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Few changes in literary history are as dramatic as the replacement of the sentimental image of the home in Victorian fiction by the emphasis in modernist fiction on dysfunctional families and domestic alienation. In The End of Domesticity Charles Hatten offers a provocative theory for this seminal shift that even now shapes literary depictions of the family. Discussing works by Charles Dickens, George Eliot, and Henry James, Hatten shows how these major writers anticipate modernist preoccupations with domestic alienation while responding to their own historical context of changes in, and controversies about, gender roles and the family. Most originally, Hatten argues that these writers’ representations of gender and domesticity are strongly influenced by anxieties about capitalism and the marketplace as well as the changing nature of gender roles in late Victorian England.

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In 1983, two University Professors looked slightly bemused as they scanned the shelves of the South Wales Miners' Library. One said to the other, 'Do miners read Dickens?' We seek to answer that question, and a little more besides. This special fortieth anniversary volume chronicles the origins of the Library out of the remnants of the magnificent Workmen's Institute libraries, once described as 'the brains of the Coalfield', and charts its development over time to becoming a unique research and lifelong learning centre.

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Bring the mysterious and magical world of Emily Dickinson into your home by making the comforting foods that Emily loved to cook. Whether you are a fan of the hit television series Dickinson or have long been inspired by Emily Dickinson’s poems, this enchanting cookbook brings Emily to life as little else could. A distinguished food historian said this about Emily: “She was probably better known as a baker than a poet in her lifetime.” Remarkably, that is true! Emily wrote her poetry in the kitchen of her home in Massachusetts and was cooking up a storm much of the time. She wrote poems on the wrappers of packages of chocolate that she had ordered for baking; and she wrote recipes in her notebooks of poems. Food and cooking were central to Emily’s identity and were woven into her vocation of writing poetry. The more than 50 recipes in this colorful and lavishly illustrated book include recipes that Emily recorded during her life, other recipes we know she and her family enjoyed, and recipes typical of the New England of her time. All are completely updated for today’s cooks. Throughout, you will also find inspiring poems by Emily, some about food specifically, others that provide poetic inspiration for the recipes in this volume. The recipes include: Winter Vegetable Soup Carrot Fritters Apple-Butter Glazed Doughnuts Boston Brown Bread Lemon Verbena Tea Loaf Emily’s Oval Gingerbread Cakes Chocolate Loaf Cake with Cherries New England Pear Tart Peaches and Cream Pudding Emily’s Chocolate Caramels This charming cookbook makes a perfect gift for the Emily fan in your life—or for yourself, if you happen to love Emily and the comforting foods of days gone by.

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Charles Dickens called his sister-in-law Georgina Hogarth his ‘best and truest friend’. Georgina saw Dickens as much more than a friend. They lived together for twenty-eight years, during which time their relationship constantly changed. The sister of his wife Catherine, the sharp and witty Georgina moved into the Dickens home aged fifteen. What began as a father–daughter relationship blossomed into a genuine rapport, but their easy relations were fractured when Dickens had a mid-life crisis and determined to rid himself of Catherine. Georgina’s refusal to leave Dickens and his desire for her to remain in his household led to rumours of an affair and even illegitimate children. He left her the equivalent of almost £1 million and all his personal papers in his will. Georgina’s commitment to Dickens was unwavering but it is far from clear what he did to deserve such loyalty. There were several occasions when he misused her in order to protect his public reputation.Why did Georgina betray her once much-loved sister? Why did she fall out with her family and risk her reputation in order to stay with Dickens? And why did the Dickenses’ daughter Katey say it was ‘the greatest mistake ever’ to invite a sister-in-law to live with a family?

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John Dickinson’s entry into public life in Delaware and Pennsylvania is a highlight of the ninety-eight documents written over four years printed in Volume Two of The Complete Writings and Selected Correspondence of John Dickinson. The volume opens with Dickinson’s legal notes as he established himself as one of the most prominent and learned lawyers in colonial British North America. His cases dealt with, among other issues, interpretation of wills, disputes over land, sailors suing for wages, a fine on a Quaker who refused military service, and a notorious murder in a prominent Philadelphia family. It concludes with Dickinson offering thoughtful advice to a young man who was considering the arduous work in becoming a lawyer. “I think,” he wrote, “those must be infinitely the most happy, whose fatigues are softend by a conscious Benevolence of mind wishing & endeavouring to [pro]mote the Happiness of others as well as their own.” Dickinson’s hard work on behalf of his clients brought him success in other areas of his public life. In October 1759, he was elected to his first public position as a representative for Kent County, Del., the following year he was elevated to the position of speaker, and in 1762, he became a representative for Philadelphia County, Pa. As a legislator in two colonies, learning his craft as a global war unfolded, he contributed to bills on military and defense, Indian relations, infrastructure improvements and city management, and served on various committees. The death of George II occasioned debates over laws and judges, in which Dickinson participated. This era concludes with Dickinson playing a central role in managing the unfolding Paxton Riots, in which frontiersmen massacred peaceful Indians and threatened the Quaker leadership of Pennsylvania. In private, Dickinson lost the two most prominent male figures in his life in 1760, his father, Samuel, and soon thereafter, his mentor, colleague, and friend, John Moland. In honor of Moland, Dickinson published a poem and became a proxy head to Moland’s large family. Though his extant correspondence during this period is small, he exchanged letters with Mary Cadwalader Dickinson, Israel Pemberton, William Allason, George Read, Thomas McKean, and others. Perhaps most significant, he wrote a lengthy, unpublished essay on the flag-of-truce trade and also maintained commonplace books as he considered his place within the British Empire, opening up the next phase in Dickinson’s life as a leader of the resistance against Britain. Published by the University of Delaware Press. Distributed worldwide by Rutgers University Press.

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The analysis of a selection of Emily Dickinson's texts confirms the notion that suffering occupies the principal position in the poet's work. Her poetry constitutes an example of a painful literary quest for subjectivity as well as an act of self-transcendence, which means that through her writing the poet obtained conscious control over her personal anguish. By using pain as a poetic strategy she transformed her private biography into a literary text. In this way she became a model for coping with suffering and using it for self-examination and self-development. In Emily Dickinson's poems suffering creates a new language and a new outlook on the self and the world. During the investigation of her poetic texts three dimensions of suffering as a poetic strategy have been distinguished: suffering as a theme, suffering as a subversive force affecting the language, and suffering as a form of poetic expression. The critical tool used for this analysis was the theory of Julia Kristeva, who emphasises these elements as crucial in the interpretation of literary texts. The healing power of Emily Dickinson's poetry lies in her presenting that suffering also has the positive, empowering side. By displaying an astounding autonomy and showing an alternative way of existence the poet demonstrated that fulfilment can be understood in a very broad sense. Her poetry constitutes evidence that the creative processes can be used as psychotherapy for both the creator and the recipient.

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In Dickinson’s Nerves, Frost’s Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems—“Ozymandias,” “On First Looking Into Chapman’s Homer,” “In a Station of the Metro,” “The Red Wheelbarrow,” “After great pain, a formal feeling comes,” and “Stopping by Woods on a Snowy Evening,” among others—Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney.In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan’s criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet’s daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet’s life and the shadow of the age.

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Uncover the stories from one of the greatest-novelists of all time in this beautiful anthology of tales from Charles Dickens, rewritten and adapted in an accessible way for children. This book introduces children to eight of Dickens’ greatest works, accompanied by beautiful, colourful illustrations which breathes new life into these timeless classics. Includes favourites such as Oliver Twist, A Christmas Carol, David Copperfield, and Great Expectations. A timeline at the back shows when each story was written, and gives facts about Dickens’ life. Revisit your favourite Dickens stories and introduce his legacy to next generation of readers with this beautiful first introduction to some of the greatest stories all time. Includes: Oliver Twist The Old Curiosity Shop David Copperfield Great Expectations Hard Times A Christmas Carol Nicholas Nickleby Tale of Two Cities The World Full of… series is a collection of beautiful hardback story treasuries. Discover folktales from all around the world or be introduced to some of the world’s best-loved writers with these stunning gift books, the perfection addition to any child’s library.Also available from the series: A Year Full of Stories, A World Full of Animal Stories, A Stage Full of Shakespeare Stories, A World Full of Spooky Stories, A Year Full of Celebrations and Festivals and A Bedtime Full of Stories.

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Thrilling full-cast radio dramatisations of three of Charles Dickens' classic novels. Charles Dickens is one of the most renowned novelists of all time, and this second volume of the dramatised canon of his work includes the gripping historical novel Barnaby Rudge, picaresque comedy Martin Chuzzlewit and bittersweet tale of family relationships Dombey and Son. Barnaby Rudge Against the background of the anti-Catholic riots of the 1780s, young Barnaby Rudge becomes entangled with the fanatical George Gordon and his campaign for 'No Popery'. But mob violence, the burning of Newgate Prison and the shadow of murder put his life in danger... Martin Chuzzlewit Disinherited by his wealthy grandfather because of his love for the beautiful Mary, Martin Chuzzlewit sets sail for America to seek his fortune. Dombey and Son Wealthy Paul Dombey is desperate for a male heir to continue the family business, and neglects his six-year-old daughter Florence. Then, at last, the longed-for son is born – but Dombey's hopes for him go unfulfilled... With a star cast including Simon Cadell, Bill Nighy, Alex Jennings, Robert Glenister, Geraldine James and Pam Ferris, these BBC radio adaptations bring out all the suspense, adventure, satire and social realism of Dickens' three classic masterpieces. Duration: 19 hours approx.

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In the Company of Strangers shows how a reconception of family and kinship underlies the revolutionary experiments of the modernist novel. While stories of marriage and long-lost relatives were a mainstay of classic Victorian fiction, Barry McCrea suggests that rival countercurrents within these family plots set the stage for the formal innovations of Joyce and Proust. Tracing the challenges to the family plot mounted by figures such as Fagin, Sherlock Holmes, Leopold Bloom, and Charles Swann, McCrea tells the story of how bonds generated by chance encounters between strangers come to take over the role of organizing narrative time and give shape to fictional worlds-a task and power that was once the preserve of the genealogical family. By investigating how the question of family is a hidden key to modernist structure and style, In the Company of Strangers explores the formal narrative potential of queerness and in doing so rewrites the history of the modern novel.

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On 3 August 1845, Emily Dickinson declared, “All things are ready”—and with this, her life as a poet began. Despite spending her days almost entirely “at home”, Dickinson’s interior world was extraordinary. She loved passionately, was ambivalent towards publication, embraced seclusion and created 1,789 poems that she tucked into a dresser drawer. Martha Ackmann unravels the mysteries of Dickinson’s life through ten decisive episodes that distil her evolution as a poet. She follows Dickinson through her religious crisis while a student, her decision to ask a famous editor for advice, her letters to an unidentified “Master”, her frenzy of composition and her terror in confronting blindness. These ten days provide new insights into Dickinson’s wildly original poetry and render a concise and vivid portrait of this enigmatic figure.

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Secular Lyric interrogates the distinctively individual ways that Poe, Whitman, and Dickinson transformed classical, romantic, and early modern forms of lyric expression to address the developing conditions of Western modernity, especially the heterogeneity of believers and beliefs in an increasingly secular society. Analyzing historically and formally how these poets inscribed the pressures of the modern crowd in the text of their poems, John Michael shows how the masses appear in these poets’ work as potential readers to be courted and resisted, often at the same time. Unlike their more conventional contemporaries, Poe, Whitman, and Dickinson resist advising, sermonizing or consoling their audiences. They resist most familiar senses of meaning as well. For them, the processes of signification in print rather than the communication of truths become central to poetry, which in turn becomes a characteristic of modern verse in the Western world. Poe, Whitman, and Dickinson, in idiosyncratic but related ways, each disrupt conventional expectations while foregrounding language’s material density, thereby revealing both the potential and the limitations of art in the modern age.

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In Dickinson’s Nerves, Frost’s Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems—“Ozymandias,” “On First Looking Into Chapman’s Homer,” “In a Station of the Metro,” “The Red Wheelbarrow,” “After great pain, a formal feeling comes,” and “Stopping by Woods on a Snowy Evening,” among others—Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney.In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan’s criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet’s daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet’s life and the shadow of the age.

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Secular Lyric interrogates the distinctively individual ways that Poe, Whitman, and Dickinson transformed classical, romantic, and early modern forms of lyric expression to address the developing conditions of Western modernity, especially the heterogeneity of believers and beliefs in an increasingly secular society. Analyzing historically and formally how these poets inscribed the pressures of the modern crowd in the text of their poems, John Michael shows how the masses appear in these poets’ work as potential readers to be courted and resisted, often at the same time. Unlike their more conventional contemporaries, Poe, Whitman, and Dickinson resist advising, sermonizing or consoling their audiences. They resist most familiar senses of meaning as well. For them, the processes of signification in print rather than the communication of truths become central to poetry, which in turn becomes a characteristic of modern verse in the Western world. Poe, Whitman, and Dickinson, in idiosyncratic but related ways, each disrupt conventional expectations while foregrounding language’s material density, thereby revealing both the potential and the limitations of art in the modern age.

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From the 1940s to the 1980s, some of the best resi-dences in Northern California were decorated by a coterie of designers whose names were once recognized only by the cognoscenti of interior design. From Frances Elkins and Tony Hail, with their aristocratic aesthetics, to Michael Taylor and John Dickinson, with their bold fantasies, these designers created revolutionary settings that were idiomatic of their time and place fresh, luxurious spaces complementing the various terrains and lifestyles of the northern part of the state. Fred Lyon (b. 1924) is perhaps the only photographer who knew and documented the work of this talented group. Akin to what Julius Shulman was doing in Southern California, Lyon worked closely with the designers and magazine editors to help shape the look for posterity. In the years following the work of these giants, most of the spaces they created are gone or vastly changed, replaced by different tastes and new styles. Now re-appreciated for their artistry, we can relive this exciting era through Lyon s superb photography.

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Bauhaus artist Friedl Dicker-Brandeis The work of Friedl Dicker-Brandeis (1898–1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism. Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna’s Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee. This book explores the heterogeneity of Dicker’s work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna. Portrait of her work and collection catalog, dedicated to the artist, designer, and architect Friedl Dicker-Brandeis Essays by Julie M. Johnson, Robin Rehm, Daniela Stöppel, and others To accompany an exhibition in Vienna and Zurich; awarded as one of the most beautiful books in Austria in 2022

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Bauhaus artist Friedl Dicker-Brandeis The work of Friedl Dicker-Brandeis (1898–1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism. Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna’s Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee. This book explores the heterogeneity of Dicker’s work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna. Portrait of her work and collection catalog, dedicated to the artist, designer, and architect Friedl Dicker-Brandeis Essays by Julie M. Johnson, Robin Rehm, Daniela Stöppel, and others To accompany an exhibition in Vienna and Zurich; awarded as one of the most beautiful books in Austria in 2022

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Charles Dickens was a phenomenon: a demonicly hardworking journalist, the father of ten children, a tireless walker and traveller, a supporter of liberal social causes, but most of all a great novelist - the creator of characters who live immortally in the English imagination: the Artful Dodger, Mr Pickwick, Pip, David Copperfield, Little Nell, Lady Dedlock and many more. At the age of twelve he was sent to work in a blacking factory by his affectionate but feckless parents. From these unpromising beginnings, he rose to scale all the social and literary heights, entirely through his own efforts. When he died, the world mourned, and he was buried - against his wishes - in Westminster Abbey. Yet the brilliance concealed a divided character: a republican, he disliked America; sentimental about the family in his writings, he took up passionately with a young actress; usually generous, he cut off his impecunious children. This pictorial history will shed a new and alternative light on this literary giant.

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The doctrine of the pactum salutis (covenant of redemption) offers the idea of a covenant between the very persons of the Trinity for the redemption of humanity. The doctrine received most of its attention in seventeenth-century Reformed theology, and has been criticized and almost totally forgotten in dogmatics since the eighteenth century. Most recent Reformed dogmatics tend to ignore the doctrine or disparage it from biblical, trinitarian, christological, pneumatological, and soteriological perspectives-namely, the doctrine lacks scriptural basis; it is tritheistic; it leads to subordination of the Son; it omits the role of the Holy Spirit; and it applies a deterministic idea for the Christian life. The theologies of Witsius, Owen, Dickson, Goodwin, and Cocceius portray a very robust form of the doctrine. Witsius argues with the help of a peculiar methodology of cross-referencing and collation of related scriptural texts that the doctrine is firmly based on biblical exegesis that was passed on from the patristic era. The doctrine formulated by Owen endorses the doctrines of inseparable operations and terminus operationis so as to give deep insight into the Trinity. In Dickson's doctrine, the Son's voluntary consent and obedience to the will of the Father are highly emphasized. Likewise, Goodwin's depiction of the Holy Spirit secures the divinity of the Spirit as well as his indispensable role for the transaction and accomplishment of the pactum. The doctrine in the theology of Cocceius sheds much light on the vibrant dynamic of the Christian life in accordance with the ordo salutis. The doctrine of the pactum salutis of the five Reformed theologians clearly shows that the doctrine is both promised and promising for theology and the life of faith.

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What could possibly go wrong when three intrepid mice decide to go into business repairing cars? Find out in this colorful, hilarious storybook that boys and girls will want to read again and again.Hickory, Dickory, and Doc are three brothers who just happen to be mice. They decide to go into business making clocks and launch Hickory Dickory Doc Clock Car Repair!It was a brilliant plan! Hickory was a good salesperson, so he would get them, customers. Dickory was good at repairing things, so he would be the head mechanic. Doc would be great at ordering the parts the cars would need.What could go wrong? As it turns out, a lot if you don't read all the automobile repair books. They fixed one car but when the owner tried to turn left, the windshield wipers went on. Another drive tried to turn right and the lights went on. Hickory, Dickory, and Doc had only one choice. They called Uncle Albe, an experienced mechanic to fix the cars and save the day. In the end, lessons are learned, neighbors are friends, and The Hickory Dickory Dock Clock Factory Limited is a great success. If you've heard of Mickey Mouse and the Three Blind Mice, you'll love the story of these three adventurous, adorable brothers: Hickory, Dickory, and Doc!Also available: Hickory Dickory Doc This Isn't My House! and Hickory Dickory & Doc This Isn't My House.

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INTRODUCED BY LISSA EVANS'I envy anyone yet to discover the joy of Monica Dickens. She's beady eyed, big hearted and blissfully funny' NINA STIBBE 'Wherever her eye falls, it finds the exact, significant detail, and her ear for dialogue is unerring' OBSERVER 'Monica's naked curiosity and general bolshiness are easy to identify with' LISSA EVANS Poppy, newly recruited cub reporter at the Downingham Post, is determined to prove to the editor that he's wrong in his belief that 'Women are a nuisance in the office'. He certainly doesn't think she's a nuisance when it's time for the tea round - a job which never fails to fall to the only female reporter.What Poppy lacks in experience, she makes up for in spirit and ambition. She'll make the Downingham Post the best regional newspaper there is - even if she occasionally gets the names wrong in court hearings. Life for a single professional woman in the post-war years certainly has its challenges - from finding a room, when the tyrannical landlady doesn't consider Poppy to be quite respectable to changing her editor's deeply entrenched ways. This semi-autobiographical novel, recounted with Monica Dickens's wit, warmth and wry observation will charm all who read it.If you enjoyed My Turn to Make the Tea, you will love One Pair of Feet, Dickens's novel of being a wartime trainee nurse, also published in Virago Modern Classics.

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