At different times and in different places, the human form has been regarded in different ways. The Ancient Greeks thought it was the most admirable subject for art, whereas early Christians often viewed it as lascivious in our post-lapsarian state. With illustrations taken from manuscripts, statuary and literary, this is a fascinating collection of essays with much that will be new to scholars and general readers alike.
In 1853, when he was forty-nine and at the height of his literary career, Nathaniel Hawthorne accepted the post of U.S. consul at Liverpool, England, as a reward for writing the campaign biography of his college friend President Franklin Pierce. Hawthorne’s departure for Europe marked a turning point in his life. While Our Old Home, shrewd essays on his observations in England, The Marble Faun, a romance set in Italy, and the English Notebooks and French and Italian Notebooks were all results of his European residence, he returned to Concord in 1860 frustrated, depressed, and sick. He died in 1864.
Thomas Bewick’s (1753–1828) History of British Birds was the first field guide for ordinary people, illustrated with woodcuts of astonishing accuracy and beauty. In Nature’s Engraver, Jenny Uglow tells the story of the farmer’s son from Tyneside who became one of Britain’s greatest and most popular engravers. It is a story of violent change, radical politics, lost ways of life, and the beauty of the wild—a journey to the beginning of our lasting obsession with the natural world.
“A refined and engaging biography, as beautifully wrought, in its way, as Bewick’s woodcuts.”—New York Times
“Uglow’s clear prose sparkles like Bewick’s River Tyne.”—Los Angeles Times
“This is a lovely book, not just in the quality and sympathy of the writing but in the care of its design and illustration. [Uglow] has turned a rich but undramatic life into a vignette as full of interest and details as one of Bewick’s own woodcuts.”—Sunday Telegraph
“A splendid biography. But it becomes an endearing one by the scattered presence of so many of Bewick’s woodcuts.”—Washington Post
“Another triumph for England’s most innovative biographer, and a marvelous treat for fans of Bewick’s beguiling work.”—Kirkus Reviews
Tea drinking in Victorian England was a pervasive activity that, when seen through the lens of a century’s perspective, presents a unique overview of Victorian culture. Tea was a necessity and a luxury; it was seen as masculine as well as feminine; it symbolized the exotic and the domestic; and it represented both moderation and excess. Tea was flexible enough to accommodate and to mark subtle differences in social status, to mediate these differences between individuals, and to serve as a shared cultural symbol within England.
In A Necessary Luxury: Tea in Victorian England, Julie E. Fromer analyzes tea histories, advertisements, and nine Victorian novels, including Alice’s Adventures in Wonderland, Wuthering Heights, and Portrait of a Lady. Fromer demonstrates how tea functions within the literature as an arbiter of taste and middle-class respectability, aiding in the determination of class status and moral position. She reveals the way in which social identity and character are inextricably connected in Victorian ideology as seen through the ritual of tea.
Drawing from the fields of literary studies, cultural studies, history, and anthropology, A Necessary Luxury offers in-depth analysis of both visual and textual representations of the commodity and the ritual that was tea in nineteenth-century England.
Fleeing the Nazis in the months before World War II, the Korman family scattered from a Polish refugee camp with the hope of reuniting in America. The father sailed to Cuba on the ill-fated St. Louis; the mother left for the United States after sending her two sons on a Kindertransport. One of the sons was Gerd Korman, whose memoir follows his own path—from the family’s deportation from Hamburg, through his time with an Anglican family in rural England, to the family’s reunited life in New York City. His memoir plumbs the depths of twentieth-century history to rescue the remarkable life story of one of its survivors.
The nineteenth century was a time of unprecedented discovery and exploration throughout the globe, a period when the “blank spaces” of the earth were systematically investigated, occupied, and exploited by the major imperial powers of Western Europe and the United States. The lived experience of space was also changing in dramatic ways for people as a result of new developments in technology, communication, and transportation. As a result, the century was characterized by a new and intense interest in place, both local and global.
The collection is comprised of seventeen essays from various disciplines organized into four areas of geographic concern. The first, “Time Zones,” examines several ways that place gets expressed as time during the period, how geography becomes history. A second grouping, “Commodities and Exchanges,” explores the role of geographic origin as it was embodied in particular objects, from the souvenir map to imported tea. The set of essays on “Domestic Fronts” moves the discussion from the public to the private sphere by looking at how domestic space became defined in terms of its boundary with the foreign. The final section, “Orientations,” takes up the changing relations of bodies, identities, and the spaces they inhabit and through which they moved. The collection as a whole also traces the development of the discipline of geography with its different institutional and political trajectories in the United States and Great Britain.
The star of Northanger Abbey is seventeen-year-old Catherine Morland, Jane Austen’s youngest and most impressionable heroine. Away from home for the first time, on a visit to Bath with family friends, Catherine, a passionate consumer of novels (especially of the gothic variety), encounters a world in which everything beckons as a readable text: not only books, but also conversations and behaviors, clothes, carriages, estates, and vistas. In her lively introduction to this newest volume in Harvard’s celebrated annotated Austen series, Susan Wolfson proposes that Austen’s most underappreciated, most playful novel is about fiction itself and how it can take possession of everyday understandings.
The first of Austen’s major works to be completed (it was revised in 1803 and again in 1816–17), Northanger Abbey was published months after Austen’s death in July 1817, together with Persuasion. The 1818 text, whose singularly frustrating course to publication Wolfson recounts, is the basis for this freshly edited and annotated edition.
Wolfson’s running commentary will engage new readers while offering delights for scholars and devoted Janeites. A wealth of color images bring to life Bath society in Austen’s era—the parade of female fashions, the carriages running over open roads and through the city’s streets, circulating libraries, and nouveau-riche country estates—as well as the larger cultural milieu of Northanger Abbey. This unique edition holds appeal not just for “Friends of Jane” but for all readers looking for a fuller engagement with Austen’s extraordinary first novel.
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