{"product_id":"longman-anthology-of-british-literature-the-9780205655311","title":"Longman Anthology of British Literature The","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eDavid Damrosch \u003c\/strong\u003eis Professor of Comparative Literature at Harvard University. He is a past president of the American Comparative Literature Association, and has written widely on world literature from antiquity to the present. His books include \u003cem\u003eWhat Is World Literature?\u003c\/em\u003e (2003),\u003cem\u003e The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh\u003c\/em\u003e (2007), and \u003cem\u003eHow to Read World Literature\u003c\/em\u003e (2009). He is the founding general editor of the six-volume\u003cem\u003e Longman Anthology of World Literature, 2\/e\u003c\/em\u003e (2009) and the editor of \u003cem\u003eTeaching World Literature\u003c\/em\u003e (2009).\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eKevin J. H. Dettmar\u003c\/strong\u003e is W. M. Keck Professor and Chair, Department of English, at Pomona College, and Past President of the Modernist Studies Association. He is the author of \u003cem\u003eThe Illicit Joyce of Postmodernism\u003c\/em\u003e and \u003cem\u003eIs Rock Dead?\u003c\/em\u003e, and the editor of \u003cem\u003eRereading the New: A Backward Glance at Modernism; Marketing Modernisms: Self-Promotion, \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe Twentieth Century and Beyond\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eRichard Nevinson, \u003cem\u003eThe Arrival\u003c\/em\u003e, 1913—1914 1918\u003c\/p\u003e \u003cp\u003eTHE TWENTIETH CENTURY AND BEYOND AT A GLANCE 1919\u003c\/p\u003e \u003cp\u003eINTRODUCTION 1923\u003c\/p\u003e \u003cp\u003eBEYOND THE PALE 1923\u003c\/p\u003e \u003cp\u003eBURYING VICTORIA 1924\u003c\/p\u003e \u003cp\u003eTHE FOUNDATIONS OF MODERN SKEPTICISM 1925\u003c\/p\u003e \u003cp\u003eREVOLUTIONS OF STYLE 1928\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eSoldiers of the 9th Cameronians division near Arras, France, 24\u003c\/p\u003e \u003cp\u003eMarch 1917 1929\u003c\/p\u003e \u003cp\u003eMODERNISM AND THE MODERN CITY 1932\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eArchibald Hatrick, \u003cem\u003eA Lift Girl\u003c\/em\u003e, 1916 1933\u003c\/p\u003e \u003cp\u003ePLOTTING THE SELF 1934\u003c\/p\u003e \u003cp\u003eTHE RETURN OF THE REPRESSED 1935\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003ePoster for the Wembley Exhibition, 1925 1937\u003c\/p\u003e \u003cp\u003eWORLD WAR I I AND ITS AFTERMATH 1938\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eLondon during the Blitz 1939\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 21: \u003c\/em\u003eThe British Empire Stretched Thin\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 22: \u003c\/em\u003eVera Willoughby, \u003cem\u003eGeneral Joy\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 23: \u003c\/em\u003eCharles Ginner, \u003cem\u003ePiccadilly Circus\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 24: \u003c\/em\u003eAnna Airy, \u003cem\u003eShop for Machining 15-inch Shells\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 25: \u003c\/em\u003eSir William Orpen, \u003cem\u003eReady to Start\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 26: \u003c\/em\u003eVanessa Bell, \u003cem\u003eThe Tub\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 27: \u003c\/em\u003eSir John Lavery, \u003cem\u003eLady Lavery as Kathleen Ni Houlihan\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 28: \u003c\/em\u003eStanley Spencer, \u003cem\u003eShipbuilding on the Clyde: Furnaces\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 29: \u003c\/em\u003eGilbert and George, \u003cem\u003eDeath Hope Life Fear\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 30: \u003c\/em\u003eFrancis Bacon, \u003cem\u003eStudy after Velasquez\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 31: \u003c\/em\u003eRichard Hamilton, \u003cem\u003eJust What Is It That Makes Today’s Homes\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eSo Different, So Appealing?\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eColor Plate 32: \u003c\/em\u003eChris Ofili, \u003cem\u003eNo Woman, No Cry\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eThe Beatles preparing for a television broadcast, c. 1963 1944\u003c\/p\u003e \u003cp\u003eLANGUAGE AND IDENTITY 1946\u003c\/p\u003e \u003cp\u003eJOSEPH CONRAD 1949\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eJoseph Conrad 1949\u003c\/p\u003e \u003cp\u003ePreface to \u003cem\u003eThe Nigger of the “Narcissus” \u003c\/em\u003e1952\u003c\/p\u003e \u003cp\u003eHeart of Darkness 1954\u003c\/p\u003e \u003cp\u003e“HEART OF DARKNESS” AND ITS TIME\u003c\/p\u003e \u003cp\u003e\u003cem\u003eJoseph Conrad: \u003c\/em\u003efrom \u003cem\u003eCongo Diary 2010\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eSir Henry Morton Stanley: \u003c\/em\u003efrom \u003cem\u003eAddress to the Manchester Chamber of\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eCommerce 2012 \u003c\/em\u003e*\u003c\/p\u003e \u003cp\u003eRESPONSES\u003c\/p\u003e \u003cp\u003eChinua Achebe: An Image of Africa 2016\u003c\/p\u003e \u003cp\u003eGang of Four: We Live As We Dream, Alone 2025h\u003c\/p\u003e \u003cp\u003eBERNARD SHAW 2026\u003c\/p\u003e \u003cp\u003ePreface: A Professor of Phonetics 2029\u003c\/p\u003e \u003cp\u003ePygmalion 2032\u003c\/p\u003e \u003cp\u003eTHOMAS HARDY 2096\u003c\/p\u003e \u003cp\u003eHap 2098\u003c\/p\u003e \u003cp\u003eNeutral Tones 2098\u003c\/p\u003e \u003cp\u003eWessex Heights 2099\u003c\/p\u003e \u003cp\u003eThe Darkling Thrush 2099\u003c\/p\u003e \u003cp\u003eOn the Departure Platform 2100\u003c\/p\u003e \u003cp\u003eThe Dead Man Walking 2101\u003c\/p\u003e \u003cp\u003eA Wife and Another 2102\u003c\/p\u003e \u003cp\u003eTo Sincerity 2103\u003c\/p\u003e \u003cp\u003eThe Convergence of the Twain 2104\u003c\/p\u003e \u003cp\u003eAt Castle Boterel 2105\u003c\/p\u003e \u003cp\u003eChannel Firing 2106\u003c\/p\u003e \u003cp\u003eIn Time of “The Breaking of Nations” 2107\u003c\/p\u003e \u003cp\u003eI Looked Up from My Writing 2107\u003c\/p\u003e \u003cp\u003e“And There Was a Great Calm” 2108\u003c\/p\u003e \u003cp\u003eLogs on the Hearth 2109\u003c\/p\u003e \u003cp\u003eThe Photograph 2110\u003c\/p\u003e \u003cp\u003eThe Fallow Deer at the Lonely House 2110\u003c\/p\u003e \u003cp\u003eAfterwards 2111\u003c\/p\u003e \u003cp\u003eEpitaph 2111\u003c\/p\u003e \u003cp\u003eJ. M. SYNGE (Web)\u003c\/p\u003e \u003cp\u003eThe Playboy of the Western World (Web)\u003c\/p\u003e \u003cp\u003ePERSPECTIVES\u003c\/p\u003e \u003cp\u003eThe Great War: Confronting the Modern 2112\u003c\/p\u003e \u003cp\u003eALYS FANE TROTTER 2112\u003c\/p\u003e \u003cp\u003eThe Hospital Visitor 2112\u003c\/p\u003e \u003cp\u003eCICELY HAMILTON 2113\u003c\/p\u003e \u003cp\u003eNon-Combatant 2113\u003c\/p\u003e \u003cp\u003eBLAST 2114\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eWyndham Lewis, \u003cem\u003eThe Creditors, \u003c\/em\u003e1912—1913 2115\u003c\/p\u003e \u003cp\u003eVorticist Manifesto 2116\u003c\/p\u003e \u003cp\u003eSIGFRIED SASSOON 2130\u003c\/p\u003e \u003cp\u003eGlory of Women 2131\u003c\/p\u003e \u003cp\u003e“They” 2131\u003c\/p\u003e \u003cp\u003eThe Rear-Guard 2131\u003c\/p\u003e \u003cp\u003eEveryone Sang 2132\u003c\/p\u003e \u003cp\u003ePAULINE BARRINGTON 2132\u003c\/p\u003e \u003cp\u003e“Education” 2132\u003c\/p\u003e \u003cp\u003eHELEN DIRCKS 2133\u003c\/p\u003e \u003cp\u003eAfter Bourlon Wood 2133\u003c\/p\u003e \u003cp\u003eRUPERT BROOKE 2134\u003c\/p\u003e \u003cp\u003eThe Great Lover 2135\u003c\/p\u003e \u003cp\u003eThe Soldier 2136\u003c\/p\u003e \u003cp\u003eTERESA HOOLEY 2137\u003c\/p\u003e \u003cp\u003eA War Film 2137\u003c\/p\u003e \u003cp\u003eISAAC ROSENBERG 2138\u003c\/p\u003e \u003cp\u003eBreak of Day in the Trenches 2138\u003c\/p\u003e \u003cp\u003eDead Man’s Dump 2139\u003c\/p\u003e \u003cp\u003eREBECCA WEST 2141\u003c\/p\u003e \u003cp\u003eIndissoluble Matrimony 2141\u003c\/p\u003e \u003cp\u003eWILFRED OWEN 2157\u003c\/p\u003e \u003cp\u003eAnthem for Doomed Youth 2158\u003c\/p\u003e \u003cp\u003eStrange Meeting 2158\u003c\/p\u003e \u003cp\u003eDisabled 2159\u003c\/p\u003e \u003cp\u003eDulce et Decorum Est 2160\u003c\/p\u003e \u003cp\u003eMAY WEDDERBURN CANNAN 2161\u003c\/p\u003e \u003cp\u003eLamplight 2161\u003c\/p\u003e \u003cp\u003eRouen 2162\u003c\/p\u003e \u003cp\u003eSPEECHES ON IRISH INDEPENDENCE 2163\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eJack B. Yeats, \u003cem\u003eThe Felons of Our Land, \u003c\/em\u003e1910 2164\u003c\/p\u003e \u003cp\u003eWolf Tone (Web)\u003c\/p\u003e \u003cp\u003eCourt-Martial Speech, November 10, 1798 (Web)\u003c\/p\u003e \u003cp\u003eRobert Emmett (Web)\u003c\/p\u003e \u003cp\u003eThe Speech from the Dock (Web)\u003c\/p\u003e \u003cp\u003eDaniel O’Connell (Web)\u003c\/p\u003e \u003cp\u003eSpeech to House of Commons, February 4, 1836 (Web)\u003c\/p\u003e \u003cp\u003eWilliam Gladstone (Web)\u003c\/p\u003e \u003cp\u003eA speech by William Ewart Gladstone MP, British Prime Minister, to the House\u003c\/p\u003e \u003cp\u003eof Commons on Home Rule for Ireland, given on 7 June 1886 (Web)\u003c\/p\u003e \u003cp\u003eCharles Stewart Parnell 2165\u003c\/p\u003e \u003cp\u003eAt Limerick 2165\u003c\/p\u003e \u003cp\u003eBefore the House of Commons 2166\u003c\/p\u003e \u003cp\u003eAt Portsmouth, After the Defeat of Mr. Gladstone’s Home Rule Bill 2167\u003c\/p\u003e \u003cp\u003eIn Committee Room No. 15 2168\u003c\/p\u003e \u003cp\u003eProclamation of the Irish Republic 2169\u003c\/p\u003e \u003cp\u003ePadraic Pearse 2170\u003c\/p\u003e \u003cp\u003eKilmainham Prison 2170\u003c\/p\u003e \u003cp\u003eMichael Collins 2171\u003c\/p\u003e \u003cp\u003eThe Substance of Freedom 2171\u003c\/p\u003e \u003cp\u003eWILLIAM BUTLER YEATS 2174\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eWilliam Butler Yeats 2174\u003c\/p\u003e \u003cp\u003eThe Lake Isle of Innisfree 2177\u003c\/p\u003e \u003cp\u003eWho Goes with Fergus? 2178\u003c\/p\u003e \u003cp\u003eNo Second Troy 2178\u003c\/p\u003e \u003cp\u003eThe Fascination of What’s Difficult 2178\u003c\/p\u003e \u003cp\u003eSeptember 1913 2179\u003c\/p\u003e \u003cp\u003eThe Wild Swans at Coole 2180\u003c\/p\u003e \u003cp\u003eAn Irish Airman Foresees His Death 2180\u003c\/p\u003e \u003cp\u003eEaster 1916 2181\u003c\/p\u003e \u003cp\u003eThe Second Coming 2183\u003c\/p\u003e \u003cp\u003eA Prayer for My Daughter 2183\u003c\/p\u003e \u003cp\u003eSailing to Byzantium 2185\u003c\/p\u003e \u003cp\u003eMeditations in Time of Civil War 2186\u003c\/p\u003e \u003cp\u003eNineteen Hundred and Nineteen 2191\u003c\/p\u003e \u003cp\u003eLeda and the Swan 2194\u003c\/p\u003e \u003cp\u003eAmong School Children 2195\u003c\/p\u003e \u003cp\u003eByzantium 2197\u003c\/p\u003e \u003cp\u003eCrazy Jane Talks with the Bishop 2198\u003c\/p\u003e \u003cp\u003eLapis Lazuli 2198\u003c\/p\u003e \u003cp\u003eThe Circus Animals’ Desertion 2200\u003c\/p\u003e \u003cp\u003eUnder Ben Bulben 2201\u003c\/p\u003e \u003cp\u003eE. M. FORSTER 2203\u003c\/p\u003e \u003cp\u003eThe Life to Come 2204\u003c\/p\u003e \u003cp\u003eJAMES JOYCE 2215\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eMan Ray, \u003cem\u003ePortrait of James Joyce, 1922 \u003c\/em\u003e2215\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003ePhoto of Sackville Street (now O’Connell Street), Dublin, with\u003c\/p\u003e \u003cp\u003eview of Nelson’s Pillar 2217\u003c\/p\u003e \u003cp\u003eDUBLINERS 2218\u003c\/p\u003e \u003cp\u003eAraby 2218\u003c\/p\u003e \u003cp\u003eEveline 2222\u003c\/p\u003e \u003cp\u003eClay 2225\u003c\/p\u003e \u003cp\u003eThe Dead 2229\u003c\/p\u003e \u003cp\u003eUlysses 2257\u003c\/p\u003e \u003cp\u003e[Chapter 13. “Nausicaa”] 2257\u003c\/p\u003e \u003cp\u003eRESPONSES\u003c\/p\u003e \u003cp\u003eHon. John M. Woolsey: 1933 Decision of the United States District\u003c\/p\u003e \u003cp\u003eCourt Lifting the Ban on \u003cem\u003eUlysses \u003c\/em\u003e2279\u003c\/p\u003e \u003cp\u003eSeamus Heaney: \u003cem\u003efrom \u003c\/em\u003eStation Island 2283h\u003c\/p\u003e \u003cp\u003eT. S. ELIOT 2284\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eT. S. Eliot 2284\u003c\/p\u003e \u003cp\u003eThe Love Song of J. Alfred Prufrock 2287\u003c\/p\u003e \u003cp\u003eRESPONSES\u003c\/p\u003e \u003cp\u003eArthur Waugh: [Cleverness and the New Poetry] 2291\u003c\/p\u003e \u003cp\u003eEzra Pound: Drunken Helots and Mr. Eliot 2293h\u003c\/p\u003e \u003cp\u003eGerontion 2295\u003c\/p\u003e \u003cp\u003eThe Waste Land 2297\u003c\/p\u003e \u003cp\u003eRESPONSES\u003c\/p\u003e \u003cp\u003eFadwa Tuqan: In the Aging City 2310\u003c\/p\u003e \u003cp\u003eMartin Rowson: \u003cem\u003efrom \u003c\/em\u003eThe Waste Land 2312h\u003c\/p\u003e \u003cp\u003eThe Hollow Men 2318\u003c\/p\u003e \u003cp\u003eJourney of the Magi 2320\u003c\/p\u003e \u003cp\u003eFour Quartets 2321\u003c\/p\u003e \u003cp\u003eBurnt Norton 2321\u003c\/p\u003e \u003cp\u003eTradition and the Individual Talent 2326\u003c\/p\u003e \u003cp\u003eVIRGINIA WOOLF 2331\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eVirginia Woolf 2331\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eVirginia Woolf and T. S. Eliot 2333\u003c\/p\u003e \u003cp\u003eThe Lady in the Looking-Glass: A Reflection 2334\u003c\/p\u003e \u003cp\u003eMrs Dalloway 2338\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eView of Regent Street, London, 1927 2349\u003c\/p\u003e \u003cp\u003eRESPONSE\u003c\/p\u003e \u003cp\u003eSigrid Nunez: On Rereading Mrs. Dalloway 2437h\u003c\/p\u003e \u003cp\u003e\u003cem\u003efrom \u003c\/em\u003eA Room of One’s Own 2442\u003c\/p\u003e \u003cp\u003eKATHERINE MANSFIELD 2478\u003c\/p\u003e \u003cp\u003eThe Daughters of the Late Colonel 2478\u003c\/p\u003e \u003cp\u003eD. H. LAWRENCE 2491\u003c\/p\u003e \u003cp\u003ePiano 2494\u003c\/p\u003e \u003cp\u003eSong of a Man Who Has Come Through 2494\u003c\/p\u003e \u003cp\u003eTortoise Shout 2494\u003c\/p\u003e \u003cp\u003eSnake 2497\u003c\/p\u003e \u003cp\u003eBavarian Gentians 2499\u003c\/p\u003e \u003cp\u003eCypresses 2499\u003c\/p\u003e \u003cp\u003eOdour of Chrysanthemums 2501\u003c\/p\u003e \u003cp\u003eSurgery for the Novel–or a Bomb 2514\u003c\/p\u003e \u003cp\u003eP. G. WODEHOUSE (Web)\u003c\/p\u003e \u003cp\u003eThe Clicking of Cuthbert (Web)\u003c\/p\u003e \u003cp\u003eGRAHAM GREENE 2517\u003c\/p\u003e \u003cp\u003eA Chance for Mr Lever 2517\u003c\/p\u003e \u003cp\u003ePERSPECTIVES\u003c\/p\u003e \u003cp\u003eWorld War II and the End of Empire 2527\u003c\/p\u003e \u003cp\u003eSIR WINSTON CHURCHILL 2528\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eWinston Churchill, June 1943 2529\u003c\/p\u003e \u003cp\u003eTwo Speeches Before the House of Commons 2529\u003c\/p\u003e \u003cp\u003eSTEPHEN SPENDER 2536\u003c\/p\u003e \u003cp\u003eIcarus 2537\u003c\/p\u003e \u003cp\u003eWhat I Expected 2537\u003c\/p\u003e \u003cp\u003eThe Express 2538\u003c\/p\u003e \u003cp\u003eThe Pylons 2538\u003c\/p\u003e \u003cp\u003eELIZABETH BOWEN 2539\u003c\/p\u003e \u003cp\u003eMysterious Kôr 2540\u003c\/p\u003e \u003cp\u003eEVELYN WAUGH 2549\u003c\/p\u003e \u003cp\u003eThe Man Who Liked Dickens 2550\u003c\/p\u003e \u003cp\u003eCruise 2559\u003c\/p\u003e \u003cp\u003eRESPONSE\u003c\/p\u003e \u003cp\u003eMonty Python: Travel Agent 2563h\u003c\/p\u003e \u003cp\u003eGEORGE ORWELL 2566\u003c\/p\u003e \u003cp\u003eShooting an Elephant 2567\u003c\/p\u003e \u003cp\u003eDYLAN THOMAS 2572\u003c\/p\u003e \u003cp\u003eThe Force That Through the Green Fuse Drives the\u003c\/p\u003e \u003cp\u003eFlower 2573\u003c\/p\u003e \u003cp\u003eFern Hill 2574\u003c\/p\u003e \u003cp\u003ePoem in October 2575\u003c\/p\u003e \u003cp\u003eDo Not Go Gentle into That Good Night 2576\u003c\/p\u003e \u003cp\u003eSAMUEL BECKETT 2577\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eSamuel Beckett 2577\u003c\/p\u003e \u003cp\u003eEndgame 2579\u003c\/p\u003e \u003cp\u003ePOSTWAR ENGLISH VOICES 2614\u003c\/p\u003e \u003cp\u003eW. H. AUDEN 2614\u003c\/p\u003e \u003cp\u003e“Sir, no man’s enemy, forgiving all” 2615\u003c\/p\u003e \u003cp\u003eLullaby 2616\u003c\/p\u003e \u003cp\u003eSpain 2617\u003c\/p\u003e \u003cp\u003eSeptember 1, 1939 2619\u003c\/p\u003e \u003cp\u003eMusée des Beaux Arts 2621\u003c\/p\u003e \u003cp\u003eIn Memory of W. B. Yeats 2622\u003c\/p\u003e \u003cp\u003eLaw Like Love 2624\u003c\/p\u003e \u003cp\u003eIn Memory of Sigmund Freud 2625\u003c\/p\u003e \u003cp\u003eThe Hidden Law 2628\u003c\/p\u003e \u003cp\u003eIn Praise of Limestone 2628\u003c\/p\u003e \u003cp\u003ePHILIP LARKIN 2631\u003c\/p\u003e \u003cp\u003eChurch Going 2631\u003c\/p\u003e \u003cp\u003eThe Importance of Elsewhere 2633\u003c\/p\u003e \u003cp\u003eMCMXIV 2633\u003c\/p\u003e \u003cp\u003eTalking in Bed 2634\u003c\/p\u003e \u003cp\u003eHigh Windows 2635\u003c\/p\u003e \u003cp\u003eAnnus Mirabilis 2635\u003c\/p\u003e \u003cp\u003eHomage to a Government 2636\u003c\/p\u003e \u003cp\u003eAubade 2636\u003c\/p\u003e \u003cp\u003eTHOM GUNN 2637\u003c\/p\u003e \u003cp\u003eLines for a Book 2638\u003c\/p\u003e \u003cp\u003eElvis Presley 2639\u003c\/p\u003e \u003cp\u003eA Map of the City 2639\u003c\/p\u003e \u003cp\u003eBlack Jackets 2640\u003c\/p\u003e \u003cp\u003eFrom the Wave 2640\u003c\/p\u003e \u003cp\u003eThe Hug 2641\u003c\/p\u003e \u003cp\u003ePatch Work 2642\u003c\/p\u003e \u003cp\u003eThe Missing 2642\u003c\/p\u003e \u003cp\u003eTED HUGHES 2643\u003c\/p\u003e \u003cp\u003eWind 2644\u003c\/p\u003e \u003cp\u003eRelic 2645\u003c\/p\u003e \u003cp\u003eTheology 2645\u003c\/p\u003e \u003cp\u003eDust As We Are 2645\u003c\/p\u003e \u003cp\u003eLeaf Mould 2646\u003c\/p\u003e \u003cp\u003eTelegraph Wires 2647\u003c\/p\u003e \u003cp\u003eCAROL ANN DUFFY 2648\u003c\/p\u003e \u003cp\u003eOriginally 2648\u003c\/p\u003e \u003cp\u003eTranslating the English, 1989 2649\u003c\/p\u003e \u003cp\u003eLittle Red-Cap 2650\u003c\/p\u003e \u003cp\u003eElvis’s Twin Sister 2651\u003c\/p\u003e \u003cp\u003eThe Diet 2652\u003c\/p\u003e \u003cp\u003eAnon 2653\u003c\/p\u003e \u003cp\u003eNADINE GORDIMER 2654\u003c\/p\u003e \u003cp\u003eWhat Were You Dreaming? 2655\u003c\/p\u003e \u003cp\u003eDEREK WALCOTT 2661\u003c\/p\u003e \u003cp\u003eA Far Cry from Africa 2662\u003c\/p\u003e \u003cp\u003eVolcano 2662\u003c\/p\u003e \u003cp\u003eWales 2663\u003c\/p\u003e \u003cp\u003eThe Fortunate Traveller 2664\u003c\/p\u003e \u003cp\u003eMidsummer 2669\u003c\/p\u003e \u003cp\u003e50 (“I once gave my daughters, separately, two conch shells”) 2669\u003c\/p\u003e \u003cp\u003e52 (“I heard them marching the leaf-wet roads of my head”) 2669\u003c\/p\u003e \u003cp\u003e54 (“The midsummer sea, the hot pitch road, this grass, these shacks\u003c\/p\u003e \u003cp\u003ethat made me”) 2670\u003c\/p\u003e \u003cp\u003eV. S. NAIPAUL 2671\u003c\/p\u003e \u003cp\u003eIn a Free State 2672\u003c\/p\u003e \u003cp\u003ePrologue, from a Journal: The Tramp at Piraeus 2672\u003c\/p\u003e \u003cp\u003eEpilogue, from a Journal: The Circus at Luxor 2679\u003c\/p\u003e \u003cp\u003eTOM STOPPARD 2684\u003c\/p\u003e \u003cp\u003eThe Invention of Love 2685\u003c\/p\u003e \u003cp\u003eSEAMUS HEANEY 2739\u003c\/p\u003e \u003cp\u003ePersonal Helicon 2740\u003c\/p\u003e \u003cp\u003eRequiem for the Croppies 2740\u003c\/p\u003e \u003cp\u003ePunishment 2740\u003c\/p\u003e \u003cp\u003eAct of Union 2742\u003c\/p\u003e \u003cp\u003eThe Skunk 2742\u003c\/p\u003e \u003cp\u003eThe Toome Road 2743\u003c\/p\u003e \u003cp\u003eThe Singer’s House 2744\u003c\/p\u003e \u003cp\u003eIn Memorium Francis Ledwidge 2745\u003c\/p\u003e \u003cp\u003ePostscript 2746\u003c\/p\u003e \u003cp\u003eA Call 2746\u003c\/p\u003e \u003cp\u003eThe Errand 2747\u003c\/p\u003e \u003cp\u003eThe Gaeltacht 2747\u003c\/p\u003e \u003cp\u003eSALMAN RUSHDIE 2748\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIllustration: \u003c\/em\u003eSalman Rushdie 2748\u003c\/p\u003e \u003cp\u003eChekov and Zulu 2749\u003c\/p\u003e \u003cp\u003eThe Courter 2758\u003c\/p\u003e \u003cp\u003ePERSPECTIVES\u003c\/p\u003e \u003cp\u003eWhose Language? 2772\u003c\/p\u003e \u003cp\u003eNG\u003c\/p\u003e \u003cp\u003e~\u003c\/p\u003e \u003cp\u003eUG\u003c\/p\u003e \u003cp\u003e~\u003c\/p\u003e \u003cp\u003eI WA THIONG’O 2773\u003c\/p\u003e \u003cp\u003eDecolonizing the Mind 2774\u003c\/p\u003e \u003cp\u003eNative African Languages 2774\u003c\/p\u003e \u003cp\u003eEAVAN BOLAND 2777\u003c\/p\u003e \u003cp\u003eAnorexic 2778\u003c\/p\u003e \u003cp\u003eMise Eire 2780\u003c\/p\u003e \u003cp\u003eThe Pomegranate 2781\u003c\/p\u003e \u003cp\u003eA Woman Painted on a Leaf 2782\u003c\/p\u003e \u003cp\u003ePAUL MULDOON 2783\u003c\/p\u003e \u003cp\u003eCuba 2783\u003c\/p\u003e \u003cp\u003eAisling 2784\u003c\/p\u003e \u003cp\u003eMeeting the British 2784\u003c\/p\u003e \u003cp\u003eSleeve Notes 2785\u003c\/p\u003e \u003cp\u003eNUALA NÍ DHOMHNAILL 2791\u003c\/p\u003e \u003cp\u003eFeeding a Child 2792\u003c\/p\u003e \u003cp\u003eParthenogenesis 2793\u003c\/p\u003e \u003cp\u003eLabasheedy (The Silken Bed) 2795\u003c\/p\u003e \u003cp\u003eAs for the Quince 2796\u003c\/p\u003e \u003cp\u003eWhy I Choose to Write in Irish, The Corpse That Sits Up and Talks Back 2797\u003c\/p\u003e \u003cp\u003eGWYNETH LEWIS 2805\u003c\/p\u003e \u003cp\u003eTherapy 2805\u003c\/p\u003e \u003cp\u003eMother Tongue 2806\u003c\/p\u003e \u003cp\u003eROBERT CRAWFORD 2807\u003c\/p\u003e \u003cp\u003eThe Saltcoats Structuralists 2807\u003c\/p\u003e \u003cp\u003eAlba Einstein 2808\u003c\/p\u003e \u003cp\u003eW. N. HERBERT 2809\u003c\/p\u003e \u003cp\u003eCabaret McGonagall 2809\u003c\/p\u003e \u003cp\u003eSmirr 2812\u003c\/p\u003e \u003cp\u003eCONTEMPORARY BRITISH FICTION 2812\u003c\/p\u003e \u003cp\u003eALAN MOORE AND DAVID LLOYD 2812\u003c\/p\u003e \u003cp\u003e\u003cem\u003efrom \u003c\/em\u003eV for Vendetta 2813\u003c\/p\u003e \u003cp\u003eHANIF KUREISHI 2836\u003c\/p\u003e \u003cp\u003eSomething to Tell You 2836\u003c\/p\u003e \u003cp\u003eNICK HORNBY 2847\u003c\/p\u003e \u003cp\u003e\u003cem\u003efrom \u003c\/em\u003eSpeaking with the Angel 2848\u003c\/p\u003e \u003cp\u003eZADIE SMITH 2861\u003c\/p\u003e \u003cp\u003eMartha, Martha 2862\u003c\/p\u003e \u003cp\u003e\u003cem\u003eCredits 2873\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e\u003cem\u003eIndex 2879\u003c\/em\u003e\u003c\/p\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Pearson Education (US)","offers":[{"title":"Default Title","offer_id":49524628029783,"sku":"9780205655311","price":103.21,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780205655311.jpg?v=1731857529","url":"https:\/\/bookcurl.com\/products\/longman-anthology-of-british-literature-the-9780205655311","provider":"Book Curl","version":"1.0","type":"link"}