Search results for ""t. s. eliot""

‘An extraordinary book of real passionate research’ Edmund de WaalIn 1945, Ezra Pound was due to stand trial for treason for his broadcasts in Fascist Italy during the Second World War. But before the trial could take place Pound was pronounced insane. Escaping a potential death sentence he was shipped off to St Elizabeths Hospital near Washington, DC, where he was held for over a decade. At the hospital, Pound was at his most contradictory and most controversial: a genius writer – ‘The most important living poet in the English language’ according to T. S. Eliot – but also a traitor and now, seemingly, a madman. But he remained a magnetic figure. Eliot, Elizabeth Bishop, Robert Lowell and John Berryman all went to visit him at what was perhaps the world’s most unorthodox literary salon: convened by a fascist and held in a lunatic asylum. Told through the eyes of his illustrious visitors, The Bughouse captures the essence of Pound – the artistic flair, the profound human flaws – whilst telling the grand story of politics and art in the twentieth century.

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Qué lleva a un hombre, durante más de cincuenta años, a levantarse muy temprano (entre las cuatro y las cinco de la mañana) y a escribir durante unas tres o cuatro horas acerca de los temas más diversos? Al alba, un hombre piensa, escribe, dibuja. Las anotaciones critican, proponen, impugnan. Y, alguna vez, celebran. Lo que lleva a Paul Valéry a una práctica tal de la escritura es una pertinaz, obsesiva voluntad de conocimiento. Cada día, 'entre la lámpara y el sol', Valéry parecía responder a la pregunta tal vez más esencial de todas las que se formuló: 'Qué puede un hombre?' El admirable 'diario intelectual' que conforman los Cuadernos es, en efecto, una larga respuesta a esa pregunta. No en vano confesó T. S. Eliot que Valéry era la personalidad intelectual de su época que más le interesaba. Y no en vano afirmó Octavio Paz: 'Encuentro que el verdadero gran filósofo francés de nuestra época no es Sartre: es Valéry, como lo revela, sobre todo, la publicación póstuma de los Cahiers'. A

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Por la construcción de su trama y la vivacidad de su prosa, la considero verdaderamente una obra de máxima categoría, que coloca a J. J. Connington en la primera fila de los escritores de novela detectivesca.T. S. ELIOTLa finca de Whistlefield es famosa no solo por su belleza, sino también por el laberinto vegetal que diseñaron sus primeros propietarios. El recorrido, delimitado por altos setos que se entrecruzan en caminos sin salida o que regresan al punto de partida, conduce a dos centros distintos en los que un cómodo banco recompensa a quienes logran alcanzar la meta. Y es allí donde, en una calurosa tarde de verano, aparecen los cuerpos sin vida de Roger Shandon el dueño de la heredad y de Neville su hermano gemelo y conocido abogado, ambos asesinados con la misma arma: un dardo impregnado de curare. Dado que todos los miembros de la familia, los únicos capaces de orientarse en el laberinto, parecen tener una sólida coartada, serán necesarias una mirada aguda y una inquebr

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‘Ackroyd makes history accessible to the layman’ – Ian Thomson, Independent Innovation brings Peter Ackroyd’s History of England to a triumphant close. In it, Ackroyd takes readers from the end of the Boer War and the accession of Edward VII to the end of the twentieth century, when his great-granddaughter Elizabeth II had been on the throne for almost five decades. A century of enormous change, encompassing two world wars, four monarchs (Edward VII, George V, George VI and the Queen), the decline of the aristocracy and the rise of the Labour Party, women’s suffrage, the birth of the NHS, the march of suburbia and the clearance of the slums. It was a period that saw the work of the Bloomsbury Group and T. S. Eliot, of Kingsley Amis and Philip Larkin, of the end of the post-war slump to the technicolour explosion of the 1960s, to free love and punk rock and from Thatcher to Blair. A vividly readable, richly peopled tour de force, it is Peter Ackroyd writing at his considerable best.

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Following the success of her T. S. Eliot Prize-nominated Over and award-winning translation of the medieval Pearl, Jane Draycott returns with her fourth collection of poems, The Occupant. With a rhythmic subtlety and metrical poise that have become hallmarks of her verse, Draycott hints at the existence of a world of dreamlike clarity underneath our own. In the National Gallery a gardener cuts away the flower from a still-life canvas to replant in his own garden; in an abandoned sanatorium a grand piano dreams of the voices and music of days past, 'rose-spotted paintwork peeling softly, half-moon fanlights rising, sinking'. At the heart of these imagined scenes the long title poem, 'The Occupant', draws on scenes proposed but left unwritten in Martinus Nijhoff's Awater. In the stifling summer air, Draycott's occupant trawls the streets of an unnamed city whose 'dead lanes keep their silence', where 'the frail expire and pale dogs whimper', as its police post notices: 'Missing: Have you seen this wind?'

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“An enjoyable account of a lifelong involvement with literature.”—John Vukmirovich, Times Literary Supplement This “little history” takes on a very big subject: the glorious span of literature from Greek myth to graphic novels, from The Epic of Gilgamesh to Harry Potter. Beloved author, John Sutherland, who has researched, taught, and written on virtually every area of literature, guides both young readers and the adults in their lives on an entertaining journey “through the wardrobe” to show how literature from across the world can transport us and help us to make sense of what it means to be human. Along the way he introduces us to a wide range of works, enlivening his offerings with humor as well as learning—from Beowulf and Shakespeare to T. S. Eliot and George Orwell, and from the rude jests of Anglo-Saxon runes to The Da Vinci Code. For younger readers, Sutherland offers a proper introduction to literature, promising to interest as much as instruct. For more experienced readers, he promises just the same.

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Shortlisted for the 2017 T. S. Eliot PrizeLonglisted for the 2019 Portico PrizePBS Autumn RecommendationMancunia is both a real and an unreal city. In part, it is rooted in Manchester, but it is an imagined city too, a fallen utopia viewed from formal tracks, as from the train in the background of De Chirico’s paintings. In these poems we encounter a Victorian diorama, a bar where a merchant mariner has a story he must tell, a chimeric creature – Miss Molasses – emerging from the old docks. There are poems in honour of Mancunia’s bureaucrats: the Master of the Lighting of Small Objects, the Superintendent of Public Spectacles, the Co-ordinator of Misreadings. Metaphysical and lyrical, the poems in Michael Symmons Roberts’ seventh collection are concerned with why and how we ascribe value, where it resides and how it survives. Mancunia is – like More’s Utopia – both a no-place and an attempt at the good-place. It is occupied, liberated, abandoned and rebuilt. Capacious, disturbing and shape-shifting, these are poems for our changing times.

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Lush Diodorus sets the lads on fire, But now another has him in his net - Timarion, the boy with wanton eyes . . . Meleager, AP 12.109 Encompassing four thousand short poems and more, the ramshackle classic we call the Greek Anthology gathers up a millennium of snapshots from ancient daily life. Its influence echoes not merely in the classic tradition of the English epigram (Pope, Dryden) but in Rudyard Kipling, Ezra Pound, Virgina Woolf, T. S. Eliot, H.D., and the poets of the First World War. Its variety is almost infinite. Victorious armies, ruined cities, and Olympic champions share space with lovers' quarrels and laments for the untimely dead - but also with jokes and riddles, art appreciation, potted biographies of authors, and scenes from country life and the workplace. This selection of more than 600 epigrams in verse is the first major translation from the Greek Anthology in nearly a century. Each of the Anthology's books of epigrams is represented here, in manuscript order, and with extensive notes on the history and myth that lie behind them.

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Renowned as one of the world’s greatest poems, The Waste Land has been said to describe the moral decay of a world after war and the search for meaning in a meaningless era. It has been labeled the most truthful poem of its time; it has been branded a masterful fake. A century after its publication in 1922, T. S. Eliot’s enigmatic masterpiece remains one of the most influential works ever written, and yet one of the most mysterious. In a remarkable feat of biography, Matthew Hollis reconstructs the intellectual creation of the poem and brings the material reality of its charged times vividly to life. Presenting a mosaic of historical fragments, diaries, dynamic literary criticism, and illuminating new research, he reveals the cultural and personal trauma that forged The Waste Land through the lives of its protagonists—of Ezra Pound, who edited it; of Vivien Eliot, who sustained it; and of T. S. Eliot himself, whose private torment is woven into the seams of the work. The result is an unforgettable story of lives passing in opposing directions and the astounding literary legacy they would leave behind.

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While having fun with Washing Lines: A collection of poems, Barbara and Janie discovered they have many other things in common, including an interest in all things precious, semi-precious and sparkly. This is a book of poems inspired by that sparkle and the specialness of jewels and jewellery, and the emotions they arouse and represent. Jewellery means many things and doesn't have to be precious. A ring is the sign of eternal love, a string of pearls could be a string of memories and moments. It is a collection of over 50 poems ranging from an engraving on a 17th century watchcase, through nursery rhymes to contemporary poets such as T S Eliot, Gillian Clarke, Carol Ann Duffy, James Fenton, Helen Dunmore and Kathleen Jamie. There are also more than a dozen black and white illustrations as diverse as a wood engraving by Harry Brockway, a 15th century engraved manuscript and Alice Patullo's Pearly King and Queen. Every culture since time immemorial has understood the importance of jewellery, whether plain or precious, so this book will not only appeal to poetry lovers but also to anyone who has ever treasured a piece of jewellery for whatever reason.

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A lyrical excavation of trauma and healing in the midst of early motherhood - the debut work of an endlessly inventive poet whose work 'fizzes with energy, physicality, and the levitating openness of song' (Rebecca Tamás) **Selected as a book of the year by the Financial Times and Telegraph** 'An essential read, poignant, powerful and provocative. I love the feeling in Amy Acre's poems' Salena Godden Amy Acre’s debut collection is an unforgettable, unflinching excavation of motherhood, what it means to be a female artist, and what it means to be a poet with a deeply integrated community. This is a timeless work the like of which we haven’t seen enough of in the past, primed to last long into the future. 'Amy Acre is one of the best poets of her generation. Pure cinema, raw heart, and unparalleled technique. Read this' Joelle Taylor, winner of the 2021 T S Eliot Prize for Poetry 'Mothers, daughters, lovers, all the thrilling complexity of love and grief that the body must bear; these are poems which set the page aglow and make my heart spin' Liz Berry, winner of the 2018 Forward Prize for Poetry

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Modernist writers, critics, and artists sparked a fresh and distinctive interpretation of Shakespeare's plays which has proved remarkably tenacious, as Richard Halpern explains in this lively and provocative book. The preoccupations of such high modernists as T. S. Eliot, Wyndham Lewis, and James Joyce set the tone for the critical reception of Shakespeare in the twentieth century. Halpern contends their habits of thought continue to dominate postmodern schools of criticism that claim to have broken with the modernist legacy. Halpern addresses such topics as imperialism and modernism's cult of the primitive, the rise of mass culture, modernist anti-semitism, and the aesthetic of the machine. His discussion considers figures as diverse as Orson Welles and Arnold Schwarzenegger, and Shakespeare critics including Northrop Frye, Cleanth Brooks, Stephen Greenblatt, and Stanley Cavell. Shakespeare's works have been subjected to a continuing process of historical reinterpretation in which every new era has imposed its own cultural and ideological presuppositions on the plays. The most enduring contribution of modernism, Halpern suggests, has been the juxtaposition of an awareness of historical distance and a mapping of Shakespeare's plays onto the present. Using modernist themes and approaches, he constructs new readings of four Shakespeare plays.

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The works of Virgil (70–19 BCE) define the ‘golden age’ of Latin poetry and have inspired a long tradition of interpretation and adaptation that starts in his own time and extends to important modern authors. His ascent from the lesser genre of pastoral (the Bucolics) through a more ambitious didactic mode (the Georgics) to the soaring heights of epic (the incomparable Aeneid) shaped the canonical writings of other authors, from his younger contemporary Ovid through the medieval writers Dante and Petrarch to the early modern poets Spenser and Milton and well beyond. Virgil, as Alison Keith shows, has never gone out of critical or popular fashion. This wide-ranging introduction appraises a figure of central importance in the history of Western music, art and literature. Offering close readings of the Bucolics, Georgics and Aeneid, Keith places Virgil and his poetry in historical context before tracing their impact at key moments in the culture of the West. Emphasis is placed on Virgil’s reception of the classical literary and philosophical traditions, and on how his poetry has attracted modern interest from writers as diverse as T. S. Eliot and Ursula K. Le Guin.

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“Old Poets is an indispensable jewel.” —Washington Post“An astonishing array of encounters...Hall’s observations are shrewd and generous.” —Boston Globe Intimate portraits of great poets in old age, giving new insight into their work and their lives, and context to the often flawless art created by flawed human beings. The best of themselves endure, and the old poets’ existence and endurance gives readers courage to pursue their own vision. Donald Hall (Essays After Eighty and A Carnival of Losses: Notes Nearing Ninety) knew a great deal about work, about poetry, and about age. Each of those things come together in this unique collection. We hear about Robert Frost as Hall knew him: vain and cruel, a man possessed by guilt. But, as Hall writes, “The poet who survives is the poet to celebrate; the human being who confronts darkness and defeats it is the one to admire. For all his vanity, Robert Frost is admirable: He looked into his desert places, confronted his desire to enter the oblivion of the snowy woods, and drove on.”Hall’s essays are once both intimate portraits and learned treatises. He takes us on a pub crawl through the Welsh countryside with the word-mad Dylan Thomas; to the Faber & Faber office of T. S. Eliot, who had discovered more happiness in age than in youth; to a reading where Robert Frost’s public persona hid the truth; to Brooklyn for lunch with the enigmatic Marianne Moore; and to Italy and for a visit with the notorious Ezra Pound. By the time Hall met them, each poet was, he observed, “old enough to have detached from ongoing poetry, to feel alien to the ambitions of the grandchildren.”Also included are portraits of the poets who taught Hall as a writer: the unfailingly kind Archibald MacLeish and Yvor Winters, from whom he learned the most about poetry. Along the way are observations about many other poets and the literary cultures that sustained them.Contents include: “Vanity, Fame, Love, and Robert Frost,” “Dylan Thomas and Public Suicide,” “Notes on T. S. Eliot,” “Rocks and Whirlpools: Archibald MacLeish and Yvor Winters,” “Marianne Moore: Valiant and Alien,” and “Fragments of Ezra Pound.”For lovers of literature, this is a gorgeous remembrance and likely to compel an immediate visit to the poetry section of the nearest bookstore—as Hall writes, “Their presences have been emblems in my life, and I remember these poets as if I kept them carved in stone.”

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Now available again, this enchanting collection of 50 great poems continues to inspire with pleasure and wonder—a perfect gift.When a group of fifth-grade students asked fifty celebrities what their favorite poem was and why, the answers they received became a beautiful collection of some the world’s most beloved poems, from classic to modern, that continues to offer inspiration, solace, wisdom, and amusement. Each poem is accompanied by the celebrity’s brief letter explaining why they chose it and its resonance for them.Among the celebrities are Yo-Yo Ma, Joyce Carol Oates, Stephen Sondheim, Allen Ginsberg, Angela Lansbury, Kurt Vonnegut, Harolyn Blackwell, Isabella Rossellini, Bill Irwin, E. L. Doctorow, David Mamet, Elie Wiesel, Ally Sheedy, Ved Mehta, Tom Wolfe, David Dinkins, and Susan Minot. The poets include Emily Dickinson, Langston Hughes, Robert Frost, T. S. Eliot, Alice Walker, Mary Oliver, Frank O’Hara, Walt Whitman, William Carlos Williams, W. B. Yeats. and John Keats—not to mention Noel Coward and a ditty by David Mamet himself! Anna Quindlen and verse from Pulitzer Prize–winner Yusef Komunyakaa provide a thoughtful introduction.Royalties from this collection have been donated to charity since its original publication.

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Conversations with Donald Hall offers a unique glimpse into the creative process of a major American poet, writer, editor, anthologist, and teacher. The volume probes in depth Hall's evolving views on poetry, poets, and the creative process over a period of more than sixty years. Donald Hall (1928-2018) reveals vivid, funny, and moving anecdotes about T. S. Eliot, Ezra Pound, and the sculptor Henry Moore; he talks about his excitement on his return to New Hampshire and the joys of his marriage with Jane Kenyon; and he candidly discusses his loss and grief when Kenyon died in 1995 at the age of forty-seven. The thirteen interviews range from a detailed exploration of the composition of ""Ox Cart Man"" to the poems that make up Without, an almost unbearable poetry of grief that was written following Jane Kenyon's death. The book also follows Hall into old age, when he turned to essay writing and the reflections on aging that make up Essays after Eighty. This moving and insightful collection of interviews is crucial for anyone interested in poetry and the creative process, the techniques and achievements of modern American poetry, and the elusive psychology of creativity and loss.

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Louis MacNeice is increasingly recognised as one of the greatest poets of the twentieth century, and his work has been a defining influence upon a generation of Irish poets that includes Derek Mahon, Michael Longley and Paul Muldoon.The Selected Letters is indispensable as a resource for an understanding of the intellectual culture of the mid-twentieth century. A Classics don, poet, playwright and globetrotting BBC producer, the medley and blend of MacNeice's cultural influences seems exemplary in its modernity. He kept up a significant correspondence with E. R. Dodds, Anthony Blunt and T. S. Eliot, to name but three prominent figures of the time.During his time at the BBC MacNeice witnessed many key events, including the partition of India in 1947 and the independence of the Gold Coast from Britain in 1957, and these are recorded in two long sequences to his wife, the singer Hedli Anderson.His complex relationship to Ireland and to his Irish heritages speak resonantly to contemporary debates about Irish and Northern Irish cultural identity. Finally, the Letters will do much to broaden our understanding of a vivid and often enigmatic personality whose varied life and individual charisma have often resisted explanation.

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Ernest Hemingway never wished to be widely known as a poet. He concentrated on writing short stories and novels, for which he won the Nobel Prize in 1956. But his poetry deserves close attention, if only because it is so revealing. Through verse he expressed anger and disgust t Dorothy Parker and Edmund Wilson, among others. He parodied the poems and sensibilities of Rudyard Kipling, Joyce Kilmer, Robert Graves, Robert Louis Stevenson, and Gertrude Stein. He recast parts of poems by the likes of Ezra Pound and T. S. Eliot, giving them his own twist. And he invested these poems with the preoccupations of his novels: sex and desire, battle and aftermath, cats, gin, and bullfights. Nowhere is his delight in drubbing snobs and overrefined writers more apparent.In this revised edition of the Complete Poems, the editor, Nicholas Gerogiannis, offers here an afterword assessing the influence of the collection, first published in 1979, and an updated bibliography. Readers will be particularly interested in the addition of ""Critical Intelligence,"" a poem written soon after Hemingway's divorce from his first wife in 1927. Also available as a Bison Book: Hemingway's Quarrel with Androgyny by Mark Spilka.

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Renowned as one of the world’s greatest poems, The Waste Land has been said to describe the moral decay of a world after war and the search for meaning in a meaningless era. It has been labeled the most truthful poem of its time; it has been branded a masterful fake. A century after its publication in 1922, T. S. Eliot’s enigmatic masterpiece remains one of the most influential works ever written, and yet one of the most mysterious. In a remarkable feat of biography, Matthew Hollis reconstructs the intellectual creation of the poem and brings the material reality of its charged times vividly to life. Presenting a mosaic of historical fragments, diaries, dynamic literary criticism, and illuminating new research, he reveals the cultural and personal trauma that forged The Waste Land through the lives of its protagonists—of Ezra Pound, who edited it; of Vivien Eliot, who sustained it; and of T. S. Eliot himself, whose private torment is woven into the seams of the work. The result is an unforgettable story of lives passing in opposing directions and the astounding literary legacy they would leave behind.

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From William Faulkner's famous reply, 'The writer's only responsibility is to his art,' to James Salter's confession 'What is the ultimate impulse to write? Because all this is going to vanish', the Paris Review has elicited many of the most arresting, illuminating, and revealing discussions of life and craft from the greatest writers of our age. Under its original editor, George Plimpton, the Paris Review is credited with inventing the modern literary interview, and more than half a century later the magazine remains the master of the form. By turns intimate, instructive, gossipy, curmudgeonly, elegant, hilarious, cunning, and consoling, the Paris Review interviews have come to be celebrated as classic literary works in their own right. Now, from the treasure trove of the archives, Paris Review editor Philip Gourevitch has selected twenty of the most essential interviews for the first of a four volume set. The authors are: Dorothy Parker, Truman Capote, Ernest Hemingway, T. S. Eliot, Saul Bellow, Jorge Luis Borges, Kurt Vonnegut, James M. Cain, Rebecca West, Elizabeth Bishop, Robert Stone, Robert Gottlieb, Richard Price, Billy Wilder, Jack Gilbert and Joan Didion.

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Elizabeth Stone, a respected academic, has a new lease on life. In remission from cancer, she returns to the city where she was a student over thirty years ago to investigate some little-known papers by T. S. Eliot, which she believes contain the seeds of her masterpiece; a masterpiece that centres on a poem given to her when she was eighteen by the elusive Professor Hunt...But as the days pass in the city she loves and her friendship with Professor Hunt is rekindled, her memories return her to a time shadowed by loneliness, longing and quiet despair, and to an undeclared but overwhelming love. Paralysed by the fear of writing something worthless, haunted by a sense of waste, Elizabeth Stone comes to realise she is facing the biggest test of her life.As in her acclaimed debut The Land of Decoration, Grace McCleen gives an intense evocation of place, an unflinching portrayal of a character by turns comic, absurd, and disturbing, and a powerful sense of the transcendent within the ordinary. Profound and hypnotic, The Professor of Poetry devastates even as it exhilarates and echoes long after it has been closed.

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Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

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Daniel Albright was one of the preeminent scholars of musical and literary modernism, leaving behind a rich body of work before his untimely passing. In Music’s Monisms, he shows how musical and literary phenomena alike can be fruitfully investigated through the lens of monism, a philosophical conviction that does away with the binary structures we use to make sense of reality. Albright shows that despite music’s many binaries—diatonic vs. chromatic, major vs. minor, tonal vs. atonal—there is always a larger system at work that aims to reconcile tension and resolve conflict. Albright identifies a “radical monism” in the work of modernist poets such as T. S. Eliot and musical works by Wagner, Debussy, Britten, Schoenberg, and Stravinsky. Radical monism insists on the interchangeability, even the sameness, of the basic dichotomies that govern our thinking and modes of organizing the universe. Through a series of close readings of musical and literary works, Albright advances powerful philosophical arguments that not only shed light on these specific figures but also on aesthetic experience in general. Music’s Monisms is a revelatory work by one of modernist studies’ most distinguished figures.

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Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America.In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

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Walking is one of the simplest things we do as humans. It’s how most of us experience life. In The Way Under Our Feet, Graham Usher conveys how exhilarating it is to walk into the depths of our humanity. We become more ready to recognize the needs as well as the joys of others; we sift our thoughts; we seek to heal our battered world, even as we glory in the beauty of nature; we find ourselves companying with our three mile an hour God. ‘This is a lovely book, full of light, grace and meaning. Usher celebrates his passion for walking by exploring religious texts and stories, but this by no means confines his thoughts. We are drawn by secular texts, too: Macfarlane sits alongside Kierkegaard; Thoreau and Walden alongside T. S. Eliot. Through them all, we learn why walking is so unspeakably good for heart, soul and body.’ DAME FIONA REYNOLDS, MASTER OF EMMANUEL COLLEGE, CAMBRIDGE, AUTHOR OF THE FIGHT FOR BEAUTY ‘Wonderful. Offers highly original and striking observations combined with apposite, moving and often humorous personal anecdotes. A classic, catching a genuine and humble holiness.’ BISHOP DAVID WILBOURNE

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** Chosen as a New Statesman, Financial Times, Observer and Sunday Times Book of the Year **A riveting account of the making of T. S. Eliot's celebrated poem The Waste Land on its centenary.'A rattling good story' Sunday Telegraph'A work of art' Times Literary SupplementThe Waste Land has been called the 'World's Greatest Poem'. It has been labelled the most truthful poem of its time; it has been branded a masterful fake. More than a century after its publication in 1922, T. S. Eliot's enigmatic masterpiece remains one of the most influential works ever written.In a remarkable feat of biography, Matthew Hollis reconstructs the creation of the poem and brings the material reality of its charged times vividly to life. He reveals the cultural and personal trauma that forged The Waste Land through the lives of its protagonists - Ezra Pound, who edited it; Vivien Eliot, who sustained it; and T. S. Eliot himself, whose private torment is woven into the seams of the work. The result is an unforgettable story of lives passing in opposing directions and the astounding literary legacy they would leave behind.

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"Characters" are those fictive beings in novels whose coherent patterns of behavior make them credible as people. "Character" is also used to refer to the capacity—or incapacity—of individuals to sustain core principles. When characters are inconsistent, they risk coming across as dangerous or immoral, not to mention unconvincing. But what is behind our culture's esteem for unwavering consistency? Out of Character examines literary characters who defy our culture's models of personal integrity. It argues that modernist writers Henry James, Gertrude Stein, and T. S. Eliot drew inspiration from vitalism as a way of reinventing the means of depicting people in fiction and poetry. Rather than regarding a rigid character as something that inoculates us against the shifting tides of circumstance, these writers insist on the ethical necessity of forming improvisational, dynamic social relationships. Charting the literary impact of William James, Charles Darwin, Friedrich Nietzsche, and, in particular, Henri Bergson, this book contends that vitalist understandings of psychology, affect, and perception led to new situational and relational definitions of selfhood. As Moses demonstrates, the modernists stirred by these vital life lessons give us a sense of what psychic life looks like at its most intricate, complex, and unpredictable.

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Shortlisted for the T. S. Eliot Prize for Poetry The Noise of a Fly is the first collection from Douglas Dunn in sixteen years, and the first since he was awarded the Queen's Gold Medal for Poetry in 2013. It is a book brimming with warmth, mischief and a self-deprecating humour, as well as with a charming, 'Larkinesque' crankiness: a quarrel with ageing, an impatience with youth, the grievousness of losing friends and colleagues. But for all its intimate, hearthside rumination, this is a volume of poems that looks outward in equal measure: at Scottish independence, British politics and an international refugee crisis, and reflects unflinchingly on what it is to consider oneself a contributor to society. Penned with a dexterous wit and a steady nerve, The Noise of a Fly is a mesmeric imagining of our later years by one of this country's most senior and celebrated writers.'It is hard to think of many poets who can equal his combination of imaginative ambition, formal resource and range of tone . . . Written on these terms, poetry is a matter of permanent urgency.' Sean O'Brien'The most respected Scottish poet of his generation.' Nicholas Wroe

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Book of Days is a long poem recounting a journey along the popular pilgrimage route, or 'Camino' to Santiago de Compostela in northern Spain. Animated by song and conversation, the poem is filled with the stories of those encountered along the way, combining a multi-voiced soundscape with vivid verbal sketches of landscape and architecture. The possibilities and contradictions of a twenty-first-century pilgrimage are revealed: inevitably informed by tourism and technology, yet offering new kinds of fellowship and connection in an age of individualism and rootlessness. Book of Days can be read as a travel memoir, a meditation on community and solitude, on friendship and sisterhood, and on spirituality. What pilgrims seek on setting out and what they discover as they go prove to be complementary. Phoebe Power's debut collection, Shrines of Upper Austria (Carcanet, 2018), a Poetry Book Society Recommendation, was shortlisted for the 2018 T. S. Eliot Prize and won the 2018 Forward (Felix Dennis) Prize for Best First Collection. Book of Days extends the formal and thematic concerns of the first book, travelling a new set of paths but with the same restless curiosity and celebratory wonder.

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Simone Weil, the great mystic and philosopher for our age, shows where anyone can find God.Why is it that Simone Weil, with her short, troubled life and confounding insights into faith and doubt, continues to speak to today’s spiritual seekers? Was it her social radicalism, which led her to renounce privilege? Her ambivalence toward institutional religion? Her combination of philosophical rigor with the ardor of a mystic?Albert Camus called Simone Weil “the only great spirit of our time.” André Gide found her “the most truly spiritual writer of this century.” Her intense life and profound writings have influenced people as diverse as T. S. Eliot, Charles De Gaulle, Pope Paul VI, and Adrienne Rich.The body of work she left—most of it published posthumously—is the fruit of an anguished but ultimately luminous spiritual journey.After her untimely death at age thirty-four, Simone Weil quickly achieved legendary status among a whole generation of thinkers. Her radical idealism offered a corrective to consumer culture. But more importantly, she pointed the way, especially for those outside institutional religion, to encounter the love of God – in love to neighbor, love of beauty, and even in suffering.

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The gospel of Jesus Christ is always situated within a particular cultural context: but how should Christians approach the complex relationship between their faith and the surrounding culture? Should we simply retreat from culture? Should we embrace our cultural practices and mindset? How important is it for us to be engaged with our culture and mindset? How might we do that with discernment and faithfulness? William Edgar offers a biblical theology in the light of our contemporary culture that contends that Christians should -- and indeed, must -- engage with the surrounding culture. By exploring what Scripture has to say about the role of culture and gleaning insights from a variety of theologians -- including Abraham Kuyper, T. S. Eliot, H. Richard Niebuhr and C. S. Lewis -- Edgar contends that cultural engagement is a fundamental aspect of human existence. He does not shy away from those passages that emphasize the distinction between Christians and the world. Yet he finds, shining through the biblical witness, evidence that supports a robust defence of the cultural mandate to 'be fruitful and multiply, and fill the earth and subdue it' (Genesis 1:28). With clarity and wisdom, Edgar argues that we are most faithful to our calling as God's creatures when we participate in creating culture.

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Marked by a rigorously close textual reading, detached frombiographical or other extratextual material, New Criticism was thedominant literary theory of the mid-twentieth century. Since thattime, schools of literary criticism have arisen in support of or in opposition tothe approach advocated by the New Critics. Nonetheless, the theory remainsone of the most important sources for groundbreaking criticism and continuesto be a controversial approach to reading literature. Praising It New is the first anthology of New Criticism to be printed in fifty years. It includes important essays by such influential poets and critics as T. S. Eliot, Ezra Pound, John Crowe Ransom, Allen Tate, Yvor Winters,Cleanth Brooks, R. P. Blackmur, W. K. Wimsatt, and Robert Penn Warren.Together, these authors ushered in the modernist age of poetry and criticismand transformed the teaching of literature in the schools. As the Americanpoet and critic Randall Jarrell once noted: “I do not believe there has been anotherage in which so much extraordinarily good criticism of poetry hasbeen written.” This anthology now makes much of the best American poetry criticism availableagain, and includes short biographies and selected bibliographies of itschief figures. Praising It New is the perfect introduction for students to the best American poetry criticism of the twentieth century.

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James Joyce began his literary career as an Irishman writing to protest the deplorable conditions of his native country. Today, he is an icon in a field known as "Joyce studies." Our Joyce explores this amazing transformation of a literary reputation, offering a frank look into how and for whose benefit literary reputations are constructed. Joseph Kelly looks at five defining moments in Joyce's reputation. Before 1914, when Joyce was most in control of his own reputation, he considered himself an Irish writer speaking to the Dublin middle classes. When T. S. Eliot and Ezra Pound began promoting Joyce in 1914, however, they initiated a cult of genius that transformed Joyce into a prototype of the "egoist," a writer talking only to other writers. This view served the purposes of Morris Ernst in the 1930s, when he defended Ulysses against obscenity charges by arguing that geniuses were incapable of obscenity and that they wrote only for elite readers. That view of Joyce solidified in Richard Ellmann's award-winning 1950s biography, which portrayed Joyce as a self-centered genius who cared little for his readers and less for the world at war around him. The biography, in turn, led to Joyce's canonization by the academy, where a "Joyce industry" now flourishes within English departments.

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For over five decades, Samuel Hazo has taught his readers about literature and life with generosity and awareness, taking everyday experiences and translating them into songs at once familiar and surprising. In his poetry, fiction, essays, and plays, Hazo, in a style that is unmistakably his own, extols the wonderment and discovery that emerge in the act of writing, in the movement toward wisdom that results from the expression of feeling. The Stroke of a Pen is a collection of the occasional essays on a variety of subjects, from the relationship between poetry and public speech, to the pursuit of the literary life, to reading within a cultural context governed by power relations. Two essays focus on religion and literature, and the final five include a literary travel essay on Provence, a counterpointing one on the virtues of not traveling but remaining home, a lighter essay that extends the discussion of home to houses, a memory piece on the actor Gregory Peck, and a personal reflection on the author's retirement. Throughout, Hazo is belletristic in his approach, calling on such writers as T. S. Eliot, Wilfred Owen, Jacques Maritain, and Nathan A. Scott, Jr., who deeply influences Hazo's thinking and writing in this entertaining collection.

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Shortlisted for the 2017 T. S. Eliot PrizeIn her fourth collection, Leontia Flynn rehearses and resolves the concerns and forms of previous books, beginning with a sequence written in the aftermath of her father’s death from Alzheimer’s disease and during the care of her daughter in infancy. Moving on to explore the constructed nature of childhood, via a long poem imagining her mother’s experiences in Northern Ireland during the Troubles, and in an elegy for Seamus Heaney, the poems also seek to contrast the isolation and privacy of an experience of family life with increasingly pervasive and relentless digital technologies. Drawing on a range of other voices and literary exemplars, including a tradition of verse drama and dialogues, and particularly Plath’s ‘Three Women’, The Radio sees writing poems as a communication that begins with an act of interior listening, for sounds and forms, and to personal sources of meaning. The Radio explores the pressure the interior life faces from both the usual quotidian struggles and the new stridency and quick-fire certainties of virtual communication. Showing her superb mastery of form, Leontia Flynn’s poems are fragile, funny, observant and engaging – reminding us, once again, of her originality and importance.

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The ultimate guide on how to speak eloquently, including 200 well-spoken alternatives to common words and phrases.If you've ever fumbled while trying to use a big word ('lofty word,' 'pretentious word') to impress a crowd, you know what it's like to ('know what it is to') be poorly spoken. The fear of mispronouncing or misusing complex words is real and leaves many of us consigned to the lower levels ('lower reaches,' 'lower echelons') of the English language.The secret to eloquence, however, lies in simplicity-the ability to use ordinary words in extraordinary ways.The Well-Spoken Thesaurus is your guide to eloquence, featuring lessons from some of the most articulate speakers of our past and present. While a common thesaurus provides only synonyms as mere word-for-word equivalents, The Well-Spoken Thesaurus is filled with ('awash in,' 'instilled with,' 'dense with,' 'rich in') dynamic reinventions of standard words and phrases.Lessons from history's greatest writers and speakers, including:Margaret AtwoodBarack ObamaT. S. EliotEdith WhartonMartin Luther King, Jr.Henry JamesBarbara KingsolverJohn SteinbeckThe Well-Spoken Thesaurus is the ultimate vocabulary builder for adults seeking to improve their vocabulary and speak better.

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Winner of the T. S. Eliot Prize 2020.Poetry Book Society Choice, Summer 2020.Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or America, what emerges is a heart-stopping, life-affirming way of telling the near impossible-to-be-told. How To Wash A Heart, Kapil's first full-length collection published in the UK, depicts the complex relations that emerge between an immigrant guest and a citizen host. Drawn from a first performance at the ICA in London in 2019, and using poetry as a mode of interrogation that is both rigorous, compassionate, surreal, comic, painful and tender, by turn, Kapil begins to ask difficult and urgent questions about the limits of inclusion, hospitality and care.

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WINNER OF THE 2021 PULITZER PRIZE IN POETRYSHORTLISTED FOR THE FORWARD PRIZE FOR BEST COLLECTIONSHORTLISTED FOR THE T. S. ELIOT PRIZEPOETRY BOOK SOCIETY RECOMMENDATIONPostcolonial Love Poem is a thunderous river of a book, an anthem of desire against erasure. It demands that every body carried in its pages - bodies of language, land, suffering brothers, enemies and lovers - be touched and held. Here, the bodies of indigenous, Latinx, black and brown women are simultaneously the body politic and the body ecstatic, and portrayed with a glowing intimacy: the alphabet of a hand in the dark, the hips' silvered percussion, a thigh's red-gold geometry, the emerald tigers that leap in a throat. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dune fields and forests where pleasure and love are both grief and joy, violence and sensuality.Natalie Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves. Her poetry questions what kind of future we might create, built from the choices we make now - how we might learn our own cures and 'go where there is love'.

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FOREWORD BY ALI SMITH WITH AN INTRODUCTION BY FRANCESCA WADE Who better to serve as a guide to great books and their authors than Virginia Woolf? In the early years of its existence, the Times Literary Supplement published some of the finest writers in English: T. S. Eliot, Henry James and E. M. Forster among them. But one of the paper’s defining voices was Virginia Woolf, who produced a string of superb essays between the two World Wars. The weirdness of Elizabethan plays, the pleasure of revisiting favourite novels, the supreme examples of Charlotte Brontë, George Eliot and Henry James, Thomas Hardy and Joseph Conrad: all are here, in anonymously published pieces, in which may be glimpsed the thinking behind Woolf’s works of fiction and the enquiring, feminist spirit of A Room of One’s Own. Here is Woolf the critical essayist, offering, at one moment, a playful hypothesis and, at another, a judgement laid down with the authority of a twentieth-century Dr Johnson. Here is Woolf working out precisely what’s great about Hardy, and how Elizabeth Barrett Browning made books a “substitute for living” because she was “forbidden to scamper on the grass”. Above all, here is Virginia Woolf the reader, whose enthusiasm for great literature remains palpable and inspirational today.

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**SHORTLISTED FOR THE RATHBONES FOLIO PRIZE****SHORTLISTED FOR THE T. S. ELIOT PRIZE**The poems in Ephemeron deal with the short-lived and transitory - whether it's the brief, urgent lives of the first section, 'Insect Love Songs', the abrupt, anguished, physical and emotional changes during secondary school, as remembered in 'Boarding-School Tales', or parenting's day-by-day shifts through love and fear, hurt and healing, in 'Daughter Mother'.The long central section, 'Translations from the Pasiphaë', gathers these themes together in a blistering, unforgettable re-telling of the Greek myth of the Minotaur, as seen from the point of view of the bull-child's mother - the betrayed and violated Pasiphaë. The familiar legend of the dashing male hero slaying the monster in the labyrinth is transformed here into a story of ordinary people caught up in an extraordinary cycle of violence, power and the abuse of power. At the centre lies Pasiphaë calling for her son: 'They took him away from me/and they killed him in the dark, for years.'Telling uncomfortable truths, going deep into male and female drives and desires, our most tender and vulnerable places, and speaking of them in frank, unshrinking ways - these poems are afraid, certainly, but also beautiful, resolute and brave.

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Drawn from thirty years of work, this selection, made by the poet himself, gathers from the best of Jamie McKendrick's six acclaimed collections, including some translations, from 1991's debut The Sirocco Room to Out There (2012, and winner of the Hawthornden Prize) by way of The Marble Fly (1997), winner of the Forward Prize for Best Collection, and Ink Stone, shortlisted for both the T. S. Eliot Prize and the Whitbread Poetry Award in 2003. Sky Nails, his selected poems, was published by Faber in 2000, and selections of his poems have been translated and published in Holland and in Italy.Throughout, McKendrick has been concerned with the charting of space, of the distances between homeland and edgeland, the far-flung and the near-at-hand, the past and present, the familiar and the strange in poems which cast a sharp eye over their subject matter and return with wry, unsettling observations. There is remembrance, here, and salvage, a bringing to light of that which is obscured or lost, not only the ink stones in Chinese riverbeds, but extinct species, spacecraft and flooded houses, as well as historical figures, including a 10th-century physicist from Basra, Irish activist Roger Casement, and artists Gaudi, Höch and Piranesi.

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Shortlisted for the 2017 T. S. Eliot PrizePBS Autumn RecommendationThe poems in James Sheard’s remarkable third book are about love and leaving, of how the rift of departure brings on a kind of haunting – of the people involved and the places where they lived – an emotional trace of departed lives and loves. This is what these poems are: the scars of separation, the spoors of desire. Sheard writes powerfully about loss, about how the vestiges of significance, of sensual heat, are retained by structures – in ghost towns, war-zones, deserted villages or resorts – but also by the human body and memory: ‘for love exists, and then is ruined, and then persists.’These are poems about permanence and fragility, of being uncertain whether the house you live in is a shell, or if you have become a shell by living there – whether emptiness means loss and abandonment or a clean start and a new beginning. But these are also poems full of the ache of desire, the tart, lingering smell of sex: poems shaped by longing.James Sheard is one of Britain’s most assured and precise lyric poets, and his third collection brings all his considerable strengths to poems as accurate and strange as thermal images.

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Ideas, culture, and capital flow across national borders with unprecedented speed, but we tend not to think of poems as taking part in globalization. Jahan Ramazani shows that poetry has much to contribute to understanding literature in an extra-national frame. Indeed, the globality of poetry, he argues, stands to energize the transnational turn in the humanities.Poetry in a Global Age builds on Ramazani’s award-winning A Transnational Poetics, a book that had a catalytic effect on literary studies. Ramazani broadens his lens to discuss modern and contemporary poems not only in relation to world literature, war, and questions of orientalism but also in light of current debates over ecocriticism, translation studies, tourism, and cultural geography. He offers brilliant readings of postcolonial poets like Agha Shahid Ali, Lorna Goodison, and Daljit Nagra, as well as canonical modernists such as W. B. Yeats, Wallace Stevens, T. S. Eliot, and Marianne Moore. Ramazani shows that even when poetry seems locally rooted, its long memory of forms and words, its connections across centuries, continents, and languages, make it a powerful imaginative resource for a global age. This book makes a strong case for poetry in the future development of world literature and global studies.

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John Took provides an entirely original view of one of the most important poets and thinkers in all of Western literature, Dante Alighieri. The year 2021 marks the 700th anniversary of the death of Dante Alighieri, a poet who, as T. S. Eliot put it, ‘divides the world with Shakespeare, there being no third’. His, like ours, was a world of moral uncertainty and political violence, all of which made not only for the agony of exile but for an ever deeper meditation on the nature of human happiness. In Why Dante Matters, John Took offers by way of three in particular of Dante’s works – the Vita Nova as the great work of his youth, the Convivio as the great work of his middle years and the Commedia as the great work of his maturity – an account, not merely of Dante’s development as a poet and philosopher, but of his continuing presence to us as a guide to man’s wellbeing as man. Committed as he was to the welfare not only of his contemporaries but of those ‘who will deem this time ancient’, Dante’s is in this sense a discourse overarching the centuries, a discourse confirming him in his status, not merely as a cultural icon, but as a fellow traveller.

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In Red Modernism, Mark Steven asserts that modernism was highly attuned-and aesthetically responsive-to the overall spirit of communism. He considers the maturation of American poetry as a longitudinal arc, one that roughly followed the rise of the USSR through the Russian Revolution and its subsequent descent into Stalinism, opening up a hitherto underexplored domain in the political history of avant-garde literature. In doing so, Steven amplifies the resonance among the universal idea of communism, the revolutionary socialist state, and the American modernist poem. Focusing on three of the most significant figures in modernist poetry-Ezra Pound, William Carlos Williams, and Louis Zukofsky-Steven provides a theoretical and historical introduction to modernism's unique sense of communism while revealing how communist ideals and references were deeply embedded in modernist poetry. Moving between these poets and the work of T. S. Eliot, Langston Hughes, Muriel Rukeyser, Gertrude Stein, Wallace Stevens, and many others, the book combines a detailed analysis of technical devices and poetic values with a rich political and economic context. Persuasively charting a history of the avant-garde modernist poem in relation to communism, beginning in the 1910s and reaching into the 1940s, Red Modernism is an audacious examination of the twinned history of politics and poetry.

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“Baudelaire is indeed the greatest exemplar in modern poetry in any language,” said T. S. Eliot. We experience Baudelaire in myriad ways through his multifaceted writing. His sensuous poems—dreams of escape to an impossible, preferably tropical, elsewhere—draw us in with their descriptive and perceptual richness. There is also the bitter, compassionate, and desolate Baudelaire. Ultimately, Baudelaire’s true genius might reside in his expressive force and in the tension between his passions and intellect. The latter is most evident in his control of rhetoric and poetic form, and—given the poems’ density of language, thought, and feeling—his astonishing clarity. This new English rendition of Baudelaire by award-winning translator Beverley Bie Brahic includes poems from his celebrated volumes: Les Fleurs du mal, Les Épaves, Le Spleen de Paris, and Paradis artificiels. It also includes several of his prose poems, as well as an excerpt from his famous essay on wine and hashish. The poems in verse have Baudelaire’s French originals on facing pages; the prose poems, unaccompanied by their originals, are printed near the poems in verse with which they resonate. Complete with the translator’s illuminating introduction and notes, this beautifully crafted volume is an important addition to Baudelaire’s work in English translation.

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The individual insights employed in this reading of the Purgatorio are those of a twentieth-century mind, as are the author's references: T. S. Eliot, Henry James, I.A. Richards, Jacques Maritain, and many others. Purposely avoiding the pitfalls of Dantean scholarship, Mr. Fergusson reveals the drama of the order of Dante's vision, the developed form of the poetry, and the meaning of the canticle for modern man. "The Purgatorio," he says, "has light to shed upon history and its making; upon psychology, ethics, and education; upon politics and the transmission of our tradition. There are many reasons for learning to read it; it is a central clue." This brilliantly written book by the author of The Idea of a Theater is itself a central clue to the meaning of the Purgatorio. Originally published in 1953. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Ideas, culture, and capital flow across national borders with unprecedented speed, but we tend not to think of poems as taking part in globalization. Jahan Ramazani shows that poetry has much to contribute to understanding literature in an extra-national frame. Indeed, the globality of poetry, he argues, stands to energize the transnational turn in the humanities.Poetry in a Global Age builds on Ramazani’s award-winning A Transnational Poetics, a book that had a catalytic effect on literary studies. Ramazani broadens his lens to discuss modern and contemporary poems not only in relation to world literature, war, and questions of orientalism but also in light of current debates over ecocriticism, translation studies, tourism, and cultural geography. He offers brilliant readings of postcolonial poets like Agha Shahid Ali, Lorna Goodison, and Daljit Nagra, as well as canonical modernists such as W. B. Yeats, Wallace Stevens, T. S. Eliot, and Marianne Moore. Ramazani shows that even when poetry seems locally rooted, its long memory of forms and words, its connections across centuries, continents, and languages, make it a powerful imaginative resource for a global age. This book makes a strong case for poetry in the future development of world literature and global studies.

Read more less