Search results for ""author dick"

Billy Collins is one of America’s bestselling poets; he is also one of the rarest kind – an unalloyed pleasure to read.

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A “delightful reader’s companion” (The New York Times) to the great nineteenth-century British novels of Austen, Dickens, Trollope, the Brontës, and more, this lively guide clarifies the sometimes bizarre maze of rules and customs that governed life in Victorian England.For anyone who has ever wondered whether a duke outranked an earl, when to yell “Tally Ho!” at a fox hunt, or how one landed in “debtor’s prison,” this book serves as an indispensable historical and literary resource. Author Daniel Pool provides countless intriguing details (did you know that the “plums” in Christmas plum pudding were actually raisins?) on the Church of England, sex, Parliament, dinner parties, country house visiting, and a host of other aspects of nineteenth-century English life—both “upstairs” and “downstairs. An illuminating glossary gives at a glance the meaning and significance of terms ranging from “ague” to “wainscoting,” the specifics of the currency system, and a lively host of other details and curiosities of the day.

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This adaptation of the classic nursery rhyme has been specially extended to make it even more appealing to young readers. Join Mouse on her busy day as she cooks, cleans and dances to the chimes of the old grandfather clock. A QR code on the back cover provides a link to an audio recording of the rhyme.

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The Gorgeous Nothings — the first full-color facsimile edition of Emily Dickinson’s manuscripts ever to appear — is a deluxe edition of her late writings, presenting this crucially important, experimental late work exactly as she wrote it on scraps of envelopes. A never-before-possible glimpse into the process of one of our most important poets.The book presents all the envelope writings — 52 — reproduced life-size in full color both front and back, with an accompanying transcription to aid in the reading, allowing us to enjoy this little-known but important body of Dickinson’s writing. Envisioned by the artist Jen Bervin and made possible by the extensive research of the Dickinson scholar Marta L. Werner, this book offers a new understanding and appreciation of the genius of Emily Dickinson.

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Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a drawer, revealed her true self. She did not live in time but in universals—an acute, sensitive nature reaching out boldly from self-referral to a wider, imagined world. Dickinson died without fame; only a few poems were published in her lifetime. Her legacy was later rescued from her desk—an astonishing body of work, much of which has since appeared in piecemeal editions, sometimes with words altered by editors or publishers according to the fashion of the day.Now Ralph Franklin, the foremost scholar of Dickinson's manuscripts, has prepared an authoritative one-volume edition of all extant poems by Emily Dickinson—1,789 poems in all, the largest number ever assembled. This reading edition derives from his three-volume work, The Poems of Emily Dickinson: Variorum Edition (1998), which contains approximately 2,500 sources for the poems. In this one-volume edition, Franklin offers a single reading of each poem—usually the latest version of the entire poem—rendered with Dickinson's spelling, punctuation, and capitalization intact. The Poems of Emily Dickinson: Reading Edition is a milestone in American literary scholarship and an indispensable addition to the personal library of poetry lovers everywhere.

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Attitudes toward punishment and forgiveness in English society of the nineteenth century came, for the most part, out of Christianity. In actual experience the ideal was not often met, but in the literature of the time the model was important. For novelists attempting to tell exciting and dramatic stories, violent and criminal activities played an important role, and, according to convention, had to be corrected through poetic justice or human punishment. Both Dickens’ and Thackeray’s novels subscribed to the ideal, but dealt with the dilemma it presented in slightly different ways. At a time when a great deal of attention has been directed toward economic production and consumption as the bases for value, Reed’s well-documented study reviving moral belief as a legitimate concern for the analysis of nineteenth-century English texts is particularly illuminating.

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Sixteen scholars from across the globe come together in Charles Dickens as an Agent of Change to show how Dickens was (and still is) the consummate change agent. His works, bursting with restless energy in the Inimitable's protean style, registered and commented on the ongoing changes in the Victorian world while the Victorians' fictional and factional worlds kept (and keep) changing. The essays from notable Dickens scholars—Malcolm Andrews, Matthias Bauer, Joel J. Brattin, Doris Feldmann, Herbert Foltinek, Robert Heaman, Michael Hollington, Bert Hornback, Norbert Lennartz, Chris Louttit, Jerome Meckier, Nancy Aycock Metz, David Paroissien, Christopher Pittard, and Robert Tracy—suggest the many ways in which the notion of change has found entry into and is negotiated in Dickens' works through four aspects: social change, political and ideological change, literary change, and cultural change. An afterword by the late Edgar Rosenberg adds a personal account of how Dickens changed the life of one eminent Dickensian.

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Emily Dickinson's Poetic Art is both an exciting work of literary criticism on a central figure in American literature as well as an invitation for students and researchers to engage with cognitive literary studies. Emily Dickinson’s poetry can be challenging and difficult. It paradoxically gives readers a feeling of closeness and intimacy while being puzzling and obscure. Critical interpretations of Dickinson's poems tend to focus on what they mean rather than on what kind of experience they create. A cognitive approach to literary criticism, based on recent cognitive research, helps readers experience and understand the hows and whys of what a poem is saying and doing. These include cognitive linguistic analysis, versification, prosody, cognitive metaphor, schema, blending, and iconicity, all of which explain the sensory, motor, and emotive processes that motivate Dickinson’s conceptualizations. By experiencing Dickinson’s poetry from a cognitive perspective, readers are able to better understand why we feel so close to the poet and why her poetry endures. Emily Dickinson's Poetic Art: A Cognitive Reading is an important contribution to the study of a major American poet as well as to the vibrant field of cognitive literary studies.

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Thorold Dickinson has been called the "major lost talent of the British film industry." Nevertheless, four of his films, Gaslight, Men of Two Worlds, The Next of Kin, and Queen of Spades are among the most critically respected British films of all time. Although he directed only nine feature films and a handful of short documentaries, he devoted his life to the advancement of cinema. After his directorial career ended, he became Chief of Film Services of the U.N. Department of Public Information in New York and later returned to England to establish the first department of film studies in a British university. This book explores in detail every aspect of the life and career of Thorold Dickinson (1903-1984). It is based on extensive interviews with Dickinson and a number of his colleagues and friends, an examination of his papers, and a detailed analysis of each of his films. Thorold Dickinson and the British Cinema begins with a re-examination of Dickinson's career in the light of ten years of a new writing about British cinema, and in particular, about the options open to a British cinema permanently dwarfed by Hollywood. Illustrations.

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From 1850 to 1867, Charles Dickens produced special issues (called “numbers”) of his journals Household Words and All the Year Round, which were released shortly before Christmas each year. In Collaborative Dickens, Melisa Klimaszewski undertakes the first comprehensive study of these Christmas numbers. She argues for a revised understanding of Dickens as an editor who, rather than ceaselessly bullying his contributors, sometimes accommodated contrary views and depended upon multivocal narratives for his own success. Klimaszewski uncovers connections among and between the stories in each Christmas collection. She thus reveals ongoing conversations between the works of Dickens and his collaborators on topics important to the Victorians, including race, empire, supernatural hauntings, marriage, disability, and criminality. Stories from Wilkie Collins, Elizabeth Gaskell, and understudied women writers such as Amelia B. Edwards and Adelaide Anne Procter interact provocatively with Dickens’s writing. By restoring links between stories from as many as nine different writers in a given year, Klimaszewski demonstrates that a respect for the Christmas numbers’ plural authorship and intertextuality results in a new view of the complexities of collaboration in the Victorian periodical press and a new appreciation for some of the most popular texts Dickens published.

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For Vivian R. Pollak, Emily Dickinson's work is an extended meditation on the risks of social, psychological, and aesthetic difference that would be taken up by the generations of women poets who followed her. She situates Dickinson's originality in relation to her nineteenth-century audiences, including poet, novelist, and Indian rights activist Helen Hunt Jackson and her controversial first editor, Mabel Loomis Todd, and traces the emergence of competing versions of a brilliant but troubled Dickinson in the twentieth century, especially in the writings of Marianne Moore, Sylvia Plath, and Elizabeth Bishop. Pollak reveals the wide range of emotions exhibited by women poets toward Dickinson's achievement and chronicles how their attitudes toward her changed over time. She contends, however, that they consistently use Dickinson to clarify personal and professional battles of their own. Reading poems, letters, diaries, journals, interviews, drafts of published and unpublished work, and other historically specific primary sources, Pollak tracks nineteenth- and twentieth-century women poets' ambivalence toward a literary tradition that overvalued lyric's inwardness and undervalued the power of social connection. Our Emily Dickinsons places Dickinson's life and work within the context of larger debates about gender, sexuality, and literary authority in America and complicates the connections between creative expression, authorial biography, audience reception, and literary genealogy.

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The essential poems of Emily Dickinson selected and introduced by Joyce Carol Oates“Between them, our great visionary poets of the American nineteenth century, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche. . . .Dickinson never shied away from the great subjects of human suffering, loss, death, even madness, but her perspective was intensely private; like Rainer Maria Rilke and Gerard Manley Hopkins, she is the great poet of inwardness, of the indefinable region of the soul in which we are, in a sense, all alone.” —from the introduction by Joyce Carol Oates

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Hailed as “a staggering piece of scholarship” (Wall Street Journal) The Dickson Baseball Dictionary is the most complete resource on the lexicon of baseball in the English language. More than twenty-five years in the making, with the help of more than 400 baseball and lexical experts, this masterful third edition, expanded by more than 30 percent, with over 10,000 terms and 18,000 definitions, provides the comprehensive history and meanings of words and phrases from around the world of baseball. Drawing on dozens of nineteenth- and early twentieth-century periodicals, as well as contemporary sources, Paul Dickson’s brilliant, illuminating definitions trace the earliest appearances of our most treasured baseball expressions (“tearin’ up the pea patch,” “can o’ corn,” “catbird seat,” etc.). Termed “baseball’s Webster,” Dickson has spent nearly a decade painstakingly revising and writing new definitions, for words both well-known and obscure, including those introduced by Latin-American ballplayers, and statistical expressions relating to fantasy baseball and the SABR/Moneyball era. More than 200 photos throughout the book—many rare and previously unpublished—illuminate various historical and contemporary terms. Because of its deep and broad coverage, its authoritativeness and its rich and colorful descriptions, The Dickson Baseball Dictionary will prove indispensable to baseball fans and word lovers alike.

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I Dreamed I Was Emily Dickinson’s Boyfriend easily solidifies his reputation as a poet who is very funny and also very serious. In these surprising and delightful poems, a mannequin joins the Me Too movement, a summer job turns into a lesson in class distinctions, and Jane Austen makes a surprise appearance at a mall. Ron Koertge’s uniquely playful imagination is on display in poem after poem.

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It’s Christmas, and Carol Dickens’s life is in major transition. Her son Finn, a talented trumpet player, is about to leave for college. Her ex-husband, a real-estate wheeler-dealer, wants to sell their properties in Kansas and move to Arizona. Her wheelchair-bound friend, Laurence, has fallen in love with her. To top it all off, Scraps, the family dog, is dying. As her world spins out of control, Carol seeks refuge in her research on the use of the semicolon - and in her ritual of cooking the perfect series of Victorian holiday meals inspired by A Christmas Carol.

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"Charles Dickens, Francais naturalise, et Citoyen de Paris." This is how Dickens signed a letter from France to his friend John Forster in 1847. Behind the joke lay a fascination for French life and culture and a sense of affinity with the country that would take him back often and that would find expression in some of his finest work. "Dickens on France" brings together short stories, extracts from novels and travel writing. Among its journalistic highlights, are accounts of a train journey from London to Paris, a rough Channel crossing, the pleasures of Boulogne, and Parisian life in the 1850s and 1860s. Extracts from the travelogue Pictures from Italy, take us by coach from Paris to Marseille. The selected short stories include "His Boots", a section of "Mrs Lirriper's Legacy" and "The Boy at Mugby", and there are extracts from "A Tale of Two Cities", "Little Dorrit", "Dombey and Son", "Nicholas Nickleby", and "Our Mutual Friend". Dickens was interested primarily in the character of places he visited, the behaviour of people he observed in them, and in the sensation and psychology of travelling. These preoccupations keep the writing fresh and accessible. It requires no leap through time to appreciate his musings on his fellow passengers, his reflections on sitting in a Paris cafe, his random exploration of city streets or small country towns, or his opposition to cultural bigotry. Infused with energy, perception and open-mindedness, this collection vividly evokes life in France and Britain in the nineteenth century and reminds us, however much progress we make, how little we change. "Dickens on France" is extensively annotated to provide historical and autobiographical contexts, and to highlight literary and other allusions. Brief chapter introductions and a general introduction to the volume, highlight key aspects of the selections and discuss the nature of Dickens's enduring relationship with France.

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Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a desk drawer, revealed her true self. She did not live in time, as did that other great poet of the day, Walt Whitman, but in universals. As she knowingly put it: “There is one thing to be grateful for—that one is one’s self and not somebody else.”Dickinson lived and died without fame: she saw only a few poems published. Her great legacy was later rescued from her desk drawer—an astonishing body of work revealing her acute, sensitive nature reaching out boldly from self-referral to a wider, imagined world. Her family sought publication of Dickinson’s poetry over the years, selecting verses, often altering her words or her punctuation, until, in 1955, the first important attempt was made to collect and publish Dickinson’s work, edited by Thomas H. Johnson for the Belknap Press of Harvard University Press.Now, after many years of preparation by Ralph W. Franklin, the foremost scholar of Dickinson’s manuscripts, a new comprehensive edition is available. This three-volume work contains 1,789 poems, the largest number ever assembled. The poems, arranged chronologically, based on new dating, are drawn from a range of archives, most frequently from holographs, but also from various secondary sources representing lost manuscripts. The text of each manuscript is rendered individually, including, within the capacity of standard type, Dickinson’s spelling, capitalization, and punctuation. Franklin gives Dickinson’s alternative readings for the poems, her revisions, and the line and page, or column, divisions in the source. Each entry identifies Franklin’s editorial emendations and records the publication history, including variants. Fourteen appendices of tables and lists give additional information, including poems attributed to Emily Dickinson. The poems are indexed by numbers from the Johnson edition, as well as by first lines.Franklin has provided an introduction that serves as a guide to this edition and surveys the history of the editing of Dickinson’s poems. His account of how Dickinson conducted her workshop is a reconstruction of a remarkable poetic life.

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Widely considered the definitive edition of Emily Dickinson’s poems, this landmark collection presents her poems here for the first time “as she preserved them,” and in the order in which she wished them to appear. It is the only edition of Dickinson’s complete poems to distinguish clearly those she took pains to copy carefully onto folded sheets in fair hand—presumably to preserve them for posterity—from the ones she kept in rougher form. It is also unique among complete editions in presenting the alternate words and phrases Dickinson chose to use on the copies of the poems she kept, so that we can peer over her shoulder and see her composing and reworking her own poems.The world’s foremost scholar of Emily Dickinson, Cristanne Miller, guides us through these stunning poems with her deft and unobtrusive notes, helping us understand the poet’s quotations and allusions, and explaining how she composed, copied, and circulated her poems. Miller’s brilliant reordering of the poems transforms our experience of them.A true delight, this award-winning collection brings us closer than we have ever been to the writing practice of one of America’s greatest poets. With its clear, uncluttered page and beautiful production values, it is a gift for students of Emily Dickinson and for anyone who loves her poems.

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54-CARD DECK: A set of playing cards featuring illustrations of Dickens' most famous characters. Features standard playing card suits, numbers and court cardsFUN, COLOURFUL ILLUSTRATIONS: Illustrator Barry Falls perfectly captures Dickens' most memorable characters. Suits are themed on character traits, with hearts for the Heroines and Heroes and spades for the Villains and RevengersBOOKLET INCLUDED: The accompanying booklet includes information about each character and an introduction to contemporary card games and their mentions in Dickens' novelsEASY HANDLING: The cards will not crack or bend when shuffled or flexed. Neatly boxed, these cards are perfect for taking anywhere on the goPERFECT GIFT FOR BOOK LOVERS: Charles Dickens Playing Cards make the perfect gift for any bookwormLAURENCE KING PUBLISHING has been capturing imaginations and inspiring creativity in new and unexpected ways for over 30 years, with playful and eye-catching games, gifts and booksPlay cards with Oliver Twist and the Artful Dodger, keep your eye on Scrooge and Uriah Heep as 'Ace' Villains, and have a game of 'Beggar My Neighbour' with Pip and Estella. This playing card deck features 54 of Dickens' most memorable characters and includes an introduction to Victorian card games in the accompanying booklet.

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This miscellany explores the staggeringly busy and diverse life of Charles Dickens, giving readers the chance to get to know the man through his work and its major themes. With carefully chosen quotations from the novels, but also from his sketches and journalism, discover what Dickens had to say about the big issues like crime, the family, education and money. Meet here, too, those wonderful characters that have been handed down to us like the real figures of history – Mr Micawber, Fagin, Miss Havisham, David Copperfield and many more. So what is it that made Dickens special? This miscellany offers an insight into all the mad humour, passionate indignation, moral conviction, plain good sense and sheer unstoppable energy that made up one of the very greatest of English writers.

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Few writers have had a greater impact upon British society than Charles Dickens. His stories, and, in particular, his many memorable characters, highlighted the life of the forgotten poor and disadvantaged within society at a time when Britain was the leading economic and political power in the world. Dickens' portrayal of the poor, such as Oliver Twist daring to ask for more food in the parish workhouse, and Bob Cratchit struggling to provide for his family at Christmas, roused much sympathy and an understanding of the poor and the conditions in which they lived. This led to many people founding orphanages, establishing schools to educate the underprivileged, or to set up hospitals for those who could not afford medical treatment -one such was Great Ormond Street Children's Hospital where one of its wards was named after the great writer. Little wonder, then, that his legacy can be found across the UK. From the buildings where he lived, the inns and hotels he frequented, the streets and towns which formed the backdrop to his novels and short stories, to the places where he gave readings or performed his own amateur dramatic productions to raise funds for his philanthropic causes. Dickensian memorabilia also abound, including his original manuscripts to his famous works and letters to his wife. Many of these have been woven in a single volume which transports the reader magically through stories and images into the Dickensian world of Victorian Britain.

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In this charming, beautifully illustrated book -- out of print for more than sixty years -- Samuel McChord Crothers warmly introduces children to the unique world of Dickens children: David Copperfield, the Micawber children, Joe the Fat Boy, Oliver Twist, the Jellyby family -- to name a few. In 13 self-contained chapters, in simple, straightforward prose, Mr Crothers introduces the necessary background, and then gives us the scene itself as Dickens wrote it. The book is illustrated with the work of Jessie Willcox Smith, famous for her romantic and touching paintings and drawings of children.

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Wish you had time to re-read and enjoy that daunting stack of Charles Dickens novels? Take heart: Dickens enthusiast Gina Dalfonzo has done the heavy lifting for you. In short, readable excerpts she presents the essence of the great novelist’s prodigious output, teasing out dozens of the most memorable scenes to reveal the Christian vision and values that suffuse all his work. Dickens can certainly entertain, but his legacy endures because of his power to stir consciences with the humanity of his characters and their predicaments. While he could be ruthless in his characterization of greed, injustice, and religious hypocrisy, again and again the hope of redemption shines through. In spite of – or perhaps because of – his own failings, Dickens never stopped exploring the themes of sin, guilt, repentance, redemption, and restoration found in the gospel. In some passages the Christian elements are explicit, in others implicit, but, as Dickens himself said, they all reflect his understanding of and reverence for the gospel. The Gospel in Dickens includes selections from Oliver Twist, David Copperfield, A Tale of Two Cities, Great Expectations, A Christmas Carol, Nicholas Nickleby, The Old Curiosity Shop, Martin Chuzzlewit, Dombey and Son, Bleak House, Hard Times, Little Dorrit, Our Mutual Friend, The Mystery of Edwin Drood, and Sketches by Boz – with a cast of unforgettable characters such as Ebenezer Scrooge, Sydney Carton, Jenny Wren, Fagin, Pip, Joe Gargery, Mr. Bumble, Miss Havisham, betsey Trotwood, and Madame Defarge.

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The perfect introduction to the life and work of Charles Dickens.

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