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Here are poets past and present, from Chaucer, Shakespeare and Wordsworth to Whitman, Dickinson and Thoreau; from Keats, Blake and Hopkins to Elizabeth Bishop, Ted Hughes and Amy Clampitt. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost's tribute to the evanescence of spring in 'Nothing Gold Can Stay' to Langston Hughes's moody 'Summer Night' in Harlem; from the 'stopped woods' in Marie Ponsot's 'End of October' to the chilling 'mind of winter' in Wallace Stevens's 'The Snow Man', the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage with the world outside ourselves.

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This book examines the affinity between “theory” and “deconstruction” that developed in the American academy in the 1970s by way of the “Yale Critics”: Harold Bloom, Paul de Man, Geoffrey Hartman, and J. Hillis Miller, sometimes joined by the French philosopher Jacques Derrida. With this semi-fictional collective, theory became a media event, first in the academy and then in the wider print media, in and through its phantasmatic link with deconstruction and with “Yale.” The important role played by aesthetic humanism in American pedagogical discourse provides a context for understanding theory as an aesthetic scandal, and an examination of the ways in which de Man’s work challenges aesthetic pieties helps us understand why, by the 1980s, he above all had come to personify “theory.” Combining a broad account of the “Yale Critics” phenomenon with a series of careful reexaminations of the event of theory, Redfield traces the threat posed by language’s unreliability and inhumanity in chapters on lyric, on Hartman’s representation of the Wordsworthian imagination, on Bloom’s early theory of influence in the 1970s together with his later media reinvention as the genius of the Western Canon, and on John Guillory’s influential attempt to interpret de Manian theory as a symptom of literature’s increasing marginality. A final chapter examines Mark Tansey’s paintings Derrida Queries de Man and Constructing the Grand Canyon, paintings that offer subtle, complex reflections on the peculiar event of theory-as-deconstruction in America.

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The scope of The Forged Feature is two-fold: to bring together a representative selection of critical essays bearing on Belitt's interests as poet, critic, teacher, and translator; and to furnish an on-going review of his concern with the encoding of languages and the exigencies of their imaginative retrieval. The collection begins with three pieces on the uses of belief, linguistic and place as shaping forces in the concretizing of the literary artifact. The second section of essays examines the fictive medium in terms of a number of "predicaments." The discussion embraces texts such as parables, novels, and autobiographical meoirs covering a broad range of twentieth century talents: Kafka, Borges, V.S. Naipaul, Saul Bellows, and Pablo Neruda. The third section is devoted to the theory and practice of translation developed from Belitt's personal lifetime of experience. Finally, there is a sequence of four essays on the uses of "new physics" of quantum mechanics and its uncanny relevance to the accountability of poetry. Belitt re-evaluates Gerard Manley Hopkins as a "scientific" rather than a priestly crafter of a medium, and touches upon diverse traditions and talents such as Keats, Blake, Stevens, Bishop, Yeats, Baudelaire, Rimbaud, Cocteau, W.C. Williams, Michado, Rilke, Wordsworth, and Coleridge. The brilliant observations collected in this volume are not contained within a specific school of thought and are indefinable within any current fashion- rather, Belitt's frame of reference is literature itself and his essays proceed in a literary, poetic, and individual voice.

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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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From ancient philosophy to Tristram Shandy and Buster Keaton movies, this book tells the engaging history of accident as an idea. An accidental glance at a newspaper notice causes Rousseau to collapse under the force of a vision. A car accidentally hits Giacometti, and he experiences an epiphany. Darwin introduces accident to the basic process of life, and Freud looks to accident as the expression of unconscious desire. Accident, Ross Hamilton claims, is the force that makes us modern. Tracing the story of accident from Aristotle to Buster Keaton and beyond, Hamilton’s daring book revives the tradition of the grand history of ideas.Accident tells an original history of Western thought from the perspective of Aristotle’s remarkably durable categories of accident and substance. Throughout antiquity and the Middle Ages, Aristotle’s distinction underwrote an insistence on order and subordination of the inessential. In a groundbreaking innovation, Hamilton argues that after the Reformation, the concept of accident began to change places with that of substance: accident became a life-transforming event and effectively a person’s essence. For moderns, it is the accidental, seemingly trivial moments of consciousness that, like Wordsworth’s “spots of time,” create constellations of meaning in our lives. Touching on a broad array of images and texts—Augustine, Dante, the frescoes of Raphael, Descartes, Jane Austen, the work of the surrealists, and twentieth-century cinema—Hamilton provides a new way to map the mutations of personal identity and subjectivity.

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Our thoughts are shaped as much by what things make of us as by what we make of them. In Romantic Things, Mary Jacobus explores the world of objects and phenomena in nature as expressed in Romantic poetry alongside the theme of sentience and sensory deprivation in literature and art. Jacobus discusses objects and attributes that test our perceptions and preoccupy both Romantic poetry and modern philosophy. John Clare, John Constable, Rainer Maria Rilke, W G Sebald, and Gerhard Richter make appearances around the central figure of William Wordsworth as Jacobus explores trees, rocks, clouds, breath, sleep, deafness, and blindness in their work. Along the way, she is assisted by the writings of Maurice Merleau-Ponty, Jacques Derrida, and Jean-Luc Nancy. Helping us think more deeply about things both visible and invisible, felt and unfeeling, Romantic Things opens our eyes to what has been previously overlooked in lyric and Romantic poetry.

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The award-winning and Number One bestselling Val McDermid crafts an electrifying psychological suspense thriller that mixes history, heritage and heinous crimes. A 200 year-old-secret is now a matter of life and death. And it could be worth a fortune. It's summer in the Lake District and heavy rain over the fells has uncovered a bizarrely tattooed body. Could it be linked to the old rumour that Fletcher Christian, mutinous First Mate on the Bounty, had secretly returned to England? Scholar Jane Gresham wants to find out. She believes that the Lakeland poet William Wordsworth, a friend of Christian's, may have sheltered the fugitive and turned his tale into an epic poem – which has since disappeared. But as she follows each lead, death is hard on her heels. The centuries-old mystery is putting lives at risk. And it isn't just the truth that is waiting to be discovered, but a bounty worth millions …

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For six centuries the Republic of Venice was a maritime empire, its sovereign power extending throughout much of the eastern Mediterranean – an empire of coasts, islands and isolated fortresses by which, as Wordsworth wrote, the mercantile Venetians 'held the gorgeous east in fee'. Jan Morris reconstructs the whole of this glittering dominion in the form of a sea-voyage, travelling along the historic Venetian trade routes from Venice itself to Greece, Crete and Cyprus. It is a traveller's book, geographically arranged but wandering at will from the past to the present, evoking not only contemporary landscapes and sensations but also the characters, the emotions and the tumultuous events of the past. The first such work ever written about the Venetian ‘Stato da Mar’, it is an invaluable historical companion for visitors to Venice itself and for travellers through the lands the Doges once ruled.

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In Rhetoric, Poetics, and Literary Historiography, Stefan H. Uhlig offers a new account of the emergence of literary studies. Most histories of the early years of the field search for unifying origins of literature as a discipline and object of study. Uhlig turns to the decades around 1800 in Europe to reveal that the inception of the literary field was instead defined by intellectual diversity and contestation. He draws on an array of European writers to show how three schools of literary study—rhetoric teaching, theories of poetry, and literary history—emerged and clashed during this time, offering near-contemporaneous, yet divergent, visions of how to understand literature. Rhetoric and poetics thwarted criticism, to different ends, while literary historiography proved institutionally reassuring yet less useful as a tool for textual understanding. Uhlig details how Scottish writers like Adam Smith and Hugh Blair taught rhetoric as a form self-expression, while Anglophone and German theorists of poetry like William Wordsworth, Friedrich Schlegel, and Johann Wolfgang von Goethe both engaged with and resented critics. At the same time, varying opinions on the practice of literary history emerged, with Immanuel Kant and Thomas De Quincey arguing for the independence of literature from historical forces while writers like Matthew Arnold approached literature as a means of narrating cultural archives instead of drawing on close reading and analysis. Rhetoric, Poetics, and Literary Historiography traces current debates in literary studies back to this formative moment, serving as a guide to past and present controversies in the field.

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What does it mean to live during wartime away from the battle zone? What is it like for citizens to go about daily routines while their country sends soldiers to kill and be killed across the globe? Timely and thought-provoking, War at a Distance considers how those left on the home front register wars and wartime in their everyday lives, particularly when military conflict remains removed from immediate perception, available only through media forms. Looking back over two centuries, Mary Favret locates the origins of modern wartime in the Napoleonic era and describes how global military operations affected the British populace, as the nation's army and navy waged battles far from home for decades. She reveals that the literature and art produced in Britain during the late eighteenth and early nineteenth centuries obsessively cultivated means for feeling as much as understanding such wars, and established forms still relevant today. Favret examines wartime literature and art as varied as meditations on the Iliad, the history of meteorology, landscape painting in India, and popular poetry in newspapers and periodicals; she locates the embedded sense of war and dislocation in works ranging from Austen, Coleridge, and Wordsworth to Woolf, Stevens, and Sebald; and she contemplates how literature provides the public with methods for responding to violent calamities happening elsewhere. Bringing to light Romanticism's legacy in reflections on modern warfare, this book shows that war's absent presence affects home in deep and irrevocable ways.

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The Georgian era is known for its lavish fashions and sumptuous food, as well as being a time of great social and political change. It saw the birth of the Industrial Revolution, the abolition of the slave trade and the expansion of the British Empire throughout the world. It is also an era greatly associated with the Arts – prolific writers and artists such as Shelley, Wordsworth, Austen and Turner changed the British cultural landscape. History is not just about kings and queens, or battles lost and won, it is also about the way ordinary people lived and changed the world around them. Mike Rendell covers some of the weird and wonderful facts about the era, as well as debunking some of the myths, in easy-to-read, bite-size sections. Find out about the vicar who discovered aspirin and the man who made his fortune from a toothbrush, alongside the personal lives of the monarchy.

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In the endless light of summer days, and the magical gloaming of the wee small hours, nature in Jim's beloved Highlands, Perthshire and Trossachs heartlands is burgeoning freely, as though there is one long midsummer's eve, nothing reserved. For our flora and fauna, for the very land itself, this is the time of extravagant growth, flowering and the promise of fruit and the harvest to come. But despite the abundance, as Jim Crumley attests, summer in the Northlands is no Wordsworthian idyll. Climate chaos and its attendant unpredictable weather brings high drama to the lives of the animals and birds he observes. There is also a wild, elemental beauty to the land, mountains, lochs, coasts and skies, a sense of nature at its very apex during this, the most beautiful and lush of seasons. Jim chronicles it all: the wonder, the tumult, the spectacle of summer - and what is at stake as our seasons are pushed beyond nature's limits.

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This kinky collection of puzzles and titillating trivia is guaranteed to spice up your life If you fancy a crude crossword that you wouldn't find in your daily newspaper, then look no further than this no-holds-barred activity book. Whether you're completing a risqué dot-to-dot or are lost in a dirty wordsearch, Naughty Puzzle Book is guaranteed to hit the spot. With provocative puzzles and tantalizing trivia, this book won't just make you a professional puzzler, you'll also be a certified sexpert! Inside you will find all kinds of naughtiness, including these stimulating activities:- Match the icons in a playful pairs game- Solve the raunchiest of riddles- Shuffle the letters of a seriously smutty anagram- Spot the difference between two super-sensual scenariosIf you like the idea of a book that puts the tease in brain-teaser, then this collection of filthy activities will leave you both shocked and amazed. Be warned though, this book is definitely not safe for work!

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Reading Romantic Poetry introduces the major themes and preoccupations, and the key poems and players of a period convulsed by revolution, prolonged warfare and political crisis. Provides a clear, lively introduction to Romantic Poetry, backed by academic research and marked by its accessibility to students with little prior experience of poetry Introduces many of the major topics of the age, from politics to publishing, from slavery to sociability, from Milton to the mind of man Encourages direct responses to poems by opening up different aspects of the literature and fresh approaches to reading Discusses the poets' own reading and experience of being read, as well as analysis of the sounds of key poems and the look of the poem on the page Deepens understanding of poems through awareness of their literary, historical, political and personal contexts Includes the major poets of the period, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, Burns and Clare —as well as a host of less familiar writers, including women

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'Ingenious, daring and brilliant' GuardianCOMPLICITY N. 1. THE FACT OF BEING AN ACCOMPLICE, ESP. IN A CRIMINAL ACTA few spliffs, a spot of mild S&M, phone through the copy for tomorrow's front page, catch up with the latest from your mystery source - could be big, could be very big - in fact, just a regular day at the office for free-wheeling, substance-abusing Cameron Colley, a fully paid-up Gonzo hack on an Edinburgh newspaper.Prentice McHoan has returned to the bosom of his complex but enduring Scottish family. Full of questions about the McHoan past, present and future, he is also deeply preoccupied: mainly with death, sex, drink, God and illegal substances... Praise for Iain Banks:'The most imaginative novelist of his generation' The Times'His verve and talent will always be recognised, and his work will always find and enthral new readers' Ken MacLeod, Guardian'His work was mordant, surreal, and fiercely intelligent' Neil Gaiman'An exceptional wordsmith' Scotsman

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'Ye Ice-Falls! Ye that from the mountain's browAdown enormous ravines slope amain -...'A selection of Coleridge's poems, including 'This Lime-Tree Bower My Prison' and 'Frost at Midnight'Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions.Samuel Taylor Coleridge (1772-1834). Coleridge's Selected Poetry, The Complete Poems and (with William Wordsworth) Lyrical Ballads are available in Penguin Classics.

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Poems in the Manner Of is an illuminating journey through centuries of writers who continue to influence new work today, including that of respected poet and series editor of The Best American Poetry David Lehman.“Very few writers can actually shape how you see the world. David Lehman is such a writer,” says Robert Olen Butler. Now the Best American Poetry series editor and New School writing professor channels, translates, and imagines a collection of “poems in the manner of” Emily Dickinson, Robert Frost, Shakespeare, W.B. Yeats, Rilke, William Carlos Williams, and more. Lehman has been writing “poems in the manner of” for years, in homage to the poems and people that have left an impression, experimenting with styles and voices that have lingered in his mind. Finally, he has gathered these pieces, creating a striking book of poems that channels poets from Walt Whitman to Sylvia Plath and also calls upon jazz standards, Freudian questionnaires, and astrological profiles for inspiration. Intelligent and sparkling, this is a great gift for poetry fans and a useful resource for creative writers. These are poems of wit and humor but also deep emotion and clear intelligence, informed by Lehman’s genuine and knowledgeable love of poetry and literature. From Catullus and Lady Murasaki to Wordsworth, Neruda, Virginia Woolf, W.H. Auden, and Charles Bukowski, Poems in the Manner Of shows how much life there is in poets of the past. And like Edward Hirsch’s How to Read a Poem and Robert Pinsky’s Singing School, this book gives you more than poetry. Whether you’re reading for pure enjoyment or examining how a poet can use references and influences in their own work, Poems in the Manner Of is a treasure trove of literary pleasures and food for thought.

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Notable writers—including UK poet laureate Simon Armitage, Julian Barnes, Margaret MacMillan, and Jenny Uglow—celebrate our fascination with the houses of famous literary figures, artists, composers, and politicians of the pastWhat can a house tell us about the person who lives there? Do we shape the buildings we live in, or are we formed by the places we call home? And why are we especially fascinated by the houses of the famous and often long-dead? In Lives of Houses, notable biographers, historians, critics, and poets explores these questions and more through fascinating essays on the houses of great writers, artists, composers, and politicians of the past.Editors Kate Kennedy and Hermione Lee are joined by wide-ranging contributors, including Simon Armitage, Julian Barnes, David Cannadine, Roy Foster, Alexandra Harris, Daisy Hay, Margaret MacMillan, Alexander Masters, and Jenny Uglow. We encounter W. H. Auden, living in joyful squalor in New York's St. Mark's Place, and W. B. Yeats in his flood-prone tower in the windswept West of Ireland. We meet Benjamin Disraeli, struggling to keep up appearances, and track the lost houses of Virginia Woolf and Elizabeth Bowen. We visit Benjamin Britten in Aldeburgh, England, and Jean Sibelius at Ainola, Finland. But Lives of Houses also considers those who are unhoused, unwilling or unable to establish a home—from the bewildered poet John Clare wandering the byways of England to the exiled Zimbabwean writer Dambudzo Marechera living on the streets of London.With more than forty illustrations, Lives of Houses illuminates what houses mean to us and how we use them to connect to and think about the past. The result is a fresh and engaging look at house and home.Featuring Alexandra Harris on moving house ● Susan Walker on Morocco's ancient Roman House of Venus ● Hermione Lee on biographical quests for writers’ houses ● Margaret MacMillan on her mother's Toronto house ● a poem by Maura Dooley, "Visiting Orchard House, Concord, Massachusetts"—the house in which Louisa May Alcott wrote and set her novel Little Women ● Felicity James on William and Dorothy Wordsworth's Dove Cottage ● Robert Douglas-Fairhurst at home with Tennyson ● David Cannadine on Winston Churchill's dream house, Chartwell ● Jenny Uglow on Edward Lear at San Remo's Villa Emily ● Lucy Walker on Benjamin Britten at Aldeburgh, England ● Seamus Perry on W. H. Auden at 77 St. Mark's Place, New York City ● Rebecca Bullard on Samuel Johnson's houses ● a poem by Simon Armitage, "The Manor" ● Daisy Hay at home with the Disraelis ● Laura Marcus on H. G. Wells at Uppark ● Alexander Masters on the fear of houses ● Elleke Boehmer on sites associated with Zimbabwean writer Dambudzo Marechera ● Kate Kennedy on the mental asylums where World War I poet Ivor Gurney spent the last years of his life ● a poem by Bernard O'Donoghue, "Safe Houses" ● Roy Foster on W. B. Yeats and Thoor Ballylee ● Sandra Mayer on W. H. Auden's Austrian home ● Gillian Darley on John Soane and the autobiography of houses ● Julian Barnes on Jean Sibelius and Ainola

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This is a 7 volume facsimile reprint collection of three important but ‘difficult to find’ editions of The Morte Darthur by Thomas Malory, two published in 1816, one in 1817. The three editions marked the revival of Medievalism in the Romantic era, and played an important role for the Romantic poets to ‘discover’ the richness of the medieval literature which was followed by the Pre-Raphaelite Brotherhood in the middle of the century.The edition in volumes 1-2 was the landmark of this literary movement. The Morte Darthur was published for the first time in nearly two centuries since William Stansby’s 1634 edition. They were small pocket size books (enlarged by 140% in this facsimile) and very popular among literary figures as such John Keats, William Wordsworth and Leigh Hunt.Volumes 3-5 include another pocket book edition (also enlarged by 140% in this collection) originally published in the same year, 1634, and particularly valuable as an example of a ‘bowdlerized’ edition of Thomas Malory’s text. It is known that Alfred Tennyson learned of The Morte Darthur from this book.The edition in volumes 6-7 (reprinted in the original quarto size) is the first Malory text scholarly edited, and is considered to be the most important contribution to the academic publishing history of The Morte Darthur. Based on William Caxton’s edition of 1485, the editor Robert Southey added a long introduction and detailed annotations which provided the medievalist with a valuable source for research. It also influenced such Pre-Raphaelists as William Morris and Edward Burne-Jones.Accompanied with a new bibliographic study in English by Yuri Fuwa, this facsimile collection of the three different editions of The Morte Darthur which are all rare in the antiquarian book market, should be in any academic libraries with courses of English literature.

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The pivotal figure in John Elder's latest book - itself a combination of environmental history, travel writing, literary criticism, and memoir - is the nineteenth-century diplomat and writer George Perkins Marsh, generally regarded now as Americais first environmentalist. Like Elder, Marsh was a Vermonter, and his diplomatic career took him for some years to Italy, where, witnessing the ecological devastation wrought upon the landscape by runaway deforestation and the plundering of other natural resources, he was moved to produce his famous manifesto, Man and Nature. Marsh drew parallels between the despoiled Italian environment and his home landscape of Vermont, warning that it was vulnerable to ecological woes of a similar magnitude if not carefully maintained and protected. In short, his was a prescient voice for stewardship. On a Fulbright year, Elder chooses to follow in Marsh's footsteps along a trajectory running from Vermont to Italy, and at length fetches up at the managed forest of Vallombrosa - which, as it happens, boasts a stand of sugar maples planted by Marsh. Punctuated throughout with learned and genial considerations of the poetry of Wordsworth, Basho, Dante, and Frost, Elderis narrative takes up issues of sustainability as practiced locally, reports on family doings (including his wife's reconnecting with Italian relatives), and returns finally - as did Marsh's - to Vermont, where he measures traditional stewardship values against more aggressive conservation-oriented measures such as the expansion of wilderness areas. Elder also extends the idea of sustainability from maintaining a healthy human-environmental balance to maintaining a strong web of social relationships within both the family and the larger community. Here is an exceptional reading experience, the chance to follow two of the finest chroniclers of our place in nature - separated by years, but by surprisingly little else.

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The Lake District National Park is England's most popular mountain region and is designated as a UNESCO World Heritage site. Suitable for most reasonably fit hillwalkers, the 145km (90 mile) Tour of the Lake District takes in the best of this beautiful region in a circular tour. The route is presented in nine stages, plus an optional 'prologue' stage from Windermere station to the start-point in Ambleside, and can be compressed into one week or extended over two weeks, giving time to visit many attractions on the way. In addition to the main (non-waymarked) route, which links the main towns and valleys of the national park, five interchangeable high-level stages are also offered, enabling you to visit some of the region's most celebrated high peaks - including Coniston Old Man, Scafell Pike, Great Gable and Helvellyn - should you so wish. Each stage includes summary statistics and clear route description illustrated with OS mapping and an elevation profile. There are notes on local points of interest and a wealth of information to help you plan your tour, covering public transport, accommodation and kit, plus accommodation listings and a facilities table. The Tour showcases the magnificent landscapes of the region, from mountain vistas to idyllic lakeshore scenery. There are lakes, rivers and waterfalls, characterful towns and villages, remote valleys, high fells and fascinating historical features including a Neolithic stone circle, packhorse bridges and properties that once belonged to Beatrix Potter and William Wordsworth. There are a wide range of accommodation options to suit all budgets and opportunities to sample delicious local produce. The Tour of the Lake District is an ideal way to discover all the region has to offer and is sure to generate lots of memorable experiences.

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'Ingenious, daring and brilliant' GuardianCOMPLICITY N. 1. THE FACT OF BEING AN ACCOMPLICE, ESP. IN A CRIMINAL ACTA few spliffs, a spot of mild S&M, phone through the copy for tomorrow's front page, catch up with the latest from your mystery source - could be big, could be very big - in fact, just a regular day at the office for free-wheeling, substance-abusing Cameron Colley, a fully paid-up Gonzo hack on an Edinburgh newspaper.Prentice McHoan has returned to the bosom of his complex but enduring Scottish family. Full of questions about the McHoan past, present and future, he is also deeply preoccupied: mainly with death, sex, drink, God and illegal substances... Praise for Iain Banks:'The most imaginative novelist of his generation' The Times'His verve and talent will always be recognised, and his work will always find and enthral new readers' Ken MacLeod, Guardian'His work was mordant, surreal, and fiercely intelligent' Neil Gaiman'An exceptional wordsmith' Scotsman

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Harry Styles is a multi-platinum recording artist, film actor, and a fashion icon whose rise to fame took him from a TV talent show to becoming one of the most globally recognized celebrities of his generation. Now his fans of all ages can express their creativity and put their knowledge to the test with this colouring and activity book. Commemorate Harry''s most iconic performances and appearances in 30 amazingly realistic coloring pages. And whether your fandom alliance is with the Harries or Stylers, you are sure to enjoy the challenge of solving a variety of Harry-themed games, puzzles, and quizzes including spot-the-difference, mazes, and wordsearch inspired by his legendary career. Throughout you''ll learn more fun-facts and Harry-isms on the back of each detachable coloring page including how his song, Treat People with Kindness (TPWK) has become a movement to promote acceptance and diversity. Round out your Harry Styles experience and enjoy the array of beautiful photographs of

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Besides drooling over the gorgeous photos, it is guaranteed that you will salivate over the recipes that accompany each adventure and hopefully utilize Morgan''s sustainable outdoor cooking tips.'' - American Trail Running Association. Outlandish is a sun-soaked starter manual to fueling your own epic, equal parts fuel for the body and food for the soul. In this guide, the canyoneering wordsmith and adventurer Morgan Sjogren shows how outdoor adventure can become your lifestyle. Through her riveting personal stories, flavorful recipes, and the book''s gotta-go-there photographs, Sjogren shares her advice and lessons learned from years exploring the desert Southwest while living out of her canary-yellow Jeep Wrangler. Outlandish is a gorgeous guide to a more adventurous life. In Outlandish, Sjogren shows how to sleep better in a car, build a cooking fire, overcome calamity, repurpose bacon grease, leave no trace, sun-dry tomatoes on your car hood, cook food on a hot engine block, and se

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‘What distinguished Clare is an unspectacular joy and a love for the inexorable one-thing-after-anotherness of the world’ Seamus Heaney John Clare (1793-1864) was a great Romantic poet, with a name to rival that of Blake, Byron, Wordsworth or Shelley – and a life to match. The ‘poet’s poet’, he has a place in the national pantheon and, more tangibly, a plaque in Westminster Abbey’s Poets’ Corner, unveiled in 1989. Here at last is Clare’s full story, from his birth in poverty and employment as an agricultural labourer, via his burgeoning promise as a writer – cultivated under the gaze of rival patrons – and moment of fame, in the company of John Keats, as the toast of literary London, to his final decline into mental illness and the last years of his life, confined in asylums. Clare’s ringing voice – quick-witted, passionate, vulnerable, courageous – emerges through extracts from his letters, journals, autobiographical writings and poems, as Jonathan Bate brings this complex man, his revered work and his ribald world, vividly to life.

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Countless writers have been inspired by the beauty of birds – their colours, their easy flight, their lightness and softness, and the grace and whimsicality of their ways. Our literature, especially our poetry, is full of them. This annotated edition of Poems About Birds selects the very best from H. J. Massingham’s original collection which was first published in 1922.Part of the Macmillan Collector’s Library; a series of stunning, pocket-sized classics with ribbon markers. These beautiful books make perfect gifts or a treat for any book lover.Spanning from the Middle Ages to the twentieth century, Poems About Birds captures the enticing lives of birds through the eyes of classic poets. From John Keats’ ‘Ode to a Nightingale’ to Sylvia Lynd’s ‘The Return of the Goldfinches’, and from Alfred Lord Tennyson’s ‘The Eagle’ to William Wordsworth’s ‘To The Skylark’, countless varieties of bird are celebrated here.

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Una defensa de la poesía es, junto al prefacio de las Baladas Líricas de Wordsworth y Coleridge, el texto teórico clave del Romanticismo inglés. Se trata de una de las más apasionadas visiones que poeta alguno haya podido articular sobre la lírica y, como tal, su validez es actualísima. Esta ?defensa? contiene una apología total del género y una fascinante propuesta estética para los poetas futuros. No se agota ahí su riqueza: es también el itinerario de Shelley a través de la gran poesía de la tradición occidental: Homero, la Biblia, la gran tragedia clásica de Atenas, Platón, Virgilio, los trovadores, Dante, Shakespeare, Calderón, Milton. Para Percy Bysshe, los poetas participan de lo eterno, son capaces de descubrir las leyes y ramificaciones desconocidas del universo, y encarnan un destino sagrado y maldito: ser ?los legisladores incomprendidos del Mundo?. En cuanto a Las cuatro edades de la poesía, es el agudísimo y delicioso ?ataque? de Thomas Love Peacock, escritor amigo de Shel

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California poet Jack Foley has been called “a brilliant critic and a unique poet whose work energetically records the disintegration of the patriarchy” and a writer of “genuinely avant-garde poetry.” His collaborative, multimedia poetry performances are both seminal and shamanic, evolving from the linguistic musical tradition of the original San Francisco Beat poets and extending their eye, ear and voice of penetrating clarity into a modern mythology. “A Backward Glance O’er Travel’d Roads” – a title from Walt Whitman – is a spiritual history, an attempt to show, as Wordsworth put it many years ago, “the growth of a poet’s mind.” Where did I begin? What forces moved me in what directions? What is the result of the effort to create art in a medium that is currently simultaneously respected, misunderstood, and discredited? What kind of poetry is possible in a dark time? “A Backward Glance O’er Travel’d Roads” throws light not only on Foley’s life and work, but also on the history of twentieth-century poetry, and on the efforts, successes, and failures of Modernism.

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*Shortlisted for the RNA Romantic Thriller of the Year Award*If you liked Blood Orange, The Perfect Couple and The House Guest you will love this! Susan and Sarah. Sisters. Best friends.Togetherforever?Nothing could break them apart.Until they meet him. And he can only choose oneNow Susan is back. Determined to reclaim everything Sarah has taken from her.Her home, her husbandher life?*Shortlisted for the RNA Romantic Thriller of the Year Award*Readers can't get enough of The Twins:Wow. Mind Blown. J.S. Lark is a wily wordsmith and not to be trusted' DJMy goodness, I don't even know where to start with this one! At times shocking, this book is an absolute must-read for anyone who likes a psychological thriller' EmmaAn original, gripping page turner and it had me guessing and shocked throughout' CeriStarted reading this Wednesday night and finished it by Friday morningIf you like physiological thrillers then you will love this' LeanneSo many twists and turns that literally left me with

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Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

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Geoff Inverarity writes poems for people who don't like poetry (and those who do). In this debut collection Inverarity writes of broken things, things that have come apart at the seams, things that ought not to but sometimes do dissolve with time: friendships, relationships, promises, aging parents, hearts, bodies, love, and even time itself. But it's not all shattered dreams and sad-luck stories here, there is hope and optimism too - in the future, in the Now, and in the heat and power of the coming generations. And there are poems of memory, poems for grandfathers and aging aunts, children and lost loves. Inverarity also probes the the multitude of possibilities "in this fallen world of compromises," gently reminding us that "we're stockpiling for the short term / the long term we don't know. / No matter how much you prepare / there's always something new looming / like the Unexploded Grief Bomb." It is a world where we struggle to give back the past, to finally get to the point "where the past does not exist" and "where all history is now." The penultimate entry is "Mars Variations," a wonderfully extended suite of complementary poems, a time-traveling fractal narrative: a sci-fi horror movie for the ears, referencing works as disparate as Julius Caesar's Gallic Wars and H.G. Wells' The War of the Worlds, Wordsworth's "Prelude," and horror films like Robin Hardy's The Wicker Man along with nods towards the various iterations of Godzilla; and of course the classic 1962 "Mars Attacks" Topp's Bubble Gum cards - which form a framing device. The sequence explores the relationship between time, fiction, and facts; between public history and private experience. The book concludes with a short Epilogue, assuring us that "one day, all the broken things will be mended."

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Why are rocks and landforms so prominent in British Romantic poetry? Why, for example, does Shelley choose a mountain as the locus of a "voice... to repeal / large codes of fraud and woe"? Why does a cliff, in the boat-stealing episode of Wordsworth's Prelude, chastise the young thief? Why is petrifaction, or "stonifying," in Blake's coinage, the ultimate figure of dehumanization? Noah Heringman maintains that British literary culture was fundamentally shaped by many of the same forces that created geology as a science in the period 1770–1820. He shows that landscape aesthetics—the verbal and social idiom of landscape gardening, natural history, the scenic tour, and other forms of outdoor "improvement"—provided a shared vernacular for geology and Romanticism in their formative stages. Romantic Rocks, Aesthetic Geology reexamines a wide range of eighteenth- and nineteenth-century poetry to discover its relationship to a broad cultural consensus on the nature and value of rocks and landforms. Equally interested in the initial surge of curiosity about the earth and the ensuing process of specialization, Heringman contributes to a new understanding of literature as a key forum for the modern reorganization of knowledge.

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'Do you like the truth? It is well for you. Adhere to that preference - never swerve thence.' - Charlotte Brontë, 'Shirley' The Jenkins family knew the Brontës in Brussels and West Yorkshire. Eager to learn about them, their descendant read the Brontë biographies, and discovered that no one had researched this family, and, worse, that what was written was fabricated, with one biographer copying another, embroidering, even making up dialogue. Yet Mrs Gaskell had deliberately sought out Mrs Jenkins when researching her famous Life of Charlotte. If it had not been for Mrs Jenkins, Charlotte would never have gone to Brussels, never met M. Heger. There would be no 'Villette', no 'Jane Eyre'. This book purges the lies and identifies one of Charlotte's characters for the first time. It reveals a thrumming wire that connects Byron to Trollope to Henry James, and gives further evidence of the adultery of William Wordsworth's eldest son. Above all, it gives a radical new perspective on the inspiration for Charlotte's novels and those vital two years she spent in Brussels.

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This book revisits British Romanticism as a poetics of heightened attention. At the turn of the nineteenth century, as Britain was on the alert for a possible French invasion, attention became a phenomenon of widespread interest, one that aligned and distinguished an unusual range of fields (including medicine, aesthetics, theology, ethics, pedagogy, and politics). Within this wartime context, the Romantic aesthetic tradition appears as a response to a crisis in attention caused by demands on both soldiers and civilians to keep watch. Close formal readings of the poetry of Blake, Coleridge, Cowper, Keats, (Charlotte) Smith, and Wordsworth, in conversation with research into Enlightenment philosophy and political and military discourses, suggest the variety of forces competing for—or commanding—attention in the period. This new framework for interpreting Romanticism and its legacy illuminates what turns out to be an ongoing tradition of war literature that, rather than give testimony to or represent warfare, uses rhythm and verse to experiment with how and what we attend to during times of war.

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British Romanticism and the Literature of Human Interest explores the importance to Romantic literature of a concept of human interest. It examines a range of literary experiments to engage readers through subjects and styles that were at once "interesting" and that, in principle, were in their "interest." These experiments put in question relationships between poetry and prose; lyric and narrative; and literature and popular media. The book places literary works by a range of nineteenth-century writers including William and Dorothy Wordsworth, Thomas De Quincey, Samuel Taylor Coleridge, Mary and Percy Shelley, Lord Byron, and Matthew Arnold into dialogue with a variety of non-literary and paraliterary forms ranging from newspapers to footnotes. The book investigates the generic structures of Romantic literature and the negotiation of the status of literature in the period in relation to a new media landscape. It explores the self-theorization of Romantic literature and argues for its value to contemporary literary criticism.

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From a platypus scarf to a giant crocodile rug, this fabulous activity book features animal-themed knitting patterns and fun puzzles, stories and quizzes to knock your socks off. Louise Walker, also known as Sincerely Louise, presents a selection of her favourite knits for you to try out. Including patterns for both home and to wear, this book includes mini animal trophy heads, triceratops slippers, a lion mug coaster and a giant balloon dog for you to recreate at home. Also, knit along to the ‘Lola the Polar Bear Moves’ comic and create a killer whale, raccoon, corgi, meerkat and a toucan, among many other adorable animals. But this book is not just packed with patterns – have a go at the crafty crossword, the ‘Find the Fibre’ wordsearch, The Knitter’s Arms pub quiz, Louise’s scrap yarn challenge, and many more. Each project is easy to make, only using a basic range of stitches, increases and decreases, so is perfect for beginners wanting to knit something impressive straight away or experienced knitters who are looking for exciting patterns.

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This anthology fills the need for a comprehensive, up-to-date collection of the most important contemporary writings on the English romantic poets. During the 1980s, many theoretical innovations in literary study swept academic criticism. Many of these approaches--from deconstructive, new historicist, and feminist perspectives--used romantic texts as primary examples and altered radically the ways in which we read. Other major changes have occurred in textual studies, dramatically transforming the works of these poets. The world of English romantic poetry has certainly changed, and Romantic Poetry keeps pace with those changes. Karl Kroeber and Gene W. Ruoff have organized the book by poet--Blake, Wordsworth, Coleridge, Byron, Shelly, and Keats--and have included essays representative of key critical approaches to each poet's work. In addition to their excellent general introduction, the editors have provided brief, helpful forewords to each essay, showing how it reflects current approaches to its subject. The book also has an extensive bibliography sure to serve as an important research aid. Students on all levels will find this book invaluable.

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Fascinating and richly illustrated stories of flowers for every day of the year. Every day of the year a different species of flower bursts into bloom somewhere in the world. This collection of 366 flowers reveals not only their beauty but the fascinating botanical, literary, folkloric and historical stories behind them. Discover the magnificent magnolia, which evolved more than 95 million years ago at the time of dinosaurs, and the specific perfumed rose that covers the land around Grasse in France. Read about the powerful medicinal elements of the Manuka bush flowers and the inspiration behind William Wordsworth's 'host of golden daffodils'. Here are also the cheerful Mexican marigolds bedecking urban graveyards, delicate cherry or sakura blossoming along Japanese avenues, spectacular tropical vines hanging in the Philippine rainforest and flamboyant wildflowers carpeting meadows across Europe, showcasing the amazing variety of the natural world. Illustrated with stunning photographs and works of art, this collection is a celebration of flowers and their special place in both the natural world and our culture.

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Many cultures identify mourning as the very source of poetry and music, what Elizabeth Bishop calls the art of losing. That might well be the title of this collection. Not every poem is cornered with death, but all are about loss. The poems chosen traverse a surprisingly wide range of emotions from despair to joy, resignation to anger, all articulated in language of the greatest power and beauty . All the major verse forms of mourning are represented here: epitaph, requiem and lament. Three great elergies by Milton, Whitman and Rilke are surrounded by a wide variety of shorter poems. Naturally, the pathos of death predominates, but its comedy has not been neglected, whether in the savage poems of World War I or the gentle teasing of seventeenth-century satire. Poets include: Akhmatova, Auden, Bishop, Brodsky, Browning, Carew, Cory, Cowley, Dickinson, Donne, Dryden, Dyer, Fletcher, Graves, Gurney, Hardy, Harrison, Herrick, Hopkins, Horace, King, Leopardi, Lowell, MacCaig, Mandelstam, Milosz, Philips, Propertius, Roethke, Smith, Tennyson, Dylan Thomas, Edward Thomas and Wordsworth.

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Given the increasing number of old people, the proliferation of books about old age is hardly surprising. Most of these come from cultural historians or social scientists and, when those with a literary background have tackled the subject, they have largely done so through what are known as period studies. In Blasted with Antiquity, David Ellis provides an alternative. Skipping nimbly from Cicero to Shakespeare, and from Wordsworth to Dickens and beyond, he discusses various aspects of old age with the help of writers across European history who have usually been regarded as worth listening to. Eschewing extended literary analyses, Ellis addresses retirement, physical decay, sex in old age, the importance of family, legacy, wills and nostalgia, as well of course as dying itself. While remaining alert to current trends, his approach is consciously that of the old way of teaching English rather than the new. Whether 'blasted with antiquity' like Falstaff in Henry IV Part Two, or with the 'shining morning face' of an unwilling student, his accessible and witty style will appeal to young and old alike.

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Richard Eldridge explores the ability of dense and formally interesting literature to respond to the complexities of modern life. Beyond simple entertainment, difficult modern works cultivate reflective depth and help their readers order and interpret their lives as subjects in relation to complex economies and technological systems. By imagining themselves in the role of the protagonist or the authorial persona, readers become immersed in structures of sustained attention, under which concrete possibilities of meaningful life, along with difficulties that block their realization, are tracked and clarified. Literary form, Eldridge argues, generates structures of care, reflection, and investment within readers, shaping--if not stabilizing--their interactions with everyday objects and events. Through the experience of literary forms of attention, readers may come to think and live more actively, more fully engaging with modern life, rather than passively suffering it. Eldridge considers the thought of Descartes, Kant, Adorno, Benjamin, Stanley Cavell, and Charles Taylor in his discussion of Goethe, Wordsworth, Rilke, Stoppard, and Sebald, advancing a philosophy of literature that addresses our desire to read and the meaning and satisfaction that literary attention brings to our fragmented modern lives.

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The magnificent ruins of Furness Abbey are now in the care of English Heritage and attract thousands of visitors every year. Dating back to the twelfth century, the abbey was one of the wealthiest Cistercian monasteries in the country. Over the centuries, writers and artists including William Wordsworth and Turner have been inspired by the splendour of the sandstone ruins and the tranquillity of their location in a peaceful valley. In Furness Abbey Through Time, local historian Gill Jepson, Chair of the Furness Abbey Fellowship, presents an excellent visual chronicle that looks at how the abbey precinct has changed over the last century and more. Using an impressive collection of archive photographs, postcard views and colour photographs, readers will see that successive generations have been drawn here to explore the abbey’s heritage and enjoy the scenery. In addition to the main abbey precinct, photographs of its closer landholdings, such as Piel Castle, Bow Bridge, Abbot’s Wood and Dalton Castle, are also included, to provide a more comprehensive collection. This superbly illustrated book will be of interest to local people and visitors to the abbey and the surrounding area.

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As Poet Laureate during much of Queen Victoria's reign, Alfred Lord Tennyson's spellbinding poetry epitomized the Victorian age, and Selected Poems is edited with an introduction and notes by Christopher Ricks.'Into the jaw of DeathInto the mouth of HellRode the six hundred'The works in this volume trace nearly sixty years in the literary career of one of the nineteenth century's greatest poets, and show the wide variety of poetic forms he mastered. This selection gives some of Tennyson's most famous works in full, including Maud, depicting a tragic love affair, and In Memoriam, a profound tribute to his dearest friend. Excerpts from Idylls of the King show a lifelong passion for Arthurian legend, also seen in the dream-like The Lady of Shalot and in Morte d'Arthur. Other works respond to contemporary events, such as Ode on the Death of the Duke of Wellington, written in Tennyson's official role as Poet Laureate, or the patriotic Charge of the Light Brigade, while Locksley Hall provides a Utopian vision of the future, and the late poem Crossing the Bar is a haunting meditation on his own mortality.In his introduction, Christopher Ricks discusses aspects of Tennyson's life and works, his revisions of his poems, and his friendship with Arthur Hallam. This edition also includes a chronology, further reading and notes.Alfred Lord Tennyson (1809-1892) was born at Somersby, Lincolnshire, the sixth of eleven children. His first important book, Poems, Chiefly Lyrical, was published in 1830, and was not a critical success, but his two volumes of Poems, 1842, which contain some of his finest work, established him as the leading poet of his generation.If you enjoyed Selected Poems, you might like William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads, also available in Penguin Classics.'He had the finest ear of any English poet since Milton'T.S. Eliot

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Here is a treasure-house of over seven centuries of English poetry, chosen and introduced by Christopher Ricks, whom Auden described as 'exactly the kind of critic every poet dreams of finding'. The Oxford Book of English Verse, created in 1900 by Arthur Quiller-Couch and selected anew in 1972 by Helen Gardner, has established itself as the foremost anthology of English poetry: ample in span, liberal in the kinds of poetry presented. This completely fresh selection brings in new poems and poets from all ages, and extends the range by another half-century, to include many twentieth-century figures not featured before -- among them Philip Larkin and Samuel Beckett, Thom Gunn and Elaine Feinstein -- right up to Ted Hughes and Seamus Heaney. Here, as before, are lyric (beginning with medieval song), satire, hymn, ode, sonnet, elegy, ballad . . . but also kinds of poetry not previously admitted: the riches of dramatic verse by Marlowe, Shakespeare, Jonson, Webster; great works of translation that are themselves true English poetry, such as Chapman's Homer (bringing in its happy wake Keats's 'On First Looking into Chapman's Homer'), Dryden's Juvenal, and many others; well-loved nursery rhymes, limericks, even clerihews. English poetry from all parts of the British Isles is firmly represented -- Henryson and MacDiarmid, for example, now join Dunbar and Burns from Scotland; James Henry, Austin Clarke, and J. M. Synge now join Allingham and Yeats from Ireland; R. S. Thomas joins Dylan Thomas from Wales -- and Edward Taylor and Anne Bradstreet, writing in America before its independence in the 1770s, are given a rightful and rewarding place. Some of the greatest long poems are here in their entirety -- Wordsworth's 'Tintern Abbey', Coleridge's 'Rime of the Ancient Mariner', and Christina Rossetti's 'Goblin Market' -- alongside some of the shortest, haikus, squibs, and epigrams. Generous and wide-ranging, mixing familiar with fresh delights, this is an anthology to move and delight all who find themselves loving English verse.

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With stories of 50 incredible hiking routes in 30 countries, from New Zealand to Peru, plus a further 150 suggestions, Lonely Planet’s Epic Hikes of the World will inspire a lifetime of adventure on foot. From one-day jaunts and urban trails to month-long thru-hikes, cultural rambles and mountain expeditions, each journey shares one defining feature: being truly epic. In this follow-up to Epic Bike Rides and Epic Drives, we share our adventures on the world’s best treks and trails. Epic Hikes is organised by continent, with each route brought to life by a first-person account, beautiful photographs and charming illustrated maps. Additionally, each hike includes trip planning advice on how to get there, where to stay, what to pack and where to eat, as well as recommendations for three similar hikes in other regions of the world. Hikes featured include: Africa & the Middle East: Cape Town’s Three Peaks (South Africa) Kilimanjaro (Tanzania) Camp to Camp in South Luangwa National Park (Zambia) Americas: Angel’s Landing, Zion National Park (USA) Skyline Trail, Jasper National Park (Canada) Concepción volcano hike (Nicaragua) Asia: 88 Sacred Temples of Shikoku Pilgrimage (Japan) Markha Valley (India) Gubeikou to Jinshanling on the Great Wall (China) Europe: Wordsworth’s Backyard: Dove Cottage and around Rydal and Grasmere (UK) Alpine Pass Route (Switzerland) Camino de Santiago (Spain) Oceania: Sydney’s Seven Bridges Walk (Australia) The Routeburn Track (New Zealand) Kokoda Track (Papua New Guinea) About Lonely Planet: Lonely Planet is a leading travel media company and the world’s number one travel guidebook brand, providing both inspiring and trustworthy information for every kind of traveller since 1973. Over the past four decades, we’ve printed over 145 million guidebooks and grown a dedicated, passionate global community of travellers. You’ll also find our content online, on mobile, video and in 14 languages, 12 international magazines, armchair and lifestyle books, ebooks, and more.

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Poems to celebrate spring. A sublime bedside companion to enjoy as the frost melts and days grow longer, with poems to immerse yourself in the season. From William Blake and Emily Dickinson to Robert Browning and Eleanor Farjeon, some of the finest poets that ever put pen to paper describe this wondrous season of new beginnings. With one entry for every day through spring, from 1st March until 31st May, this collection of 91 poems will invigorate you in the warmer and wetter months of Spring, from Robert Herrick’s first drops of March dew and the breaking blossoms of Laurence Binyon’s April day to William Blake’s meadow-sweet May and Emily Dickinson’s promise of light to come. This beautiful and collectable anthology of poems derives from the popular A Poem for Every Night of the Year and features poems inspired by springtime by Laurence Binyon, Margaret Cavendish, Amy Lowell, William Wordsworth and many more.

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In September 2015 the world lost Phil Patton – prolific design writer, teacher and tantalizing wordsmith. Patton’s insatiable curiosity, sense of humour and keen eye made for the most compelling reads. Whether he was chronicling design minutiae, quirky anecdotes or bizarre tales, Phil’s hundreds of books, columns, articles and posts always delivered a new account. As his editor at i-D magazine, Chee Pearlman, said, ‘His insight takes the reader beyond the object to an understanding of its broadest sociological context’. No topic eluded him, and for a large part of his 40-year career he championed automobiles, technology and product design. Roger Black, designer, writer and long-time colleague and friend of Patton’s wrote, ‘He taught the New York Times – by example – to cover design. The domino effect, the rest of the media followed.’ With an introduction by Edward Tufte and foreword by Caroline Baumann, this volume compiles 40 selections representing the wide range of interests and fascinations that occupied his thoughts. Punctuated by images of ideas and lists from notebooks he carried everywhere, Top This and Other Parables of Design is an intimate and portable companion for those who choose to always have a witty, informed friend around.

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