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''I recommend Hamilton at every opportunity, because he was such a wonderful writer and yet is rather under-read today. All his novels are terrific'' Sarah Waters''If you were looking to fly from Dickens to Martin Amis with just one overnight stop, then Hamilton is your man'' Nick HornbyPatrick Hamilton''s novels were the inspiration for Matthew Bourne''s new dance theatre production, The Midnight Bell.The Midnight Bell, a pub on the Euston Road, is the pulse of this brilliant and compassionate trilogy. It is here where the barman, Bob, falls in love with Jenny, a West End prostitute who comes in off the streets for a gin and pep. Around his obsessions, and Ella the barmaid''s secret love for him, swirls the sleazy life of London in the 1930s. This is a world where people emerge from cheap lodgings in Pimlico to pour out their passions, hopes and despair in pubs and bars - a world of twenty thousand streets full of cruelty and kind

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'I recommend Hamilton at every opportunity, because he was such a wonderful writer and yet is rather under-read today. All his novels are terrific' Sarah Waters'If you were looking to fly from Dickens to Martin Amis with just one overnight stop, then Hamilton is your man' Nick HornbyPatrick Hamilton's novels were the inspiration for Matthew Bourne's new dance theatre production, The Midnight Bell.Impromptu in Moribundia is a satirical fable about one (nameless) man's trespass (through a fantastical machine called the 'Asteradio') into a parallel universe on a far-off planet where the 'miserably dull affairs of England' are mirrored and transformed into an apparent idyll of bourgeois English imagination.Moribundia is the 'physical enactment of the stereotypes and myths of English middle-class culture and consciousness.' Yet the narrator comes to discover that he has stumbled among a people characterised by 'cupidity, ignorance, complacence, meanness, ugliness, short-sightedness, cowardice, credulity, hysteria and, when the occasion called for it . . . cruelty and blood-thirstiness.

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The fascinating, true, story of baseball’s amateur origins. “Explores the conditions and factors that begat the game in the 19th century and turned it into the national pastime....A delightful look at a young nation creating a pastime that was love from the first crack of the bat.”—Paul Dickson, The Wall Street JournalBaseball’s true founders don’t have plaques in Cooperstown. The founders were the hundreds of uncredited amateurs — ordinary people — who played without gloves, facemasks or performance incentives in the middle decades of the 19th century. Unlike today’s pro athletes, they lived full lives outside of sports. They worked, built businesses and fought against the South in the Civil War.But that’s not the way the story has been told. The wrongness of baseball history can be staggering. You may have heard that Abner Doubleday or Alexander Cartwright invented baseball. Neither did. You may have been told that a club called the Knickerbockers played the first baseball game in 1846. They didn’t. You have read that baseball’s color line was uncrossed and unchallenged until Jackie Robinson in 1947. Nope. You have been told that the clean, corporate 1869 Cincinnati Red Stockings were baseball’s first professional club. Not true. They weren’t the first professionals; they weren’t all that clean, either. You may have heard Cooperstown, Hoboken, or New York City called the birthplace of baseball, but not Brooklyn. Yet Brooklyn was the home of baseball’s first fans, the first ballpark, the first statistics—and modern pitching.Baseball was originally supposed to be played, not watched. This changed when crowds began to show up at games in Brooklyn in the late 1850s. We fans weren’t invited to the party; we crashed it. Professionalism wasn’t part of the plan either, but when an 1858 Brooklyn versus New York City series accidentally proved that people would pay to see a game, the writing was on the outfield wall.When the first professional league was formed in 1871, baseball was already a fully formed modern sport with championships, media coverage, and famous stars. Professional baseball invented an organization, but not the sport itself. Baseball’s amazing amateurs had already done that.Thomas W. Gilbert’s history is for baseball fans and anyone fascinating by history, American culture, and how great things began.

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Bloom, el eminente y controvertido crítico que ha ido tramando, libro a libro, un complejo canon de la literatura occidental que atraviesa todas las épocas y, por supuesto, todos los géneros sin excepción, recala con este volumen en el que quizá sea su más preciada actividad: la lectura y crítica de poesía. Los más de cincuenta estudios sobre poetas y sus obras ?desde Shakespeare y Donne hasta Ashbery, Walcott o los desaparecidos Heaney y Strand, pasando, por supuesto, por las piezas magistrales que dedica a autores como Shelley, Byron o Dickinson? componen un generoso panorama de la historia de la poesía, en el que Bloom no evita ni la polémica, ni las habituales manías personales, así como tampoco limita sus lecturas a la lengua inglesa y fija su mirada en autores como Petrarca, Pushkin, Baudelaire, Octavio Paz o Pablo Neruda.Con una mirada rigurosa pero didáctica al mismo tiempo, con descubrimientos, tributos, y alguna que otra omisión reconocida, Harold Bloom ha escrito en Poem

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La hermana de nieve refleja el sentimiento de unas navidades bucólicas que todo lector reconoce en Canción de Navidad, de Charles Dickens.El libro que debes leer estas Navidades!Se acerca la Navidad. Christian cumple once años. Normalmente este es su día favorito de todo el año, sin duda el mejor. Los dulces navideños, el calor chispeante que desprende la chimenea y el esperado árbol de Navidad acompañan al pequeño en este día tan especial. Sin embargo, este año todo es distinto. Christian y su familia están de duelo por la falta de su hermana mayor. Parece que las navidades hayan sido canceladas este año.Un día el pequeño conoce a Hedwig y empieza a creer que quizás, después de todo, las navidades van a volver a ser como antes. Pero hay algo extraño en casa de su amiga Hedwig. Por qué ella siempre se muestra tan misteriosa? Quién es el hombre que los espía constantemente?Escrito por Maja Lunde e ilustrado por Lisa Aisato, ganadora de diversos

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“Offering a deeply necessary, clear-eyed look at who we are as flesh-and-bone bodies during the climate crisis, this is a book that searches and finds meaning in both the hard truths and the value of wonder.”—Ada LimónIn this luminous collection of essays, Ellen Wayland-Smith probes the raw edges of human existence, those periods of life in which our bodies remind us of our transience and the boundaries of the self dissolve.From the Old Testament to Maggie Nelson, these explorations are grounded in a rich network of associations. In an essay on the postpartum body, Wayland-Smith interweaves her experience as a mother with accounts of phantom limbs and Greek mythology to meditate on moments when pieces of our being exist outside our bodies. In order to comprehend diagnoses of depression and breast cancer, she delves into LA hippie culture’s love affair with crystals and Emily Dickinson

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Earthquakes have taught us much about our planet's hidden structure and the forces that have shaped it. This knowledge rests not only on the recordings of seismographs but also on the observations of eyewitnesses to destruction. During the nineteenth century, a scientific description of an earthquake was built of stories - stories from as many people in as many situations as possible. Sometimes their stories told of fear and devastation, sometimes of wonder and excitement. In The Earthquake Observers, Deborah R. Coen acquaints readers not only with the century's most eloquent seismic commentators, including Alexander von. Humboldt, Charles Darwitt, Mark Twain, Charles Dickens, Karl Kraus, Ernst Mach, John Muir, and William James, but also with countless other citizen-observers, many of whom were women. Coen explains how observing networks transformed an instant of panic and confusion into a field for scientific research, turning earthquakes into natural experiments at the nexus of the physical and human sciences. Seismology abandoned this project of citizen science with the introduction of the Richter Scale in the 1950s, only to revive it in the twenty-first century in the face of new hazards and uncertainties. The Earthquake Observers tells the history of this interrupted dialogue between scientists and citizens about living with environmental risk.

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THE SUNDAY TIMES NUMBER ONE BESTSELLING MEMOIR OF SPY-WRITING LEGEND JOHN LE CARRÉ*NOW A MAJOR APPLE TV MOTION PICTURE*'As recognizable a writer as Dickens or Austen' Financial TimesFrom his years serving in British Intelligence during the Cold War to a career as a writer, John le Carré has lived a unique life.In this, his first memoir, le Carré is as funny as he is incisive - reading into the events he witnesses the same moral ambiguity with which he imbues his novels. Whether he's interviewing a German terrorist in her desert prison or watching Alec Guinness preparing for his role as George Smiley, this book invites us to think anew about events and people we believed we understood.Best of all, le Carré gives us a glimpse of a writer's journey over more than six decades, and his own hunt for the human spark that has given so much life and heart to his fictional characters.'No other writer has charted - pitilessly for politicians but thrillingly for readers - the public and secret histories of his times' Guardian'When I was under house arrest I was helped by the books of John le Carré . . . These were the journeys that made me feel that I was not really cut off from the rest of humankind' Aung San Suu Kyi

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An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.

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An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.

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Corporate Romanticism offers an alternative history of the connections between modernity, individualism, and the novel. In early nineteenth-century England, two developments—the rise of corporate persons and the expanded scale of industrial action—undermined the basic assumption underpinning both liberalism and the law: that individual human persons can be meaningfully correlated with specific actions and particular effects. Reading works by Godwin, Austen, Hogg, Mary Shelley, and Dickens alongside a wide-ranging set of debates in nineteenth-century law and Romantic politics and aesthetics, Daniel Stout argues that the novel, a literary form long understood as a reflection of individualism’s ideological ascent, in fact registered the fragile fictionality of accountable individuals in a period defined by corporate actors and expansively entangled fields of action. Examining how liberalism, the law, and the novel all wrestled with the moral implications of a highly collectivized and densely packed modernity, Corporate Romanticism reconfigures our sense of the nineteenth century and its novels, arguing that we see in them not simply the apotheosis of laissez-fair individualism but the first chapter of a crucial and distinctly modern problem about how to fit the individualist and humanist terms of justice onto a world in which the most consequential agents are no longer persons.

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This is a "biography of the imagination, " an inner narrative of Sylvia Plath's life and work. Combining psychoanalytical, feminist, and intertextual methods, Steven Gould Axelrod traces what Roland Barthes has called "the body's journey through language." After an introductory look at the roles played by language and silence in Plath's verbal universe, Axelrod explores the ways in which the poet's father -- and father figures, including male literary precursors -- interfered with her imagination even as they helped shape it. He describes Plath's ambiguous relations with her mother and with the two literary forebears who took the mother's place -- Virginia Woolf and Emily Dickinson. And he examines Plath's doubling relationship to her husband, describing how she eventually transferred her doubling impulse to her texts. Axelrod concludes by suggesting a link between Plath's discontinuous narrative of the double and her personal fate. Sylvia Plath: The Wound and the Cure of Words offers illuminating and often revolutionary readings of all of Plath's major texts, including such poems as "Daddy" and "Three Women, " her novel, The Bell Jar, and her letters and journals. At once sympathetic and incisive, it offers a compelling account of Plath's creative drive and personal history.

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Elizabeth Bishop's hawkweed, John Berryman's hummingbirds, Ted Hughes's burnt fox - the birds, beasts and flowers of Isobel Dixon's new collection are at times kin to D.H. Lawrence, whose essay 'Whistling of Birds' lends this book its name, though each poem here is its own vivid testament to the natural world, and our often troubled and troubling place in it. Lyrical, vigorous, inventive, A Whistling of Birds is at times in conversation with Lawrence's iconic collection, Birds, Beasts and Flowers, but also ranges widely through the worlds of other writers and makers - from the Venerable Bede to Emily Dickinson, Georgia O'Keeffe to Glenn Gould, and a wealth of other connections closely examined and delicately drawn. An abundance of apricots in Santa Fe; bats, bees, tortoises, snakes, the generous body of a whale. Threaded throughout is the beautiful complexity and vulnerability of the planet, and the joy and difficulty of making art. Douglas Robertson's finely detailed images also speak of a close connection to the green world, ocean and sky, and a thoughtful dialogue between artist and poet. With its resonant elegies and notes of celebration, this is a collection that flexes, hums and brims with energy, yet surely draws you in to its quiet, reflective heart. "Isobel Dixon's writing is lit by a fierce sense of landscape. She is newly touched by the tiniest northern flowers, haunted still by powerful spirits of the south. Her work is visually exuberant; its sounds, delicious, especially when bound by rhyme. Dixon's lines flash with humour and tenderness. Her poems marry exactitude to emotion. In both, they are memorable." -Alison Brackenbury 'As Lawrence says, "The essential quality of poetry is that it makes a new effort of attention." Isobel Dixon's A Whistling of Birds does just that. Doing so, she gets, and shares with her readers, new slants on life on earth. I felt alerted again to things, fellow creatures, deeds, I hadn't paid due attention to, or had once and had become accustomed and needed to be shown afresh. This book gives shocks of pleasure and gratitude in equal measure.' - David Constantine

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In 1943, there was an urgent need for Animal Farm. The Soviet Union had become Britain’s ally in the war against Nazi Germany, and criticism of Stalin’s brutal regime was either censored or discouraged. In any case, many intellectuals on the left still celebrated the Soviet Union, claiming that the terrors of its show trials, summary executions and secret police were either exaggerated or necessary. But, to Orwell, Stalin was always a “disgusting murderer” and he wanted to remind people of this fact in a powerful and memorable way. But how to do it? A political essay would never reach a wide enough audience; a traditional novel would take too long to write. Orwell hit on the inspired idea of combining the moralism of the traditional ‘beast fable’ with the satire of Gulliver’s Travels. A group of farmyard animals, led by the pigs, overthrow their human masters. Their revolution is inspired by high ideals: the farm will be run in the interests of its animals with no more slaughtering, plenty of food for all and comfort in retirement. But when Napoleon the pig takes command, he quickly corrupts their principles, creating a new tyranny worse than the old. Orwell wrote Animal Farm in the middle of the Second World War, but at first no publishers wanted to touch it. It was finally published in August 1945, once the war was over. This little book quickly became a seminal text in the emerging ‘cold war’ (a phrase that Orwell himself coined). It also became a site of that conflict itself, suffering various attempts to subvert or change its meaning. Today, Animal Farm remains a powerful fable about the nature of tyranny and corruption which applies for all ages. Our edition also includes the following essays: Shooting an Elephant; Charles Dickens; Inside the Whale; The Frontiers of Art and Propaganda; Literature and Totalitarianism; Fascism and Democracy; Patriots and Revolutionaries; Catastrophic Gradualism; Some Thoughts on the Common Toad; Why I Write; Writers and Leviathan

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Mill Power documents the making of a national park that changed the concept of what a national historical park could be. For a time in the 1800s, Lowell was Massachusetts’s cosmopolitan, must-see second city. The city’s industrial model was as high-tech then as Silicon Valley is today. It drew the attention of luminaries like Charles Dickens, Congressmen Davy Crockett and Abraham Lincoln, feminist sociologist Harriet Martineau, and abolitionist Frederick Douglass. This insider’s account of the creative, bold community-driven process to establish the park explains why today Lowell National Historical Park is renowned as “the partnership park.” The park’s establishment was an integral piece of an urban revival strategy that has made Lowell the subject of scores of newspaper articles, magazine profiles, TV and radio reports, scholarly papers, and book chapters. Historic Preservation magazine has hailed the park as “the premier rehabilitation model for gritty cities worldwide.” The Lowell story has much to teach the mid-sized cities of the nation and the world. Mill Power frames the Lowell comeback in its historical context and brings together the people who dreamed, wrote, designed, pushed, and cheered a new national park into existence along with those who came after with the charges of shaping the ideas into material form. The volume features 100 photos, many of them showing the before-and-after story of this revitalization.

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In 1831, an unknown, horrifying and deadly disease from Asia swept across Continental Europe, killing millions in its path and throwing the medical profession into confusion. Cholera is a killer with little respect for class or wealth. When it arrived in Britain, its repercussions rocked Victorian England - from the filthy lanes of the Sunderland quayside and the squalid streets of Soho, to the great centres of power: the Privy Council, Whitehall and the Royal Medical Colleges. One man - alone and unrecognized - uncovered the truth behind the pandemic and laid the foundations for the modern scientific investigation of today's fatal plagues. John Snow was a reclusive doctor, without money or social position, who had the genius to look beyond the conventional wisdom of his day and work out that cholera was spread through drinking water. The book draws extensively on nineteenth-century medical, political and personal records in order to describe what is both an important breakthrough for medical science and also a dramatic story with a cast of colourful characters, from the heroic to the frighteningly incompetent. The book is also full of fascinating diversions into aspects of medical and social history, from Snow's tending of Queen Victoria in childbirth, to the Dutch microbiologist Leeuwenhoek's breeding of lice in his socks, and from Dickensian children's farms to riotous nineteenth-century anaesthesia parties.

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In this ingenious and diverse collection of 366 stories, events and facts about language, David Crystal presents a selection of insights from literary and linguistic writers, poets and global institutions, together with the weird and wonderful creations of language enthusiasts to enliven each day of the year. The day-by-day treatment illustrates the extraordinary breadth of the subject, from ‘Morse Code Day’ to ‘Talk Like William Shatner Day’, from forensic phonetics used to catch serial killers to heroines of speed reading, and covers writers from many different eras and cultures, including William Shakespeare, Oscar Wilde, Emily Dickinson, Toni Morrison, R. K. Narayan, Wole Soyinka and many more. Some days focus on pronunciation, orthography, grammar or vocabulary. Others focus on the way language is used in science, religion, politics, broadcasting, publishing, the Internet and the arts. There are days that acknowledge the achievements of language study, such as in language teaching, speech therapy, deaf education and forensic science, as well as technological progress, from the humble pencil to digital software. Several days celebrate individual languages, such as those recognised as ‘official’ by the United Nations, but not forgetting those spoken by small communities, along with their associated cultural identities. A celebration of the remarkable creativity of all who have illuminated our understanding of language, this book is ideal for anyone wanting to add an extra point of interest to their language day.

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An enlightening examination of the relationship between poetry and the information technologies increasingly used to read and write it Many poets and their readers believe poetry helps us escape straightforward, logical ways of thinking. But what happens when poems confront the extraordinarily rational information technologies that are everywhere in the academy, not to mention everyday life?Examining a broad array of electronics—including the radio, telephone, tape recorder, Cold War–era computers, and modern-day web browsers—Seth Perlow considers how these technologies transform poems that we don’t normally consider “digital.” From fetishistic attachments to digital images of Emily Dickinson’s manuscripts to Jackson Mac Low’s appropriation of a huge book of random numbers originally used to design thermonuclear weapons, these investigations take Perlow through a revealingly eclectic array of work, offering both exciting new voices and reevaluations of poets we thought we knew.With close readings of Gertrude Stein, Frank O’Hara, Amiri Baraka, and many others, The Poem Electric constructs a distinctive lineage of experimental writers, from the 1860s to today. Ultimately, Perlow mounts an important investigation into how electronic media allows us to distinguish poetic thought from rationalism. Posing a necessary challenge to the privilege of information in the digital humanities, The Poem Electric develops new ways of reading poetry, alongside and against the electronic equipment that is now ubiquitous in our world.

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An enlightening examination of the relationship between poetry and the information technologies increasingly used to read and write it Many poets and their readers believe poetry helps us escape straightforward, logical ways of thinking. But what happens when poems confront the extraordinarily rational information technologies that are everywhere in the academy, not to mention everyday life?Examining a broad array of electronics—including the radio, telephone, tape recorder, Cold War–era computers, and modern-day web browsers—Seth Perlow considers how these technologies transform poems that we don’t normally consider “digital.” From fetishistic attachments to digital images of Emily Dickinson’s manuscripts to Jackson Mac Low’s appropriation of a huge book of random numbers originally used to design thermonuclear weapons, these investigations take Perlow through a revealingly eclectic array of work, offering both exciting new voices and reevaluations of poets we thought we knew.With close readings of Gertrude Stein, Frank O’Hara, Amiri Baraka, and many others, The Poem Electric constructs a distinctive lineage of experimental writers, from the 1860s to today. Ultimately, Perlow mounts an important investigation into how electronic media allows us to distinguish poetic thought from rationalism. Posing a necessary challenge to the privilege of information in the digital humanities, The Poem Electric develops new ways of reading poetry, alongside and against the electronic equipment that is now ubiquitous in our world.

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With the transformation and expansion of the nineteenth-century American literary canon in the past two decades, the work of the era's American women poets has come to be widely anthologized. But scant scholarship has arisen to make full sense of it. From School to Salon responds to this glaring gap. Mary Loeffelholz presents the work of nineteenth-century women poets in the context of the history, culture, and politics of the times. She uses a series of case studies to discuss why the recovery of nineteenth-century women's poetry has been a process of anthologization without succeeding analysis. At the same time, she provides a much-needed account of the changing social contexts through which nineteenth-century American women became poets: initially by reading, reciting, writing, and publishing poetry in school, and later, by doing those same things in literary salons, institutions created by the high-culture movement of the day. Along the way, Loeffelholz provides detailed analyses of the poetry, much of which has received little or no recent critical attention. She focuses on the works of a remarkably diverse array of poets, including Lucretia Maria Davidson, Lydia Sigourney, Maria Lowell, Frances Ellen Watkins Harper, Emily Dickinson, Helen Hunt Jackson, and Annie Fields. Impeccably researched and gracefully written, From School to Salon moves the study of nineteenth-century women's poetry to a new and momentous level.

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In The Extravagant Robert Baker explores the interplay between poetry and philosophy in the modern period, engaging a broad range of writers: Kant, Wordsworth, and Lyotard in a chapter on the sublime; Rimbaud, Nietzsche, and Bataille in a chapter on visionary quest; and Kierkegaard, Dickinson, Mallarmé, and Derrida in a chapter on apocalyptic negativity. His guiding concern is to illuminate adventures of “extravagant” or “wandering” language that, from the romantic period on, both poets and philosophers have undertaken in opposition to the dominant social and discursive frames of a pervasively instrumentalized world. The larger interpretative narrative shaping the book is that a dialectic of instrumental reason and creative negativity has been at work throughout modern culture. Baker argues that adventures of exploratory wandering emerge in the romantic period as displaced articulations of older religious discourses. Given the dominant trends of the modern world, however, these adventures repeatedly lead to severe collisions and crises, in response to which they are later revised or further displaced. Over time, as instrumental structures come to disfigure every realm of modern life, poetries and philosophies at odds with these structures are forced to criticize and surpass earlier voices in their traditions that seem to have lost a transformative power. Thus, Baker argues, these adventures gradually unfold into various discourses of the negative prominent in contemporary culture: discourses of decentering, dispersing, undoing, and erring. It is this dialectic that Baker traces and interprets in this ambitious study.

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The central argument of Edward Said's Orientalism is that the relationship between Britain and its colonies was primarily oppositional, based on contrasts between conquest abroad and domestic order at home. Saree Makdisi directly challenges that premise in Making England Western, identifying the convergence between the British Empire's civilizing mission abroad and a parallel mission within England itself, and pointing to romanticism as one of the key sites of resistance to the imperial culture in Britain after 1815. Makdisi argues that there existed places and populations in both England and the colonies that were thought of in similar terms - for example, there were sites in England that might as well have been Arabia, and English people to whom the idea of the freeborn Englishman did not extend. The boundaries between "us" and "them" began to take form during the romantic period, when England became a desirable Occidental space, connected with but superior to distant lands. Delving into the works of Wordsworth, Austen, Byron, Dickens, and others to trace an arc of celebration, ambivalence, and criticism influenced by these imperial dynamics, Makdisi demonstrates the extent to which romanticism offered both hopes for and warnings against future developments in Occidentalism. Revealing that romanticism provided a way to resist imperial logic about improvement and moral virtue, Making England Western is an exciting contribution to the study of both British literature and colonialism.

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The very first case for Oxford-based sleuth Gervase Fen, one of the last of the great Golden Age detectives. As inventive as Agatha Christie, as hilarious as P.G. Wodehouse, this is the perfect entry point to discover the delightful detective stories of Edmund Crispin - crime fiction at its quirkiest and best. A pretty but spiteful young actress with a talent for destroying men’s lives is found dead in a college room just yards from the office of the unconventional Oxford don Gervase Fen. Anyone who knew the girl would gladly have shot her, but can Fen discover who did shoot her, and why? Published during the Second World War, The Case of the Gilded Fly introduced English professor and would-be detective Gervase Fen, one of crime fiction’s most irrepressible and popular sleuths. A classic locked-room mystery filled with witty literary allusions, it was the debut of ‘a new writer who calls himself Edmund Crispin’ (in reality the choral and film composer Bruce Montgomery), later described by The Times as ‘One of the last exponents of the classical English detective story . . . elegant, literate, and funny.’ This Detective Story Club classic is introduced by Douglas G. Greene, who reveals how Montgomery’s ambition to emulate John Dickson Carr resulted in a string of successful and distinctive Golden Age detective novels and an invitation from Carr himself to join the exclusive Detection Club.

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From spooky stories and real-life ghost hunting, to shows about murder and serial killers, we are fascinated by death - and we owe these modern obsessions to the Victorian age. Death and the Victorians explores a period in history when the search for the truth about what lies beyond our mortal realm was matched only by the imagination and invention used to find it. Walk among London’s festering graveyards, where the dead were literally rising from the grave. Visit the Paris Morgue, where thousands flocked to view the spectacle of death every single day. Lift the veil on how spirits were invited into the home, secret societies taught ways to survive death, and the latest science and technology was applied to provide proof of the afterlife. Find out why the Victorian era is considered the golden age of the ghost story, exemplified by tales from the likes of Charles Dickens, Elizabeth Gaskell, Oscar Wilde and Henry James. Discover how the birth of the popular press nurtured our taste for murder and that Jack the Ripper was actually a work of pure Gothic horror fiction crafted by cynical Victorian newspapermen. Death and the Victorians exposes the darker side of the nineteenth century, a time when the living were inventing incredible ways to connect with the dead that endure to this day.

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An Ali McNamara novel is the perfect escape.Welcome to Bluebell Wood where the sun shines, the locals are kind and there's something more than a little bit magical about the place.Ava loves city life but when something happens to make her feel unsafe, she retreats to the calm and quiet of Bluebell Wood. The once high-flying Ava now locks herself away in her fairy-tale cottage, only leaving to explore the trails of the nearby woods or to potter in the garden with her dog, Merlin. When Ava begins to feed the wild birds that flock to her bird table, they start leaving her trinkets of appreciation in return. The gifts seem innocent at first, but they soon seem to take on a deeper meaning. It isn't until Ava meets Callum, the handsome parish priest, that she can't help but wonder if the birds might have been trying to get her out of the house all along. But will their curious behaviour help to heal Ava, and transform her and Callum into the lovebirds they clearly long to be?Praise for Ali McNamara:An enchanting escape. Pure magic!' Heidi Swain'A perfect, sparkling, summer read.' Cathy Bramley'Fun and endearing' Katie Fforde'Perfect easy reading' SunAn irresistible, feel-good story infused with infectious humour' Miranda Dickinson'Funny and light-hearted' Heat

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Acclaimed historian Gordon S. Wood presents the first volume in a stunning collection of British and American pamphlets from the political debate that divided an empire—and created a nationIn 1764, in the wake of its triumph in the Seven Years War, Great Britain possessed the largest and most powerful empire the world had seen since the fall of Rome and its North American colonists were justly proud of their vital place within this global colossus. Just twelve short years later the empire was in tatters, and the thirteen colonies proclaimed themselves the free and independent United States of America. In between, there occurred an extraordinary contest of words between American and Britons, and among Americans themselves, which addressed all of the most fundamental issues of politics: the nature of power, liberty, representation, rights and constitutions, and sovereignty. This debate was carried on largely in pamphlets and from the more than a thousand published on both sides of the Atlantic during the period.Here, Gordon S. Wood has selected thirty-nine of the most interesting and important pamphlets to reveal as never before how this momentous revolution unfolded. This first of two volumes traces the debate from its first crisis—Parliament's passage of the Stamp Act, which in the summer of 1765 triggered riots in American ports from Charleston, South Carolina, to Portsmouth, New Hampshire—to its crucial turning point in 1772, when the Boston Town Meeting produces a pamphlet that announces their defiance to the world and changes everything. Here in its entirety is John Dickinson's justly famous Letters from a Farmer in Pennsylvania, considered the most significant political tract in America prior to Thomas Paine's Common Sense. Here too is the dramatic transcript of Benjamin Franklin's testimony before Parliament as it debated repeal of the Stamp Act, among other fascinating works. The volume includes an introduction, headnotes, a chronology of events, biographical notes about the writers, and detailed explanatory notes, all prepared by our leading expert on the American Revolution. As a special feature, each pamphlet is preceded by a typographic reproduction of its original title page.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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A book for those drawn back to Aldeburgh year after year for the music, writing and arts - and to all who care for the landscape, the sea and the ongoing life of the Suffolk Coast. The New Aldeburgh Anthology takes its inspiration from Ronald Blythe's classic Aldeburgh Anthology of 1972, which summoned the spirit of Aldeburgh and the Suffolk coast in words and images that resonate still, and has proved enduringly popular. This new volume brings the story up to date and distils the very essence of the place just at the point when its identity might seem diluted by the accelerating pace of change. It speaks for and to thepresent generation, combining young voices with old, those of writers and musicians with poets and artists, of historians with naturalists, architects and ecologists, and local people. Britten and Pears' Aldeburgh Festivallies at the heart of the enterprise. Much has changed, but the Festival still owes its unique appeal and character to the remarkable history and the inspiration of its founders, as well as their strong sense of place. Their legacy is re-examined by musicians such as Ian Bostridge, Steven Isserlis and Roger Vignoles, and music writers James Fenton, Paul Kildea, Peter Dickinson and Rupert Christiansen. Aldeburgh and the east coast of Suffolk is about so much more than music, however: the poets Andrew Motion, Blake Morrison, Kevin Crossley-Holland and Lavinia Greenlaw and other writers as diverse as Craig Brown and Wilkie Collins have all been inspired by its bright yet haunting atmosphere, Maggi Hambling and Alison Wilding are sculptors who have left their mark on the landscape, while artists as varied as Sidney Nolan and John Piper, Arthur Boyd and Louise Wilson have all derived rich inspiration from it. The very landscape and ecology of east Suffolk is on the move, too, the coastline responding to the vagaries of climate change, the traditional ways of life, of farming and of fishing giving way to new. George Ewart Evans, W.G. Sebald and Richard Mabey are among those who respond to the power of the landscape, others to the spell of the sea, and the life that has evolved around both is evoked in words and images, some of them startling in their intensity. Amongst the many contributions, the new Anthology contains some of the classic articles from the original, including writings by WH Auden, George Crabbe, Eric Crozier, Imogen Holst, Norman Scarfe and of courseRonald Blythe himself. Published in association with Aldeburgh Music.

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Place of refuge, place where we can be ourselves; place we long to escape from, place where we are confronted by absence and loneliness; shabby downtown apartment or idyllic country cottage. Like it or loathe it, home is where we do most of our living. Home is, of course, many things to many poets. It is Billy Collins's favourite armchair and Imtiaz Dharker's 'Living Space' in the slums of Mumbai. It is Wordsworth's 'dear Valley' of Grasmere, and Philip Larkin's Coventry, that place where nothing so famously happens. It may be somewhere we long for, perhaps unattainably: Ovid and Mahmoud Darwish lament their home countries, Kapka Kassabova seeks 'a house we can never find', while Jules Supervielle is 'Homesick for the Earth'.There is an abundance of domestic life. Attend a miserable breakfast chez Jacques Prévert; observe Wendy Cope and partner happily 'Being Boring'. Cut to Anna Barbauld's washing-day, Marilyn Nelson dusting, Buson mending his clothes and Fiona Wright contending with a Tupperware party. Peep in on Amy Lowell in the bath and John Donne in bed, Auden in the privy and Joy Harjo at the kitchen table. Here are removals and homecomings, neighbours good and bad. Inevitably, after a year of enforced domesticity, some lockdown thoughts (Anna McDonald, Pauline Prior-Pitt); Mary Oliver's dream house, Naomi Shihab Nye's homes where children live, the far-from-safe houses of U. A. Fanthorpe, and some final reflections on the idea of a dwelling place from Rumi, Emily Dickinson, John Burnside, Vinita Agrawal, Derek Walcott, Les Murray and Iman Mersal. It may not always be sweet, but there is certainly No Place Like Home.

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Featuring ships from the first season of STAR TREK: DISCOVERY! The story of how the creative teams reimagined STAR TREK for the 21st Century with previously unseen production art and interviews with the show's artists and designers. Every ship for season 1! Showcasing ships such as the U.S.S. Shenzhou, the U.S.S. Discovery and the Klingon bird-of-prey, this book brings you all the Federation and Klingon ships as they appeared in the decade before Captain James T. Kirk's five-year-mission, and is packed with original concept art from STAR TREK artists John Eaves, Sam Michlap, John 'JD' Dickenson and Goran Delic. This latest volume in the Designing Starships series shows how artists and designers reinvented STAR TREK for a new era, taking the classics and reinventing them to build a whole new look for the Federation and the Klingons featured in the hit Star Trek: Discovery TV series. Explore the process behind the creation of the Starships featured in the hit Star Trek: Discovery TV

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For this book Lawrence Harbison has interviewed successful playwrights who have developed relationships with theaters that regularly produce their plays have had at least one major New York production have their plays published by a licensor such as Dramatists Play Service or Samuel French have received commissions and have an agent. Harbison asks each of them the same question: How did you do it? ÊHow I Did ItÊ features an introduction by Theresa Rebeck and interviews with David Auburn Stephen Belber Adam Bock Bekah Brunstetter Sheila Callaghan John Carlani Eric Coble Jessica Dickey Kate Fodor Gina Gionfriddo Daniel Goldfarb Kirsten Greenidge Rinne Groff Lauren Gunderson Michael Hollinger Rajiv Joseph Greg Kotis Neil LaBute Deborah Zoe Laufer Wendy MacLeod Itamar Moses Bruce Norris Lynn Nottage Aaron Posner Adam Rapp J.T. Rogers Lloyd Suh Carl Thomas Sharr White and Anna Ziegler.ÞA valuable tool for playwrights daunted by the extremely difficult task of getting their work produced as well as to playwriting students ÊHow I Did ItÊ is full of stories of how it's done.

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This memoir is of the schooldays of one of the most extraordinary minds Scotland has produced, Hugh Miller. Miller rose, if not from absolute poverty, certainly from a modest background, to become both a specialist in the field of geology and a generalist in the wider literary world, covering, as writer and editor, subjects as diverse as poetry, folklore, science, education, religion, history and travel. In his working life he was a stonemason, banking accountant, journalist, editor, lecturer and defender of Christianity against the evolutionists. By the time of his tragic suicide in 1856, Miller's prodigious output had made him among the best known of Victorian literary figures, admired by Thomas Carlyle, Charles Dickens and John Ruskin. By the latter part of the 19th century, his reputation extended across the world - his books were widely translated, and in America, according to the geologist Sir Archibald Geikie, "They were to be found in the remotest log huts of the far west." In 1879, the great environmentalist John Muir named one of the glaciers of Glacier Bay, Alaska, after the Cromarty stonemason.

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'Compelling . . . almost Dickensian' The Times'The best thriller writer in the world' Daily Telegraph*****Jonas Merrick. At MI5 they call him 'the eternal flame', because he never goes out. Never goes undercover, or on surveillance, or kicking down doors. If he's studying a map, he's probably planning his caravan holiday.But what the hot-shots fail to notice in Jonas is a steely concentration, a ruthless ability to find the enemy who hides in plain sight like a submerged crocodile, waiting for prey.Cameron Jilkes. A young man from a broken background, trained as a Jihadi in the harshest theatre of war. Coming ashore near Dover, he plans to live unnoticed, before unleashing a terrifying strike.And this time, Jonas Merrick must go out - to hunt the crocodile himself.Featuring a chapter from the new Jonas Merrick novel The Foot Soldiers, publishing in 2022*****Readers love THE CROCODILE HUNTER:'Another winner from Gerald Seymour' 5*'An outstanding book and thoroughly recommended' 5*'Every year without fail . . . Gerald Seymour comes up with a masterful thriller . . . A wonderful read from a master of his craft' 5*

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Critics of American exceptionalism usually view it as a destructive force eroding the radical energies of social movements and aesthetic practices. In A Desire Called America, Christian P. Haines confronts a troubling paradox: Some of the most provocative political projects in the United States are remarkably invested in American exceptionalism. Riding a strange current of U.S. literature that draws on American exceptionalism only to overturn it in the name of utopian desire, Haines reveals a tradition of viewing the United States as a unique and exemplary political model while rejecting exceptionalism’s commitments to nationalism, capitalism, and individualism. Through Walt Whitman, Emily Dickinson, William S. Burroughs, and Thomas Pynchon, Haines brings to light a radically different version of the American dream—one in which political subjects value an organization of social life that includes democratic self-governance, egalitarian cooperation, and communal property. A Desire Called America brings utopian studies and the critical discourse of biopolitics to bear upon each other, suggesting that utopia might be less another place than our best hope for confronting authoritarianism, neoliberalism, and a resurgent exclusionary nationalism.

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Gothic death 1740-1914 explores the representations of death and dying in Gothic narratives published between the mid-eighteenth century and the beginning of the First World War. The book investigates how eighteenth century Graveyard Poetry and the tradition of the elegy produced a version of death that underpinned ideas about empathy and models of textual composition. Later accounts of melancholy, as in the work of Ann Radcliffe and Mary Shelley, emphasise the literary construction of death. The shift from writing death to interpreting the signs of death is explored in relation to the work of Poe, Emily Brontë and George Eliot. A chapter on Dickens examines the significance of graves and capital punishment during the period. A chapter on Haggard, Stoker and Wilde explores conjunctions between love and death and a final chapter on Machen and Stoker explores how scientific ideas of the period help to contextualise a specifically fin de siècle model of death.This book will be of interest to academics and students working on literature on the Gothic and more generally on the literary culture of the period.

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Can she find freedom against the odds?As the Great War ends Serena Fleming is due an inheritance that could free her from a bullying father. But little does she know how far he will go to prevent her leaving home. Or how desperate he is to limit her and keep his secrets hidden. When she turns thirty, Serena must risk everything to escape his iron rule. Meanwhile, Marcus Graye’s life has also been changed by the War. His injuries may heal, but his elderly aunt and a crumbling old house are now in his sole care. When he saves Serena from a kidnapping, his life will take an unexpected turn, one that may bring him love but will put his life in danger.Can they survive a wicked man’s attacks? And can Serena at last fulfil her true potential?From the bestselling and much-loved Anna Jacobs, this inspirational saga is perfect for fans of Kitty Neale, Ellie Dean and Margaret Dickinson, a heart-warming tale of one woman’s fight for a life worth living.

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A powerful, authentic verse novel exploring a teen boy's experience with disordered eating, charting the successes and setbacks of his journey toward recovery.Jake feels alone at school and alone at home. Some days it feels like the only people who understand him is the poet Emily Dickinson and Jake''s beloved grandma. But there is also the Voice inside him, louder than any other, who professes to know him best of all.The one that says You have me.The Voice is loud enough to drown out everything else, even the hunger Jake feels, until his mom intervenes and sends him to Whispering Pines.Here Jake will learn how to confront the loneliness inside him, and find out who he is and what he has to live for. That is, if he can quiet the Voice...Told in succinct and powerful verse, this novel is a stunning and wholly authentic expression of a young man finding the will and the power to wrest control from the intrusive thoughts that crowd his mind

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Brian Norman uncovers a curious phenomenon in American literature: dead women who nonetheless talk. These characters appear in works by such classic American writers as Poe, Dickinson, and Faulkner as well as in more recent works by Alice Walker, Toni Morrison, Tony Kushner, and others. These figures are also emerging in contemporary culture, from the film and best-selling novel The Lovely Bones to the hit television drama Desperate Housewives. Dead Women Talking demonstrates that the dead, especially women, have been speaking out in American literature since well before it was fashionable. Norman argues that they voice concerns that a community may wish to consign to the past, raising questions about gender, violence, sexuality, class, racial injustice, and national identity. When these women insert themselves into the story, they do not enter precisely as ghosts but rather as something potentially more disrupting: posthumous citizens. The community must ask itself whether it can or should recognize such a character as one of its own. The prospect of posthumous citizenship bears important implications for debates over the legal rights of the dead, social histories of burial customs and famous cadavers, and the political theory of citizenship and social death.

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In Dying Modern, one of our foremost literary critics inspires new ways to read, write, and talk about poetry. Diana Fuss does so by identifying three distinct but largely unrecognized voices within the well-studied genre of the elegy: the dying voice, the reviving voice, and the surviving voice. Through her deft readings of modern poetry, Fuss unveils the dramatic within the elegiac: the dying diva who relishes a great deathbed scene, the speaking corpse who fancies a good haunting, and the departing lover who delights in a dramatic exit. Focusing primarily on American and British poetry written during the past two centuries, Fuss maintains that poetry can still offer genuine ethical compensation, even for the deep wounds and shocking banalities of modern death. As dying, loss, and grief become ever more thoroughly obscured from public view, the dead start chattering away in verse. Through bold, original interpretations of little-known works, as well as canonical poems by writers such as Emily Dickinson, Randall Jarrell, Elizabeth Bishop, Richard Wright, and Sylvia Plath, Fuss explores modern poetry's fascination with pre- and postmortem speech, pondering the literary desire to make death speak in the face of its cultural silencing.

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Cleansing the City: Sanitary Geographies in Victorian Londonexplores not only the challenges faced by reformers as they strove toclean up an increasingly filthy city but the resistance to their efforts.Beginning in the 1830s, reform-minded citizens, under the banner of sanitaryimprovement, plunged into London’s dark and dirty spaces and returned withthe material they needed to promote public health legislation and magnificentprojects of sanitary engineering. Sanitary reform, however, was not alwaysmet with unqualified enthusiasm. While some improvements, such as slumclearances, the development of sewerage, and the embankment of the Thames,may have made London a cleaner place to live, these projects also destroyedand reshaped the built environment, and in doing so, altered the meanings andexperiences of the city. From the novels of Charles Dickens and George Gissing to anonymous magazinearticles and pamphlets, resistance to reform found expression in the nostalgicappreciation of a threatened urban landscape and anxiety about domestic autonomyin an era of networked sanitary services. Cleansing the City emphasizes the disruptions and disorientation occasioned by purification—a process we are generally inclined to see as positive. By recovering these sometimes oppositional, sometimes ambivalent responses, Michelle Allen elevates a significant undercurrent of Victorian thought into the mainstream and thus provides insight into the contested nature of sanitary modernization.

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What our tendency to justify the mistakes in poems reveals about our faith in poetry—and about how we readKeats mixed up Cortez and Balboa. Heaney misremembered the name of one of Wordsworth's lakes. Poetry—even by the greats—is rife with mistakes. In The Poet's Mistake, critic and poet Erica McAlpine gathers together for the first time numerous instances of these errors, from well-known historical gaffes to never-before-noticed grammatical incongruities, misspellings, and solecisms. But unlike the many critics and other readers who consider such errors felicitous or essential to the work itself, she makes a compelling case for calling a mistake a mistake, arguing that denying the possibility of error does a disservice to poets and their poems.Tracing the temptation to justify poets' errors from Aristotle through Freud, McAlpine demonstrates that the study of poetry's mistakes is also a study of critical attitudes toward mistakes, which are usually too generous—and often at the expense of the poet's intentions. Through remarkable close readings of Wordsworth, Keats, Browning, Clare, Dickinson, Crane, Bishop, Heaney, Ashbery, and others, The Poet's Mistake shows that errors are an inevitable part of poetry's making and that our responses to them reveal a great deal about our faith in poetry—and about how we read.

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In The Afterlife of Property, Jeff Nunokawa investigates the conviction passed on by the Victorian novel that a woman's love is the only fortune a man can count on to last. Taking for his example four texts, Charles Dickens's Little Dorrit and Dombey and Son, and George Eliot's Daniel Deronda and Silas Marner, Nunokawa studies the diverse ways that the Victorian novel imagines women as property removed from the uncertainties of the marketplace. Along the way, he notices how the categories of economics, gender, sexuality, race, and fiction define one another in the Victorian novel. If the novel figures women as safe property, Nunokawa argues, the novel figures safe property as a woman. And if the novel identifies the angel of the house, the desexualized subject of Victorian fantasies of ideal womanhood, as safe property, it identifies various types of fiction, illicit sexualities, and foreign races with the enemy of such property: the commodity form. Nunokawa shows how these convergences of fiction, sexuality, and race with the commodity form are part of a scapegoat scenario, in which the otherwise ubiquitous instabilities of the marketplace can be contained and expunged, clearing the way for secure possession. The Afterlife of Property addresses literary and cultural theory, gender studies, and gay and lesbian studies.

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'A towering masterpiece by a writer of genius.' IndependentIndia, 1975. An unnamed city by the sea. The government has just declared a State of Emergency. Amidst a backdrop of wild political turmoil, the lives of four unlikely strangers collide forever. An epic panorama of modern India in all its corruption, violence, and heroism, A Fine Balance is Rohinton Mistry's prize-winning masterpiece: a Dickensian modern classic brimming with compassion, humour, and insight - and a hymn to the human spirit in an inhuman state.'A masterpiece of illumination and grace. Like all great fiction, it transforms our understanding of life.' Guardian'Magical.' New York Times'Monumental.' Time'Astonishing.' Wall Street JournalWhat readers are saying:'One of the most layered and beautifully executed books I've ever read ... Easily one of my all time favourite books!''Many say that the mark of a good book is that it stays with you; well, I read this several years ago and I still find myself thinking of the characters ... Beautiful.''What a storyteller, what a wide canvas he covers of India ... Wonderful.''One of the best and most entertaining books I have ever read ... I can't recommend it highly enough.''Often heartbreaking, always evocative ... A book to savour rather than to gallop through.''One of the best books I've read ... Not a book for the faint-hearted, but it is a book with a big heart.'

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The puppet can entertain or terrify, evoke the innocence of childhood, or become a magical entity, able to negotiate with ghosts and gods. Puppets are often creepy things, inanimate while also full of spirit, alive with gesture and voice. In this haunting and beautiful book, Kenneth Gross takes us on a meditative journey through the world of puppet theater, exploring the mysterious fascination of these unsettling objects. Engaging particular aspects of the puppet, from its blunt grotesquerie to its talent for metamorphosis, Gross teases out their meanings, showing us the puppet in the guise of angel, seducer, demon, and destroyer. On a global tour of puppets onstage, he takes us to the raucous Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in the United States and Europe where puppets enact everything from Shakespearean tragedy to surrealist fables of discovery and loss. At the same time, he explores the puppet in poetry and fiction-including Collodi's cruel, wooden Pinocchio; puppetlike characters in Dickens and Kafka; Rilke's innocent puppet-angels; and the dark puppeteering of Philip Roth's Micky Sabbath - as well as in the work of artists such as Joseph Cornell and Paul Klee. A lovely, expressive book about re-seeing what we know, or what we think we know, "Puppet" evokes the startling power of puppets as mirrors of the uncanny in art and life.

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Winner of The Seamus Heaney Centre for Poetry First Collection Prize 2017. Winner of the Shine/Strong Poetry Award 2017. Several Deer is the debut collection of a young Northern Irish poet. As much indebted to Bob Dylan and Lana Del Rey as to Emily Dickinson and George Herbert, Crothers writes about destruction, consumption, misogyny, gods, sex, failure, and rock 'n' roll. But he does so with rhythmic subtlety and verbal craftsmanship, with unmistakable technical acuity. The poems are acrobatic: homophones, mondegreens, malapropisms, paraprosdokians, antanaclasis, polyptoton and puns are juggled with dexterity. Yet, for all their craft, the poems remain empathic, sincere, abscised from the particular experience rather than plucked from the common branch, addressing real people, albeit with the cynic's ironizing compulsion. 'Now send in the clowns', ends the collection's opening poem - and so they follow: happy and sad, wise and tragic, a touch melodramatic, wilfully misunderstood. They console themselves with rhythm, with rhyme, and with riffs on literary and pop culture new and old, high and low. Above all, perhaps, it is the air of excited verbal mischief that endears the ear to Several Deer. Easily sidetracked and keen to be soundtracked, the collection doesn't take its sadness seriously. It listens to the hits.

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In this innovative series of public lectures at Newcastle University, leading contemporary poets speak about the craft and practice of poetry to audiences drawn from both the city and the university. The lectures are then published in book form by Bloodaxe, giving readers everywhere the opportunity to learn what the poets themselves think about their own subject. It's almost a cliche that music and poetry are cousins, and that the term lyric names this cousinship. Yet the actual forms music takes within poetry are unclear, even contested. At the same time, our assumptions about these forms condition the ways we hear poetry. So it's useful to us as both readers and writers to discover where the analogies between music and poetry are. Fiona Sampson's Music Lessons outlines some of these, using ideas and examples from Martin Heidegger to J.S. Bach, Emily Dickinson to Leonard Cohen, and George Herbert to Julia Kristeva. Her first lecture, Point Counter-point, uses melody to suggest a link between poetic line, phrase and breath. Here is my space explores how pureA", abstract forms can be created in time in the same way that they are created in space. Finally, How strange the change looks at sensuous apprehension and the pleasure principle.

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WINNER OF THE WINGATE LITERARY PRIZE 2020When a dead body is found in the Thames, caught in the chains of HMS Belfast, it begins a search for a missing woman. A policeman, a documentary film-maker and an Irish nurse named Chrissie all respond to the death of the unknown woman in their own ways. London is a place of random meetings, shifting relationships - and some, like Chrissie, intersect with many. The wonderful Linda Grant weaves a tale around ideas of home; how London can be a place of exile or expulsion, how home can be a physical place or an idea, how all our lives intersect. 'Reminds us of the depth and strength of the communities that are our beloved London. Thank you' Philippe Sands'There's a Dickensian quality to the opening scene and yet it's one of the most bitingly contemporary publications of the year - a shifting, polyphonic narrative' Hephzibah Anderson, Mail on Sunday'There is a richness in this novel, found in a migrant experience that is deeply embedded rather than distinct from its environment... a compelling read' Jake Arnott, Guardian'The novel is fleet-footed... the way even the minor characters flare into life gives the novel richness and depth... a novel fit for shifting, uncertain times' Suzi Feay, Financial Times

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Colleen Glenney Boggs puts animal representation at the center of the making of the liberal American subject. Concentrating on the formative and disruptive presence of animals in the writings of Frederick Douglass, Edgar Allan Poe, and Emily Dickinson, Boggs argues that animals are critical to the ways in which Americans enact their humanity and regulate subjects in the biopolitical state. Biopower, or a politics that extends its reach to life, thrives on the strategic ambivalence between who is considered human and what is judged as animal. It generates a space of indeterminacy in which animal representations intervene to define and challenge the parameters of subjectivity. The renegotiation of the species line produces a tension that is never fully regulated. Therefore, as both figures of radical alterity and the embodiment of biopolitics, animals are simultaneously exceptional and exemplary to the biopolitical state. An original contribution to animal studies, American studies, critical race theory, and posthumanist inquiry, Boggs thrillingly reinterprets a long and highly contentious human-animal history.

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During his years as executioner between 1901 and 1924, John Ellis hanged over 200 men andwomen. Among them were some of the most infamous killers of the 20th century including DrCrippen, John Dickman ''The Railway Murderer'', George Smith ''The Brides in the Bath'' murderer,Henry Jacoby, poisoners Frederick Seddon and Major Herbert Rowse Armstrong. Ellis also hangedSir Roger Casement for treachery and carried out the execution of Edith Thompson, one of themost controversial hangings in the history of capital punishment.British executioners kept their own legers recording brief details of those they hanged, John Ellismaintained just such a leger too but he is believed to be the only British executioner to have kept anadditional scrapbook of his personal accounts of those he executed and their crimes and as such it isa unique volume in the annals of British crime and punishment.Rediscovered after being lost for decades, John Ellis'' scrapbook - its cuttings, manuscript texts, andannotati

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