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All of us take our moral bearings from a conception of the good, or a range of goods, that we consider most important. We are in this sense selves in moral space. Building on the work of the philosopher Charles Taylor, among others, David Parker examines a range of classic and contemporary autobiographies—including those of St. Augustine, William Wordsworth, Friedrich Nietzsche, Edmund Gosse, Roland Barthes, Seamus Heaney, and J. M. Coetzee—to reveal a whole domain of life narrative that has been previously ignored, one that enables a new approach to the question of what constitutes a "good" life narrative. Moving from an ethics toward an aesthetics of life writing, Parker follows Wittgenstein's view that ethics and aesthetics are one. The Self in Moral Space is distinctive in that its key ethical question is not What is it right for the life writer to do? but the broader question What is it good to be? This question opens up an important debate with the dominant postmodern paradigms that prevail in life writing studies today. In Parker's estimation, such paradigms are incapable of explaining why life writing matters in the contemporary context. Life narrative, he argues, faces readers with the perennial ethical question How should a human being live? We need a new reconstructive paradigm, as offered by this book, in order to gain a fuller understanding of life narrative and its humanistic potential.

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This eagerly awaited study brings to completion Louis Dupré's planned trilogy on European culture during the modern epoch. Demonstrating remarkable erudition and sweeping breadth, The Quest of the Absolute analyzes Romanticism as a unique cultural phenomenon and a spiritual revolution. Dupré philosophically reflects on its attempts to recapture the past and transform the present in a movement that is partly a return to premodern culture and partly a violent protest against it. Following an introduction on the historical origins of the Romantic Movement, Dupré examines the principal Romantic poets of England (Wordsworth, Coleridge, Shelley, Keats), Germany (Goethe, Schiller, Novalis, Hölderlin), and France (Lamartine, de Vigny, Hugo), all of whom, from different perspectives, pursued an absolute ideal. In the chapters of the second part, he concentrates on the critical principles of Romantic aesthetics, the Romantic image of the person as reflected in the novel, and Romantic ethical and political theories. In the chapters of the third, more speculative, part, he investigates the comprehensive syntheses of romantic thought in history, philosophy, and theology. The Quest of the Absolute is an important work both as the culmination of Dupré's ongoing project and as a classic in its own right. The book will meet the expectations of the specialist as well as appeal to more general readers with philosophical, cultural, and religious interests.

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A compelling and persuasive account of how the Romantic Movement permanently changed the way we see things and express ourselves.Three great revolutions rocked the world around 1800. The first two - the French Revolution and the Industrial Revolution - have inspired the greatest volume of literature. But the third - the romantic revolution - was perhaps the most fundamental and far-reaching. From Byron, Wordsworth, Coleridge and Burns, to Beethoven, Wagner, Berlioz, Rossini and Liszt, to Goya, Turner, Delacroix and Blake, the romantics brought about nothing less than a revolution when they tore up the artistic rule book of the old regime. This was the period in which art acquired its modern meaning; for the first time the creator, rather than the created, took centre-stage. Artists became the high priests of a new religion, and as the concert hall and gallery came to take the place of the church, the public found a new subject worthy of veneration in paintings, poetry and music. Tim Blanning's sparkling, wide-ranging survey traces the roots and evolution of a cultural revolution whose reverberations continue to be felt today.

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Eighteenth-century British literary history was long characterized by two central and seemingly discrete movements-the emergence of the novel and the development of Romantic lyric poetry. In fact, recent scholarship reveals that these genres are inextricably bound: constructions of interiority developed in novels changed ideas about what literature could mean and do, encouraging the new focus on private experience and self-perception developed in lyric poetry. In Lyric Generations, Gabrielle Starr rejects the genealogy of lyric poetry in which Romantic poets are thought to have built solely and directly upon the works of Chaucer, Spenser, Shakespeare, and Milton. She argues instead that novelists such as Richardson, Haywood, Behn, and others, while drawing upon earlier lyric conventions, ushered in a new language of self-expression and community which profoundly affected the aesthetic goals of lyric poets. Examining the works of Cowper, Smith, Wordsworth, Coleridge, and Keats in light of their competitive dialogue with the novel, Starr advances a literary history that considers formal characteristics as products of historical change. In a world increasingly defined by prose, poets adapted the new forms, characters, and moral themes of the novel in order to reinvigorate poetic practice.

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In Don't Read Poetry, award winning poet and literary critic Stephanie Burt offers an accessible introduction to the seemingly daunting task of reading, understanding, and appreciating poetry. She dispels preconceptions about poetry, explains how poems speak to one another, and how they can speak to our lives. It shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to poetry of the present.Unlike other guides, Burt does not approach poetry chronologically, or by school, form, or poet. Instead, her book moves through six reasons to read poetry. These include "feeling and attitude," or how poems can embody, reflect, and share emotions, and "difficulty and frustration," or how poets present us with problems and let us see the world anew. Each chapter explores the theme through the works of various poets and their histories. Burt moves seamlessly from the "classics" - Sappho, Wordsworth, Plath &c - to poetry circulated in Riot Grrrl fanzines or on Twitter. She challenges the assumptions that most people make about "poetry," whether they think they like it or think they don't (it's all old; it's all incomprehensible; it's sappy, or soppy; it's lovely; it's uplifting; it's good if it's in the New Yorker; it can't be good if it's in the New Yorker) in order to help us cherish-and distinguish among-individual poems. If the book has one governing argument, it's this: Don't read "poetry"; read poems.Burt seeks to fill a gap by providing a book that, while suitable for course adoption, is written for the average trade reader. Don't Read Poetry stands apart from other books as well in the sheer range of forms considered (from aubades to zeugma-based, Twitter-friendly epigrams), and the timeline covered. For the first time, Burt will take full account of new styles of poetry from the past few decades-poetry dependent on the digital environment, for example, or on practices imported from gallery art, from radical social thought (CAConrad, or books from Ugly Duckling Presse), or the culture and language of Korean, and Native, and Chinese, and Latina/o/x, Americans, from Carter Revard to the current U.S Poet Laureate.Destined to become a classic, Don't Read Poetry is the perfect book for anyone confronting poetry for the first time, but also has much to teach the those fully immersed in the genre.

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The arrival of the Anthropocene brings the suggestion that we are only now beginning to speculate on an inhuman world that is not for us, only now confronting fears and anxieties of ecological, political, social, and philosophical extinction. While pointing out that reflections on disaster were not foreign to what we historically call romanticism, Last Things pushes romantic thought toward an altogether new way of conceiving the “end of things,” one that treats lastness as neither privation nor conclusion. Through quieter, non-emphatic modes of thinking the end of human thought, Khalip explores lastness as what marks the limits of our life and world. Reading the fate of romanticism—and romantic studies—within the key of the last, Khalip refuses to elegize or celebrate our ends, instead positing romanticism as a negative force that exceeds theories, narratives, and figures of survival and sustainability. Each chapter explores a range of romantic and contemporary materials: poetry by John Clare, Emily Dickinson, John Keats, Percy Shelley, and William Wordsworth; philosophical texts by William Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau; paintings by Hubert Robert, Caspar David Friedrich, and Paterson Ewen; installations by Tatsuo Miyajima and James Turrell; and photography by John Dugdale, Peter Hujar, and Joanna Kane. Shuttling between temporalities, Last Things undertakes an original reorganization of romantic thought for contemporary culture. It examines an archive on the side of disappearance, perishing, the inhuman, and lastness.

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Nicholas Hagger's 55 books include innovatory works on literature, history, philosophy and international politics. In his first published literary work he revived the Preface, which had fallen into disuse after Wordsworth and Shelley. He went on to write Prefaces (sometimes called ‘Prologues’, ‘Introductions’ or ‘Introductory Notes’) for all his subsequent books. Collected Prefaces, a collection of 55 Prefaces (excluding the Preface to this book), sets out his thinking and the reader can follow the development of his philosophy of Universalism (of which he is the main exponent), his literary approach (particularly his combination of Romanticism and Classicism which he calls "neo-Baroque") and his metaphysical thinking. His Prefaces can be read as essays, and as in T.S. Eliot’s Selected Essays there is an interaction between adjacent Prefaces that brings an entirely new perspective to Hagger's works. These Prefaces cover an enormous range. Nicholas Hagger is a Renaissance man at home in many disciplines. His Universalism focuses on humankind’s relationship to the whole universe as reflected in seven key disciplines seen as wholes: the whole of literature, history, philosophy and the sciences, mysticism, religion, international politics and statecraft and world culture. Behind all the Prefaces is Hagger’s fundamental perception of the unity of the universe as the One and of humankind’s position in it. These Prefaces complement his Selected Letters, a companion volume also published by O-Books, and contain startling insights that illumine and send readers to the works the Prefaces introduce.

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A fresh twist on 24 classic poems, these visual interpretations by comic artist Julian Peters will change the way you see the world.This stunning anthology of favorite poems visually interpreted by comic artist Julian Peters breathes new life into some of the greatest English-language poets of the nineteenth and twentieth centuries.These are poems that can change the way we see the world, and encountering them in graphic form promises to change the way we read the poems. In an age of increasingly visual communication, this format helps unlock the world of poetry and literature for a new generation of reluctant readers and visual learners.Grouping unexpected pairings of poems around themes such as family, identity, creativity, time, mortality, and nature, Poems to See By will also help young readers see themselves differently. A valuable teaching aid appropriate for middle school, high school, and college use, the collection includes favorites from the Western canon already taught in countless English classes.Includes poems by Emily Dickinson, Langston Hughes, Carl Sandburg, Maya Angelou, Seamus Heaney, e. e. cummings, Robert Frost, Dylan Thomas, Christina Rossetti, William Wordsworth, William Ernest Henley, Robert Hayden, Edgar Allan Poe, W. H. Auden, Thomas Hardy, Percy Bysshe Shelley, John Philip Johnson, W. B. Yeats, Gerard Manley Hopkins, Edna St. Vincent Millay, Tess Gallagher, Ezra Pound, and Siegfried Sassoon.

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AS FEATURED ON THE ZOE BALL RADIO 2 BOOK CLUB SUNDAY TIMES CRIME BOOK OF THE MONTH 'Wonderful' Lee Child 'Outstanding' Nadine Matheson 'Riveting' Harriet Tyce 'Brilliant' Janice Hallett 'We know you know. Talk and you’re next.' Bishop Jeremiah Dawodu, pastor of a Nigerian megachurch, has been arrested and charged with the murder of his wife, Folasade, the 'First Lady' of the church. The arrest was public, humiliating and sensational - sending shockwaves through Lagos - but throughout it all, Bishop Dawodu maintains his innocence. Philip Taiwo, an acclaimed investigative psychologist, is asked by his sister, a member of the church's congregation, to clear the pastor’s name. With no actual body, it looks to be a simple case and despite Philip’s dislike of organised religion, he agrees to take it on as a favour to his sister. Then the First Lady's body is found in a nearby lake just as Philip’s beloved family come under attack from someone warning him off the case, and he realises that nothing to do with this investigation will be straightforward. Was it murder or suicide? Is someone framing the Bishop or the First Lady? Gaslight is the sensational follow up to Femi Kayode's acclaimed debut, Lightseekers, picked as a Book of the Month by the Times, Sunday Times, Independent, Guardian, Observer, Financial Times and Irish Times 'Femi Kayode is an unparalleled wordsmith' S. A. Cosby 'Deftly plotted, with strong characterisation and a great sense of place' Guardian

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*Shortlisted for the RNA Romantic Thriller of the Year Award* If you liked Blood Orange, The Perfect Couple and The House Guest you will love this! Susan and Sarah. Sisters. Best friends.Together…forever? Nothing could break them apart. Until they meet him. And he can only choose one… Now Susan is back. Determined to reclaim everything Sarah has taken from her. Her home, her husband…her life? *Shortlisted for the RNA Romantic Thriller of the Year Award* Readers can’t get enough of The Twins: ‘Wow. Mind Blown. J.S. Lark is a wily wordsmith and not to be trusted’ DJ ‘My goodness, I don’t even know where to start with this one!… At times shocking, this book is an absolute must-read for anyone who likes a psychological thriller’ Emma ‘An original, gripping page turner and it had me guessing and shocked throughout’ Ceri ‘Started reading this Wednesday night and finished it by Friday morning…If you like physiological thrillers then you will love this’ Leanne ‘So many twists and turns that literally left me with my mouth hanging open’ Randi ‘A fast paced twisty psychological thriller’ Jayne ‘Lots of twists and turns and I just had to read ‘one more chapter’ Abbi ‘Wonderful well written plot that had me engaged from the start…Great suspense and found myself second guessing every thought I had’ Billie

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This book examines the affinity between “theory” and “deconstruction” that developed in the American academy in the 1970s by way of the “Yale Critics”: Harold Bloom, Paul de Man, Geoffrey Hartman, and J. Hillis Miller, sometimes joined by the French philosopher Jacques Derrida. With this semi-fictional collective, theory became a media event, first in the academy and then in the wider print media, in and through its phantasmatic link with deconstruction and with “Yale.” The important role played by aesthetic humanism in American pedagogical discourse provides a context for understanding theory as an aesthetic scandal, and an examination of the ways in which de Man’s work challenges aesthetic pieties helps us understand why, by the 1980s, he above all had come to personify “theory.” Combining a broad account of the “Yale Critics” phenomenon with a series of careful reexaminations of the event of theory, Redfield traces the threat posed by language’s unreliability and inhumanity in chapters on lyric, on Hartman’s representation of the Wordsworthian imagination, on Bloom’s early theory of influence in the 1970s together with his later media reinvention as the genius of the Western Canon, and on John Guillory’s influential attempt to interpret de Manian theory as a symptom of literature’s increasing marginality. A final chapter examines Mark Tansey’s paintings Derrida Queries de Man and Constructing the Grand Canyon, paintings that offer subtle, complex reflections on the peculiar event of theory-as-deconstruction in America.

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The scope of The Forged Feature is two-fold: to bring together a representative selection of critical essays bearing on Belitt's interests as poet, critic, teacher, and translator; and to furnish an on-going review of his concern with the encoding of languages and the exigencies of their imaginative retrieval. The collection begins with three pieces on the uses of belief, linguistic and place as shaping forces in the concretizing of the literary artifact. The second section of essays examines the fictive medium in terms of a number of "predicaments." The discussion embraces texts such as parables, novels, and autobiographical meoirs covering a broad range of twentieth century talents: Kafka, Borges, V.S. Naipaul, Saul Bellows, and Pablo Neruda. The third section is devoted to the theory and practice of translation developed from Belitt's personal lifetime of experience. Finally, there is a sequence of four essays on the uses of "new physics" of quantum mechanics and its uncanny relevance to the accountability of poetry. Belitt re-evaluates Gerard Manley Hopkins as a "scientific" rather than a priestly crafter of a medium, and touches upon diverse traditions and talents such as Keats, Blake, Stevens, Bishop, Yeats, Baudelaire, Rimbaud, Cocteau, W.C. Williams, Michado, Rilke, Wordsworth, and Coleridge. The brilliant observations collected in this volume are not contained within a specific school of thought and are indefinable within any current fashion- rather, Belitt's frame of reference is literature itself and his essays proceed in a literary, poetic, and individual voice.

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In The Extravagant Robert Baker explores the interplay between poetry and philosophy in the modern period, engaging a broad range of writers: Kant, Wordsworth, and Lyotard in a chapter on the sublime; Rimbaud, Nietzsche, and Bataille in a chapter on visionary quest; and Kierkegaard, Dickinson, Mallarmé, and Derrida in a chapter on apocalyptic negativity. His guiding concern is to illuminate adventures of “extravagant” or “wandering” language that, from the romantic period on, both poets and philosophers have undertaken in opposition to the dominant social and discursive frames of a pervasively instrumentalized world. The larger interpretative narrative shaping the book is that a dialectic of instrumental reason and creative negativity has been at work throughout modern culture. Baker argues that adventures of exploratory wandering emerge in the romantic period as displaced articulations of older religious discourses. Given the dominant trends of the modern world, however, these adventures repeatedly lead to severe collisions and crises, in response to which they are later revised or further displaced. Over time, as instrumental structures come to disfigure every realm of modern life, poetries and philosophies at odds with these structures are forced to criticize and surpass earlier voices in their traditions that seem to have lost a transformative power. Thus, Baker argues, these adventures gradually unfold into various discourses of the negative prominent in contemporary culture: discourses of decentering, dispersing, undoing, and erring. It is this dialectic that Baker traces and interprets in this ambitious study.

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The central argument of Edward Said's Orientalism is that the relationship between Britain and its colonies was primarily oppositional, based on contrasts between conquest abroad and domestic order at home. Saree Makdisi directly challenges that premise in Making England Western, identifying the convergence between the British Empire's civilizing mission abroad and a parallel mission within England itself, and pointing to romanticism as one of the key sites of resistance to the imperial culture in Britain after 1815. Makdisi argues that there existed places and populations in both England and the colonies that were thought of in similar terms - for example, there were sites in England that might as well have been Arabia, and English people to whom the idea of the freeborn Englishman did not extend. The boundaries between "us" and "them" began to take form during the romantic period, when England became a desirable Occidental space, connected with but superior to distant lands. Delving into the works of Wordsworth, Austen, Byron, Dickens, and others to trace an arc of celebration, ambivalence, and criticism influenced by these imperial dynamics, Makdisi demonstrates the extent to which romanticism offered both hopes for and warnings against future developments in Occidentalism. Revealing that romanticism provided a way to resist imperial logic about improvement and moral virtue, Making England Western is an exciting contribution to the study of both British literature and colonialism.

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From ancient philosophy to Tristram Shandy and Buster Keaton movies, this book tells the engaging history of accident as an idea. An accidental glance at a newspaper notice causes Rousseau to collapse under the force of a vision. A car accidentally hits Giacometti, and he experiences an epiphany. Darwin introduces accident to the basic process of life, and Freud looks to accident as the expression of unconscious desire. Accident, Ross Hamilton claims, is the force that makes us modern. Tracing the story of accident from Aristotle to Buster Keaton and beyond, Hamilton’s daring book revives the tradition of the grand history of ideas.Accident tells an original history of Western thought from the perspective of Aristotle’s remarkably durable categories of accident and substance. Throughout antiquity and the Middle Ages, Aristotle’s distinction underwrote an insistence on order and subordination of the inessential. In a groundbreaking innovation, Hamilton argues that after the Reformation, the concept of accident began to change places with that of substance: accident became a life-transforming event and effectively a person’s essence. For moderns, it is the accidental, seemingly trivial moments of consciousness that, like Wordsworth’s “spots of time,” create constellations of meaning in our lives. Touching on a broad array of images and texts—Augustine, Dante, the frescoes of Raphael, Descartes, Jane Austen, the work of the surrealists, and twentieth-century cinema—Hamilton provides a new way to map the mutations of personal identity and subjectivity.

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Notable writers—including UK poet laureate Simon Armitage, Julian Barnes, Margaret MacMillan, and Jenny Uglow—celebrate our fascination with the houses of famous literary figures, artists, composers, and politicians of the pastWhat can a house tell us about the person who lives there? Do we shape the buildings we live in, or are we formed by the places we call home? And why are we especially fascinated by the houses of the famous and often long-dead? In Lives of Houses, notable biographers, historians, critics, and poets explores these questions and more through fascinating essays on the houses of great writers, artists, composers, and politicians of the past.Editors Kate Kennedy and Hermione Lee are joined by wide-ranging contributors, including Simon Armitage, Julian Barnes, David Cannadine, Roy Foster, Alexandra Harris, Daisy Hay, Margaret MacMillan, Alexander Masters, and Jenny Uglow. We encounter W. H. Auden, living in joyful squalor in New York's St. Mark's Place, and W. B. Yeats in his flood-prone tower in the windswept West of Ireland. We meet Benjamin Disraeli, struggling to keep up appearances, and track the lost houses of Virginia Woolf and Elizabeth Bowen. We visit Benjamin Britten in Aldeburgh, England, and Jean Sibelius at Ainola, Finland. But Lives of Houses also considers those who are unhoused, unwilling or unable to establish a home—from the bewildered poet John Clare wandering the byways of England to the exiled Zimbabwean writer Dambudzo Marechera living on the streets of London.With more than forty illustrations, Lives of Houses illuminates what houses mean to us and how we use them to connect to and think about the past. The result is a fresh and engaging look at house and home.Featuring Alexandra Harris on moving house ● Susan Walker on Morocco's ancient Roman House of Venus ● Hermione Lee on biographical quests for writers’ houses ● Margaret MacMillan on her mother's Toronto house ● a poem by Maura Dooley, "Visiting Orchard House, Concord, Massachusetts"—the house in which Louisa May Alcott wrote and set her novel Little Women ● Felicity James on William and Dorothy Wordsworth's Dove Cottage ● Robert Douglas-Fairhurst at home with Tennyson ● David Cannadine on Winston Churchill's dream house, Chartwell ● Jenny Uglow on Edward Lear at San Remo's Villa Emily ● Lucy Walker on Benjamin Britten at Aldeburgh, England ● Seamus Perry on W. H. Auden at 77 St. Mark's Place, New York City ● Rebecca Bullard on Samuel Johnson's houses ● a poem by Simon Armitage, "The Manor" ● Daisy Hay at home with the Disraelis ● Laura Marcus on H. G. Wells at Uppark ● Alexander Masters on the fear of houses ● Elleke Boehmer on sites associated with Zimbabwean writer Dambudzo Marechera ● Kate Kennedy on the mental asylums where World War I poet Ivor Gurney spent the last years of his life ● a poem by Bernard O'Donoghue, "Safe Houses" ● Roy Foster on W. B. Yeats and Thoor Ballylee ● Sandra Mayer on W. H. Auden's Austrian home ● Gillian Darley on John Soane and the autobiography of houses ● Julian Barnes on Jean Sibelius and Ainola

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This book explores the relationship among Romanticism, deconstruction, and Marxism by examining tropes of sensation and sobriety in a set of exemplary texts from Romantic literature and contemporary literary theory. Orrin N. C. Wang explains how themes of sensation and sobriety, along with Marxist-related ideas of revolution and commodification, set the terms of narrative surrounding the history of Romanticism as a movement. The book is both polemical and critical, engaging in debates with modern thinkers such as Paul de Man, Jacques Derrida, Walter Benn Michaels, and Slavoj i ek, as well as presenting fresh readings of late eighteenth- and early nineteenth-century writers, including Wordsworth, Kant, Shelley, Byron, Bronte, and Keats. Romantic Sobriety combines deeply complex, close readings with a broader reflection on Romanticism and its implications for literary study. It will interest scholars who study Romanticism from a number of perspectives, including those interested in bodily and social consumption, the roles of addiction and abstinence in literature, the connection between literary and visual culture, the intersection of critical theory and Romanticism, and the relationships among language, historical knowledge, and political practice.

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Notable writers—including UK poet laureate Simon Armitage, Julian Barnes, Margaret MacMillan, and Jenny Uglow—celebrate our fascination with the houses of famous literary figures, artists, composers, and politicians of the pastWhat can a house tell us about the person who lives there? Do we shape the buildings we live in, or are we formed by the places we call home? And why are we especially fascinated by the houses of the famous and often long-dead? In Lives of Houses, notable biographers, historians, critics, and poets explores these questions and more through fascinating essays on the houses of great writers, artists, composers, and politicians of the past.Editors Kate Kennedy and Hermione Lee are joined by wide-ranging contributors, including Simon Armitage, Julian Barnes, David Cannadine, Roy Foster, Alexandra Harris, Daisy Hay, Margaret MacMillan, Alexander Masters, and Jenny Uglow. We encounter W. H. Auden, living in joyful squalor in New York's St. Mark's Place, and W. B. Yeats in his flood-prone tower in the windswept West of Ireland. We meet Benjamin Disraeli, struggling to keep up appearances, and track the lost houses of Virginia Woolf and Elizabeth Bowen. We visit Benjamin Britten in Aldeburgh, England, and Jean Sibelius at Ainola, Finland. But Lives of Houses also considers those who are unhoused, unwilling or unable to establish a home—from the bewildered poet John Clare wandering the byways of England to the exiled Zimbabwean writer Dambudzo Marechera living on the streets of London.With more than forty illustrations, Lives of Houses illuminates what houses mean to us and how we use them to connect to and think about the past. The result is a fresh and engaging look at house and home.Featuring Alexandra Harris on moving house ● Susan Walker on Morocco's ancient Roman House of Venus ● Hermione Lee on biographical quests for writers’ houses ● Margaret MacMillan on her mother's Toronto house ● a poem by Maura Dooley, "Visiting Orchard House, Concord, Massachusetts"—the house in which Louisa May Alcott wrote and set her novel Little Women ● Felicity James on William and Dorothy Wordsworth's Dove Cottage ● Robert Douglas-Fairhurst at home with Tennyson ● David Cannadine on Winston Churchill's dream house, Chartwell ● Jenny Uglow on Edward Lear at San Remo's Villa Emily ● Lucy Walker on Benjamin Britten at Aldeburgh, England ● Seamus Perry on W. H. Auden at 77 St. Mark's Place, New York City ● Rebecca Bullard on Samuel Johnson's houses ● a poem by Simon Armitage, "The Manor" ● Daisy Hay at home with the Disraelis ● Laura Marcus on H. G. Wells at Uppark ● Alexander Masters on the fear of houses ● Elleke Boehmer on sites associated with Zimbabwean writer Dambudzo Marechera ● Kate Kennedy on the mental asylums where World War I poet Ivor Gurney spent the last years of his life ● a poem by Bernard O'Donoghue, "Safe Houses" ● Roy Foster on W. B. Yeats and Thoor Ballylee ● Sandra Mayer on W. H. Auden's Austrian home ● Gillian Darley on John Soane and the autobiography of houses ● Julian Barnes on Jean Sibelius and Ainola

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Both Tolkien and C.S. Lewis are literary superstars, known around the world as the creators of Middle-earth and Narnia. But few of their readers and fans know about the important and complex friendship between Tolkien and his fellow Oxford academic C.S. Lewis. Without the persistent encouragement of his friend, Tolkien would never have completed The Lord of the Rings. This great tale, along with the connected matter of The Silmarillion, would have remained merely a private hobby. Likewise, all of Lewis' fiction, after the two met at Oxford University in 1926, bears the mark of Tolkien's influence, whether in names he used or in the creation of convincing fantasy worlds. They quickly discovered their affinity—a love of language and the imagination, a wide reading in northern myth and fairy tale, a desire to write stories themselves in both poetry and prose. The quality of their literary friendship invites comparisons with those of William Wordsworth and Samuel Taylor Coleridge, William Cowper and John Newton, and G.K. Chesterton and Hillaire Belloc. Both Tolkien and Lewis were central figures in the informal Oxford literary circle, the Inklings. This book explores their lives, unfolding the extraordinary story of their complex friendship that lasted, with its ups and downs, until Lewis's death in 1963. Despite their differences—differences of temperament, spiritual emphasis, and view of their storytelling art—what united them was much stronger, a shared vision that continues to inspire their millions of readers throughout the world. †

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Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead “neoclassicism” and “Augustanism” have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of “imitation” as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes—“counter-,” “mock-,” “anti-,” “neo-”—that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory “novel tradition”—realism, modernism, postmodernism, postcolonialism—whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

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From the private papers of Jane Austen and Mozart to those of Anne Boleyn and Nelson, Love Letters of Great Men and Women collects together some of the most romantic letters in history. For some of these great men, love is a ‘delicious poison’ (William Congreve); for others, ‘a nice soft wife on a sofa with good fire, & books & music’ (Charles Darwin). Love can scorch like the heat of the sun (Henry VIII), or penetrate the depths of one’s heart like a cooling rain (Flaubert). But what about the other side of the story? What of the secret hopes and lives of some of the greatest women in history? Taken together, these love letters show that perhaps little has changed over the last 2,000 years. Passion, jealousy, hope and longing are all represented here – as is the simple pleasure of sending a letter to, and receiving one from, the person you love most. Includes letters by: Anne Boleyn * Beethoven * Edith Wharton * Mark Twain * Mary Wordsworth * Nell Gwyn (mistress of Charles II) * Elizabeth Barrett Browning * GK Chesterton * Queen Victoria * Napoleon Bonaparte * The Empress Josephine * Mary Wollstonecraft * Amadeus Mozart * Katherine Mansfield Praise for Love Letters of Great Men: 'The most romantic book ever' Daily Mail 'Inspired by the Sex and the City movie... Famous men caught with pen in hand and heart in mouth' The Times

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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 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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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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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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Samuel Rogers was arguably the most widely read poet of the early nineteenth century. He was also a prominent figure in the literary and cultural life of London and owned one of the largest private art collections of his day. He was well known to at least three generations of celebrated figures, ranging from John Wilkes and Dr. Burney, through Wordsworth, Scott and Byron, to Tennyson, Dickens and Ruskin. He was also associated with other prominent national figures such as Charles James Fox, Joseph Priestley, Lord Holland, and the Duke of Wellington. Known throughout his life (not always sympathetically) as the Banker Poet', he came from a radical, Dissenting background. He was supportive of the French Revolution and politically active in the 1790s when to be so involved personal danger (he attended the treason trials of Tom Paine and Horne Tooke). Nevertheless he considered his true vocation to be poetry and achieved considerable success and fame when The Pleasures of Memory was published in 1792. Ten years later he retired' to a civilised home in St. James's Place where his breakfast and dinner parties were legendary. His art collection attracted visitors from all over the world, and his poem Italy, composed after an extended tour there in 1815, was widely read. Martin Blocksidge considers the nature of Rogers' poetry and the reputation it acquired, and examines its cultural context; likewise Rogers' connoisseurship of paintings. Rogers was famous, but controversial, provoking some distaste and consequent satirical treatment, most notably from his erstwhile friend, Byron. Biographical and interdisciplinary, this narrative is relevant not only to literary historians but to those interested in the history of Dissenting and radical groups, picturesque travel, art history and the cultural history of London.

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If the child is the father of the man, as William Wordsworth so famously declared, then what of the father that child grows to become? How does a daughter born of her mother’s death, as in the case of Mary Shelley, navigate the politics of production and reproduction within a loaded language of mythological allusion between generational authorships? How do the visual arts perpetuate or challenge cultural agendas, such as portraying patriarchal anxieties about the “effeminization” of homeland by the foreign “other”, or attempting, iconically, to “save the soul” of a nation? How do parents both encode and decode our world? With the rise of the cult of the child in the later 18th and 19th centuries, Romantic writers of Britain and Europe, and eventually of North America, were perfectly positioned to explore, by extension, what it meant to “parent,” whether it be in within the domestic or the political sphere.The essays in Romanticism and Parenting: Image, Instruction and Ideology offer a fresh, timely, and cutting edge contribution to the field of Romantic studies. The collection has its roots in conference proceedings from the 2005 Romanticism and Parenting Conference held at Seattle University in Seattle, Washington. Essays acknowledge traditional discussions of such quintessentially “Romantic” themes as the child, education and familial politics while building upon contemporary innovative arguments within the contexts of Romanticism. As a result, chapters in the collection range from examining didactic children’s literature to complicating constructions of the family politic at personal, communal and nationalistic levels. While challenging and deepening an understanding of Romantic studies, the collection also points to current, dynamic issues, such as the burgeoning discussion of the experience that actual parents face in academia. Consequently, the collection reveals how the Romantic period has come to profoundly influence our own current constructions of the politics of parenting.

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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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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.

Read more less

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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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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Proceedings of the Seminar for Arabian Studies Volume 41 2011, Papers from the forty-fourth meeting, held at the British Museum, London, 22–24 July 2010. Contents: 1) Some observations on women in Omani sources (Olga Andriyanova); 2) Archaeological landscape characterization in Qatar through satellite and aerial photographic analysis, 2009 to 2010 (Paul Breeze, Richard Cuttler & Paul Collins); 3) Fishing kit implements from KHB-1: net sinkers and lures (poster) (Fabio Cavulli & Simona Scaruffi); 4) The distribution of storage and diversion dams in the western mountains of South Arabia during the Himyarite period (Julien Charbonnier); 5) Assessing the value of palaeoenvironmental data and geomorphological processes for understanding Late Quaternary population dynamics in Qatar (Richard Cuttler, Emma Tetlow & Faisal al-Naimi); 6) Les fortifications de Khor Rorī – ‘Sumhuram’ (poster) (Christian Darles); 7) Places of contact, spheres of interaction. The Ubaid phenomenon in the central Gulf area as seen from a first season of reinvestigations at Dosariyah (Dawsāriyyah), Eastern Province, Saudi Arabia (Philipp Drechsler0; 8) khushub musannadah (Qurān 63. 4) and Epigraphic South Arabian ms3nd (Orhan Elmaz); 9) Walled structures and settlement patterns in the south-western part of Dhofar, Oman (poster) (Roman Garba & Peter Farrington);10) The wall and talus at Barāqish, ancient Yathill (al-Jawf, Yemen): a Minaean stratigraphy (Francesco G. Fedele); 11) Through evangelizing eyes: American missionaries to Oman (Hilal al-Hajri); 12) Quantified analysis of long-term settlement trends in the northern Oman peninsula (Nasser Said al-Jahwari); 13) Yeha and Hawelti: cultural contacts between Saba and DMT – New research by the German Archaeological Institute in Ethiopia (Sarah Japp, Iris Gerlach, Holger Hitgen & Mike Schnelle); 14) The Kadhima Project: investigating an Early Islamic settlement and landscape on Kuwait Bay (poster) (Derek Kennet, Andrew Blair, Brian Ulrich & Sultan M. al-Duwīsh); 15) Typology of incense-burners of the Islamic period (Sterenn Le Maguer); 16) A geomorphological and hydrological underpinning for archaeological research in northern Qatar (Phillip G. Macumber); 17) Recent investigations at the prehistoric site RH-5 (Ras al-Hamrā, Muscat, Sultanate of Oman) (Lapo Gianni Marcucci, Francesco Genchi, Émilie Badel & Maurizio Tosi); 18) Geoarchaeological investigations at the site of Julfār (al-Nudūd and al-Matāf), Ras al-Khaymah, UAE: preliminary results from the auger-hole survey (poster) (Mike Morley, Robert Carter & Christian Velde); 19) Conserving and contextualizing national cultural heritage: the 3-D digitization of the fort at al-Zubārah and petroglyphs at Jabal al-Jusāsiyyah, Qatar (poster) (Helen Moulden, Richard Cuttler & Shane Kelleher); 20) Reassessing Wādī Debayan (Wādī al-Dabayān): an important Early Holocene Neolithic multi-occupational site in western Qatar (poster) (Faisal al-Naimi, Kathryn M. Price, Richard Cuttler & Hatem Arrock); 21) Research on an Islamic period settlement at Ras Ushayriq in northern Qatar and some observations on the occurrence of date presses (Andrew Petersen); 22) Relations between southern Arabia and the northern Horn of Africa during the last millennium BC (David W. Phillipson); 23) Bayt Bin Ātī in the Qattārah oasis: a prehistoric industrial site and the formation of the oasis landscape of al-Ain, UAE (Timothy Power & Peter Sheehan); 24) The Sabaic inscription A–20–216: a new Sabaean-Seleucid synchronism (Alessia Prioletta); 25) Al-Suwaydirah (old al-Taraf) and its Early Islamic inscriptions (Saad bin Abdulaziz al-Rashid); 26) Investigations in al-Zubārah hinterland at Murayr and al-Furayhah, north-west Qatar (poster) (Gareth Rees, Tobias Richter & Alan Walmsley); 27) Pearl fishers, townsfolk, Bedouin, and shaykhs: economic and social relations in Islamic al-Zubārah (Tobias Richter, Paul Wordsworth & Alan Walmsley); 28) Contemporary tribal versions of local history in Hadramawt (Mikhail Rodionov); 29) A view of the defence strategy of Muharraq, a tribal town in the Gulf (poster); 30) Solaiman Abd al-Rahmān al-Theeb, New Nabataean inscriptions from the site of al-Sīj in the region of al-Ulā, Saudi Arabia (Abdulla Al-Sulaiti); 31) Al-Zubārah Archaeological Park as a UNESCO World Cultural Heritage Site – a master plan for its site management, preservation, and presentation (poster) (Ingolf Thuesen & Moritz Kinzel); 32) Oman and Bahrain in Late Antiquity: the Sasanians’ Arabian periphery (Brian Ulrich); 33) From the port of Mocha to the eighteenth-century tomb of Imām al-Mahdī MuΉammad in al-Mawāhib: locating architectural icons and migratory craftsmen (Nancy Um); 34) Drummers of the Najd: musical practices from Wādī al-Dawāsir, Saudi Arabia (Lisa Urkevich); 35) The Jewel of Muscat Project: reconstructing an early ninth-century CE Shipwreck (Tom Vosmer, Luca Belfioretti, Eric Staples & Alessandro Ghidoni); 36) Lateral fricatives and lateral emphatics in southern Saudi Arabia and Mehri (Janet C.E. Watson & Munira Al-Azraqi).

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Contents: 1) New perspectives on Minaean expiatory texts (Alessio Agostini); 2) Investigating an early Islamic landscape on Kuwait Bay: the archaeology of historical Kadhima (Andrew Blair, Derek Kennet & Sultan al-Duwīsh); 3) The early settlement of HD-5 at Ras al-Дadd, Sultanate of Oman (fourth–third millennium BCE) (Federico Borgi, Elena Maini, Maurizio Cattani & Maurizio Tosi); 4) Known and unknown archaeological monuments in the Dūmat al-Jandal oasis in Saudi Arabia: a review (Guillaume Charloux); 5) Prehistory and palaeo-geography of the coastal fringes of the Wahiba Sands and Bar al-Hikman, Sultanate of Oman (Vincent Charpentier, Jean-François Berger, Rémy Crassard, Marc Lacaze & Gourguen Davtian); 6) Unlocking the Early Bronze Age: attempting to extract Umm an-Nar tombs from a remotely sensed Hafit dataset (poster) (William Deadman); 7) Iron Age impact on a Bronze Age archaeological landscape: results from the Italian Mission to Oman excavations at Salūt, Sultanate of Oman (Michele Degli Esposti & Carl Phillips); 8) Late Palaeolithic core-reduction strategies in Dhofar, Oman (Yamandú Hilbert, Jeffrey Rose & Richard Roberts); 9) Réflexions sur les formes de l’écrit à l’aube de l’Islam (Frédéric Imbert); 10) Getting to the bottom of Zabid: the Canadian Archaeological Mission in Yemen, 1982–2011 (Edward J. Keall); 11) New perspectives on regional and interregional obsidian circulation in prehistoric and early historic Arabia (Lamya Khalidi, Krista Lewis & Bernard Gratuze); 12) The Saudi-Italian-French Archaeological Mission at Dūmat al-Jandal (ancient Adumatu). A first relative chronological sequence for Dūmat al-Jandal. Architecture and pottery (Romolo Loreto); 13) Excavation at the ‘Tree of Life’ site (Mohammed Redha Ebrahim Hasan Mearaj); 14) The origin of the third-millennium BC fine grey wares found in eastern Arabia (S. Méry, R. Besenval, M.J. Blackman & A. Didier); 15) Building H at Mleiha: new evidence of the late pre-Islamic period D phase (PIR.D) in the Oman peninsula (second to mid-third century AD) (M. Mouton, M. Tengberg, V. Bernard, S. Le Maguer, A. Reddy, D. Soulié, M. Le Grand & J. Goy); 16) An overview of archaeology and heritage in Qatar (Sultan Muhesen, Faisal al-Naimi & Ingolf Thuesen); 17) The construction of Medina’s earliest city walls: defence and symbol (Harry Munt); 18) Landscape signatures and seabed characterization in the marine environment of north-west Qatar (poster) (Faisal al-Naimi, Richard Cuttler, Ibrahim Ismail Alhaidous, Lucie Dingwall, Garry Momber, Sadd al-Naimi, Paul Breeze & Ahmed Ali al-Kawari); 19) Towards an annotated corpus of Soqotri oral literature: the 2010 fieldwork season (Vitaly Naumkin, Leonid Kogan & Dmitry Cherkashin (Moscow); AΉmad Īsā al-Darhī & Īsa Gumān al-Darhī (Soqotra, Yemen); 20) Palace, mosque, and tomb at al-RuwayΡah, Qatar (Andrew Petersen & Tony Grey); 21) The origin and development of the oasis landscape of al-ΚAin (UAE) (Timothy Power & Peter Sheehan); 22) Evidence from a new inscription regarding the goddess ΚΕ(t)rm and some remarks on the gender of deities in South Arabia (Alessia Prioletta); 23) Archaeological excavations at the settlement of al-FurayΉah (Freiha), north-west Qatar (Gareth Rees, Faysal al-Naimi, Tobias Richter, Agnieszka Bystron & Alan Walmsley); 24) The 2010–2011 excavation season at al-Zubārah, north-west Qatar (poster) (Tobias Richter, Faisal Abdulla al-Naimi, Lisa Yeomans, Michael House, Tom Collie, Pernille Bangsgaard Jensen, Sandra Rosendahl, Paul Wordsworth & Alan Walmsley); 25) The Great Mosque of Qalhāt rediscovered. Main results of the 2008–2010 excavations at Qalhāt, Oman (Axelle Rougeulle, Thomas Creissen & Vincent Bernard); 26) A new stone tool assemblage revisited: reconsidering the ‘Aterian’ in Arabia (Eleanor M.L. Scerri); 27) Egyptian cultural impact on north-west Arabia in the second and first millennia BC (Gunnar Sperveslage & Ricardo Eichmann); 28) The Neolithic site FAY-NE15 in the central region of the Emirate of Sharjah (UAE) (Margarethe Uerpmann, Roland de Beauclair, Marc Händel, Adelina Kutterer, Elisabeth Noack & Hans-Peter Uerpmann); 29) KāΞimah remembered: historical traditions of an early Islamic settlement by Kuwait Bay (Brian Ulrich); 30) Yemeni opposition to Ottoman rule: an overview (Abdol Rauh Yaccob).

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