALPH WALDO EMERSON The Snow-Storm (1847) Blight (1847) Terminus (1867) ELIZABETH BARRETT BROWNING from: Sonnets from the Portuguese Sonnet XXII (1850) Sonnet XLIII (1850) A Musical Instrument (1862) from: Aurora Leigh: Book I (1857) from: Aurora Leigh: Book V (1857) HENRY WADSWORTH LONGFELLOW The Tide Rises, the Tide Falls (1880) Snow-Flakes (1863) In the Churchyard at Cambridge (1858) My Lost Youth (1858) Divina Commedia (1867) EDGAR ALLAN POE The City in the Sea (1831) Dream-Land (1845) The Sleeper (1831) The Haunted Palace (1845) To Helen (1845) ALFRED, LORD TENNYSON The Lady of Shalott (1842) The Lotos-Eaters (1842) Ulysses (1842) Break, Break, Break (1842) from: In Memoriam A. H. H. (1850) Crossing the Bar (1889) ROBERT BROWNING Porphyria’s Lover (1842) Soliloquy of the Spanish Cloister (1842) My Last Duchess (1842) The Bishop Orders His Tomb at Saint Praxed’s Church (1845) Fra Lippo Lippi (1855) EMILY BRONTË The Old Stoic (1841) Shall Earth no more inspire thee (1841?) Remembrance (1846) No Coward Soul (1846) Often rebuked, yet always back returning (1850) ARTHUR HUGH CLOUGH The Latest Decalogue (1862) Say not the struggle nought availeth (1862) from: Dipsychus (1865) WALT WHITMAN from: Song of Myself (1881) When I Heard the Learn’d Astronomer (1865) Vigil Strange I Kept on the Field One Night (1867) Cavalry Crossing a Ford (1871) A Noiseless Patient Spider (1881) To a Locomotive in Winter (1881) HERMAN MELVILLE The House-top (1866) The Maldive Shark (1888) Art (1891) MATTHEW ARNOLD Shakespeare (1849) Isolation. To Marguerite (1857) To Marguerite - Continued (1852) Dover Beach (1867) The Buried Life (1867) DANTE GABRIEL ROSSETTI The Blessed Damozel (1870?) The Card-dealer from: The House of Life Sonnet (1881) Silent Noon (1881) A Superscription (1881) The One Hope (1881) EMILY DICKINSON 214:1 taste a liquor never brewed (1861) 241:1 like a look of Agony (c.1861) 258: There’s a certain Slant of light (1890) 303: The Soul selects her own Society (1890) 341: After great pain, a formal feeling comes (1929) 449:1 died for Beauty (1890) 465:1 heard a Fly buzz- when I died (1896) 5S5:1 like to see it lap the Miles (1891) 712: Because 1 could not stop for Death (1890) 986: A narrow Fellow in the Grass (1866) 1227: My triumph lasted till the Drums (1935) CHRISTINA GEORGINA ROSSETTI Goblin Market (1862) LEWIS CARROLL Jabberwocky (1871) The White Knight’s Song (1871) THOMAS HARDY Hap (1898) Nature’s Questioning (1898) Drummer Hodge (1902) The Darkling Thrush (1901) The Converge of the Twain (1914) Channel Firing (1914) In Time of ’The Breaking of Nations’ (1917) Transformations (1917) GERARD MANLEY HOPKINS God’s Grandeur (1918) Spring (1918) The Windhover (1918) Pied Beauty (1918) Spring and Fall (1918) I wake and feel the fell of dark, not day. (1918) No worst, there is none (1918) Carrion Comfort (1918) Thou art indeed just, Lord (1918) ISABELLA VALANCY CRAWFORD The Camp of Souls (1905) The Dark Stag (1883) The City Tree (1880) A. E. HOUSMAN Loveliest of trees, the cherry now (1896) To an Athlete Dying Young (1896) Is my team ploughing (1896) On Wenlock Edge the wood’s in trouble (1896) Terence, this is stupid stuff (1896) The chestnut casts his flambeaux (1922) The night is freezing fast (1922) CHARLES G. D. ROBERTS Tantramar Revisited (1883) The Potato Harvest (1886) The Solitary Woodsman (1897) The Sower (1884) The Winter Fields (1890) The Skater (1901) BLISS CARMAN Vestigia (1923?) Low Tide on Grand Pré (1893) A Northern Vigil (1905) The Eavesdropper (1905) The World Voice (1921) ARCHIBALD LAMPMAN The Frogs (1925) Heat (1888) Morning on the Lièvre (1925) The City of the End of Things (1899) Winter Evening (1899) DUNCAN CAMPBELL SCOTT The Onondaga Madonna (1898) Watkwenies (1898) On The Way To The Mission (1905) The Forsaken (1905) At Gull Lake: August, 1810 (1935) RUDYARD KIPLING Cities and Thrones and Powers (1906) The Way through the Woods (1910) Recessional (1899) The Hyaenas (1919) WILLIAM BUTLER YEATS The Sorrow of Love (1892) When You Are Old (1892) Easter 1916 (1920) An Irish Airman Foresees His Death (1919) The Second Coming (1921) A Prayer For My Daughter (1921) Leda and the Swan (1928) Sailing to Byzantium (1927) Among School Children (1927) Lapis Lazuli (1.938) The Circus Animals’ Desertion (1939) ROBERT FROST Mending Wall (1914) After Apple-Picking (1914) The Road Not Taken (1916) Birches (1916) Fire and Ice (1923) Stopping by Woods on a Snowy Evening (1923) Acquainted with the Night (1928) Desert Places (1936) Neither Out Par Nor In Deep (1936) Design (1936) The Silken Tent (1942) ROBERT SERVICE The Shooting of Dan Mcgrew (1907) Only a Boche (1916) WALLACE STEVENS The Emperor of Ice-Cream (1931) Anecdote of the Jar (1931) Thirteen ’Ways of Looking at a Blackbird (1931) The Idea of Order at Key West (1936) The Motive for Metaphor (1947) E. J. PRATT The Shark (1923) From Stone to Steel (1932) The Prize Cat (1937) The Highway (1932) from: Towards the Last Spike (1952) WILLIAM CARLOS WILLIAMS The Red Wheelbarrow (1923) Queen-Anne’s-Lace (1921) This Is Just To Say (1934) At the Ball Game (1923) The Yachts (1935) The Dance (1944) Landscape With The Fall of Icarus (1962) D. H. LAWRENCE Piano (1918) Snake (1923) How Beastly the Bourgeois Is (1.929) Bavarian Gentians (1923) After The Opera (1919) The Ship of Death (1932) EZRA POUND Portrait d’une Femme (1912) The River-Merchant’s Wife: A Letter (1915) In a Station of the Metro (1916) Commission (1916) The Garden (1916) Canto I (1925) SIEGFRIED SASSOON A Night Attack (1918) Conscripts (1917) Base Details (1919) H. D. (HILDA DOOLITTLE) Oread (1924) Leda (1921) Helen (1924) Fragment Thirty-six (1924) Fragment Forty (1924) MARIANNE MOORE Poetry (1921) Poetry (Revised version) (1967) The Fish (1921) Critics and Connoisseurs (1924) No Swan So Fine (1932) EDITH SITWELL The Swans (1942) Still Falls the Rain (1942) Two Songs of Queen Anne Boleyn (1945?) The Poet Laments the Coming of Old Age (1945) JOHN CROWE RANSOM Bells for John Whiteside’s Daughter (1924) Blue Girls (1927) Jack’s Letter (1927) T. S. ELIOT The Love Song of ]. Alfred Prufrock (1917) Preludes (1917) Sweeney Among the Nightingales (1919) The Hollow Men (1925) Journey of the Magi (1927) EDNA ST. VINCENT MILLAY Dirge Without Music (1928) Journey (1917) Elegy Before Death (1921) Love is Not All (1931) Menses (1939) HUGH MACDIARMID In the Children’s Hospital (1935) We must look at the harebell (1955) In Memoriam Dylan Thomas (1955) ARCHIBALD MACLEISH The Silent Slain (1926) The End of the World (1926) Ars Poetica (1926) You, Andrew Marvel (1930) “Dover Beach” — A Note to that Poem (1936) WILFRED OWEN Arms and the Boy (1920) Insensibility (1920) Dttlce et Decorum Est (1920) Anthem for Doomed Youth (1920) Strange Meeting (1920) DOROTHY PARKER Bohemia (1928) A Pigs-Eye View of Literature (1928) On Being a Woman (1928) Sonnet For the End of a Sequence (1931) E. E. CUMMINGS the Cambridge ladies who live in furnished souls (1923) goodby Betty, don’t remember me (1923) somewhere i have never travelled, gladly beyond (1931) anyone lived in a pretty how town (1940) i sing of Olaf glad and big (1931) i thank You God for most this amazing day (1950) ROBERT GRAVES Down (1947) The Cool Web (1947) Recalling War (1938) Down, Wanton, Down! (1933) A Slice of Wedding Cake (1958) F. R. SCOTT The Canadian Authors Meet (1945) Lakeshore (1954) Laurentian Shield (1954) Trans Canada (1945) Last Rites (1954) W L. M. K. (1954) BASIL BUNTING Personal Column (1930) What the Chairman Told Tom (1967) I am agog for foam (1930) Nothing (1950) KENNETH SLESSOR Wild Grapes (1932) Five Bells (1939) Beach Burial (1939) LANGSTON HUGHES The Weary Blues (1926) Trumpet Player (1947) Harlem (1951) A. J. M. SMITH The Lonely Land (1936) News of the Phoenix (1943) Prothalamium (1967?) The Archer (1967?) STEVIE SMITH The River God (1950) Away, Melancholy (1957) Mother, Among the Dustbins (1971?) The Blue from Heaven (1957) Not Waving but Drowning (1957) COUNTEE CULLEN Yet Do I Marvel (1925) To John Keats, Poet, At Spring Time (1947) From the Dark Tower (1927) RICHARD EBERHART The Groundhog (.1936) The Fury of Aerial Bombardment (1944) EARLE BIRNEY Vancouver Lights (1948) Anglosaxon Street (1942) From the Hazel Bough (1948) Bushed (1952) The Bear on the Delhi Road (1962) El Greco: Espolio (1962) JOHN BETJEMAN The Cottage Hospital (1954) Late-Flowering Lust (1954) A Subaltern’s Love-song (1945) W. H. AUDEN Lay your sleeping head, my love, (1940) Musée des Beaux Arts (1940) In Memory of W. B. Yeats (1940) The Unknown Citizen (1940) Our Bias (1940) September!, 1939 (1940) Song (1940) LOUIS MACNEICE Bagpipe music (1937) The British Museum Reading Room (1939) Thalassa (1963?) THEODORE ROETHKE My Papa’s Waltz (1948) The Waking (1948) Elegy for Jane (1953) I Knew a Woman (1954) Dolor (1948) A. D. HOPE Imperial Adam (1955) Australia (1939) The Return of Persephone (1955) Parabola (1971) The Pleasure of Princes (1955) Meditation on a Bone (1956) STEPHEN SPENDER The Express (1933) The Pylons (1933) A. M. KLEIN Psalm VI: A Psalm of Abraham, Concerning That Which He Beheld Upon The Heavenly Scarp (1942) For the Sisters of the Hotel Dieu (1947) Autobiographical (1943) Montreal (1944) The Rocking Chair (1945) Political Meeting (1946) DOROTHY LIVESAY The Difference (1929) Bartok and the Geranium (1955) The Three Emilys (1953) Lament (1955) On Looking into Henry Moore (1956) The Unquiet Bed (1967) ANNE WILKINSON Lens (1955) In June and Gentle Oven (1955) My Bones Predict Nature be damned (1957) On a Bench in a Park (1955) ELIZABETH BISHOP The Fish (1946) In the Waiting Room (1976) One Art (1976) The Armadillo (1965) Sestina (1965) ALLEN CURNOW House and Land (1941) The Unhistonc Story (1941) Out of Sleep (1943) The Skeleton of the Great Moa in the Canterbury Museum, Christchurch (1943) IRVING LAYTON The Birth of Tragedy (1954) Butterfly on Rock (1963) The Bull Calf (1956) The Cold Green Element (1955) Cain (1958) From Colony to Nation (1956) KENNETH MACKENZIE Shall then another (1961) Caesura (1952) The Snake (1952) Two Trinities (1953) HENRY REED from: Lessons of the War I: Naming of Parts (1942) II: Judging Distances (1943) IV: Unarmed Combat (1945) RANDALL JARRELL Losses (1948?) The Death of the Ball Turret Gunner (1945) The Woman at the Washington Zoo (1945) WILLIAM STAFFORD Traveling through the Dark (1962) A Message from the Wanderer (1977) At the Un-National Monument Along the Canadian Border (1977) JOHN BERRYMAN A Professor’s Song (1948) Desires of Men and Women (1948) from: The Dream Songs (1959) DOUGLAS LEPAN Coureurs de Bois (1948) A Country Without A Mythology (1948) An Incident (1953) DYLAN THOMAS The Force That Through The Green Fuse Drives The Flower (1933) And Death Shall Have No Dominion (1933) Do Not Go Gentle Into That Good Night (1951) Fern Hill (1946) A Refusal To Mourn The Death, By Fire, Of A Child In London (1946) In My Craft Or Sullen Art (1946) After the Funeral (1939) JUDITH WRIGHT Song (1955) The Bull (1949) Woman to Man (1946) Woman to Child (1946) Request to a Year (1953) At Cooloola (1954) P. K. PAGE The Stenographers (1946) Young Girls (1946?) The Landlady (1946) The Permanent Tourists (1954) T-bar (1967) Stones of Snow (1967) After Rain (1967) The Selves (1981) ROBERT LOWELL As a Plane Tree by the Water (1946) Skunk Hour (1956) For the Union Dead (1959) The Public Garden (1964) MIRIAM WADDINGTON Thou Didst Say Me (1955) Sea Bells (1966) Ten years and More (1976) MARGARET AVISON The Butterfly (1960) Voluptuaries and Others (1960) The Swimmer’s Moment (1965) Butterfly Bones or Sonnet Against Sonnets (1960) The Dumbfounding (1966) A Nameless One (1966) New Year’s Poem (1960) AL PURDY Remains of an Indian Village (1962) The Cariboo Horses (1965) The Country North of Belleville (1965) Wilderness Gothic (1968) Lament For the Dorsets (1968) On the Decipherment of "Linear B" (1959) RICHARD WILBUR Digging For China (1956) The Pardon (1957) The Death of a Toad (1957) Love Calls Us to the Things of This World (1956) Beasts (1956) A Late Aubade (1963?) RAYMOND SOUSTER Young Girls (1964) Memory of Bathurst Street (1965) Queen Anne’s Lace (1974) Words Before a Statue of Champlain (1975) Lagoons, Hanlan’s Point (1952) PHILIP LARKIN Poetry of Departures (1955) Church Going (1955) Lines on a Young Lady’s Photograph Album (1955) Ambulances (1964) Sad Steps (1974) An Arundel Tomb (1964) The Explosion (1974) Aubade (1977) DEMISE LEVERTOV Laying the Dust (1956) The Jacob’s Ladder (1958) The Dog of Art (1959) Matins (1962) The Novel (1964) Caedmon (1987) The Day the Audience Walked Out on Me, and Why NISSIM EZEKIEL The Company I Keep Poet, Lover, Birdwatcher (1965) In India (1965) Night of the Scorpion (1965) In The Garden CAROLYN KIZER from: Pro Femina (1961) Three (1961) The Ungrateful Garden (1961) The Copulating Gods (1963) JAMES MERRILL Angel (1962) After Greece (1961) The Broken Home (1966) ROBERT CREELEY The Hill (1959) The Rain (1959) The Door (1959) W. D. SNODGRASS April Inventory (1959) The Mother Diplomacy: The Father The Poet Ridiculed by Hysterical Academics ALLEN GINSBERG A Supermarket in California (1956) My Sad Self (1963) JAMES K. BAXTER The Bay (1948) Elegy for an Unknown Soldier (1953) The Homecoming (1952) My love late walking (1958) PHYLLIS WEBB A Tall Tale (1962) Patience (1954) Marvell’s Garden (1956) Breaking (1962) ANNE SEXTON Her Kind (I960) In the Deep Museum (1962) Cinderella (1971) MAYA ANGELOU Caged Bird (1983) Our Grandmothers (1990) ADR1ENNE RICH Aunt Jennifer’s Tigers (1951) Planetarium (1971) Orion (1969) A Valediction Forbidding Mourning (1971) Final Notations (1991) PETER PORTER Sydney Cove, 1788 (1964) Annotations of Auschwitz, (1961) Soliloquy at Potsdam (1962) An Australian Garden (1975) DEREK WALCOTT A Far Cry from Africa (1962) Ruins of a Great House (1962) A Letter from Brooklyn (1962) Map of Europe (1965) The Sea Is History (1979) Menelaus TED HUGHES The Thought-Fox (1957) Hawk Roosting (1957) Pike (1960) The Jaguar (1954) Second Glance at a Jaguar (1967) Wodwo (1967) EDWARD KAMAU BRATHWAITE Wings of a Dove (1967) Calypso (1967) JAY MACPHERSON The Boatman (1957) The Fisherman (1957) A Lost Soul (1974) The Well (1974) SYLVIA PLATH The Colossus (1960) Black Rook in Rainy Weather (1971) Crossing the Water (1962) Face Lift (1962) Last Words (1971) Ariel (1966) Daddy (1966) Edge (1965) ALDEN NOWLAN Warren Pryor (1961) The Bull Moose (1970) The Execution (1962) I, Icarus (1967) In Those Old Wars (1967) The Word (1967) LEONARD COHEN Elegy (1956) You Have the Lovers (1961) A Kite is a Victim (1961) I Have Not Lingered In European Monasteries (1965) Suzanne Takes You Down (1968) IMAMU AMIRIBARAKA (LEROI JONES) Three Modes of History and Culture (1979?) I Substitute For The Dead Lecturer (1964) Ostriches & Grandmothers! (1979?) AUDRE LORDE Outside (1976) Stations The Art of Response Hanging Fire (1978) FLEUR ADCOCK Wife to Husband (1964) Unexpected Visit (1.964) Leaving the Tate Below Loughrigg (1979) KOFI AWOONOR On the Way to Durham, N.C. (1978) The First Circle (1978) I Rejoice (1987) GEORGE BOWERING Grandfather (1964) The Swing (1965) My Father in New Zealand (1987) Dancing Bones (1987) Leaves Flipping (1992) The Kingdome 1974 (1974?) MARGE PIERCY The secretary chant (1971?) I will not be your sickness (1969) The cat’s song (1989) Barbie Doll (1971) DARYL HINE Northwest Passages Tabula Rasas? Point Grey (1968) JUDTH RODRIGUEZ Eskimo occasion (1975) A lifetime devoted to literature (1975) Rebeca in a mirror (1975) SEAMUS HEANEY Personal Helicon (1966) Poor Women in a City Church Docker (1966) The Grauballe Man (1975) The Railway Children (1984) From the Frontier of Writing (1987) MARGARET ATWOOD This Is a Photograph of Me (1966) Journey to the Interior (1966) At the Tourist Centre in Boston (1968) Progressive Insanities of a Pioneer (1968) from: The journals of Susanna Moodie Further Arrivals (1970) Death of a Young Son by Drowning (1970) Dream 1: The Bush Garden (1970) Thoughts From Underground (1970) Tricks With Mirrors (1974) IS / NOT (1974) DENNIS LEE from: Civil Elegies (1972) PATRICK LANE Pissaro’s Tomb (1975) Winter 6 Winter 9 Winter 40 GWENDOLYN MACEWEN Eden, Eden (1961?) Inside the Great Pyramid (1969) The Discovery (1969) Dark Pines Under Water (1969) The Child Dancing (1972) Letter to a Future Generation (1969) JENI COUZYN House of Changes (1978) Spell for Jealousy (1978) Spell to Soften the Hard Heart of a Woman (1978) DAPHNE MARLATT from: Steveston Ghost (1974) from: Touch to My Tongue in the dark of the coast (1984) ARTHUR NORTJE Letter from Pretoria Central Prison (1973) Immigrant (1973) Native’s letter (1973) MICHAEL ONDAATJE Henri Rousseau and Friends (1967) Dates (1973) King Kong meets Wallace Stevens (1973) Letters & Other Worlds (1979) The Agatha Christie Books By The Window (1978?) from: Tin Roof (1982) TOM WAYMAN Long Beach Suite (1979) SHARON THESEN Mean Drunk Poem (1980) Hello Goodbye (1980) WANDA COLEMAN Coffee (1979) Three Trees (1979) Voices Wanda Why Aren’t You Dead MAXINE TYNES Womanskin (1987) SUSAN MUSGRAVE At Nootka Sound (1970) Equinox (1973) Lure (1976) DIONNE BRAND Canto I (1982) Canto II (1982) PATRICIA YOUNG Three Point Five Nine (1991) The Third Sex (1991) Photograph, 1958 (1991) READING POETRY GLOSSARY BIOGRAPHICAL NOTES INDEX OF AUTHORS AND TITLES INDEX OF FIRST LINES

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Book SynopsisThere are numerous introductions to poetry and prosody available, but none at once so comprehensive and so accessible as this. With the increasing emphasis on free verse, the past generation has developed a widespread impression that the study of poetic meter is old fashioned—or even that form ‘doesn’t matter’ in poetry. It is an impression that has not been dispelled by the emphasis of some of the existing texts in the area on forms that are now rare or outmoded. The irony is that simultaneously in the past decade interest in formal matters among many poets and literary scholars has been on the increase; the reality is that prosody is today on the cutting edge of literary studies.Stephen Adams’ text provides a full treatment of traditional topics, from the iambic pentameter through other accentual-syllabic rhythms (trochaic, dactylic and so on) and covering as well other metrical types, stanza structure, the sonnet and other standard forms. Adams also includes a variety of topics not covered in most other introductions to the topic; perhaps most significantly, he provides a full chapter on form in free verse. Moreover, he treats rhyme extensively and includes a comprehensive chapter on literary figures. Poetic Designs is thus much more that an introduction to prosody; it is a concise but comprehensive introduction to the nature of poetry in English. It is a book for the general reader and the aspiring writer as well as for the student, a book intended (in the words of the author) to help ‘heighten the experience of poetry.’Trade ReviewOne of the book's most salient strengths is how gracefully the author handles some of the knottiest problems a teacher of prosody will encounter. This is a very strong book." - Annie Finch, Miami University, Ohio."One of the most impressive features is Adams' mastery at introducing various intricacies as they surface in his examples instead of giving lists of rules and the like. Adams' writing style is impeccable, lucid and tightly controlled. He manages to get through a great deal of material quite quickly, without ever sacrificing accuracy and thoroughness." - Demetres Tryphonopoulos, University of New Brunswick"A very good guide to the subject, full of erudition, but also full of pedagogical savvy. There is a fine and informal ear evident throughout." - Don McKay, winner of the Governor General's Award for Poetry"Adams offers help to students and teachers of poetry with his lively, accessible guide to the mechanics of verse. [His] clear and measured examination of the elements of poetry and straight-ahead style make Poetic Designs a valuable resource" - Quill and QuireTable of ContentsAcknowledgements1. Meter and RhythmTHE IMPORTANCE OF PROSODY / The Sound of Meter / Different Metrical Systems and Their Histories / The Meaning of Meter / THE ACCENTUAL-SYLLABIC SYSTEM / The Regular Iambic Pentamenter Line / Variation 1: The Reversal of Accent (Trochaic Substitution) / Variation 2: The Principle of Relative Accent (Spondaic and Pyrrhic Substitution) / Variation 3: Added Syllables (Anapestic and Dactylic Subsitution) / Variation 4: Omitted Syllables / SYNTACTIC RHYTHM AND THE LINE UNIT / Rhyme, Alliteration, Assonance and Onomatopoeia / Facility2. Beyond Iambic PentameterACCENTUAL METERS AND THE BALLAD STANZA / The Accentual Meters / THE LONGER AND SHORTER IAMBIC METERS / The Trochaic Meters / The Triple Meters: Anapestic and Dactylic / SYLLABIC AND QUANTITATIVE SYSTEMS3. Stanza and FormTHE DYNAMICS OF STANZA AND FORM: RHYME, LINE AND CLOSURE / Some Standard English Stanzas / Beyond the Single Stanza / Some Virtuoso Pieces / SOME STANDARD VERSE FORMS: FIXED AND NOT SO FIXED: The Sonnet / The French Forms / The Ode4. Figures of SpeechRHETORIC AND FIGURE / THE SCHEMES: Figures of Balance and Parallelism / Figures of Repetition / Figures of Amplification and Omission / Figures of Address / Figures of Syntactic Deviation / Figures of Verbal Play / THE TROPES / Metaphor and Simile / Metonymy and Synecdoche / Personification / Irony and Paradox5. Form in Free VerseLines: The Master Convention of Free Verse / Numbers: Metrical Presences in Free Verse / Figures: Syntactic Patterning in Free Verse / THE MARGINS OF GENRE: Shaped Poetry, Concrete Poetry, Sound Poetry / The Prose PoemAppendix 1: The Terminology of RhymingAppendix 2: Sample Scansions, with CommentaryIndex of SourcesIndex of Names and Terms

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Book SynopsisIn 1810, while still at Eton, Percy Bysshe Shelley published Zastrozzi, the first of his two early Gothic prose romances. He published the second, St. Irvyne; or, The Rosicrucian, a year later. These sensationalist novels present some of Shelley’s earliest thoughts on irresponsible self-indulgence and violent revenge, and offer remarkable insight into an imagination that is strikingly modern. This new Broadview Literary Texts edition also brings together the fragmentary remains of Shelley’s other prose fiction, including his chapbook, Wolfstein, and contemporary reviews both by Shelley and about his work.Trade Review“With the current widespread reappraisal of both the importance of Shelley’s early works and the centrality of Gothic fiction to the Romantic Period, this could hardly be a more timely edition, and it is splendidly introduced and edited by Stephen Behrendt.” — Neil Fraistat, University of Maryland“For the first time ever, this edition presents complete texts of Shelley’s two early prose romances, Zastrozzi, A Romance and St. Irvyne; or, The Rosicrucian, within a thick context of related materials: contemporary reviews of both works, Shelley’s own reviews of contemporary fiction, Shelley’s other works of prose fiction, and a shortened chapbook version of St. Irvyne. This material, scrupulously edited from original documents, is combined with a knowledgeable introduction, and thus guided, readers of the important source material brought together originally for this edition, will discover a range of illuminating new ways to think about Shelley’s artistic development, his engagements with the aesthetic and political possibilities of prose fiction, and the cultural phenomenon of Gothic writing and reading in the discursive public sphere. Stephen Behrendt’s edition of Percy Shelley’s prose fiction makes a unique and rewarding contribution to studies of Shelley, Gothic fiction, and the literary marketplace during the Romantic era.” — Greg Kucich, University of Notre DameTable of ContentsAcknowledgmentsIntroduction Percy Bysshe Shelley: A Brief Chronology A Note on the TextsZastrozzi, A Romance St. Irvyne; or, The Rosicrucian: A RomanceAppendix A: “The Assassins” Appendix B: “The Coliseum”Appendix C: Contemporary Reviews Zastrozzi St. Irvyne Appendix D: Shelley’s reviews of contemporary novels: Thomas Jefferson Hogg, Memoirs of Prince Alexy Haimatoff William Godwin, Mandeville Mary Shelley, Frankenstein Appendix E: Wolfstein; or, The Mysterious BanditSelected Bibliography

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Book SynopsisThis is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period's "laughing comedy" (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy.The core canonical plays from the era—from Dryden's All for Love and Behn's The Rover to Congreve's The Way of the World and Sheridan's School for Scandal—are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.Table of ContentsIntroductionProceduresMapHeroic Romance The History of Henry the FifthRoger Boyle, First Earl of OrreryTamerlaneNicholas RoweLucius, The First Christian King of BritainDelarivier ManleyPolitical Tragedy The Unhappy FavoriteJohn BanksLucius Junius BrutusNathaniel LeeCatoJoseph AddisonPersonal Tragedy All for LoveJohn DrydenThe Fair PenitentNicholas RoweThe London MerchantGeorge LilloTragicomic Romance Marriage a la ModeJohn DrydenOroonokoThomas SoutherneThe Conscious LoversRichard SteeleSocial Comedy The CommitteeSir Robert HowardThe Man of ModeGeorge EtheregeThe RoverAphra BehnCity PoliticsJohn CrowneLove’s Last ShiftColley CibberThe Way of the WorldWilliam CongreveThe Beau DefeatedMary FixLove at a LossCatharine TrotterA Bold Stroke for a WifeSusanna CentlivreSubversive Comedy The Old TroopJohn LacyThe Careless LoversEdward RavenscroftThe Country WifeWilliam WycherleyFriendship in FashionThomas OtwayA True WidowThomas ShadwellSir Anthony LoveThomas SoutherneThe Beaux’ StratagemGeorge FarquharThe Beggar’s OperaJohn GayCorrective Satire The Princess of Cleves Nathaniel LeeThe Lucky Chance Aphra BehnThe RelapseJohn VanbrughPollyJohn GayMenippean Satire The RumpJohn TathamA Fond HusbandThomas DurfeyVenice PreservedThomas OtwayAmphitryonJohn DrydenThe Authors FarceHenry FieldingLaughing Comedy The Belle’s StratagemHannah CowleyShe Stoops to ConquerOliver GoldsmithThe School for ScandalRichard Brinsley SheridanGlossaryIndex of Authors and Titles

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Book SynopsisOne of the leading poets of the nineteenth century, Elizabeth Barrett Browning had a profound influence on her contemporaries and on writers that followed her. This edition provides a rich and varied selection of Barrett Browning's poetry, including relatively neglected material from her early career and works never before included in editions of her poetry. The edition is comprehensively annotated and includes a critical introduction; detailed headnotes for each poem also provide the reader with a deep understanding of the historical, biographical, and literary contexts in which the poems were written.The extensive appendices include reviews and criticism and material on factory reform and slavery, as well as religion and the Italian Question.Trade Review“With this superb annotated edition—both a teaching text and an original contribution to scholarship—the poetry of Elizabeth Barrett Browning at last has the presentation it has long deserved. The introduction, headnotes, and annotations of Marjorie Stone and Beverly Taylor contextualize the poetry in terms of its experimentalism, historical context, and wide-ranging allusions. Their edition does full justice to a major Victorian poet and demonstrates why she is a poet of such compelling magnitude and fascination.” — Linda K. Hughes, Addie Levy Professor of Literature, Texas Christian University“This is the edition of Elizabeth Barrett Browning’s poetry that we have been waiting for. Edited by two leading authorities in the field, this volume offers a wide selection of EBB’s works taken from across her long career and will enable readers to gain an understanding of her important contribution to nineteenth-century poetics. The individual poems are meticulously annotated and introduced by insightful headnotes, whilst the introduction and supplementary materials explore key biographical, literary, social, and political contexts. Revealing the range of EBB’s poetic skills beyond Aurora Leigh, Stone and Taylor’s edition is a major contribution to scholarship and will be welcomed by students, lecturers, scholars, and general readers.” — Simon Avery, University of WestminsterTable of ContentsAcknowledgementsAbbreviations, Primary Sources, and WebsiteNote on Citation Practices and EBB’s PunctuationIllustrationsPreface: About this EditionEBB: A Brief ChronologyIntroduction1. Early Works Unpublished Juvenilia On the Cruelty of Forcement to Man Alluding to the Press Gang Fragment of an “Essay on Woman” From An Essay on Mind, with Other Poems (1826) Stanzas on the Death of Lord Byron 2. From The Seraphim, and Other Poems (1838)A Romance of the GangesThe Virgin Mary to the Child JesusFelicia Hemans: To L.E.L.3. From Poems (1844) From the PrefaceFrom A Drama of ExileSonnets The Soul’s ExpressionOn a Portrait of Wordsworth by B.R. HaydonPast and FutureGriefTo George Sand: A DesireTo George Sand: A Recognition The Romaunt of the PageLady Geraldine’s CourtshipFrom A Vision of PoetsThe Cry of the ChildrenBertha in the LaneCatarina to CamoensThe Romance of the Swan’s Nest 4. [Aeschylus’s Monodrama] (Unpublished, 1845)5. From Poems (1850)Flush or FaunusHiram Powers’ Greek SlaveThe Runaway Slave at Pilgrim’s PointA ReedSonnets from the Portuguese 6. From Casa Guidi Windows (1851)Advertisement to the First EditionPart IPart II7. From Poems before Congress (1860)PrefaceThe DanceA Curse for a Nation8. From Last Poems (1862)Lord Walter’s WifeBianca among the NightingalesA Musical InstrumentMother and PoetAppendix A: Views, Reviews of Collected Poems, and Criticism From William Michael Rossetti, Some Reminiscences of William Michael Rossetti (1906) From Edgar Allan Poe, Broadway Journal (4 and 11 January 1845) From Frederick Rowton, The Female Poets of Great Britain (1853) From the English Woman’s Journal (7 August 1861) From [William Stigand], Edinburgh Review (July-October 1861) From [Gerald Massey], The North British Review (February-May 1862) From Peter Bayne, Two Great Englishwomen: Mrs Browning and Charlotte Brontë (1881) From Edmund Gosse, Critical Kit-Kats (1896) From G.K. Chesterton, The Victorian Age in Literature (1913) From Virginia Woolf, The Second Common Reader (1931) Appendix B: Religion and Factory ReformI Religion From The Guardian (22 January 1851) From Samuel B. Holcombe, Southern Literary Messenger (December 1861) From [Hannah Lawrance], The British Quarterly Review (October 1865) From The True Mary (1868) From Peter Bayne, Two Great Englishwomen: Mrs Browning and Charlotte Brontë (1881) II Factory Reform From Frances Trollope, The Life and Adventures of Armstrong (1844) From On the Employment of Children and Young Persons (1841) Appendix C: Trans-Atlantic Abolitionism and Responses to EBB’s Anti-Slavery PoemsI From The Liberty Bell From George S. Burleigh, “The Worth of the Union” (1845) Martha Hempstead, “The Fugitive” (1845) Maria Lowell, “The Slave-mother” (1846) From William Lloyd Garrison, “The American Union” (1845) II The Original Opening of “The Runaway Slave at Pilgrim’s Point”III Responses to “The Runaway Slave at Pilgrim’s Point” and“Hiram Powers’ Greek Slave” The Literary World on “Hiram Powers’ Greek Slave” and “The Runaway Slave at Pilgrim’s Point” (1851) Charlotte Forten on “The Runaway Slave at Pilgrim’s Point” (1854) Appendix D: The Italian Question, Reviews of Casa Guidi Windows, and Reviews of Poems Before Congress From [Giuseppe Mazzini], Westminster Review (April 1852) From The Athenaeum (7 June 1851) From The Leader (14 June 1851) From The Spectator (28 June 1851) From Eclectic Review (September 1851) From [Henry Fothergill Chorley], The Athenaeum (17 March 1860) From [Henry Fothergill Chorley], The Athenaeum (7 April 1860) From The Atlas (24 March 1860) From [William Edmondstoune Aytoun], Blackwood’s Edinburgh Magazine (April 1860) Inscription on the Brownings’ home, Casa Guidi (1861) Select Bibliography

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Book SynopsisQuestioning the assumption that few poems by working-class women had survived, Florence Boos set out to discover supposedly lost works in libraries, private collections, and archives. Her years of research resulted in this anthology. Trade Review“Florence Boos has produced a fascinating anthology and a learned interpretive study in one volume. Boos is passionate in her claims for the social life of poetry and careful in her presentation of individuality of each of these writing women. The poems include political ballads, personal lyrics, and selections of prose that often give insights into what poetic vocation meant to working women. Boos provides excellent introductions to each poet. This is a beautiful labor of love, and will delight scholars, general readers, and poets.” — Anne Janowitz, Queen Mary University of London“This anthology is essential reading for anyone concerned with women’s writing. The work of these indomitable women shows human determination at its strongest and most moving. These poets elegize the tragic deaths of their children, celebrate the beauties of the natural world, and deplore war and injustice. Hampered by neglected or interrupted education and often dogged by poverty, they overcome their disadvantages with great dignity. We should read them now and give them the praise they deserve.” — Dorothy McMillan, University of GlasgowTable of ContentsAcknowledgementsIntroductionJanet HamiltonIntroductionA Plea for the DoricA Wheen Aul’ MemoriesThe Feast of the “Mutches”Oor LocationRhymes for the Times IIRhymes for the Times IVRhymes for the Times VGrannie Visited at Blackhill, Shotts, July, 1805Auld Mither ScotlandGrannie’s Crack About the Famine in Auld Scotlan’, 1739-40Grannie’s Dream—A True IncidentEffie—A BalladPreface to Poems, Essays and SketchesPreface to Memorial Edition, James HamiltonJanet Hamilton at her “Ain Fireside,” Alexander WallaceJanet Hamilton on the Education of WomenScottish Peasant Life and Character in Days of Auld LangsyneSketch of a Scottish Out-door Communion Sabbath in TimesGone ByLocal ChangesSketch of a Scottish VillageFrom The Mental and Moral Dignity of Woman, by the Rev. BenjaminParsonsThe Rural PoetsAnonymous Celtic Songs Collected by Alexander CarmichaelIntroductionPeaceThe Apple TreeNew MoonMy Father and Mother Will Kill MeIsabella ChisholmIntroductionThe Wicked Who Would Do Me HarmExorcism of the EyeCounteracting the Evil EyeElizabeth Duncan CampbellIntroductionThe Death of Willie, My Second SonA Prison CellThe Crimean WarThe Summer NightThe Mother’s LamentThe Life of My ChildhoodMrs. Campbell: A Criticism, by George GilfillanJane StevensonIntroductionHomeThe Wandering DogThe Fairy DaleThe Prophetess, Or Seer of VisionsPreface from Homely Musings Elizabeth Horne SmithIntroductionThe Armenian AtrocitiesA Midnight Meeting with the Ghost of Burns, July, 1896My FriendLines to J —— B——, Dunfermline“In the Foremost Files. Elizabeth Horne Smith, Farmworker and Poetess.,” by the Rev. P[aul] AntonMary MacDonald MacPhersonIntroductionIncitement of the GaelsFarewell to the New ChristmasA Prose Translation: “Ivory and the Crofters,” Donald MeekThe Factory Poets“Marie”IntroductionThe Indomitable WillPosted BooksSibyl, the Far-SeerAn Autumn Evening, People’s and Howitt’s Journal, 1849Ellen JohnstonIntroductionLines to Isabel from the Factory GirlThe Factory Girl’s Reply to EdithThe Last SarkThe Maid of Dundee to Her Slumbering MuseThe Last Lay of “The Factory Girl”Edith, from Preface to Second Edition, Autobiography, Poems and SongsSelections from the “Autobiography of Ellen Johnston”Ruth WillsIntroductionA LamentThe Seen and the UnseenKoziellZenobia“The Factory Poetess,” from The Working ManApplication to the Royal Literary Fund, 1863Last Will and Testament of Ruth WillsFanny ForresterIntroductionDying in the CityThe Lowly BardThe Bitter TaskTo “Sabina”Application to the Royal Literary Fund from Mrs. Ellen Forrester“Fanny Forrester,” Ben Brierley’s Journal, 1875Ethel CarnieIntroductionA Marching TuneFaithAn Old Woman’s HandsA WasherwomanShameA LamentA Riding Song“A Lancashire Fairy. An Interview with Miss Ethel Carnie”“Paddling your Own Canoe,” Miss Nobody“Modern Womanhood,” The Woman Worker, 1909Letter from Ethel Carnie to Graham WallasLyricists and FeministsEliza CookIntroductionSong of the City ArtisanThe StreetsA Song:To “The People” of EnglandThey All Belong to MeSong of the Red ManLines Suggested by the Song of a NightingaleTo the Late William Jerdan“Advice to the Ladies,” from Eliza Cook’s Journal, 1850Letter from Eliza Cook, 1838Letter from Eliza Cook, 1864Mary SmithIntroduction“Women’s Claims”Our VillageLife SimilesThe Snow StormMy Mother-SisterSelections from “Progress”Selections from The Autobiography of Mary Smith Jessie RussellIntroductionPreface to The Blinkin’ O’ the FireThe Blinkin’ O’ the FireWomen’s Rights vs.Woman’s WrongsThe Mother’s StoryOor Flittin’Jeannie Graham PatersonIntroductionA Brighter DawnSpeak the WordsClass DistinctionA Song of LibertyA Freen’ly CrackTo One Who Believes that Women are SoullessMarion BernsteinIntroductionMirren’s AutobiographyWanted in GlasgowCome Back to Me,Ye Happy DreamsManly SportsWanted a HusbandA DreamApplication to the Royal Literary Fund, 1904Bibliography General Works Some Little-Educated or Working-Class Victorian Women Poets Who Published Books Not Included in this Anthology Comprehensive Bibliography Periodicals Index of TitlesIndex of First Lines

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Book SynopsisNovel Definitions captures the lively critical debate surrounding the invention of the English novel, showing how the rise of the novel was accompanied by a rise in popular literary criticism. The anthology collects over 135 primary sources that chart the long eighteenth century’s interpretation of the novel. These sources—many newly-discovered—include essays, prefaces, reviews, and sermons written by authors ranging from Aphra Behn to Walter Scott. Novel Definitions brings together authors’ prefatory analyses of their work; essayists’ debates concerning the novel’s formal qualities; commentators’ questions concerning the novel’s cultural position, including whether or not women and children should read novels; reviewers’ definitions of the qualities that make a novel successful; and literary historians’ first attempts to write the history of the novel.Trade Review“[Novel Definitions] is essential reading in both the culture and theory of novel writing and reading during the eighteenth century. Our courses on the eighteenth-century novel and our writing about the novel will be much the better for its appearance.” — Jonathan Kramnick, Studies in English Literature“Cheryl Nixon’s Novel Definitions is an extremely useful, comprehensive, and very well-organized anthology of responses, both professional and popular, to the English novel in the period of its cultural ascendency. Both in its range—which covers major statements about the developing genre from Huet and Behn through Reeve and Barbauld—and in its depth—which places well-known texts by writers such as Richardson and Johnson alongside a wealth of less familiar criticism and commentary—Novel Definitions offers an indispensible resource for teaching and researching the history of the novel in eighteenth-century Britain.” — Scott Black, University of Utah“In this superb anthology, both learned and lively, Cheryl Nixon provides a thoughtful and theoretically informed introduction to the critical commentaries that shaped the debate over the meaning of the “new” novel. Authors and critics became cultural commentators, members of a cultural community all too aware of what was at stake in their new form…This collection is invaluable for a study of the novel and of eighteenth-century British culture.” — Carol Flynn, Tufts University“Cheryl Nixon’s invaluable Novel Definitions gathers vast and rich commentary that expands our understanding of eighteenth-century novels. With a superb introduction, Novel Definitions is intelligently designed and thoughtfully organized, schematizing its numerous materials into formal and thematic categories that foreground the experimental and provocative nature of the genre in its earliest incarnations. Students of the eighteenth-century novel will want to read all these prefaces, critical essays, commentaries and book reviews, for they illuminate the important controversies and vexing debates that preoccupied the eighteenth-century reading public. Novel Definitions is an outstanding edition of rarely-collected material that should be required reading.” — Tita Chico, University of MarylandTable of ContentsAcknowledgementsIntroductionA Note on the TextPart I: Prefatory WritingA. The Novel’s Relationship to Fact, Fiction, and Truth Aphra Behn, Dedication and Opening of Oroonoko (1688) Daniel Defoe, Preface to Robinson Crusoe (1719) Daniel Defoe, Preface to The Farther Adventures of Robinson Crusoe (1719) Penelope Aubin, Preface to The Strange Adventures of the Count de Vinevil and his Family (1721) Samuel Richardson, Preface to Pamela (1740) Eliza Haywood, Preface to The Fortunate Foundlings (1744) John Cleland, Opening of Memoirs of a Woman of Pleasure (1748-49) Charles Johnstone, Preface to Chrysal (1760-65) Elizabeth Griffith, Preface to The Delicate Distress (1769) Thomas Thoughtless [pseudonym], Advertisement to The Fugitive of Folly (1793) B. The Novel’s Definition as a Romance, History, Biography, or Other Form William Congreve, Preface to Incognita (1692) Jane Barker, Preface to Exilius (1715) Mary Davys, Preface to The Works of Mrs. Davys (1725) Henry Fielding, Preface to Joseph Andrews (1742) Sarah Fielding, Advertisement to The Adventures of David Simple (1744) Henry Fielding, Preface to Sarah Fielding, The Adventures of David Simple, 2nd ed. (1744) Tobias Smollett, Preface to The Adventures of Roderick Random (1748) Henry Fielding, from Book 9, Chapter 1 of Tom Jones (1749) Thomas Holcroft, Preface to Alwyn (1780) [Maria Edgeworth and Richard Lovell Edgeworth], Preface to Maria Edgeworth, Castle Rackrent (1800) Sarah Green, Preface to Romance Readers and Romance Writers (1810) C. The Novel’s Structuring of Plot, Character, Style, and Morality Delariviere Manley, Preface to The Secret History, of Queen Zarah, and the Zarazians (1705) Daniel Defoe, Preface to Moll Flanders (1722) Anonymous [attributed to Samuel Richardson], Preface to Penelope Aubin, A Collection of Entertaining Histories and Novels (1739) Samuel Richardson, Preface to Clarissa (1747-48) Henry Fielding, from Book 8, Chapter 1 of Tom Jones (1749) Tobias Smollett, Dedication to The Adventures of Ferdinand Count Fathom (1753) Jane Collier and Sarah Fielding, Introduction to The Cry (1754) Sarah Scott, Preface to The History of Sir George Ellison (1766) Richard Cumberland, from Book 3, Chapter 1 of Henry (1795) Mary Hays, Preface to Memoirs of Emma Courtney (1796) D. The Novel’s Definition as a Gothic, Eastern, Sentimental, Political, or Historical Tale Horace Walpole, Prefaces to The Castle of Otranto (1764, 1765) James Yeo, Preface to Omar and Zemira (1782) Clara Reeve, Preface to The School for Widows (1791) Charlotte Smith, Preface to Desmond (1792) Walter Scott, “Introductory” to Waverley (1814) Part II: Critical EssaysA. The Novel’s Relation to Fact, Fiction, and the Real John Dunton, ed., Athenian Mercury, Vol. 9, No. 2 (1692) Joseph Addison, The Spectator, No. 416 (1712) Charles Gildon, “A Dialogue betwixt D— F–e, Robinson Crusoe, and his Man Friday” and “An Epistle to D— D’F–e, the Reputed Author of Robinson Crusoe,” The Life and Strange Surprising Adventures of Mr. D—DeF– (1719) Samuel Johnson, The Rambler, No. 4 (1750) John Hawkesworth, The Adventurer, No. 4 (1752) William Whitehead, The World, No. 19 (1753) Anna Letitia [Aikin] Barbauld and John Aikin, “On the Pleasure derived from Objects of Terror […]” and “An Enquiry into those Kinds of Distress which excite agreeable Sensations […],” Miscellaneous Pieces, in Prose (1773) George Wright, “Modern Novel-Writers Justly Censur’d,” Pleasing Reflections on Life and Manners (1787) William Hazlitt, “Standard Novels,” Edinburgh Review, Vol. 24 (1815) B. The Novel’s Definition as a Romance, History, Biography, or Other Form John Dennis, from Essay on the Genius and Writings of Shakespear (1712) Peter Shaw, “Of Writings designed to improve Morality,” The Reflector (1750) Samuel Johnson, from A Dictionary of the English Language (1755) Richard Hurd, from A Dissertation on the Idea of Universal Poetry (1766) Anna Letitia [Aikin] Barbauld and John Aikin, “On Romances, An Imitation” and “On the Province of Comedy,” Miscellaneous Pieces, in Prose (1773) Philip Dormer Stanhope, 4th Earl of Chesterfield, from Letters written by … the Earl of Chesterfield to His Son (1774) Henry Mackenzie, The Lounger, No. 28 (1785) George Canning, The Microcosm, No. 26 (1787) Robert Alves, “A Parallel between History and Novel writing,” Sketches of a History of Literature (1794) C. The Novel’s Structuring of Plot, Character, Style, and Morality Aaron Hill, “[Letter] To the Editor of Pamela,” Samuel Richardson, Pamela, 2nd ed. (1741) Sarah Fielding, from Remarks on Clarissa, Addressed to the Author (1749) Samuel Johnson, The Rambler, No. 139 (1751) Anonymous, from An Essay on the New Species of Writing founded by Mr. Fielding (1751) Edward Young, from Conjectures on Original Composition (1759) Arthur Murphy, Introduction to The Works of Henry Fielding (1762) James Burnett, Lord Monboddo, from Vol. 3 of Of the Origin and Progress of Language (1776) William Craig, The Mirror, No. 31 (1779) Richard Cumberland, “Remarks upon novels, and particularly of Richardson’s Clarissa,” Vol. 2 of The Observer (1786) Humphry Repton, “On the Clarissa of Richardson and Fielding’s Tom Jones,” Variety (1787) Part III: Cultural CommentaryA. The Novel’s Expanding Popularity Philip Skelton, from The Candid Reader (1744) John Hawkesworth, The Adventurer, No. 35 (1753) Edward Moore, The World, No. 13 (1753) George Colman (the Elder) and Bonnell Thornton, The Connoisseur, No. 96 (1755) Oliver Goldsmith, “A Resverie,” The Bee, No. 5 (1759) George Colman (the Elder), Prologue to Polly Honeycombe, A Dramatic Novel of One Act (1760) Vicesimus Knox, “On the Multiplication of Books,” Vol. 1 of Essays Moral and Literary, new ed. (1782) “R.R.E.,” Gentleman’s Magazine, No. 57 (1787) Thomas Wilson, from The Use of Circulating Libraries Considered (1797) B. The Novel’s Moral Influence Samuel Croxall, Preface to A Select Collection of Novels (1720-22) John Hawkesworth, The Adventurer, No. 16 (1752) Elizabeth Montagu, “Plutarch—Charon—And a Modern Bookseller,” George Lyttelton, 1st Baron Lyttelton [and Elizabeth Montagu], Dialogues of the Dead (1760) Richard Griffith, “Novels,” Vol. 1 of Something New (1772) Vicesimus Knox, “On the Efficacy of Moral Instruction,” Vol. 1 of Essays Moral and Literary, new ed. (1782) Henry Mackenzie, The Lounger, No. 20 (1785) C. The Novel’s Proper Use by Young People Samuel Pegge (the Elder), Gentleman’s Magazine, No. 37 (1767) William Jones, “On Novels,” Letters from a Tutor to his Pupils (1780) Vicesimus Knox, “On the Best Method of Exciting in Boys the Symptoms of Literary Genius,” Vol. 1 of Essays Moral and Literary, new ed. (1782) Catherine Macaulay, “Literary Education,” Letters on Education (1790) Erasmus Darwin, “Polite Literature,” A Plan for the Conduct of Female Education, in Boarding Schools (1797) William Godwin, “Of Choice in Reading,” The Enquirer (1797) Maria Edgeworth and Richard Lovell Edgeworth, “Books,” Vol. 1 of Practical Education (1798) Elizabeth Parker, Eleanor Smith, Eliza Sinclaire, and Jane Lewis, [Students’ Prize-winning Essays on “The Love of Novels,”] Vol. 1 of The Juvenile Library (1800) D. The Novel’s Power Over Women Mary Astell, from A Serious Proposal to the Ladies (1694) Judith Drake, from An Essay in Defence of the Female Sex (1696) Richard Berenger, The World, No. 79 (1754) James Fordyce, “On Female Virtue,” Vol. 1 of Sermons to Young Women (1766) Hester Chapone, “On Politeness and Accomplishments,” Vol. 2 of Letters on the Improvement of the Mind (1773) Mary Wollstonecraft, “Some Instances of the Folly which the Ignorance of Women Generates […],” A Vindication of the Rights of Woman (1792) Ann Wingrove, “On Reading Novels,” Letters, Moral and Entertaining (1795) Thomas Gisborne, “On the Employment of Time,” An Enquiry into the Duties of the Female Sex (1797) Rachel Hunter, Preface to The Unexpected Legacy (1804) E. The Novel’s Threat to Religion John Nesbitt, from A Sermon Preached to Young Persons (1713) George Whitefield, from Christ the Best Husband (1740) James Relly, from The Life of Christ (1762) John Kendall, from Remarks on the Prevailing Custom of Attending Stage Entertainments: Also on the Present Taste for Reading Romances and Novels (1794) William Jones, from The Human Imagination (1796) Hester Rogers, from The Experience of Mrs. H.A. Rogers (1796) Part IV: Book ReviewsA. Competing Reviews of the Same Novel Owen Ruffhead, Review of Laurence Sterne, The Life and Opinions of Tristram Shandy, Vols. 3 and 4, Monthly Review, No. 24(1761) Anonymous, Review of Laurence Sterne, The Life and Opinions of Tristram Shandy, Vols. 3 and 4, Critical Review, No. 11 (1761) Anonymous, Review of Frances Burney, Evelina, Monthly Review, No. 58 (1778) Anonymous, Review of Frances Burney, Evelina, Gentleman’s Magazine, No. 48 (1778) Anonymous, Review of Frances Burney, Evelina, Critical Review, No. 46 (1778) Anonymous [attributed to Samuel Taylor Coleridge], Review of Ann Radcliffe, The Mysteries of Udolpho, Critical Review, Series 2, No. 11 (1794) and Addendum to Review, Critical Review, Series 2, No. 12 (1794) Anonymous, Review of Ann Radcliffe, The Mysteries of Udolpho, Monthly Review, Series 2, No. 15 (1794) Anonymous, Review of Jane Austen, Pride and Prejudice, British Critic, Vol. 41, No. 2 (1813) Anonymous, Review of Jane Austen, Pride and Prejudice, Critical Review, Series 4, Vol. 3, No. 3 (1813) B. Positive Reviews of the Novel’s Plot, Character, Style, and Morality Anonymous, Review of Henry Fielding, Tom Jones, London Magazine, No. 18 (1749) John Cleland, Review of Tobias Smollett, Peregrine Pickle, Monthly Review, No. 4 (1751) Owen Ruffhead, Review of John Hawkesworth, Almoran and Hamet, Monthly Review, No. 24 (1761) Anonymous, Review of Frances Sheridan, Memoirs of Miss Sidney Bidulph, Critical Review, No. 11 (1761) Anonymous, Review of Mary Robinson, Vancenza, Monthly Review, No. 7 (1792) Anonymous, Review of Charlotte Smith, The Old Manor House, Analytical Review, No. 16 (1793) Anonymous, Review of William Godwin, Caleb Williams, Analytical Review, No. 21 (1795) Walter Scott, Review of Jane Austen, Emma, Quarterly Review, No. 14 (1815) C. Negative Reviews of the Novel’s Plot, Character, Style, and Morality Anonymous, Review of Anonymous, The Fortune-Teller, Critical Review, No. 1 (1756) Anonymous, [A Series of Short Negative Reviews,] Monthly Review, No. 42 (1770) Anonymous, “Address to the Public” and Review of Anonymous, Peggy and Patty, London Magazine, No. 1 (1783) Anonymous, Review of Mrs. Thompson [i.e., Harriet Pigott], The Labyrinths of Life, Monthly Review, Series 2, No. 5 (1791) D. Writers Review the Critics Henry Fielding, from Book 11, Chapter 1 of Tom Jones (1749) Peter Shaw, “Of Authors and Censors,” The Reflector (1750) Samuel Johnson, The Rambler, No. 176 (1751) Frances Burney, Dedication of Evelina (1778) Isaac Disraeli, “The Origin of Literary Journals,” Curiosities of Literature (1791) Richard Cumberland, from Book 2, Chapter 1 and Book 4, Chapter 1 of Henry (1795) William Beckford, “An Humble Address to the Doers of […] the British Critic,” Vol. 2 of Modern Novel Writing (1796) Part V: Histories of the NovelA. The Rise of the Novel Pierre-Daniel Huet, from The History of Romances [Trans. Stephen Lewis] (1715) Hugh Blair, “Fictitious History,” Vol. 2 of Lectures on Rhetoric and Belles Lettres (1783) James Beattie, “On Fable and Romance,” Dissertations Moral and Critical (1783) Clara Reeve, from The Progress of Romance (1785) John Moore, “A View of the Commencement and Progress of Romance,” The Works of Tobias Smollett (1797) Anna Letitia [Aikin] Barbauld, “On the Origin and Progress of Novel-Writing,” The British Novelists (1810) Glossary of Authors and TextsChronological List of TextsBibliographyIndex

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Book SynopsisThis collection provides a representative set of theatrical performances popular on the nineteenth-century British stage. All are newly edited critical editions that account for variant sources reflecting the process of rehearsal, licensing, and production. Detailed introductions and extensive notes explain the texts’ relationship to repertoires, the circulating discourses of intelligibility that constantly recombine in performance. The plays address the topical concerns of slavery, imperial conquest, capitalism, interculturalism, uprisings at home and abroad, modernist aesthetic innovation, and the celebration of collective identities. Adaptations from novels, travelogues, and other plays are discussed along with the theatrical history that sustained these works on the stage.Trade Review“This outstanding collection will change how we think about nineteenth-century theatre. Tracy Davis’s beautifully edited and footnoted selection ranges from monologues to minstrels, musicals to melodrama, military drama to the New Women problem play. But this edition is something more, for Davis asks her readers to abandon the progress narrative of theatre history, in which innovation and originality are privileged over continuity and convention. She helps us make the leap from reading a play to seeing and hearing it. I know of no better introduction to the lavish, witty, foolish, and romantic plays of the period; the range of subject matter and the exuberant music and acting will astonish and delight readers. Nineteenth-century drama, at last, comes alive in this brilliant collection.” — Martha Vicinus, Eliza M. Mosher Distinguished University Professor Emerita, University of Michigan“This anthology is probably the most thorough and at the same time the most imaginative attempt ever made to bring new readers, performers, and students into contact with the amazing riches of the nineteenth-century stage. The all-new selection is backed by sophisticated new theorisation of ‘the repertoire’ inspired by recent performance theory. Its arrangement, progressing through the century and also through the genres of performance, offers a sense of the innovation and variety of one of the richest periods of stage life there has ever been in Britain.” — Jacky Bratton, Royal Holloway, University of London“Davis’s aim in this anthology is to use careful contextual editing to fill in th[e] blanks [in order to make these performances comprehensible to a contemporary audience], to recover the lingua franca out of which these scripts were composed but which has since been lost. By providing the information that writers, performers and audiences would automatically have had to hand, she brings us closer to these performances as they would have been experienced in their own time.” — Matthew Kaiser, from review in the Times Literary SupplementTable of ContentsList of IllustrationsAcknowledgementsIntroduction: RepertoireGeorge Colman, the Younger, The Africans; or, War, Love, and Duty (1808)Col. Ralph Hamilton, Elphi Bey; or, The Arab’s Faith (1817)James Smith and R.B. Peake, Trip to America (1824)George Henry Lewes, The Game of Speculation (1851)Christy’s Minstrels (1857-61)Programme with Musical SelectionsWilliam Brough, The Nigger’s Opera; or, The Darkie That Walked in Her Sleep(1861)William Brough, The Gypsy Maid (1861)Dion Boucicault, The Relief of Lucknow (1862)T.W. Robertson, Ours (1866)B.C. Stephenson and Alfred Cellier, Dorothy (1886)Joseph Addison, Alice in Wonderland; or, Harlequin, the Poor Apprentice, the Pretty Belle,and the Fairy Ring (1886)J.M. Barrie, Ibsen’s Ghost; or, Toole Up-to-Date (1891)Paul Potter, Trilby (1895)Netta Syrett, The Finding of Nancy (1902)

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Book SynopsisThe Spanish Tragedy became one of the most successful plays on the Elizabethan English stage and laid the foundation of the revenge tragedy, a genre that playwrights returned to throughout the early modern era and that endures even today. The story surrounds the civil servant Hieronimo who joins Bel-imperia of the royal family to take revenge on her own brother for murdering Hieronimo's son, the object of her affection. The work goes far beyond a story of intrigue and brings up questions about aristocratic privilege, the moral hazards of revenge, the spectacle of violence, and the agency of women at court.This Broadview Edition includes a freshly edited text based on the 1592 edition, notes designed to help first-time readers understand and enjoy the work, an extensive introduction that situates the play in its literary and historical context, and extensive historical documents. The documents open up avenues of inquiry for students interested in the life and work of Thomas Kyd, the construction of women at court, the question of revenge, violence and entertainment in Elizabethan England, and Spain in the Elizabethan imagination.Trade Review“This is a superb edition of The Spanish Tragedy — a work of exemplary scholarship and sensitive critical intelligence. The notes and annotations are admirably clear and informative, and the introduction to Thomas Kyd’s enigmatic life and work is enthralling and illuminating. As well as providing us with a fresh, updated play text, Patrick McHenry gives us a vivid account of the political and cultural background to this great, foundational work of revenge tragedy. Readers of this edition of the play will be rewarded with abundant critical insights and thought-provoking commentary.” — Stephen Regan, Durham University“This foundational text of Renaissance drama and cultural history has been conservatively edited, helpfully glossed, and well annotated. In addition, a judicious selection of background materials (on revenge, honor, and forgiveness; Elizabethan blood lust; female agency; and Elizabethan perception of the Spanish temperament) makes this an excellent all-round edition for classroom use.” — Raymond-Jean Frontain, University of Central ArkansasTable of ContentsAcknowledgementsIntroductionThomas Kyd: A Brief ChronologyA Note on the TextThe Spanish TragedyAppendix A: Additional Passages of 1602Appendix B: Documents in the Life of Thomas Kyd From Richard Mulcaster, Positions (1581) Letter from Queen Elizabeth’s Privy Council (11 May 1593) Thomas Kyd, Two Letters to Sir John Puckering (1593) Thomas Kyd, Dedication to Robert Garnier’s Cornelia (1594) Appendix C: The Question of Revenge From the Epistle of the Apostle Paul to the Romans From Seneca, Thyestes (first century CE) From “A Sermon against Contention and Brawling” (1547) From Richard Jones, The Book of Honor and Arms (1590) From William Westerman, Two Sermons of Assize (1600) From Ben Jonson, Introduction to Bartholomew Fair (1614) Sir Francis Bacon, “Of Revenge” (1625) Appendix D: Violence and Entertainment in Elizabethan England From Robert Langham, A Letter (1575) From William Harrison, Description of England (1586) From Philip Stubbes, The Anatomy of Abuses (1595) John Norden, Map of London (1593) The Triple Tree at Tyburn Appendix E: The Social Construction of Women at Court From Baldesar Castiglione, The Book of the Courtier (1528) From Juan Luis Vives, Instruction of Christian Women (1529) Queen Elizabeth’s Armada Speech to the Troops at Tilbury (9 August 1588) Lady Arbella Stuart, Letter to King James (c. December 1610) From Elizabeth Cary, The Tragedy of Mariam (1613) Appendix F: Spain in Elizabethan Culture From Richard Hakluyt, A Discourse on Western Planting (1584) From A Fig for the Spaniard (1591) From Sir Walter Raleigh, A Report of the Truth of the Fight about the Iles of Azores (1591) Works Cited and Further Reading

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Book SynopsisA century ago Tennyson had begun to be dismissed as a poet whose work embodied everything the modern world was looking to leave behind. He still seems to readers to embody the substance of the Victorian era more fully than any other poet-but nowadays that is again counted in his favour. Critics continue to find layers of complexity in poems once thought simplistic-while appreciating with fresh ears Tennyson's aural mastery.This new edition includes the two long poems "In Memoriam" and "Maud: A Monodrama" in their entirety, all the short poems for which Tennyson remains famous and a generous selection of his lesser-known poetry, together with a concise introduction to the poet and his work and substantial headnotes for "In Memoriam", "Maud" and "Idylls of the King". Unlike other editions that provide a selection of Tennyson's work, this one includes both marginal glosses of obscure or archaic words and phrases and extensive annotations at the bottom of each page. Appendices of visual material are also included.Trade Review“Thoughtfully selected and carefully annotated. The accompanying set of images is beautiful.” — Charles LaPorte, University of Washington“This is an excellent teaching edition, with a lucid introduction and helpful headnotes to the generous selection of longer poems included. It gives a good sense of the trajectory of Tennyson’s career and of the historical backdrop against which it took place. The footnotes and marginal word-glosses are easy to negotiate and judiciously chosen to aid comprehension of the poems rather than put forth an interpretive agenda.” — Stefanie Markovits, Yale University“This concise collection of Tennyson’s best-loved poems will be a standard choice for students and general readers of poetry. The attractive, user-friendly volume features helpful annotations, appendices, and illustrations that will help readers understand Tennyson’s importance as Queen Victoria's Poet Laureate from 1850 until his death in 1892. The volume features carefully-chosen poems from Tennyson’s prolific career, without sacrificing the unity of important longer works such as In Memoriam.” — Kathryn Ledbetter, Texas State UniversityTable of Contents Introduction The Kraken Mariana Song [A spirit haunts the year's last hours] The Dying Swan To ---, with the Following Poem Oenone The Palace of Art The Lady of Shalott The Lotos-Eaters Ulysses The Epic Morte d'Arthur [Break, break, break] St. Simeon Stylites Locksley Hall from "The Princess" [Sweet and Low] [The Splendour Falls] [Tears, Idle Tears] [Now Sleeps the Crimson Petal] [Come Down, O Maid] [The Woman's Cause is Man's] "In Memoriam" The Eagle The Charge of the Light Brigade "Maud: A Monodrama" Tithonus [Flower in the Crannied Wall] from "Idylls of the King", The Holy Grail To E. FitzGerald Tiresias Vastness To the Marquis of Dufferin and Ava Far - Far - Away Crossing the Bar Appendix A: Images of Tennyson 1. Photographs and Paintings 2. From Thomas Carlyle, Letter to Ralph Waldo Emerson (5 August 1844) Appendix B: Victorian Images of Arthurian Legend 1. Selected Paintings Appendix C: Crimea and the Camera 1. Roger Fenton, Selected Photographs

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Book SynopsisThe titular “Roaring Girl” of Thomas Middleton and Thomas Dekker’s comedy is Moll Cutpurse, a fictionalized version of Mary Frith, who attained legendary status in London by flouting gendered dress conventions, illegally performing onstage, and engaging in all manner of transgressive behavior from smoking and swearing to stealing. In the course of The Roaring Girl’s lively and complex plot of seduction and clever ruses, Moll shares her views on gender and sexuality, defends her honor in a duel, and demonstrates her knowledge of London’s criminal underworld. This edition of the play offers an informative introduction, thorough annotation, and a substantial selection of contextual materials from the period.Trade Review“With its uncompromising cross-dressed heroine, and its cheerful disregard for conventional sexual mores, The Roaring Girl offers a winning specimen of early modern London’s screwball comedy. Kelly Stage’s terrific edition brings the play’s rollicking schemes into sharp focus through clear accounts of its colorful language and historical references, juxtaposed with contemporary writings on cross-dressing, criminals, tobacco, and the real Moll Frith. This is a welcome resource for first-time readers and scholars alike.” — Tanya Pollard, Brooklyn College and the Graduate Center, City University of New York“Providing a nuanced and contextually sensitive introduction, Kelly Stage’s excellent edition of The Roaring Girl will prove immensely valuable to undergraduate and graduate students alike. Especially useful is Stage’s careful discussion of clothing transgression in relation to the complex gender and socioeconomic dynamics that shaped the play’s composition and staging. The text includes extensive and detailed explanatory notes that will help students and newcomers unpackage what can be a challenging play. The edition concludes with an array of contemporary historical documents that offer contextual background on issues relating to cross-dressing, theater life, criminality, and material culture.” — Matthew Kendrick, William Paterson University Table of Contents Introduction The Roaring Girl or Moll Cutpurse In Context A. On Mary Frith’s Life 1. from the Consistory Court of London Correction Book, 27 January 1611/12 2. The Last Will and Testament of Mary Markham, Alias Mary Frith (1659) B. On Theater, Gender, and Cross-Dressing 1. from Stephen Gosson, Plays Confuted in Five Actions, Proving that they are not to be suffered in a Christian Commonweal (1582) 2. from anonymous, The Life of Long Meg of Westminster, containing the mad merry pranks she played in her lifetime, not only in performing sundry quarrels with diverse ruffians about London: but also how valiantly she behaved herself in wars of Boulogne (1620, revised 1635) 3. from anonymous, Hic Mulier: or, The Man-Woman: Being a Medicine to Cure the Coltish Disease of the Staggers in the Masculine-Feminines of our Time (1620) 4. anonymous, Haec-Vir: or, The Womanish-Man (1620) C. On Criminals 1. from Thomas Harman, A Caveat for Common Cursitors, Vulgarly Called Vagabonds (1566, revised 1567/68) 2. from Thomas Dekker, The Bellman of London Bringing to Light the Most Notorious Villainies That Are Now Practised in the Kingdom (1608) D. On Tobacco 1. from anonymous, “A Merry Progress to London to see Fashions, by a young Country Gallant, that had more Money than Wit” (1615) 2. from King James I, A Counterblast to Tobacco (1604) Further Reading

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Book Synopsis“At the beginning stands Wedekind.” So wrote German literary critic Rudolf Kayser in 1917 of the new forms of expressionist theater that were then becoming central to German culture. In Schloss Wetterstein (Castle Wetterstein), one of his most important plays, Wedekind offers a satirical take on marriage and the bourgeois nuclear family; at the play’s center is a rebellious teenage girl who turns to prostitution after her upbringing in an unstable household. The play was published in 1912, but a performance ban was put into effect immediately, and continued until after Wedekind’s death.This new edition offers a fresh translation, an illuminating brief introduction, and a selection of background materials that help to set the play in context.Trade Review“Meet young and precocious Effie who soberly compares marriage to acting: does a wife not get paid for her own amusement on the stage of wedlock? Her ‘Weltanschauung,’ scandalously louche for her time, embraces insatiability of all kinds: sex, men, and money. Freedom. Castle Wetterstein appears to rekindle an earlier Wedekind by casting Effie in Lulu’s shadow. But how much can a woman bear? Marriage, the real actor in this play, oscillates between passion and will, between intellect and the heart—and between cold transactions and love …” — Anke Finger, University of Connecticut“‘In a hundred years, no one will understand anymore how we can make such a scandal out of such harmless fun and games,’ argues Effie, one of the characters in Frank Wedekind’s drama Castle Wetterstein. Her prediction turns out to be wrong. The play, which triggered brawls upon its German theatrical premiere in 1919, has lost nothing of its capacity to provoke. Compared to its relentless yet clinically precise dissection of marital hypocrisy, sexual licentiousness, and material greed, Wedekind’s better-known Spring Awakening resembles a timid comedy of manners.” — Tobias Boes, University of Notre DameTable of Contents Introduction Castle Wetterstein In Context from Richard von Krafft-Ebing, Psychopathia Sexualis (1886) from Frank Wedekind, The Censors. Theodicee in One Act (1907) from Frank Wedekind, Letter to Georg Brandes Images

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Book SynopsisGoodnight Sweet Thing brings together a compelling second collection of poetry by artist and filmmaker Cristine Brache. Through concise, powerful lyricism, Brache unapologetically reconstructs her inner life. With poems about mortality, power dynamics, and constructs of the female body and psyche, Goodnight Sweet Thing introduces a fresh and distinctive voice to contemporary poetry, offering readers a complex portrait of Brache's core and vision. The book also includes her out of print debut poetry collection, Poems, previously published by Codette.

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Book SynopsisWhen Tom and Barbara Good decide to exchange the pressures of the rat race for an alternative, more sustainable way of living, they set about turning their suburban home in Surbiton into a model of self-sufficiency. They grow their own fruit and veg, keep livestock in the garden, make their own clothes, and even generate their own electricity from manure. It's the good life for them – but not for Margo and Jerry Leadbetter, who live next door, and are desperately trying to maintain the Surbiton status quo. Jeremy Sams' stage play, based on the hugely popular sitcom by John Esmonde and Bob Larbey, reunites the well-loved characters (not forgetting Geraldine the goat) as they get themselves into and out of scrapes – some old, some new, all hilarious. Tapping into issues that resonate now more than ever, The Good Life is a witty reimagining of a television classic, with a wellyful of laughs that's sure to delight audiences everywhere. It was first produced by Fiery Angel on an extensive tour of the UK in 2021, directed by Jeremy Sams and starring Rufus Hound, Preeya Kalidas, Dominic Rowan and Sally Tatum.Trade Review'Couldn't be more timely... cracking comedy... A feel-good psychedelic 70s trip' * Broadway World *'Fans will be pleased to hear that some of the funniest of the Goods' adventures are on offer, while new slants recognise the march of time on the ecology front' * The Stage *'Funny and warm and feel-good... a slice of pure nostalgia – whether you were a fan of the TV series of not' * The Reviews Hub *'A warm, generous, fun, piece of excellent theatrical comedy that will make you feel good... a happy piece of theatre gold' * Bristol 24/7 *

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Book SynopsisOver a quarter-century's work from the 2003 winner of the Arrell Gibson Award for Lifetime Achievement.Trade Review"Show[s] the remarkable progression of a writer determined to reconnect with her past and make sense of her present, drawing together the brutalities of contemporary reservation life with the beauty and sensibility of Native American culture and mythology....Alive with compassion, pain and love, this book is unquestionably an act of kindness." -- Publishers Weekly"I turn and return to Harjo's poetry for her breathtaking complex witness and for her world-remaking language." -- Adrienne Rich

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Book SynopsisTrade Review"Suspenseful, superbly informative, crucial." -- Louise Erdrich"Fascinating and brilliant… Egan’s narrative often moves like a thriller." -- Vicky Albritton and Fredrik Albritton Jonsson - Los Angeles Review of Books"Easy to read, offering well-paced, intellectually stimulating arguments, bolstered by well-researched and captivating narratives." -- Lekelia Danielle Jenkins - Science"Dan Egan has done more than any other journalist in America to chronicle the decline of this once-great ecosystem." -- Judges’ citation, Grantham Award of Special Merit for Environmental Beat Reporting"A compelling chronicle of the many, many (many) man-caused hazards that have threatened the largest source of accessible freshwater in the world." -- Susan Glaser - Cleveland Plain Dealer"A marvelous work of nonfiction, which tells the story of humanity’s interference with the natural workings of the world’s largest unfrozen freshwater system." -- Anne Moore - Crain’s Chicago Business"Important.… Egan’s book serves as a reminder that the ecological universe we inhabit is vastly connected and cannot be easily mended by humility and good intentions." -- Meghan O’Gieblyn - Boston Review"Egan’s knowledge, both deep and wide, comes through on every page, and his clear writing turns what could be confusing or tedious material into a riveting story." -- Margaret Quamme - Columbus Dispatch"Brings the Great Lakes’ decline—and moments of rebirth—to life.… Firsthand tales from the people directly involved in the Great Lakes’ unfolding ecological drama drive Egan’s brisk narrative forward." -- Danielle S. Furlich - Nature Conservancy magazine"A literary clarion call.… Egan’s narrative reflects a nuanced understanding of history and science, which is matched by his keen perceptions about public policy." -- National Book Review"This book feels urgent to policymakers and laypersons alike." -- Kerri Arsenault - Literary Hub

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Book SynopsisNow a Read With Jenna Book Club PickPulitzer Prize-winning poet Mary Oliver presents a personal selection of her best work in this definitive collection spanning more than five decades of her esteemed literary career.?No matter where one starts reading, Devotions offers much to love, from Oliver''s exuberant dog poems to selections from the Pulitzer Prize-winning American Primitive, and Dream Work, one of her exceptional collections. Perhaps more important, the luminous writing provides respite from our crazy world and demonstrates how mindfulness can define and transform a life, moment by moment, poem by poem.? ?The Washington Post?It?s as if the poet herself has sidled beside the reader and pointed us to the poems she considers most worthy of deep consideration.? ?Chicago TribuneThroughout her celebrated career, Mary Oliver has touched countless readers with her brilliantly crafted verse, expounding on her love for the physical world and the powerful bonds between all living things. Identified as far and away, this country''s best selling poet by Dwight Garner, she now returns with a stunning and definitive collection of her writing from the last fifty years.Carefully curated, these 200 plus poems feature Oliver''s work from her very first book of poetry, No Voyage and Other Poems, published in 1963 at the age of 28, through her most recent collection, Felicity, published in 2015. This timeless volume, arranged by Oliver herself, showcases the beloved poet at her edifying best. Within these pages, she provides us with an extraordinary and invaluable collection of her passionate, perceptive, and much-treasured observations of the natural world.

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Book SynopsisNATIONAL BESTSELLER • From the former United States Poet Laureate and New York Times bestselling author of Aimless Love, a collection of more than 135 small poems, eleven of them new to this edition, and each a thought or observation compressed to its emotional essence“Whenever I pick up a new book of poems, I flip through the pages looking for small ones. Just as I might have trust in an abstract painter more if I knew he or she could draw a credible chicken, I have faith in poets who can go short.”—Billy CollinsYou can spot a Billy Collins poem immediately. The amiable voice, the light touch, the sudden turn at the end. He puts the ‘fun’  back in profundity,” says poet Alice Fulton. In his own words, his poems tend to “begin in Kansas and end in Oz.”Now “America’s favorite poet” (The Wall Street Journal) has found a new form f

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Book Synopsis“A debut poetry collection showcasing both a fierce and tender new voice.”—Booklist“Elegant and playful . . . The poet invents new forms and updates classic ones.”—Elle“[Fatimah] Asghar interrogates divisions along lines of nationality, age, and gender, illuminating the forces by which identity is fixed or flexible.”—The New YorkerNAMED ONE OF THE TOP TEN BOOKS OF THE YEAR BY THE NEW YORK PUBLIC LIBRARY • FINALIST FOR THE LAMBDA LITERARY AWARDan aunt teaches me how to tellan edible flowerfrom a poisonous one.just in case, I hear her say, just in case.From a co-creator of the Emmy-nominated web series Brown Girls comes an imaginative, soulful debut poetry that collection captures the experiences of being a young Pakistani Muslim woman in contemporary America. Orphaned as a

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Book SynopsisIn this superb translation with an introduction and commentary by Allen Mandelbaum, all of Dante's vivid images--the earthly, sublime, intellectual, demonic, ecstatic--are rendered with marvelous clarity to read like the words of a poet born in our own age.

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Book SynopsisUnicorns, Almost portrays the short life of World War II poet Keith Douglas, from his childhood through four engagements to his fighting in the Western desert, his accelerated education as a poet and his early death three days after the Normandy D-Day landings at the age of twenty-four. It is the story of his Faustian pact with a war that would nurture his unique poetic voice before taking it away. It is also the story of his desperate race to see his poems in print.Widely recognised as the finest poet of World War Two, Keith Douglas was championed by Ted Hughes as an important influence. Hughes wrote the introduction to Douglas's Collected Poems, published by Faber.Unicorns, Almost by Owen Sheers opened at The Swan Hotel, Hay-on-Wye, in May 2018.

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Book SynopsisChristopher Reid''s new collection is a quartet of works for voice, opening with the brisk and brightly coloured monologue of Professor Winterthorn - recently widowed, soon to be retired, who decides on impulse to attend a conference (on ''Nonsense and the Pursuit of Futility as strategies...'') in California. He is a mordant observer, alert to the anomie of modern displacement - taxis, lifts, airports, lounges, hotel rooms - whose thin air seems at one with the loose change of widowhood, the having nowhere really to go. But adventure lies ahead, and sunshine, and Winterthorn is debonair if undeceived about the deceptions of grief. His strange ride ends on a note of recovery, with the world suddenly in focus again and brimming before him.

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Book SynopsisAfter two elegiac comedies about the decline of old England, Mr Bennett has now written a gorgeously vulgar but densely plotted farce that is a downright celebration of sex and the human body... a combination of hurtling action with verbal brilliance.Guardian

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Book SynopsisThe Curiosities is the eleventh book of poems from this most inventive and celebrated of British poets. Here and there the story-telling roams and sweeps: here are tales 'for' friends and loved ones, there are tales 'after' the great poets of history.

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Book SynopsisBecause we live in Europe. Because nothing really bad happens. The worst is a bit of an inconvenience. Perhaps not such a good mini break. But really in the grand scheme of life, not so bad.Starting with a seemingly innocent one night stand, this dark, witty and magical play by Zinnie Harris dives into our recent European history.An epic look at the true cost of principles and how we live now, How to Hold Your Breath premiered at the Royal Court Theatre in February 2015.

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