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Since 1961 James Reeve has been exhibiting and selling his paintings, first in Florence, then in Madrid. From 1974 onwards he has travelled widely, often with subsequent London gallery exhibitions. Here he vividly describes and illustrates the characters he meets and the adventures which unfold in Haiti, Madagascar, India, Australia, Jordan, the Yemen and Mexico. As his cousin, the historian, Antonia Fraser remarks in a letter to him: ‘Dearest James, When God gave you your great artistic talent She [sic] made a big mistake, contrary to what is generally thought.’ ‘This is because you are really meant to be a brilliant writer.’ And so now, badgered by Antonia Fraser and other writer friends, James Reeve has at last put his talents together in a series of self-contained short stories recalling travels, anecdotes and encounters which he has illustrated with his vividly colourful vignettes. Always travelling with the purpose of work, in Italy James meets Harold Acton. In the Australian Outback he draws among other things dumps and decrepit dwellings, and there too is Madam Tongere catching a Wichetty grub. He meets Princess Elizabeth of Toro in Uganda and is captured by pygmies in the Congo forest. He paints the fearsome Mrs Gilbert Miller’s portrait in Palm Beach and travels in Rajasthan with Diana Wordsworth, a last relic of the Raj. At last, weary of wandering, he discovers a distant cloud-forest village in Mexico, where Edward James, as the only other Englishman, had preceded him. There he built a house. Living in Mexico for 35 years, among his friends are Doña Olive, the retired prostitute, and the Dominican nuns of an enclosed order who let him in to teach them how to make marmalade.

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First Comprehension provides an early introduction to written comprehension, developing children's enthusiasm for reading and their ability to interpret texts. When working through the series, support from an adult will boost children's confidence and help them to understand and evaluate each text. The books are easy to mark and provide a permanent record of each child's work, helping you to monitor progress. Designed to support the National Curriculum for Years 2 and 3, the content of this series has wide appeal and may also be used by older children. First Comprehension Book 1 is aimed at children in Year 2 (ages 6 - 7) who are attempting written comprehension for the first time. 18 carefully selected texts reflect the range of genres recommended by the National Curriculum, and accompanying questions are presented in two parts, to suit the concentration level of most children in this age group. The first of two First Comprehension activity books, this book features work by writers such as Roald Dahl and A. A. Milne, as well as an excerpt from a children's dictionary and a number of accessible non-fiction texts. The series provides: a brief introduction, enabling teachers, parents and adult helpers to use the books effectively; passages from classic and contemporary fiction to broaden children's reading experience; a wide selection of poetry, from William Wordsworth to Tony Mitton; stimulating non-fiction extracts, with different subjects and structures; a range of question types, including direct, inferential and evaluative questions. The separate Teacher's Guide contains teaching notes, sample answers and further activities for each text, allowing you to use First Comprehension to its full potential.

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The Scottish Highlands form the highest mountains in the British Isles, a broad arc of rocky peaks and deep glens stretching from the outskirts of Glasgow, Perth and Aberdeen to the remote and storm-lashed Cape Wrath in Scotland's far northwest. The Romans never conquered the region - according to the historian Tacitus, the Highland warrior chieftain Calgacus dubbed his people 'the last of the free' - and in the Dark Ages the island of Iona became home to a Celtic Church that was able to pose a serious challenge to the Church of Rome. Few travellers ever ventured there, however, disturbed by the tales of wild beasts, harsh geography and the bloody conflicts of warring families known as the clans. But after the defeat of Bonnie Prince Charlie at the Battle of Culloden the influence of the clans was curbed and the Scottish Highlands became celebrated by poets, writers and artists for their beauty rather than their savagery. In the nineteenth century, inspired by the travel reportage of Samuel Johnson, the novels of Walter Scott, the poems of William Wordsworth and the very public love of the Highlands espoused by Queen Victoria, tourists began flocking to the mountains - even as Highlanders were being removed from their land by the brutal agricultural reforms known as the Clearances. With the popularity of hiking and the construction of railways, including the famed West Highland line across Rannoch Moor, the fate of the Highlands as one of the great tourist playgrounds of the world was sealed. Andrew Beattie explores the turbulent past and vibrant present of this landscape, where the legacy of events from the first Celtic settlements to the Second World War and from the construction of military roads to mining for lead, slate and gold have all left their mark.

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New Critical Nostalgia weighs the future of literary study by reassessing its past. It tracks today's impassioned debates about method back to the discipline’s early professional era, when an unprecedented makeover of American higher education with far-reaching social consequences resulted in what we might call our first crisis of academic life. Rovee probes literary study’s nostalgic attachments to this past, by recasting an essential episode in the historiography of English—the vigorous rejection of romanticism by American New Critics—in the new light of the American university’s tectonic growth. In the process, he demonstrates literary study’s profound investment in romanticism and reveals the romantic lyric’s special affect, nostalgia, as having been part of English’s professional identity all along. New Critical Nostalgia meticulously shows what is lost in reducing mid-century American criticism and the intense, quirky, and unpredictable writings of central figures, such as Cleanth Brooks, Josephine Miles, and W. K. Wimsatt, to a glib monolith of New Critical anti-romanticism. In Rovee’s historically rich account, grounded in analysis of critical texts and enlivened by archival study, readers discover John Crowe Ransom’s and William Wordsworth’s shared existential nostalgia, witness the demolition of the “immature” Percy Shelley in the revolutionary textbook Understanding Poetry, explore the classroom give-and-take prompted by the close reading of John Keats, consider the strange ambivalence toward Lord Byron on the part of formalist critics and romantic scholars alike, and encounter the strikingly contemporary quantitative studies by one of the mid-century’s preeminent poetry scholars, Josephine Miles. These complex and enthralling engagements with the romantic lyric introduce the reader to a dynamic intellectual milieu, in which professionals with varying methodological commitments (from New Critics to computationalists), working in radically different academic locales (from Nashville and New Haven to Baton Rouge and Berkeley), wrangled over what it means to read, with nothing less than the future of the discipline at stake.

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An affectionate but meticulously researched history of one of the most beautiful and best-loved corners of England – Crosthwaite Parish, nestling deep within the mountains and valleys of the Lake District. 'A unique contribution to English history' Hunter Davies 'A delightful, refreshingly written book, attentive to social detail and telling the only story that matters – history' Simon Jenkins 'A wonderful book' Margaret Drabble 'A completely fresh perspective on the Lakes and Lake Poets... I hugely enjoyed it' Andrew Marr Bounded by the peaks of Scafell, Skiddaw and Helvellyn, and embracing such well-known landmarks as Borrowdale, Derwentwater and Keswick, it lies within the heart of the Lake Poets' landscape and its rugged terrain excites passion in all those who know it. The Parish also boasts a remarkable history. Its 90 square miles were governed, from medieval times, by eighteen annually chosen 'customary tenants'; ancestors of the people who later prompted Wordsworth's portrayal of the area as 'a perfect Republic of Shepherds and agriculturalists'. His fellow poet Robert Southey lived within the Parish for forty years, was an active parishioner and rests in St Kentigern's churchyard. Here he is given his rightful position as a Lake Poet. In the nineteenth century, the Victorian state killed off the old parish system, sweeping away the egalitarian rule of the Eighteen Men. But a degree of redemption was at hand. Canon Rawnsley, vicar of Crosthwaite from 1883, pledged to defend the Lake District for future generations. So the Parish was at the heart of the creation of the National Trust and blazed a trail for a wider movement to preserve the English landscape. Writing with a historian's rigour and bearing aloft the banner of the Lake District statesmen, Philippa Harrison has produced a magisterial and fascinating record of a parish with a unique social, cultural and aesthetic resonance in English history.

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Prince Dmitry Rostov, Anglophile lover of English poetry, especially Shakespeare, has a bicycling accident. It occurs beside Wordsworth's "sylvan Wye". More sinister and worrying are a ghostly white figure, a strange black boat, a blood-red rose cast on the water, a train whistle and a gunshot, all of which make him witness to a "gap in nature" that will ultimately involve him in a unique quest for the truth. Finding himself less seriously injured than he thought, he receives medical care and a night's rest at the home of the beautiful daughter of Lord Irmingham, a devotee of the late-Victorian cult of Tolstoyanism. Discovering that the prince had once met Anna Karenina, Lord Irmingham insists on having him as an honoured guest at his large country house, Stadleigh Court, among other guests assembled for a soiree devoted to celebrating Tolstoy's ideas. But there is an important sub-text to the occasion, as the prince soon discovers. He is invited to confront the veiled, reclusive lady in the tower. Is she Anna Karenina? Is she now apparently alive and well and living at Stadleigh Court on the banks of the river Wye? Entrusted with the task of identifying her, the prince finds himself drawn ever more deeply into a sympathetic understanding of her situation, her concern for her son, newly arrived from Russia but suddenly struck down, her joys and fears, above all her talk of threats and, finally, her claim to have "enemies". The soiree when it occurs proves to be fatally tragic. Her death overnight forces the prince to investigate. By dint of clever detective work and a certain amount of good luck he gradually uncovers the specifically Russian reasons for her killing. An Epilogue to what is an ingenious and entertaining crime novel reveals how much more the prince has to tell his wife when she returns from visiting her mother in Russia.

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Inspirational and informative pocket guide, shining a spotlight on the best of holidaying at home in the UK through clearly laid-out walking and driving itineraries.Explore the best of the Lake District with this unique Rough Guide Staycations Lake District, packed full of insider information and stunning images. From making sure you don't miss out on must-see attractions like Derwent Water, Lake Windermere and Tarn Hows to discovering hidden gems, including visiting Wordsworth's home at Dove Cottage, wondering at Castlerigg's ancient stone circle, and taking a ride on an historic steamer on Ullswater, the easy-to-follow, ready-made walking and driving routes will save you time, help you plan, and enhance your staycation in the Lake District. This book has been fully updated post-COVID-19 and it comes with a free eBook.The Rough Guide Staycations to the Lake District covers: Kendal to Windermere, Ullswater and Kirkstone Pass, Coniston and Hawkshead, Keswick to Grasmere, Borrowdale and Buttermere, around Skiddaw, The Western Lakes and The Southwest.Inside this travel guide you will find:INFORMATION FOR EVERY TYPE OF TRAVELLERProvides practical information for every kind of trip to the Lake District, from discovering local history in Kendal to getting out in nature in Langdale Valley and finding family-friendly activities in Keswick.8 READY TO FOLLOW WALKS AND TOURSFeatures over 8 detailed easy to follow walking tour itineraries, including Borrowdale and Buttermere, around Skiddaw.LOCAL HIGHLIGHTSCarefully curated list of the Lake District's unmissable sights and unique attractions for those who want to make the most of their stay.RAINY DAY RECOMMENDATIONSUncover plenty of options, whatever the weather throws at you like exploring the Cumberland Pencil Museum in Keswick. INSIDER RECOMMENDATIONSTips on how to beat the crowds, save time and money and find the best local spots for walking, boating, climbing or fell running.Find a curated list of where to stay and what to do, from active pursuits to themed trips.HISTORICAL AND CULTURAL INSIGHTSLearn more about the Lake District's rich history with fascinating cultural insights throughout.PRACTICAL TRAVEL TIPSFrom transport to hours of operation, we've got you covered whatever you choose to see and do around the Lake District including getting there, getting around by public transport, accommodation, detailed food and drink highlights, and sports and activities in the region.METICULOUS MAPPINGPractical full-colour maps, with clearly numbered sights relating to major points of interest in the main text. Find your way around The Western Lakes, Duddon Valley and many more locations in the Lake District without needing to go online.FREE EBOOK Free eBook download with every purchase of a printed book to access all content from your phone or tablet for on-the-road exploration.

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This book is about a shared journey made by John and Myfanwy Piper who early on settled down in a small hamlet on the edge of the Chilterns, whence they proceeded to produce work which placed them centre stage in the cultural landscape of the twentieth century. Here, too, they fed and entertained many visitors, among them Kenneth Clark, John Betjeman, Osbert Lancaster, Benjamin Britten, and the Queen Mother. Their creative partnership encompasses not only a long marriage and numerous private and professional vicissitudes, but also a genuine legacy of lasting achievements in the visual arts, literature and music. Frances Spalding also sheds new light on the story of British art in the 1930s. In the middle of this decade John Piper and Myfanwy Evans (they did not marry until 1937) were at the forefront of avant-garde activities in England, Myfanwy editing the most advanced art magazine of the day and John working alongside Ben Nicholson, Barbara Hepworth, Henry Moore, and others. But as the decade progressed and the political situation in Europe worsened, they changed their allegiances, John Piper investigating in his art a sense of place, belonging, history, memory, and the nature of national identity, all issues that are very much to the fore in today's world. Myfanwy Piper is best known as 'Golden Myfanwy', Betjeman's muse and for her work as librettist with Benjamin Britten. John Piper was an extraordinarily prolific artist in many media, his fertile career stretching over six decades and involving him in many changes of style. Having been an abstract painter in the 1930s, he became best known for his landscapes and architectural scenes in a romantic style. This core interest, in the English and Welsh landscape and the built environment, developed in him a sensibility that took in almost everything, from gin palaces to painted quoins, from ruined cottages to country houses, from Victorian shop fronts to what is nowadays called industrial archeology. His capacious and divided sensibility made him defender of many aspects of the English landscape and the built environment, while in his art he became an heir of that great tradition encompassing Wordsworth and Blake, Turner, Ruskin, and Samuel Palmer. He was torn between the pleasures of an abstract language liberated from time and place and those embedded in the locale, in buildings, geography, and history. Today, this expansive contradictoriness seems quintessentially modern, his divided response finding an echo in our own ambivalence towards modernity. Both Pipers created what seemed to many observers an ideal way of life, involving children, friendships, good food, humour, the pleasures of a garden, work, and creativity. Running through their lives is a fertile tension between a commitment to the new and a desire to reinvigorate certain native traditions. This tension produced work that is passionate and experimental. 'Only those who live most vividly in the present', John Russell observed of John and Myfanwy Piper, 'deserve to inherit the past'.

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The first detailed introduction to the entirety of Seamus Heaney’s work This study will enable readers to gain clearer understanding of the life and major works of Seamus Heaney. It considers literary influences on Heaney, ranging from English poets such as Wordsworth, Hughes, and Auden to Irish poets such as Kavanagh and Yeats to world poets such as Virgil and Dante. It shows how Heaney was closely attuned to poetry's impact on daily life and current events even as he articulated a convincing apologia for poetry's own life and integrity. Discussing Heaney's deep immersion in Irish Catholicism, this book demonstrates how faith influenced his belief system, poetry and politics. Finally, it also considers how deeply Heaney's artistic endeavours were intertwined with politics in Northern Ireland, especially through his embrace of constitutional nationalism but rejection of physical force republicanism. Key Features Includes sections on biography, historical, cultural and political contexts, poetry and other genres, as well as a concluding section on primary works and secondary criticism Pays special attention to the marriage of form and content in the poetry and how they work together to express subtle shades of meaning Offers close readings of Heaney's canonical poems throughout his career, including the early seminal poems such as Digging, the `bog poems’, and his many elegies, such as Casualty, Station Island, and Clearances Draws on drafts of the poems and prose at the Heaney archives at Emory University and the National Library of Ireland

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Basil Bunting was one of the most important British poets of the 20th century. Acknowledged since the 1930s as a major figure in Modernist poetry, first by Pound and Zukofsky and later by younger writers, the Northumbrian master poet had to wait over 30 years before his genius was finally recognised in Britain – in 1966, with the publication of Briggflatts, which Cyril Connolly called ‘the finest long poem to have been published in England since T.S. Eliot’s Four Quartets’. Bunting called Briggflatts his ‘autobiography’. It is a complex work, drawing on many elements of his life, experience and knowledge, and features the saint Cuthbert and the warrior king Eric Bloodaxe as two opposing aspects of the Northumbrian – and his – character. Its structural models include the sonata form (and Scarlatti’s music in particular) and the latticework of the Lindisfarne Gospels, while thematically it recalls Wordsworth’s Prelude. Bunting wrote that ‘Poetry, like music, is to be heard.’ His own readings of his own work are essential listening for a full appreciation of his highly musical poetry. This new edition includes a CD with an audio recording Bunting made of Briggflatts in 1967 and a DVD of Peter Bell’s 1982 film portrait of Bunting. As well as his own notes to the poem (and a posthumously published additional Note), the new edition includes his seminal essay on sound and meaning in poetry, ‘The Poet’s Point of View’ (1966), and other background material. All his poetry is available in Complete Poems (Bloodaxe Books, 2000). ‘Briggflatts is one of the few great poems of this century. It seems to me greater each time I read it’ – Thom Gunn. ‘His poems are the most important which have appeared in any form of the English language since T.S. Eliot’s The Waste Land’ – Hugh MacDiarmid.

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The Victorian era was the high point of literary tourism. Writers such as Charles Dickens, George Eliot, and Sir Walter Scott became celebrities, and readers trekked far and wide for a glimpse of the places where their heroes wrote and thought, walked and talked. Even Shakespeare was roped in, as Victorian entrepreneurs transformed quiet Stratford-upon-Avon into a combination shrine and tourist trap. Stratford continues to lure tourists today, as do many other sites of literary pilgrimage throughout Britain. And our modern age could have no better guide to such places than Simon Goldhill. In "Freud's Couch, Scott's Buttocks, Bronte's Grave", Goldhill makes a pilgrimage to Sir Walter Scott's baronial mansion, Wordsworth's cottage in the Lake District, the Bronte parsonage, Shakespeare's birthplace, and Freud's office in Hampstead. Traveling, as much as possible, by methods available to Victorians - and gamely negotiating distractions ranging from broken bicycles to a flock of giggling Japanese schoolgirls - he tries to discern what our forebears were looking for at these sites, as well as what they have to say to the modern mind. What does it matter that Emily Bronte's hidden passions burned in this specific room? What does it mean that Scott self-consciously built an extravagant castle suitable for Ivanhoe - and star-struck tourists visited it while he was still living there? Or that Freud's meticulous recreation of his Vienna office is now a meticulously preserved museum of itself? Or that Shakespeare's birthplace features student actors declaiming snippets of his plays...in the garden of a house where he almost certainly never wrote a single line? Goldhill brings to these inquiries his trademark wry humor and a lifetime's engagement with literature. The result is a travel book like no other, a reminder that even today, the writing life still has the power to inspire.

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An affectionate but meticulously researched history of one of the most beautiful and best-loved corners of England – Crosthwaite Parish, nestling deep within the mountains and valleys of the Lake District. 'A unique contribution to English history' Hunter Davies 'A delightful, refreshingly written book, attentive to social detail and telling the only story that matters – history' Simon Jenkins 'A wonderful book' Margaret Drabble 'A completely fresh perspective on the Lakes and Lake Poets... I hugely enjoyed it' Andrew Marr Bounded by the peaks of Scafell, Skiddaw and Helvellyn, and embracing such well-known landmarks as Borrowdale, Derwentwater and Keswick, it lies within the heart of the Lake Poets' landscape and its rugged terrain excites passion in all those who know it. The Parish also boasts a remarkable history. Its 90 square miles were governed, from medieval times, by eighteen annually chosen 'customary tenants'; ancestors of the people who later prompted Wordsworth's portrayal of the area as 'a perfect Republic of Shepherds and agriculturalists'. His fellow poet Robert Southey lived within the Parish for forty years, was an active parishioner and rests in St Kentigern's churchyard. Here he is given his rightful position as a Lake Poet. In the nineteenth century, the Victorian state killed off the old parish system, sweeping away the egalitarian rule of the Eighteen Men. But a degree of redemption was at hand. Canon Rawnsley, vicar of Crosthwaite from 1883, pledged to defend the Lake District for future generations. So the Parish was at the heart of the creation of the National Trust and blazed a trail for a wider movement to preserve the English landscape. Writing with a historian's rigour and bearing aloft the banner of the Lake District statesmen, Philippa Harrison has produced a magisterial and fascinating record of a parish with a unique social, cultural and aesthetic resonance in English history.

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New Critical Nostalgia weighs the future of literary study by reassessing its past. It tracks today's impassioned debates about method back to the discipline’s early professional era, when an unprecedented makeover of American higher education with far-reaching social consequences resulted in what we might call our first crisis of academic life. Rovee probes literary study’s nostalgic attachments to this past, by recasting an essential episode in the historiography of English—the vigorous rejection of romanticism by American New Critics—in the new light of the American university’s tectonic growth. In the process, he demonstrates literary study’s profound investment in romanticism and reveals the romantic lyric’s special affect, nostalgia, as having been part of English’s professional identity all along. New Critical Nostalgia meticulously shows what is lost in reducing mid-century American criticism and the intense, quirky, and unpredictable writings of central figures, such as Cleanth Brooks, Josephine Miles, and W. K. Wimsatt, to a glib monolith of New Critical anti-romanticism. In Rovee’s historically rich account, grounded in analysis of critical texts and enlivened by archival study, readers discover John Crowe Ransom’s and William Wordsworth’s shared existential nostalgia, witness the demolition of the “immature” Percy Shelley in the revolutionary textbook Understanding Poetry, explore the classroom give-and-take prompted by the close reading of John Keats, consider the strange ambivalence toward Lord Byron on the part of formalist critics and romantic scholars alike, and encounter the strikingly contemporary quantitative studies by one of the mid-century’s preeminent poetry scholars, Josephine Miles. These complex and enthralling engagements with the romantic lyric introduce the reader to a dynamic intellectual milieu, in which professionals with varying methodological commitments (from New Critics to computationalists), working in radically different academic locales (from Nashville and New Haven to Baton Rouge and Berkeley), wrangled over what it means to read, with nothing less than the future of the discipline at stake.

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'Ackroyd makes history accessible to the layman' - Ian Thomson, IndependentThe penultimate volume of Peter Ackroyd’s masterful History of England series, Dominion begins in 1815 as national glory following the Battle of Waterloo gives way to post-war depression, spanning the last years of the Regency to the death of Queen Victoria in January 1901.In it, Ackroyd takes us from the accession of the profligate George IV whose government was steered by Lord Liverpool, who was firmly set against reform, to the reign of his brother, William IV, the 'Sailor King', whose reign saw the modernization of the political system and the abolition of slavery. But it was the accession of Queen Victoria, aged only eighteen, that sparked an era of enormous innovation. Technological progress – from steam railways to the first telegram – swept the nation and the finest inventions were showcased at the first Great Exhibition in 1851. The emergence of the middle classes changed the shape of society and scientific advances changed the old pieties of the Church of England, and spread secular ideas across the nation. But though intense industrialization brought boom times for the factory owners, the working classes were still subjected to poor housing, long working hours and dire poverty.It was a time that saw a flowering of great literature, too. As the Georgian era gave way to that of Victoria, readers could delight not only in the work of Byron, Shelley and Wordsworth but also the great nineteenth-century novelists: the Brontë sisters, George Eliot, Mrs Gaskell, Thackeray, and, of course, Dickens, whose work has become synonymous with Victorian England.Nor was Victorian expansionism confined to Britain alone. By the end of Victoria’s reign, the Queen was also an Empress and the British Empire dominated much of the globe. And, as Ackroyd shows in this richly populated, vividly told account, Britannia really did seem to rule the waves.

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Nicholas Hagger’s literary, philosophical, historical and political writings are innovatory. He has set out a new approach to literature that combines Romantic and Classical outlooks in a substantial literary oeuvre of 2,000 poems including over 300 classical odes, two poetic epics, five verse plays, three masques, two travelogues and 1,200 stories. He has created a new philosophy of Universalism that focuses on the unity of the universe and humankind and the interconnectedness of all disciplines, and challenges modern philosophy. He has presented an original historical view of the rise and fall of civilisations, and proposed - and detailed - a limited democratic World State with the power to abolish war and solve all the world’s problems. Selected Letters draws together those of his letters (written over 60 years) that aid the interpretation and elucidation of his works. Many of his correspondents are well-known figures within literature, philosophy, history and international politics, and Hagger is in the footsteps of Alexander Pope in editing his own letters, which are in the tradition of Pope, Wordsworth, Keats, T.E. Lawrence, Ezra Pound and Ted Hughes (one of his correspondents). They throw light on all aspects of Hagger’s vast output, and are required reading for all interested in following the growth of his Universalism, his literary development and his innovatory approach to universal truth. NICHOLAS HAGGER is a poet, man of letters, cultural historian and philosopher. He has lectured at universities in Iraq, Libya and Japan, where he was a Professor of English Literature. He has written 54 books. These include an immense literary offering, most recently King Charles the Wise and Visions of England (both also published by O-Books), and innovatory works within history, philosophy and international politics and statecraft. His archive of papers and manuscripts is held as a Special Collection in the Albert Sloman Library at the University of Essex. In 2016 he was awarded the Gusi Peace Prize for Literature, and in 2019 the BRICS silver medal for ‘Vision for Future’.

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