Search results for ""Author Lauren"

Born in 1916, after learning to fly as a civilian, Ian Richard Gleed was granted a RAF commission in 1936. He completed training on Christmas Day that year, being posted to 46 Squadron which was equipped with the Gloster Gauntlet. Through much of his RAF service the diminutive Gleed was known as Widge', short for Wizard Midget' on account of his excessive use of the word wizard' to describe something topper', and his short stature. Rising from Flight to Squadron Commander in short order, and later taking over the Ibsley Spitfire Wing in 1941, Gleed was enormously popular with his peers. Indeed, Wing Commander Bunny' Currant once described Gleed as a pocket-sized man with care for others and courage beyond compare'. Having been decorated with the coveted double' of both DSO and DFC, Wing Commander Gleed went out to lead a wing in Tunisia. It was there that he was shot down and killed on 16 April 1943. By this time, he had achieved the status of being a fighter Ace, having been credited with the destruction of thirteen enemy aircraft. The previous year, Gleed's wartime memoir, Arise to Conquer, was published by Victor Gollancz. Eloquently written and detailed, this book is a superb first-hand account of one man's life and times as a fighter pilot - mainly flying the Hawker Hurricane - during the Fall of France, the Battle of Britain and beyond into the night Blitz. Reprinted here in its entirety, and extensively introduced by the renowned aviation historian Dilip Sarkar MBE, FRHistS, this edition of Arise to Conquer is supported by a remarkable set of wartime images. Among Gleed's Hurricane pilots on 87 Squadron during the Battle of Britain and beyond was Sergeant Laurence Rubber' Thorogood, a keen photographer who is often mentioned in this book. Along with his Commanding Officer's words, Rubber's unique personal photograph album, containing as it does a number of images of Gleed, provides a rare glimpse of a fighter squadron at war during our Darkest - yet Finest - Hour.

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The Afro-Latin@ Reader focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, The Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view.Contributors: Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra María Esteves, María Teresa Fernández (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo “Yoruba” Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández, Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, María Rosario Jackson, James Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio López, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada “Chiqui” Vicioso, Peter H. Wood

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Hamlet is probably the most famous play in the world. The distinguished English critic, J. C. Trewin, saw his first performance of it in 1922, and thereafter, professionally, as drama critic successively of the Observer, Punch, and the Illustrated London News, he saw it repeatedly through sixty years of theatrical history. In this most unusual book of theatrical criticism he discusses all the leading Hamlets, including John Barrymore, John Gielgud, Maurice Evans, Michael Redgrave, and Laurence Olivier. He reflects on how the play has sounded through its many productions, how it has looked to audiences, how the critics reacted, what were the backstage arguments and the changing mores of theatrical life. Trewin's criticism is not only judicious. It is impassioned: "In March 1924, I had my first overwhelming theatrical experience. "Great," often implying no more than a night's enthusiasm, is a word like "marvellous" and "wonderful," to use sparely; but after sixty years I use it for the Hamlet of Ernest Milton...an American actor of Jewish descent who had settled in England, and who had conquered the Old Vic with his romantic passion and the surge of his verse-speaking.... On seeing the Ghost he had indeed a supernatural visitation; he became a man possessed. "Angels and ministers of grace defend us!" was breathed, barely audible, as he swung round from Horatio. When he was left alone on the battlements the haunting cry, "Hillo! ho! ho! boy! Come, bird, come!" rose as I would never know it again. From the distant night I think still of throat-tightening excitement, of an emotional force sometimes almost demonic. Speech after speech he double-charged. I cannot say at this distance how many Hamlet problems he answered, though the voice speaks unblurred. For me, with his felicities and faults, his leaping across every chasm, he governed the stage as the man himself, of "the courtier's, soldier's, scholar's, eye, tongue, sword." A joy of a book.

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In this debut memoir, a James Beard Award–winning writer, whose childhood idea of fine dining was Howard Johnson’s, tells how he became one of Paris’s most influential food critics Until Alec Lobrano landed a job in the glamorous Paris office of Women’s Wear Daily, his main experience of French cuisine was the occasional supermarket éclair. An interview with the owner of a renowned cheese shop for his first article nearly proves a disaster because he speaks no French. As he goes on to cover celebrities and couturiers and improves his mastery of the language, he gradually learns what it means to be truly French. He attends a cocktail party with Yves St. Laurent and has dinner with Giorgio Armani. Over a superb lunch, it’s his landlady who ultimately provides him with a lasting touchstone for how to judge food: “you must understand the intentions of the cook.” At the city’s brasseries and bistros, he discovers real French cooking. Through a series of vivid encounters with culinary figures from Paul Bocuse to Julia Child to Ruth Reichl, Lobrano hones his palate and finds his voice. Soon the timid boy from Connecticut is at the epicenter of the Parisian dining revolution and the restaurant critic of one of the largest newspapers in the France. A mouthwatering testament to the healing power of food, My Place at the Table is a moving coming-of-age story of how a gay man emerges from a wounding childhood, discovers himself, and finds love. Published here for the first time is Lobrano’s “little black book,” an insider’s guide to his thirty all-time-favorite Paris restaurants.

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A Financial Times and Scientific American Best Book of the Year.A story of alchemy in Bohemian Paris, where two scientific outcasts discovered a fundamental distinction between natural and synthetic chemicals that inaugurated an enduring scientific mystery.For centuries, scientists believed that living matter possessed a special quality—a spirit or essence—that differentiated it from nonliving matter. But by the nineteenth century, the scientific consensus was that the building blocks of one were identical to the building blocks of the other. Elixir tells the story of two young chemists who were not convinced, and how their work rewrote the boundary between life and nonlife.In the 1830s, Édouard Laugier and Auguste Laurent were working in Laugier Père et Fils, the oldest perfume house in Paris. By day they prepared the perfumery’s revitalizing elixirs and rejuvenating eaux, drawing on alchemical traditions that equated a plant’s vitality with its aroma. In their spare time they hunted the vital force that promised to reveal the secret to life itself. Their ideas, roundly condemned by established chemists, led to the discovery of structural differences between naturally occurring molecules and their synthetic counterparts, even when the molecules were chemically identical.Scientists still can’t explain this anomaly, but it may point to critical insights concerning the origins of life on Earth. Rich in sparks and smells, brimming with eccentric characters, experimental daring, and the romance of the Bohemian salon, Elixir is a fascinating cultural and scientific history.

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The cross-cultural exchange of ideas that flourished in the Mediterranean during the sixteenth and seventeenth centuries profoundly affected European and Islamic society. Gardens of Renaissance Europe and the Islamic Empires considers the role and place of gardens and landscapes in the broader context of the information sharing that took place among Europeans and Islamic empires in Turkey, Persia, and India.In illustrating commonalities in the design, development, and people’s perceptions of gardens and nature in both regions, this volume substantiates important parallels in the revolutionary advancements in landscape architecture that took place during the era. The contributors explain how the exchange of gardeners as well as horticultural and irrigation techniques influenced design traditions in the two cultures; examine concurrent shifts in garden and urban landscape design, such as the move toward more public functionality; and explore the mutually influential effects of politics, economics, and culture on composed outdoor space. In doing so, they shed light on the complexity of cultures and politics during the Renaissance.A thoughtfully composed look at the effects of cross-cultural exchange on garden design during a pivotal time in world history, this thought-provoking book points to new areas in inquiry about the influences, confluences, and connections between European and Islamic garden traditions.In addition to the editor, the contributors include Cristina Castel-Branco, Paula Henderson, Simone M. Kaiser, Ebba Koch, Christopher Pastore, Laurent Paya, D. Fairchild Ruggles, Jill Sinclair, and Anatole Tchikine.

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Following the success of the bestselling colouring books Secret Garden and Enchanted Forest by Johanna Basford, this set of 20 detachable postcards contain stunningly intricate and inspirational drawings of woodland flowers and animals for you to colour in and either keep for yourself or send to friends.The 20 postcards are presented in a beautifully decorative package and the intricately realised world of the secret garden will appeal to all ages.'Colouring in isn’t just for kids. These intricate, magical drawings from Secret Garden by Johanna Basford are just waiting to be brought to life.’ The Guardian'Joanna Basford's Secret Garden is an 'inky treasure hunt and colouring book' filled with intricate drawings waiting to be brought to life. It's the colouring-in book you wish you had the hand-eye coordination to do, aged two.' The Independent'Prepare yourself to get lost in a magical world with this interactive activity book that takes you through a secret garden of incredible drawings by Johanna Basford.' Buzzfeed'Coloring books for adults have been around for decades, but Basford's success…has helped to create a massive new industry category.' The New YorkerAlso available by Johanna Basford from Laurence King Publishing:Secret Garden: An Inky Treasure Hunt and Colouring Book (9781780671062)Enchanted Forest: An Inky Quest and Colouring Book (9781780674872)Secret Garden: Journal (9781856699853)Enchanted Forest: Artist's Edition (9781780677842)Enchanted Forest: Journal (9781780679181)Enchanted Forest: 12 Notecards (9781780677835) Secret Garden: 20 Postcards(9781856699464)

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An irresistible look into more than 300 years of fashion through an exquisite collection of designer dresses What woman can resist imagining herself in a beautiful designer dress? Here, for the first time ever, are 100 fabulous gowns from the permanent collection of the renowned Costume Institute at The Metropolitan Museum of Art, each of which is a reminder of the ways fashion reflects the broader culture that created it.Featuring designs by Paul Poiret, Coco Chanel, Madame Grès, Yves Saint Laurent, Gianni Versace, Vivienne Westwood, Alexander McQueen, and many others, this one-of-a-kind collection presents a stunning variety of garments. Ranging from the buttoned-up gowns of the late 17th century to the cutting-edge designs of the early 21st, the dresses reflect the sensibilities and excesses of each era while providing a vivid picture of how styles have changed—sometimes radically—over the years. A late 1600s wool dress with a surprising splash of silver thread; a large-bustled red satin dress from the 1800s; a short, shimmery 1920s dancing dress; a glamorous 1950s cocktail dress; and a 1960s minidress—each tells a story about its period and serves as a testament to the enduring ingenuity of the fashion designer’s art.Images of the dresses are accompanied by informative text and enhanced by close-up details as well as runway photos, fashion plates, works of art, and portraits of designers. A glossary of related terms is also included.Published in association with The Metropolitan Museum of Art

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'A must-read for managing your career' Laurence Moor, Guardian Jobs 'If you want to be in charge of your own career-you must have this book' Daily Telegraph 'It's like having your own career coach with you every step of the way' Monster Bored with your job? Frustrated at work? Need a career change but don’t know what? Perhaps you’ve watched as colleagues have successfully fast-tracked or reinvented their careers and wished you could do the same. If you’re feeling dissatisfied or stuck career-wise, you need the help of a career coach – and that’s what you’ll find in this book. Career Coach will give you the tools to match your experience and skills to your new career - and help you take the practical steps to make your career aspirations a reality. Career Coach shows you how to take back control over your career. Using the latest career management techniques, you’ll develop your own personal step-by-step action plan to achieving your career goals. This practical workbook takes you through a full career analysis in the same way as working with a real life specialist career coach. Follow the programme and complete the insightful quizzes and questionnaires to help you pinpoint your personal strengths and skills. It will show you how to explore your options, make smart decisions and then successfully implement your career plan. Inside this fully up to date second edition you’ll find an inspiring new chapter on real-life career success stories as well as expanded sections on practicalities of a successful job search campaign and starting your own business. You'll also find new advice sections for career changers, post-grads, women returning to work, pre- and post-retirement jobs and an exploration of other challenges like health issues, internal promotions and the threat of redundancy. Written by the UK’s leading career management expert, Corinne Mills, you can be sure you’re getting the best advice from someone who knows the job market inside out.

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In the first section, Etienne Fouilloux describes the arc of Henri de Lubac's career up to the publication of his Surnaturel; Georges Chantraine, S.J., describes de Lubac's Surnaturel; Henry Donneaud, O.P., describes the early Thomistic response to the book; and Rene Mougel depicts Jacques Maritain's position on the topic. In the second section, focusing on Thomas Aquinas and the medieval period, Michel Bastit inquires into the relationship of Thomism to Aristotle; Jean-Miguel Garrigues explores the grace of Christ; Serge-Thomas Bonino, O.P., describes the variety of medieval positions on nature and grace as seen in theological accounts of limbo; and Jean-Pierre Torrell, O.P., masterfully summarises nature and grace according to Aquinas. The third section engages late-scholastic developments: Laurence Renault treats William of Ockham; Jacob Schmutz explores the shifting expositions of concurrence (divine and human causality) between the thirteenth and the seventeenth centuries; and Marie-Bruno Borde, O.C.D., presents the position of the Salmanticenses. Lastly, section four inquires into contemporary developments: Georges Cardinal Cottier, O.P., discusses natural mysticism and the theology of the religions; Gilbert Narcisse, O.P., traces the theme of grace in contemporary theology; Benoit-Dominique de La Soujeole, O.P., explores the situation of contemporary ecclesiology; and Bishop Andre-Mutien Leonard notes the value of the concept of; pure nature; within theological discussions.

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Lesson planning is the essential component of every teacher's practice and the development of a teacher's skill is built explicitly on a rigorous approach to planning. This goes beyond just written plans and includes a process of mental preparation, anticipation, rehearsal and performance - all essential elements of the craft of teaching. This book offers heaps of useful advice and key ideas related to planning an effective lesson.With clear links between the preparation of writing a lesson plan, and the delivery of that lesson plan through your teaching, this book explores: Common components of lesson planning including learning objectives, learning outcomes, starters, teaching activities and plenaries The lesson plan document: what it can and can't do Teaching 'style' and your role in bringing lesson plans to life within your classroom Common pitfalls, including time management, over- and under-running, optimum learning time, and activity sequencing Broader strategies such as differentiation, personalisation and assessment Sample lesson planning documents from real teachers Whatever age of pupils you are teaching, or whatever subject you are teaching, this book helps you develop a clear and concise approach to lesson planning that is an essential and integral part of becoming an effective teacher. "This is essential reading for all teachers, teacher educators and policy makers. For new entrants to the profession, it offers the opportunity to think beyond the notion of folk pedagogies and to consider how a more powerful theoretical framework might underpin lesson planning. It presents essential analysis as to why common approaches to teaching and learning have emerged and become embedded - this provides a great opportunity for more experienced teachers to develop a deeper critical understanding of their practice."Kate Laurence, Institute of Education, University of London, UK"At last! A plain speaking book on effective lesson planning .Lesson Planning for Effective Learning by Martin Fautley and Jonathan Savage combines theoretical perspectives with really useful, instantly useable examples from everyday practice."Andrew R. Mackereth, Headteacher, Heart of England School"In their latest book, Martin Fautley and Jonathan Savage start with practice and, in deconstructing what teachers do every day, apply their deep thinking and reasoned consideration. This book articulates something of what it is to be professional for teachers of all types. I heartily recommend this book."Simon Spencer, Birmingham City University, UK"This book gives fantastic insight and practical strategies for teachers at all points within their career in order to encourage and embed reflective practice. A 'must have' resource for any school Teaching and Learning Group library."Hayley McDonagh, Senior Leader, Golden Hillock School, Birmingham. Former LA senior adviser working with Schools in Ofsted Category

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Here is the story, told firsthand through electric, deeply engaged writing, of America’s living theater, high and low, mainstream and experimental. Drawing on history, criticism, memoir, fiction, poetry, and parody, editor Laurence Senelick presents writers with the special knack “to distill both the immediate experience and the recollected impression, to draw the reader into the charmed circle and conjure up what has already vanished.” Through the words of playwrights and critics, actors and directors, and others behind the footlights, the entertainments and high artistic strivings of successive eras come vividly, sometimes tumultuously, to life.Observers from Washington Irving and Fanny Trollope to Walt Whitman and Mark Twain evoke the world of the nineteenth-century playhouse in all its raucous vitality. Henry James confesses his early enthusiasm for playgoing; Willa Cather reviews provincial productions of Uncle Tom’s Cabin and Antony and Cleopatra. The increasing diversity and ambition of the American theater is reflected in Hutchins Hapgood’s account of New York’s Yiddish theaters at the turn of the century, Carl Van Vechten’s review of the Sicilian actress Mimi Aguglia, Alain Locke’s comments on the emerging African-American theater in the 1920s, and Ezra Pound’s response to James Joyce’s play Exiles and theatrical modernism. Enthusiasts for the New Stagecraft, such as Lee Simonson and Djuna Barnes, are matched by champions of pop culture such as Gilbert Seldes and Fred Allen. S. J. Perelman lampoons Clifford Odets; Edmund Wilson acclaims Minsky’s Burlesque; Harold Clurman explains Stanislavski’s Method; Gore Vidal dissects the compromises of commercial playwriting. A host of playwrights—among them Thornton Wilder, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Edward Albee, Wendy Wasserstein, David Mamet, and Tony Kushner—are joined by such renowned critics as Stark Young, George Jean Nathan, Brooks Atkinson, and Eric Bentley.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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“Confessions of a Puppetmaster is a fast, funny, wild ride through some wild times. Plus, Charlie compares me to Harrison Ford, so I’m all in!” —Bill MaherRenowned producer, director, and “B movie” showman Charles Band takes readers on a wild romp through Hollywood’s decidedly un-Oscar-worthy underbelly, where mayhem and zombies reign supreme, and cheap thrills and entertainment are king"This book is a blast. It made me want to stay up all night and watch terrible movies." —Peter Sagal"One of the most entertaining film bios ever." —Larry Karaszewski"Reads like a Tarantino film written by Hunter S. Thompson." —BooklistZombies, aliens, a little skin, lots of gore—and even more laughs—the cinematic universe of Charles Band is legendary. From the toilet-invading creatures of Ghoulies to the time-travelling bounty hunter in Trancers to the pandemic-crashed Corona Zombies, Band has spent four decades giving B-movie lovers exactly what they love. In Confessions of a Puppetmaster, this congenial master of Grindhouse cinema tells his own story, uncut.Born into a family of artists, Band spent much of his childhood in Rome where his father worked in the film industry. Early visits to movie sets sealed young Charlie’s fate. By his twenties he had plunged into moviemaking himself and found his calling in exploitation movies—quick, low-budget efforts that exploit the zeitgeist and feed people’s desire for clever, low-brow entertainment. His films crossed genres, from vampire flicks to sci fi to erotic musical adaptations of fairy tales. As he came into his own as a director, he was the first to give starring roles to household names like Demi Moore, Helen Hunt, and Bill Maher.Off set, Band’s life has been equally epic. Returning to his beloved Italy, he bought both Dino De Laurentiis’s movie studio and a medieval castle. After Romania’s oppressive communist regime fell, he circumvented the U.S. State Department to shoot films in Dracula’s homeland. He made—and then lost—a moviemaking fortune. A visionary, Band was also at the vanguard of the transition to home video and streaming, making and distributing direct-to-video movies long before the major studios caught on.In this revealing tell-all, Band details the dizzying heights and catastrophic depths of his four decades in showbiz. A candid and engaging glimpse at Hollywood’s wild side, Confessions of a Puppetmaster is as entertaining as the movies that made this consummate schlockmeister famous.

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From Shakespeare to The Beatles, the battle of Agincourt has dominated the cultural landscape as one of the most famous battles in British history. Anne Curry seeks to find out how and why the legacy of Agincourt has captured the popular imagination. Agincourt (1415) is an exceptionally famous battle, one that has generated a huge and enduring cultural legacy in the six hundred years since it was fought. Everybody thinks they know what the battle was about. Even John Lennon, aged 12, wrote a poem and drew a picture headed 'Agincourt'. But why and how has Agincourt come to mean so much, to so many? Why do so many people claim their ancestors served at the battle? Is the Agincourt of popular image the real Agincourt, or is our idea of the battle simply taken from Shakespeare's famous depiction of it? Written by the world's leading expert on the battle, this book shows just why it has occupied such a key place in English identity and history in the six centuries since it was fought, exploring a cultural legacy that stretches from bowmen to Beatles, via Shakespeare, Dickens, and the First World War. Anne Curry first sets the scene, illuminating how and why the battle was fought, as well as its significance in the wider history of the Hundred Years War. She then takes the Agincourt story through the centuries from 1415 to now, from the immediate, and sometimes surprising, responses to it on both sides of the Channel, through its reinvention by Shakespeare in King Henry V (1599), and the enduring influence of both the play and the film versions of it, especially the patriotic Laurence Olivier version of 1944, at the time of the D-Day landings in Normandy. But the legacy of Agincourt does not begin and end with Shakespeare's play: from the eighteenth century onwards, on both sides of the Channel and in both the English and French speaking worlds the battle was used as an explanation of national identity, giving rise to jingoistic works in print and music. It was at this time that it became fashionable for the gentry to identify themselves with the victory, and in the Victorian period the Agincourt archer came to be emphasized as the epitome of 'English freedom'. Indeed, even today, historians continue to 'refight' the battle.

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Originally published in 1995. In The Beautiful, Novel, and Strange, Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty—worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers.

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‘This ad is gender neutral’, proclaimed a 2016 poster for the fashion brand Diesel; ‘I resist definitions’, announced a Calvin Klein ad in the same year, while a Louis Vuitton shoot featured Jaden Smith, son of actor Will Smith, wearing a skirt like a natural. Fashion magazines have printed countless features on the blurring of gender barriers, while brands including Yves Saint-Laurent, Gucci, Burberry, Givenchy and Dolce & Gabbana have all interpreted the concept ‘girls will be boys and boys will be girls’ in their own individual style. The previous turn of the century was as obsessed with androgyny as this one, as seen in the art of Edward Burne-Jones and Gustave Moreau, and the writings of Oscar Wilde and the mystic Joséphin Péladan. From the late 19th to the early 21st century, the genders have blended: from Berlin in the 1920s to Hollywood of the 1930s with Garbo to Dietrich; from the 1940s Bright Young Things to the androgynous pop stars of the 1970s, and beyond. What do these variations on a theme have in common? What has caused the dizzying rise of androgyny? Why has this concept, a staple of ancient myth that was first discussed in Plato’s Symposium, been revived today? Accompanied by a striking selection of contemporary photographs, Patrick Mauriès presents a condensed cultural history of androgyny, drawing on the worlds of art and literature to give us a deeper understanding of the strange but timeless human drive to escape from defined categories.

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Winner of the Society for Theatre Research Book Prize 2020 Vivien Leigh was perhaps the most iconic actress of the twentieth century. As Scarlett O’Hara and Blanche Du Bois she took on some of the most pivotal roles in cinema history. Yet she was also a talented theatre actress with West End and Broadway plaudits to her name. In this ground-breaking new biography, Alan Strachan provides a completely new full-life portrait of Leigh, covering both her professional and personal life. Using previously unseen sources from her archive, recently acquired by the V&A, he sheds new light on her fractious relationship with Laurence Olivier, based on their letters and diaries, as well as on the bipolar disorder which so affected her later life and work. Revealing new aspects of her early life as well as providing glimpses behind-the-scenes of the filming of Gone with the Wind and A Streetcar Named Desire, this book provides the essential and comprehensive life-story of one of the twentieth century’s greatest actresses. 'A gripping new biography' - The Daily Mail '[Vivien Leigh's] life, lived to the full at every second, will never be better told than it is in these pages' - The Sunday Times 'One of the most revealing showbiz biographies ever' - Sir Ian McKellen 'Enthralling' - Michael Codron 'A wonderful tribute' - Dame Penelope Keith DBE, DL

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From its Broadway debut to the Oscar-winning film to countless amateur productions, West Side Story is nothing less than an American touchstone an updating of Shakespeare located in a vividly realized, rapidly changing postwar New York. That vision of postwar New York is at the heart of Julia L. Foulkes's A Place for Us. A lifelong fan of the show, Foulkes became interested in its history when she made an unexpected discovery: parts of the iconic film version were shot on the demolition site of what would ultimately be part of the Lincoln Center redevelopment a crowning jewel of postwar urban renewal. Foulkes interweaves the story of the creation of the musical and film with the remaking of the Upper West Side and the larger tale of New York's postwar aspirations. Making unprecedented use of Jerome Robbins's revelatory papers, she shows the crucial role played by the political commitments of Robbins and his fellow gay, Jewish collaborators, Leonard Bernstein and Arthur Laurents: their determination to evoke life in New York as it was actually lived helped give West Side Story its unshakable sense of place even as it put forward a vision of a new, vigorous, determinedly multicultural American city. Beautifully written and full of surprises for even the most dedicated West Side Story fan, A Place for Us is a powerful new exploration of an American classic.

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An alternative autobiography of the well-loved actor and man of the theatre, winner of the Sheridan Morley Prize for Theatre Biography. In My Life in Pieces Simon Callow retraces his life through the multifarious performers, writers, productions and events which have left their indelible mark on him. The story begins with Peter Pan – his first ever visit to the theatre – before transporting us to southern Africa and South London, where Callow spent much of his childhood. Later, he charms his way into a job at the National Theatre box office courtesy of his hero, Laurence Olivier – and thus consummated a lifetime’s love affair with theatre. Alongside Olivier, we encounter Paul Scofield, Michael Gambon, Alan Bennett and Richard Eyre, all of whom Callow has worked with, as well as John Gielgud, Ralph Richardson and Alec Guinness, David Hare, Simon Gray and many more. He writes too about figures he did not meet but who greatly influenced his life and work, figures such as Stanislavsky, Nureyev and Cocteau, as well as Charles Laughton and Orson Welles. And he even makes room for not-quite- legit performers like Tony Hancock, Tommy Cooper, Frankie Howard – and Mrs Shufflewick. The result is a passionate, instructive and beguiling book which, in tracing Simon Callow’s own ‘sentimental education’, leaves us enriched by his generosity and wisdom. 'first rate... the best writer-actor we have' David Hare 'Simon Callow combines zest, originality and passion and has elegantly turned his views and life in the theatre into an astonishing memoir' Richard Eyre

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There's a new governess at Fairmont House, and she's going to be nothing but trouble.Emily Laurence is a liar. She is not polite, she's not polished, and she has never taught a child in her life. This position was meant to be her sister's - brilliant, kind Amy, who isn't perpetually angry, dangerously reckless, and who does (inexplicably) like children.But Amy is unwell and needs a doctor, their father is gone and their mother is useless, so here Emily is, pretending to be something she's not.If she can get away with her deception for long enough to earn a few months' wages and slip some expensive trinkets into her pockets along the way, perhaps they'll be all right.That is, as long as she doesn't get involved with the Edwards family's dramas. Emily refuses to care about her charges - Grace, who talks too much and loves too hard, and Aster, who is frankly terrifying but might just be the wittiest sixteen-year-old Emily has ever met - or the servants, who insist on acting as if they're each other's family. And she certainly hasn't noticed her employer, the brooding, taciturn Captain Edwards, no matter how good he might look without a shirt on . . .As Fairmont House draws her in, Emily's lies start to come undone. Can she fix her mistakes before it's too late?Praise for Lex Croucher:'Bridgerton's wild little sister. So much fun!' Sarra Manning 'Witty, whip-smart and full of characters I totally fell for. I didn't want it to end' Laura Kay'Beyond entertaining - high debauchery with a feminist swing' Abigail Mann

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JOURNALING AS MEDITATION: Not just for writers, but for anyone wanting to quiet their mind and connect more deeply to themselves and the worldUNLOCK YOUR INNER CREATIVITY: The prompts in these cards are all about the process, not the product, and will get your ideas flowingBRING EASE, STRUCTURE AND CLARITY TO YOUR LIFE: Journal your way to calm and clarity as you connect with your writer withinPICK A CARD from the ten categories and follow the journaling exercise to evoke that feeling for the dayLAURENCE 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 booksDo you want to feel more connected, inspired, joyful and free? The Writer Within contains 50 enlightening journaling prompts that will help unlock your inner creativity and bring structure, intention and clarity to your life. Pick a card from the ten categories and follow the journaling exercise to evoke that feeling for the day. Feel inspired by writing a letter to yourself now from yourself in 10 years' time. Set yourself free, by writing a confession to yourself, something you've never admitted to anyone before. Remember, you can tear up the paper afterwards, this is all about the journey, not the destination. We have 70,000 thoughts spinning through our heads each day: The Writer Within will help slow down and sort through those thoughts, making for clearer, calmer, lighter days ahead.

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Exploring the intersections of digital humanities and African diaspora studies How can scholars use digital tools to better understand the African diaspora across time, space, and disciplines? And how can African diaspora studies inform the practices of digital humanities? These questions are at the heart of this timely collection of essays about the relationship between digital humanities and Black Atlantic studies, offering critical insights into race, migration, media, and scholarly knowledge production.The Digital Black Atlantic spans the African diaspora’s range—from Africa to North America, Europe, and the Caribbean—while its essayists span academic fields—from history and literary studies to musicology, game studies, and library and information studies. This transnational and interdisciplinary breadth is complemented by essays that focus on specific sites and digital humanities projects throughout the Black Atlantic. Covering key debates, The Digital Black Atlantic asks theoretical and practical questions about the ways that researchers and teachers of the African diaspora negotiate digital methods to explore a broad range of cultural forms including social media, open access libraries, digital music production, and video games. The volume further highlights contributions of African diaspora studies to digital humanities, such as politics and representation, power and authorship, the ephemerality of memory, and the vestiges of colonialist ideologies. Grounded in contemporary theory and praxis, The Digital Black Atlantic puts the digital humanities into conversation with African diaspora studies in crucial ways that advance both. Contributors: Alexandrina Agloro, Arizona State U; Abdul Alkalimat; Suzan Alteri, U of Florida; Paul Barrett, U of Guelph; Sayan Bhattacharyya, Singapore U of Technology and Design; Agata Błoch, Institute of History of Polish Academy of Sciences; Michał Bojanowski, Kozminski U; Sonya Donaldson, New Jersey City U; Anne Donlon; Laurent Dubois, Duke U; Amy E. Earhart, Texas A&M U; Schuyler Esprit, U of the West Indies; Demival Vasques Filho, U of Auckland, New Zealand; David Kirkland Garner; Alex Gil, Columbia U; Kaiama L. Glover, Barnard College, Columbia U; D. Fox Harrell, MIT; Hélène Huet, U of Florida; Mary Caton Lingold, Virginia Commonwealth U; Angel David Nieves, San Diego State U; Danielle Olson, MIT; Tunde Opeibi (Ope-Davies), U of Lagos, Nigeria; Jamila Moore Pewu, California State U, Fullerton; Anne Rice, Lehman College, CUNY; Sercan Şengün, Northeastern U; Janneken Smucker, West Chester U; Laurie N.Taylor, U of Florida; Toniesha L. Taylor, Texas Southern U.

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When Jean-Jacques Dessalines proclaimed Haitian independence on January 1, 1804, Haiti became the second independent republic, after the United States, in the Americas; the Haitian Revolution was the first successful antislavery and anticolonial revolution in the western hemisphere. The histories of Haiti and the early United States were intimately linked in terms of politics, economics, and geography, but unlike Haiti, the United States would remain a slaveholding republic until 1865. While the Haitian Revolution was a beacon for African Americans and abolitionists in the United States, it was a terrifying specter for proslavery forces there, and its effects were profound. In the wake of Haiti's liberation, the United States saw reconfigurations of its geography, literature, politics, and racial and economic structures. The Haitian Revolution and the Early United States explores the relationship between the dramatic events of the Haitian Revolution and the development of the early United States. The first section, "Histories," addresses understandings of the Haitian Revolution in the developing public sphere of the early United States, from theories of state sovereignty to events in the street; from the economic interests of U.S. merchants to disputes in the chambers of diplomats; and from the flow of rumor and second-hand news of refugees to the informal communication networks of the enslaved. The second section, "Geographies," explores the seismic shifts in the ways the physical territories of the two nations and the connections between them were imagined, described, inhabited, and policed as a result of the revolution. The final section, "Textualities," explores the wide-ranging consequences that reading and writing about slavery, rebellion, emancipation, and Haiti in particular had on literary culture in both the United States and Haiti. With essays from leading and emerging scholars of Haitian and U.S. history, literature, and cultural studies, The Haitian Revolution and the Early United States traces the rich terrain of Haitian-U.S. culture and history in the long nineteenth century. Contributors: Anthony Bogues, Marlene Daut, Elizabeth Maddock Dillon, Michael Drexler, Laurent Dubois, James Alexander Dun, Duncan Faherty, Carolyn Fick, David Geggus, Kieran Murphy, Colleen O'Brien, Peter P. Reed, Siân Silyn Roberts, Cristobal Silva, Ed White, Ivy Wilson, Gretchen Woertendyke, Edlie Wong.

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Costume jewellery is commonly understood to mean fashionable yet affordable adornments made from non-precious material. Originating in in mid-1700s France with the rise of the bourgeoise, the earliest 'costume jewellery' mimicked fine jewellery styles. Since then, costume jewellery has always been evolving. From Victorian sentimentalism to the mass-produced ornaments available today, costume jewellery has developed into an artform in its own right. An encyclopaedic study of its history is long overdue. Flush with expert information, identification tips and historical anecdotes, Adorning Fashion explores the development of costume jewellery across the past four centuries. The styles of each era - Victorian, Edwardian, Arts & Crafts, Jugenstil, Art Nouveau, and each decade of the twentieth century - are given individual attention. Production methods are also explained in depth. Alloys and gilded electroplating can mimic silver and gold, while the refraction index of treated glass can, to the untrained eye, be mistaken for diamond. Adorning Fashion discusses the contributions of a remarkable roster of designers and innovators, including Kokichi Mikimoto, Arthur L. Liberty, Carlo Giuliano, René Lalique, Elizabeth Bonté, the Castellani brothers, Jean Fouquet, Jean Després, Fulco di Verdura, Jean Schlumberger, Salvador Dalí, Miriam Haskell, Lina Baretti, Countess Cissy Zoltowska, Line Vautrin, Kenneth Jay Lane, Francisco Rebajes, Diane Love, Christian Dior, Balenciaga, Chanel, Van Cleef & Arpels, Paco Rabanne, Yves Saint Laurent, Napier, Haskell, Trifari, Brania, Bulgari, Versace and more.

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Parade Magazine's “20 New LGBTQ+ Books We're Loving This Year”Women.com's “10 LGBTQ Must-Reads for Pride Month”She Knows.com's “10 Books Featuring Mother-Child Relationships & All Their Beautiful Complexity”In 1967, Fay Stonewell, a water tank escape artist in Florida, leaves for Vietnam to join the Amazing Humans—a jerry-rigged carnival there to entertain the troops—abandoning her disabled teenage son, Dickie, to the care of an abusive boyfriend. Months after Fay’s departure, Dickie’s troubled home life ends in a surprising act of violence that forces him to run away. He soon lands in Manhattan, where he’s taken in by eccentric artist Laurence Jones. Fay, meanwhile, is also facing dangerous threats. From the night her plane jolts onto a darkened Saigon runway, she is forced to confront every bad decision she’s ever made as she struggles to return to her son. But the Humans owner is hell-bent on keeping her in Vietnam, performing only for war-injured children at a hospital, daily reminders of the son she’s left behind. Decades later, Dickie is forty, living in a Massachusetts coastal town with a man who’s dying of AIDS, and doing everything he can to escape his past. But although Spin may be giving Dickie what he’s always wanted—a home without wheels—it seems that the farther Dickie runs, the tighter the past clings to him. Ultimately, What We Give, What We Take is a deeply moving story of second chances and rising above family circumstances, however dysfunctional they may be.

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An ambitious revisionist history of naturalization as a creative mechanism for national expansion.Before borders determined who belonged in a country and who did not, lawyers and judges devised a legal fiction called naturalization to bypass the idea of feudal allegiance and integrate new subjects into their nations. At the same time, writers of prose fiction were attempting to undo centuries of rules about who could—and who could not—be a subject of literature. In Before Borders, Stephanie DeGooyer reconstructs how prose and legal fictions came together in the eighteenth century to dramatically reimagine national belonging through naturalization. The bureaucratic procedure of naturalization today was once a radically fictional way to create new citizens and literary subjects.Through early modern court proceedings, the philosophy of John Locke, and the novels of Daniel Defoe, Laurence Sterne, Maria Edgeworth, and Mary Shelley, DeGooyer follows how naturalization evolved in England against the backdrop of imperial expansion. Political and philosophical proponents of naturalization argued that granting foreigners full political and civil rights would not only attract newcomers but also better attach them to English soil. However, it would take a new literary form—the novel—to fully realize this liberal vision of immigration. Together, these experiments in law and literature laid the groundwork for an alternative vision of subjecthood in England and its territories.Reading eighteenth-century legal and prose fiction, DeGooyer draws attention to an overlooked period of immigration history and compels readers to reconsider the creative potential of naturalization.

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This book explores the implications for today’s critical concerns of the work of Walter Benjamin (1892-1940). Although his writings are considered to be among the most powerful and suggestive theoretical enterprises of the twentieth century, his ideas are strangely resistant to cooptation by the established doctrines of various critical programs. The innovative essays gathered here engage this resistance by examining the notion of the ghostly in Benjamin’s work. The contributors show that the urgent and haunting truths Benjamin offers point toward new forms of responsibility, even as they withdraw from straightforward meaning and transparent forms of expression. These truths reside in a figurative elsewhere, a ghostly space that his texts delimit but never fully inhabit, and these essays seek to do justice to the ghosts of Benjamin that are already on board with us. Through close textual readings and thoughtful contextualizations, internationally known Benjamin scholars engage a wide range of issues, including: the status of the image in Benjamin’s literary reflections and in his meditations on cinema and visual culture; abiding Benjaminian notions of messianism, aura, reproducibility, semblance, and melancholy; Benjamin’s relation to Freud; his innovative rethinking of history, virtuality, and translation; and his reflections on tragedy and prophecy, the geometrical dimensions of writing, and the relation between eros and language. The contributors are Norbert Bolz, Fritz Breithaupt, Stanley Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine Menke, Rainer Nägele, Gerhard Richter, Laurence Rickels, and Sigrid Weigel.

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While many film fans may not be familiar with Bill Duke’s name, they most certainly recognize his face. Dating back to the 1970s, Duke has appeared in a number of popular films, including Car Wash, American Gigolo, Commando, Predator, and X-Men: The Last Stand. Fewer still might be aware of Duke’s extraordinary accomplishments off-screen—as a talented director, producer, entrepreneur, and humanitarian. Bill Duke: My 40-Year Career on Screen and behind the Camera is the memoir of a Hollywood original. In an industry that rarely embraces artists of color, Duke first achieved success as an actor then turned to directing. After helming episodes of ratings giants Dallas, Falcon Crest, Hill Street Blues, and Miami Vice, Duke progressed to feature films like A Rage in Harlem, Deep Cover, Hoodlum, and Sister Act 2. In this candid autobiography, Duke recalls the loving but stern presence of his mother and father, acting mentors like Olympia Dukakis, and the pitfalls that nearly derailed his career, notably an addiction to drugs. Along the way, readers will encounter familiar names like Danny Glover, Laurence Fishburne, Forest Whitaker, Arnold Schwarzenegger, and Whoopi Goldberg. From his Broadway debut in 1971 to the establishment of the Duke Media Foundation, which trains and mentors young filmmakers, Duke has been breaking the rules of what it means to triumph in the entertainment industry. Recalling pivotal moments in his life, Bill Duke: My 40-Year Career on Screen and behind the Camera is the story only Bill Duke could tell.

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Look Again is a new series of short books from Tate Publishing, opening up the conversation about British art over the last 500 years, and exploring what art has to tell us about our lives today. Written by leading voices from the worlds of literature, art and culture, each book sheds new light on some of the most well-known, best-loved and thought-provoking artworks in the national collection, and asks us to look again. How we dress can be a deeply personal matter. But can dress also be the object of deeper artistic enquiry? And can it tell us something more about the societies in which we live? These are the questions at the heart of Fashion. From Piet Mondrian and Yves Saint Laurent to Louis Vuitton and Yayoi Kusama, there is a long-standing relationship between art and the high fashion world: artists can influence designers, and avant-garde fashion can also inspire avant-garde art. But what about the everyday dress that features in so many of the works in Britain's national collection of art? What can we learn by inspecting the turban on the head of a footman, the fabric gathered in the lap of a seamstress or the pleats of a dress swirling around the neck of a girl walking on her hands on a beach? In Look Again: Fashion, esteemed academic and broadcaster Shahidha Bari guides us through the surprising insights that come of these questions - and reveals that thinking about dress can take us into the heart of society, culture, and politics.

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This is the ultimate anthology of theatrical anecdotes, edited by lifelong theatre-lover Gyles Brandreth in the Oxford tradition, and covering every kind of theatrical story and experience from the age of Shakespeare and Marlowe to the age of Stoppard and Mamet, from Richard Burbage to Richard Briers, from Nell Gwynn to Daniel Day-Lewis, from Sarah Bernhardt to Judi Dench. Players, playwrights, prompters, producers--they all feature. The Oxford Book of Theatrical Anecdotes provides a comprehensive, revealing, and hugely entertaining portrait of the world of theatre across four hundred years. Many of the anecdotes are humorous: all have something pertinent and illuminating to say about an aspect of theatrical life--whether it is the art of playwriting, the craft of covering up missed cues, the drama of the First Night, the nightmare of touring, or the secret ingredients of star quality. Edmund Kean, Henry Irving, John Gielgud, Laurence Olivier, Ellen Terry, Edith Evans, Maggie Smith, Helen Mirren--the great 'names' are all here, of course, but there are tales of the unexpected, too--and the unknown. This is a book--presented in five acts, with a suitably anecdotal and personal prologue from Gyles Brandreth--where, once in a while, the understudy takes centre-stage and Gyles Brandreth treats triumph and disaster just the same, including stories from the tattiest touring companies as well as from Broadway, the West End and theatres, large and small, in Australia, India, and across Europe.

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Black British Music and the people who made it, from Tudor times to the mid '60s.This is a story of empire, colonialism and then the new energies released by the movements for freedom and independence of the post second-world-war years; of the movements of peoples across borders; of the flow of music around the triangle that takes in Africa, the Caribbean, the USA and Great Britain; of temporary but highly influential visitors like Paul Robeson; and of the settlement of ex-colonial peoples who brought their music to Britain, and changed its forms and concerns in the new context. It is the story of institutions like the military that provided spaces for black musicians, but it is also the story of individuals like John Blanke, the black trumpeter in the court of Henry VIII, Ignatius Sancho the composer and friend of Laurence Sterne in the 18th century, early nineteenth century street performers such as Joseph Johnson and Billy Waters, child prodigies such as George Bridgewater and composers such as Samuel Coleridge-Taylor in the later 19th whose music is still played today. Above all, it is the story of those individuals who changed the face of British music in the post-war period, who collectively fertilized British jazz, popular music and street theatre in ways that continue to evolve in the present. This is the story of the Windrush generation who brought calypso and steelband to Britain’s streets, Caribbean jazz musicians such as Joe Harriot and Shake Keane, or escapees from apartheid South Africa, such as Chris McGregor and Dudu Pukwana who brought modernity and the sounds of Soweto to British jazz, and a later generation who gave ska and reggae distinctive British accents. Based on extensive research and many first-hand interviews, one of the great virtues of Kevin Le Gendre’s book is lack of London-centricity, its recognition that much important development took place in cities such as Manchester, Leeds and Bristol. As a noted reviewer of black music for the BBC, the Independent, Echoes and other journals, Le Gendre brings together both a sense of historical purpose and the ability to actually describe music in vivid and meaningful ways.

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“A fascinating biography of a fascinating woman.” - Booklist, starred review “This definitive look at a remarkable figure delivers the goods.” - Publishers Weekly, starred review "A brilliant analysis." - Jericho Brown, Pulitzer Prize winner Featured in Ms. Magazine’s "Most Anticipated Reads for the Rest of Us 2022" (books by or about historically excluded groups) Born in New Orleans in 1875 to a mother who was formerly enslaved and a father of questionable identity, Alice Dunbar-Nelson was a pioneering activist, writer, suffragist, and educator. Until now, Dunbar-Nelson has largely been viewed only in relation to her abusive ex-husband, the poet Paul Laurence Dunbar. This is the first book-length look at this major figure in Black women’s history, covering her life from the post-reconstruction era through the Harlem Renaissance. Tara T. Green builds on Black feminist, sexuality, historical and cultural studies to create a literary biography that examines Dunbar-Nelson's life and legacy as a respectable activist – a woman who navigated complex challenges associated with resisting racism and sexism, and who defined her sexual identity and sexual agency within the confines of respectability politics. It’s a book about the past, but it’s also a book about the present that nods to the future.

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Within the collections of the Victoria and Albert Museum in London, the world's leading museum of art and design, there lies an extraordinary wealth of material relating to a single individual: the playwright William Shakespeare. This book presents a fascinating selection of one hundred objects – often surprising, always delightful – chosen by the museum’s curators for the insight each affords into the world of Shakespeare and his plays. The objects are drawn from across the V&A's rich and varied collections. There are paintings, sculptures, pieces of jewellery, engravings and figurines. There are posters and playbills, costume designs, photographs, illustrations and film stills. Also included are original costumes worn by Henry Irving, Vivien Leigh, Laurence Olivier, Rudolf Nureyev and Ian McKellen. Amongst the more unexpected objects are a bed (the Great Bed of Ware, which Shakespeare mentions in Twelfth Night), a sword (presented to Edmund Kean after his performance as Macbeth) and a real human skull (Yorick to Jonathan Pryce's Hamlet). Some of the greatest Shakespearean performances and productions of all time are memorialised, including Sarah Bernhardt’s Hamlet, Ellen Terry's Lady Macbeth, John Gielgud's Lear, Olivier's Richard III, Paul Robeson's Othello, many of Henry Irving's performances, David Garrick's celebratory Shakespeare Jubilee of 1769 and Peter Brook's iconic 1970 production of A Midsummer Night's Dream. Each object is illustrated in full colour and is accompanied by a compact essay on its history, its provenance, and what it has to tell us about Shakespeare and his plays, particularly in performance. The result is a book that not only underlines Shakespeare's infinite variety, but also reveals his astonishing legacy in material things, a substantial pageant that has not faded.

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An innovative history of the fashion industry, focusing on the connections between Paris and New York, art and finance, and design and manufacturing.Fashion is one of the most dynamic industries in the world, with an annual retail value of $3 trillion and globally recognized icons like Coco Chanel, Christian Dior, and Yves Saint Laurent. How did this industry generate such economic and symbolic capital?Focusing on the roles of entrepreneurs, designers, and institutions in fashion’s two most important twentieth-century centers, Paris to New York tells the history of the industry as a negotiation between art and commerce. In the late nineteenth century, Paris-based firms set the tone for a global fashion culture nurtured by artistic visionaries. In the burgeoning New York industry, however, the focus was on mass production. American buyers, trend scouts, and designers crossed the Atlantic to attend couture openings, where they were inspired by, and often accused of counterfeiting, designs made in Paris. For their part, Paris couturiers traveled to New York to understand what American consumers wanted and to make deals with local manufacturers for whom they designed exclusive garments and accessories. The cooperation and competition between the two continents transformed the fashion industry in the early and mid-twentieth century, producing a hybrid of art and commodity.Véronique Pouillard shows how the Paris–New York connection gave way in the 1960s to a network of widely distributed design and manufacturing centers. Since then, fashion has diversified. Tastes are no longer set by elites alone, but come from the street and from countercultures, and the business of fashion has transformed into a global enterprise.

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THE NEW YORK TIMES BESTSELLER, SOON TO BE A MOVIE PRODUCED BY AND STARRING SHARON STONE A BUZZFEED MUST-READ FOR 2022 A young journalist embroiled in an international art scandal centred around a Nazi-looted masterpiece, forcing the ultimate showdown between passion and possession, lovers and liars, history and truth. After talking her way into a job in Chicago, young journalist Jules Roth is given an unusual assignment: locate a painting stolen by the Nazis more than 75 years ago. The painting? None other than legendary artist Ernst Engel's most famous work, Woman on Fire. A dying designer covets the portrait for deeply personal reasons. Jules doesn't have much time.Meanwhile, in Europe, Margaux de Laurent – powerful heir to her family's millions – also searches for the painting. A cunning gallerist who gets everything she wants, the only thing standing in her way is Jules. Yet Jules has resources of her own, including the designer's grandson, Adam. A recovering addict and artist in his own right, Adam was once in Margaux's clutches, and he'll do anything to help Jules locate the painting first.Woman on Fire is a thrilling tale of secrets, love, sacrifice and an exquisite work of art that burns bright, moving through hands, hearts and history. ___________PRAISE FOR WOMAN ON FIRE: 'Part-thriller, part-historical fiction, this book will have you gripping the pages until the very end' Buzzfeed'Addictively propulsive and laced with rapid-fire twists and turns, this sizzling tale crackles with tension' Kristin Harmel'Thick with history, scandal, romance and deceit... A truly compulsive read' Mary Kubica'An exuberant thriller laced with sex, art, and history' Alyson Richman'Had me on the edge of my seat' Fiona Davis

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In the decades between its debut performance in Paris in 1909 and the death of impresario Sergei Diaghilev in 1929, the Ballets Russes was an unrivalled sensation not only in France but in London, New York and the other cities it toured. Attention has often been centred on the links between Diaghilev's troupe and modernist art and music, but there has been surprisingly little written concerning the Ballets' role in tastemaking and trendsetting. Ballets Russes Style reveals for the first time the full extent of the ensemble's influence on haute couture. The Ballets Russes' seasons were an exciting laboratory for ambitious cultural experiments, often grounded in the aesthetic confrontation of those great designers, artists and composers who travelled with the troupe from St Petersburg - Leon Bakst, Alexandre Benois and Igor Stravinsky among them - and Paris's avant-garde, which included Picasso, Satie, Matisse, Debussy and Ravel. The ensemble brought the stage and everyday life into creative contact with each other, most noticeably in the world of fashion. In its heyday, the Ballets Russes was a potent force in defining Paris Style, bringing the work of great designers such as Jeanne Paquin and Coco Chanel to the stage, and creating sensibilities that resonated in the collections of couturiers from Paul Poiret to Yves Saint Laurent and beyond. Beautifully illustrated and drawing on unpublished images and memorabilia, this book illuminates the ways in which innovations by the Ballets Russes in dance, music, sets and costume both mirrored and invigorated contemporary culture.

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As America's longest-running fashion magazine, Harper's Bazaar has long been revered for its contributions to fashion, photography, and graphic design and has remained a prominent cultural icon since 1867 showcasing the visions of legendary editors, photographers, and stylists - as well as works by notable literary writers and serious journalists. Timed to coincide with an exhibition at the Musee des Arts Decoratifs in Paris, this volume traces the story of this celebrated publication from visionary founding editor, Mary Louise Booth, to Glenda Bailey, who has helmed the magazine for the last two decades and is known for commissioning dazzling visual features that frame fashion in the context of contemporary pop culture and aesthetics. Featuring groundbreaking work by all of the greats of fashion photography and designs by fashion luminaries from Madeleine Vionnet and Cristobal Balenciaga to Yves Saint Laurent and Christian Dior and up to the present with Karl Lagerfeld, Tom Ford, Alexander McQueen, and Marc Jacobs just to name a few, this book is a must have for anyone interested in fashion. The book goes on to profile a roster of eminent contributors who were instrumental in maintaining Bazaar's ongoing relevance and influence over the decades including Erte, Edward Steichen, Leon Bakst, Diana Vreeland, Jean Cocteau, Dali, Man Ray, Avedon, e.e. cumming, Marianne Moore, Truman Capote, Carson McCullers, and many other photographers, artists, and writers. Organized chronologically, the selections showcase the breadth of creativity and artistry that has been published in the pages of the magazine for more than a century and prove that Harper's Bazaar is more than just a fashion magazine.

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This lavish book, a feast of nostalgia, celebrates the 60-year heritage of the British Touring Car Championship. Anyone who has ever enjoyed touring car racing as a participant, spectator or television viewer will treasure this book. * The 1950s. The British Saloon Car Championship was inaugurated in 1958 and from the start it was super-competitive, ending in a tie that was resolved by a shoot-out in favour of Jack Sears. * The 1960s. There were three Mini champions but mainly this was a Ford era, epitomised by Lotus Cortinas (with Jim Clark ever spectacular) and big Falcons, Galaxies and Mustangs from America. * The 1970s. Smaller classes came to the fore in this decade, with three drivers sharing seven titles — Bill McGovern took three in Sunbeam Imps while two apiece went to Bernard Unett (Chrysler Avenger GT) and Richard Longman (Mini 1275GT). * The 1980s. Three drivers also bestrode this decade but in a wider range of cars, including Mazda RX-7, Alfa Romeo GTV, Rover Vitesse and Ford Sierra XR4i; Win Percy and Andy Rouse each took three titles, Chris Hodgetts two. * The 1990s. Overseas drivers arrived in force to mix it with home-grown stars during the highly competitive Super Touring years, the decade’s champions including Joachim Winkelhock (BMW 318is), Frank Biela (Audi A4 quattro), Alain Menu (Renault Laguna), Rickard Rydell (Volvo S40) and Laurent Aïello (Nissan Primera). * The 2000s. Vauxhalls were the star cars, taking six titles, while the decade brought three double champions in the form of James Thompson (Vauxhall Astra), Matt Neal (Honda Integra) and Fabrizio Giovanardi (Vauxhall Vectra VXR). * The 2010s. Yet more variety and brilliant racing has characterised the current decade, with Gordon Shedden becoming the winningest driver with three titles in Honda Civics.

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'Beautifully judged account of the Manchester scene . . . There is something of the fairy tale about Dave Haslam's sage joyful testament to the kind of life that nobody could ever plan, a happy aligning of a cultural moment and a young man who instinctively knew that it was his once upon a time' Victoria Segal, Sunday Times'Witty, sometimes dark, revealing, insightful, everything one could hope for from one of those folk without whom independent music simply wouldn't exist' Classic RockSonic Youth Slept on My Floor is writer and DJ Dave Haslam's wonderfully evocative memoir. It is a masterful insider account of the Hacienda, the rise of Madchester and birth of the rave era, and how music has sound-tracked a life and a generation.In the late 1970s Dave Haslam was a teenage John Peel listener and Joy Division fan, his face pressed against a 'window', looking in at a world of music, books and ideas. Four decades later, he finds himself in the middle of that world, collaborating with New Order on a series of five shows in Manchester. Into the story of those intervening decades, Haslam weaves a definitive portrait of Manchester as a music city and the impact of a number of life-changing events, such as the nightmare of the Yorkshire Ripper to the shock of the Manchester Arena terror attack.The cast of Haslam's life reads like a who's who of '70s, '80s and '90s popular culture: Tony Wilson, Nile Rodgers, Terry Hall, Neneh Cherry, Tracey Thorn, John Lydon, Johnny Marr, Ian Brown, Laurent Garnier and David Byrne. From having Morrissey to tea and meeting writers such as Raymond Carver and Jonathan Franzen to discussing masturbation with Viv Albertine and ecstasy with Roisin Murphy, via having a gun pulled on him at the Hacienda and a drug dealer threatening to slit his throat, this is not your usual memoir.

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Andrew Roberts's Masters and Commanders: The Military Geniuses who led the West to Victory in WWII tells the story of how four great leaders fought each other over how best to fight Hitler. During the Second World War the master strategy of the West was shaped by four titanic figures: Winston Churchill and Franklin Roosevelt, and their respective military commanders - General Sir Alan Brooke and General George C. Marshall. Each man was tough-willed and strong minded. And each was certain he knew best how to achieve victory. Drawing on previously unpublished material, including for the first time verbatim reports of Churchill's War Cabinet meetings, Andrew Roberts's acclaimed history recreates with vivid immediacy the fiery debates and political maneuverings, the rebuffs and the charm, the explosive rows and dramatic reconciliations, as the masters and commanders of the Western Alliance fought each other over the best way to fight Adolf Hitler. 'History as it should be written; a gripping narrative' Michael Gove, Mail on Sunday Books of the Year 'Scintillating historical writing on the whole rich panorama of Britain and the US at war' Martin Gilbert, Evening Standard 'A compelling analysis of American and British military strategy during the war. He also tells a profoundly human story' Laurence Rees, Sunday Times 'A masterpiece' Christopher Silvester, Daily Express 'Britain's finest contemporary military historian' Economist Books of the Year Andrew Roberts is a biographer and historian of international renown whose previous books include Salisbury: Victorian Titan (1999), which won the Wolfson History Prize and the James Stern Silver Pen Award for Non-Fiction; Napoleon and Wellington (2001); Hitler and Churchill: Secrets of Leadership (2003), which coincided with four-part BBC2 history series, and A History of the English-Speaking Peoples Since 1900 (2005).

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Text in English and German. 2 Books in slipcase. Karl Friedrich Schinkel called his designs for a palace on the Acropolis in Athens and for Orianda Castle in the Crimea a 'beautiful dream'. They date from 1834 and 1838 and were Schinkel's last major projects, in which he presented his ideal of architecture in brilliant drawings and watercolours, as if in a last will and testament. Both the formal language of neo-Classical architecture and the quality of presentation are brought to a level here that can scarcely be surpassed. It is clear how highly Schinkel himself esteemed these two unrealized designs from the fact that he had them printed as coloured lithographs in his publication 'Werke der hoheren Baukunst fur die Ausfuhrung erfunden' (Potsdam 1840 to 1942). These lithographs are reprinted in a large format for the first time here, complemented by the no less spectacular lithographs of the two Pliny villas, Tusculum and Laurentinum. These works, which represent a high point in the long story of the reconstruction of the two villas that have come down to us only in literature, also show Schinkel's impressive ability to demonstrate and convey his architectural ideas. He is profoundly concerned, both in the reconstructions of the Pliny villas and in the designs for the royal palace on the Acropolis and Orianda Castle to be archaeologically precise and to fulfil prescribed building programmes, but also to plumb the possibilities of architecture beyond mere utility. For the Acropolis palace project he had his eye mainly on the way in which the new building would interact with the surviving remains of the Propylaea and the Parthenon. In the Orianda project it is a glazed observation pavilion in the form of a temple that expresses architecture's perception of itself more clearly than perhaps ever before.

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Step into the world of Frida Kahlo: behind the portraits and the surrealist art discover the fascinating woman who has transfixed the world.Fridamania has made Frida Kahlo's image ubiquitous: she has been reborn as a Halloween costume, Barbie doll, children's book character, textile print, phone cover and the inspiration for everything from cocktails to fashion shoots. But it is more difficult to get a clear vision of this bold and brilliant, foul-mouthed, heavy-drinking, hard-smoking, husband-stealing, occasionally bisexual, often bed-bound, wheelchair-using, needy, forthright and passionate woman. Hettie Judah sets out to correct that with this superb biography of one of the most charismatic artists of the last hundred years.Follow Frida's life through tumultuous love and life-altering accidents, towards recognition in the art world from the likes of André Breton and Marcel Duchamp, to becoming the first Mexican artist held at the Louvre. Judah delves into Kahlo's experiences and how these came together to inspire the art that has been described as an uncompromising depiction of the female experience and form. From an early battle with Polio, to a debilitating bus accident at 18, through love and heart ache, the life of Frida Kahlo was one of pain but a pain that bore great beauty.Hettie Judah is a contributing writer for publications including the Guardian, Vogue, The New York Times, Frieze and Art Quarterly.Lives of the Artists is a new series by Laurence King. Concise, highly readable biographies of some of the world's greatest artists written by authoritative and respected names from the world of art. Learn about the artist behind the masterpieces.Currently available: Andy Warhol and Artemisia Gentileschi

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The best-selling Guardian art critic Jonathan Jones presents a radical new story of British art. "Sensations is a riveting story of art and science: thoughtful, provocative and persuasive" - The Times "Erudite, impassioned, fascinating" - Financial Times “Sensations brilliantly marshals Jones’s extensive research into engaging narratives of British intellectual history… Compelling.” Times Literary Supplement “I even loved Jonathan’s writing when he slagged my work off! He is a true thinker, a brilliant art historian who can back up his criticism with more than just opinion.” – Tracey Emin “Sensations presents a radically new story of British art. It connects the artists of today with British culture more than three hundred years ago as it finds an unexpected thread that links William Hogarth and Tracey Emin, Thomas Gainsborough and Lucian Freud. What they share is an eye for the real world. I hope this book will change how you see Britain, and its art.” – Jonathan Jones What is the artistic impulse uniting Robert Hooke's drawings of insects, George Stubbs's studies of horses and Damien Hirst's pickled shark? In this new and spirited account of British art, Jonathan Jones argues for empiricism. From the Enlightenment to the present, British artists have shared a passion for looking hard at the world around them. Jones shows how this zeal for precision and careful observation paved the way for Realism, Impressionism and the birth of modern art. This essential art book is a must-read for fans of Gombrich’s The Story of Art and the perfect introduction to British art history. Also by Laurence King Publishing: - A World History of Art by John Fleming and Hugh Honour (9781856695848) - The Short Story of Art by Susie Hodge (9781780679686)

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'Dizzying and fragrant . . . truly a captivating achievement!' Aimee Nezhukumatathil'If you read this book you will be changed . . . this book feels like an actual elixir' Kiese Laymon'A fascinating tale of discovery, wonder, and revolution' Matthew StanleyTwo friends in a Parisian perfume shop make a discovery that will transform our understanding of the world and the origins of life on Earth forever.Set amidst the unforgettable sights and smells of 18th and 19th Century Paris, Elixir tells the story of Edouard Laugier and Auguste Laurent, the son of a perfumer and a fellow aspiring chemist, who met on the Left Bank while pursuing their passion for science. Spurned by the scientific establishment, the pair ended up working out of Edouard's family perfume shop, Laugier père et fils. By day they prepared the revitalizing elixirs and rejuvenating eaux it was famous for, but by night using the ingredients of the perfumery and the principles of alchemy, they pursued the secret of life itself.Elixir reads like a novel, brimming with eccentric characters, experimental daring, and the romance of the Bohemian salon. It is the story of a long-standing scientific puzzle and the struggle to gain acceptance for a new way of thinking about the building blocks of living matter long after those who discovered it were both dead. Yet this is also a story of hope and determination. For while the scientific establishment ridiculed their work at the time, teenage lab assistant Louis Pasteur took it seriously and over the course of an exceptional career, was able to show that their work pointed to a deep, inexplicable asymmetry in the molecular arrangement of living things - an unexplained asymmetry which remains one of science's great mysteries.

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It was on a Malibu beach in 1988 that Peter Lindbergh shot the White Shirts series, images now known the world over. Simple yet seminal, the photographs introduced us to Linda Evangelista, Christy Turlington, Rachel Williams, Karen Alexander, Tatjana Patitz, and Estelle Lefébure. This marked the beginning of an era that redefined beauty, and Lindbergh would go on to alter the landscape of fashion photography for the decades that followed. This book gathers more than 300 images from forty years of Lindbergh’s career. It traces the German photographer’s cinematic inflections and humanist approach, which produced images at once seductive and introspective. In 1980 Rei Kawakubo asked Lindbergh to shoot a Commes des Garçons campaign, one of his earlier forays into commercial photography. Kawakubo gave him carte blanche. The following years brought forth collaborations with the most venerated names in fashion and resulted in a relationship of mutual reverence; Lindbergh’s respect for some of the greatest designers of our time is palpable in his portraits. Among those photographed are Azzedine Alaïa, Giorgio Armani, Alber Elbaz, John Galliano, Jean Paul Gaultier, Karl Lagerfeld, Thierry Mugler, Yves Saint Laurent, Jil Sander, and Yohji Yamamoto. Widely considered a pioneer in his field, Lindbergh shirked the industry standards of beauty and instead celebrated the essence and individuality of his subjects. He was pivotal to the rise of models such as Kate Moss, Naomi Campbell, Linda Evangelista, Cindy Crawford, Mariacarla Boscono, Lara Stone, Claudia Schiffer, Amber Valletta, Nadja Auermann, and Kristen McMenamy. Lindbergh’s reach also extended across Hollywood and beyond: Cate Blanchett, Charlotte Rampling, Richard Gere, Isabelle Huppert, Nicole Kidman, Madonna, Brad Pitt, Catherine Deneuve, and Jeanne Moreau all appear in his works. From the picture chosen by Anna Wintour as the cover of her first Vogue issue to the legendary shot of Tina Turner on the Eiffel Tower, it is never the clothes, celebrity, or glamour that takes center stage in a Lindbergh photograph. Each picture conveys the humanity of its subject with a serene melancholy that is uniquely and unmistakably Lindbergh. From the outset of his career, Lindbergh was well-known in the contemporary art world, where his photographs were exhibited in galleries long before they appeared in magazines. This edition features an updated introduction adapted from an interview in 2016, allowing a glimpse behind Lindbergh’s lens, where the photographer recounts his early collaborations, the tenuous relationship between commercial and fine art, and the power of storytelling.

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Early in his career, New Zealand artist Gavin Hipkins was described by fellow artist Giovanni Intra as a ‘tourist of photography’. This epithet has been used repeatedly by commentators on Hipkins’ work to describe two intertwined aspects of his practice. As art historian Peter Brunt puts it, Hipkins is a constantly travelling photographer, ‘an iconographer of desire, travel, time and … modern communities’, and a tourist within the medium, ‘a great manipulator of the photographic artifact itself’.Accompanying a major survey of Hipkins’ work at The Dowse Art Museum (November 2017 – March 2018), The Domain is an extensively illustrated book that combines new essays with a selection of art writing from the past 20 years. It illuminates not only Hipkins’ ever-evolving practice – which takes in a great variety of photographic media, from slide transparencies to moving image – but critical approaches to photography at the turn of the 21st century. Included here are plates from major bodies of work including The Habitat (1999–2000), Hipkins’ study of Brutalist architecture on New Zealand universities; The Homely (1997–2000), a photographic tour through New Zealand and Australia, nominated for the inaugural Walters Prize; The Colony (2000–2002), shown at the 28th Sao Paulo Biennale; and Erewhon (2014), Hipkins’ first feature-length film, an experimental adaptation of Samuel Butler’s anonymously published 1872 novel Erewhon. Hipkins’ work returns again and again to a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; and how social and political ideologies visually shape the world we live in. Here, followers of Hipkins can see how his career has unfolded and newcomers can discover one of New Zealand’s most innovative, subversive investigators of photography.With new essays by George Clark, Courtney Johnston and Robert Leonard, and archival texts by Barbara Blake, Peter Brunt, Blair French, Heather Galbraith, Giovanni Intra, Robert Leonard, Trevor Mahovsky, William McAloon, Karra Rees and Laurence Simmons.

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We live in a world in which we watch our words, spoken or written. We do not wish to offend anyone by what we say. But consideration of our speech is not something new. As Gabriella Baika stakes out in this thought-provoking manuscript, worries about transgressive speech began in the High Middle Ages. This broad-ranging book, which explores the notion of peccata linguae ""sins of the tongue,"" mobilized the work efforts of an impressive number of theologians. Moral errors committed with the aid of the tongue, the organ responsible for speech, came to be viewed as crimes comparable to theft, adultery, or murder.The Rose and Geryon examines patterns of verbal behavior in works by Jean de Meun and Dante (with a focus on the Romance of the Rose and the Divine Comedy) in relationship with the most influential systems of verbal sins in the Middle Ages, systems elaborated by William Peraldus, Thomas Aquinas, Domenico Cavalca, and Laurent of Orléans. The book begins with a presentation of these four systems, and from there proceeds to analyze Jean de Meun’s Testament as a possible source of influence for the Divine Comedy and take a closer look at Dante’s prose works in search for a comprehensive theory of sinful speech. Furthermore Baika discusses verbal transgressions such as flattery, evil counsel, double talk, sowing of discord, and falsifying of words, under the heading Lingua dolosa ""The Guileful Tongue,"" and the relationship between violence and the poetic discourse. The myriad ways in which the two iconic poets of medieval France and Italy absorb the tradition of peccata linguae in their works prove that abusive speech was not the exclusive sphere of interest of the ecclesiastical writers; secular poetry in the vernacular enriched in original ways the medieval debate on verbal vices. The Rose and Geryon addresses scholars and students of French and Italian literatures, as well as readers interested in ethics and women’s studies.

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An astonishing discovery was made in 1995 during the British Library's removal from the British Museum. Thirty-four letters and eighteen draft poems, including "Break of Day in the Trenches", "Dead Man's Dump", and "Returning, We Hear the Larks" by the poet and artist Isaac Rosenberg were found in a bundle of papers stored by former museum keeper Laurence Binyon, himself a poet and Rosenberg's mentor. After his death as a private soldier on the Western Front on 1 April 1918, Isaac Rosenberg, now regarded as a major poet of the First World War, was largely forgotten, and only the devotion of his family and the support of his fellow poets rescued his work for posterity. Binyon and another older poet, Gordon Bottomley, encouraged and corresponded with Rosenberg until his death, and then edited his poems and extracts from his letters for publication. The newly discovered papers include all Rosenberg's complete letters and draft poems to Binyon and Bottomley, together with material about Rosenberg from family, friends and mentors such as his sister Annie, Whitechapel librarian Morley Dainow, schoolteacher Winifreda Seaton, and patron Frank Emmanuel. All are published here, most for the first time. At first overshadowed by the more acceptably English war poets, Rosenberg's poetry did not fit the poetic ideals of the time, just as he, an East End Jew born of immigrant parents, did not present the accepted public image of the heroic soldier poet. The originality and strength of his poetry were rooted in the struggle with the opposing elements of his life, which did not follow the conventions of any role he played: East End Jew, poet, painter or soldier. In one unpublished letter from the trenches he reveals his difficulties, 'I don't suppose my poems will ever be poetry right and proper until I shall be able to settle down and whip myself into more expression. As it is, my not being able to get poetry out of my head & heart causes me sufficient trouble out here.' (Letter to Bottomley, postmarked 11 July 1917)

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