A SCHOLARLY BOOK REPOSITORY56 start with W start with W
Soldier, hero, and politician, the Duke of Wellington is one of the best-known figures of nineteenth-century England. From his victory at Waterloo over Napoleon in 1815, he rose to become prime minister of his country. But Peter Sinnema finds equal fascination in Victorian England’s response to the duke’s death.
The Wake of Wellington considers Wellington’s spectacular funeral pageant in the fall of 1852—an unprecedented event that attracted one and a half million spectators to London—as a threshold event against which the life of the soldier-hero and High Tory statesman could be re-viewed and represented.
Canvassing a profuse and dramatically proliferating Wellingtoniana, Sinnema examines the various assumptions behind, and implications of, the Times’s celebrated claim that the Irish-born Wellington “was the very type and model of an Englishman.” The dead duke, as Sinnema demonstrates, was repeatedly caught up in interpretive practices that stressed the quasi-symbolic relations between hero and nation.
The Wake of Wellington provides a unique view of how in death Wellington and his career were promoted as the consummation of a national destiny intimately bound up with Englishness itself, and with what it meant to be English at midcentury.
Nicholas Popper uses Ralegh’s History as a touchstone in this lively exploration of the culture of history writing and historical thinking in the late Renaissance. From Popper we learn why early modern Europeans ascribed heightened value to the study of the past and how scholars and statesmen began to see historical expertise as not just a foundation for political practice and theory, but as a means of advancing their power in the courts and councils of contemporary Europe. The rise of historical scholarship during this period encouraged the circulation of its methods to other disciplines, transforming Europe’s intellectual—and political—regimes. More than a mere study of Ralegh’s History of the World, Popper’s book reveals how the methods that historians devised to illuminate the past structured the dynamics of early modernity in Europe and England.
In a dramatically original analysis, Jackie DiSalvo explores Blake’s reworking of Genesis and Paradise Lost in his prophetic poem The Four Zoas, creating a compelling new reading of both Milton and Blake. With informed argument and provocative insights, DiSalvo shows how Blake’s view of history prefigures the revaluation of our own myths of origin prompted by new political, psychological, and feminist perspectives.
While the scale of today’s crisis is unprecedented, environmental catastrophe is nothing new. Waste and the Wasters studies the late Middle Ages, when a convergence of land contraction, soil depletion, climate change, pollution, and plague subsumed Western Europe. In a culture lacking formal scientific methods, the task of explaining and coming to grips with what was happening fell to medieval poets. The poems they wrote used the terms “waste” or “wasters” to anchor trenchant critiques of people’s unsustainable relationships with the world around them and with each other. In this book, Eleanor Johnson shows how poetry helped medieval people understand and navigate the ecosystemic crises—both material and spiritual—of their time.
A Weak Woman in a Strong Battle: Women and Public Execution in Early Modern England provides critical insights on representations of women on the scaffold, focusing on how female victims and those writing about them constructed meaning from the ritual. Jennifer Lodine-Chaffey draws on a wide range of genres, from accounts of martyrdom to dramatic works, to explore not only the words of women executed in Tudor and Stuart England, but also the ways that writers represented female bodies as markers of penitence or deviance.
A significant part of the execution spectacle—one used to assess the victim’s proper acceptance of death and godly repentance—was the final speech offered at the foot of the gallows or before the pyre. To ensure their final words held value for audiences, women adopted conventionally gendered language and positioned themselves as subservient and modest. The reception of women’s speeches, Lodine-Chaffey argues, depended on their performances of accepted female behaviors and language as well as physical signs of interior regeneration. Indeed, when women presented themselves or were represented as behaving in stereotypically feminine and virtuous ways, they were able to offer limited critiques of their fraught positions in society.
Just as important as their words, though, were the depictions of women’s bodies. The executed woman’s body, Lodine-Chaffey contends, functioned as a text, scrutinized by witnesses and readers for markers of innocence or guilt. The intense focus on the words and bodies of women facing execution during this period, Lodine-Chaffey argues, became a catalyst for a more thorough interest in and understanding of women’s roles not just as criminals but as subjects
This fascinating collection of reviews is filled with first impressions of novels, autobiographies, memoirs, illustrated books, biographies of politicians and artists, short story collections, and literary criticism. Books spark statements from Bowen about general principles of fictional technique; she articulates her understanding of the inner workings of fiction incidentally, while providing an opinion about the book at hand. In this volume, Hepburn draws together all the reviews that Bowen left uncollected in her non-fiction collections, as well as several more familiar essays that that she published in The Tatler, in order to make them accessible to a broader audience.
The Well-Tun'd Word was first published in 1982. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The years 1957–1651 marked a period of high achievement in the history of song. In The Well-Tun'd Word Elise Bickford Jorgens studies changing musical conventions of English song in relation to new patterns in poetic taste from the late Elizabethan era through the Jacobean and Caroline years, basing her work on the premise that any musical setting of a poem is an interpretation of the poem itself. Thus by 1625, she contends, solo song in England had undergone a pronounced change in musical style, from the lute song of earlier decades to the monophonic continuo song. The appearance of John Donne and especially Ben Johnson and the Cavalier poets marked the demise of the Elizabethan lyrical mode that had inspired composers like John Downland, Thomas Campion, John Danyel, and Robert Jones.
Jorgen's opening chapters describe and illustrate elements of the craft of poetry and the musical conventions that can represent them. Her presentation is both clear and thorough, and will be especially helpful for students and scholars of English literature who are not necessarily musicians. She then discusses four major categories of song: Measured Music, Dance Songs and Tuneful Airs, English Monody, and Pathetic Airs, and notes that influence upon them of Continental music styles. But her major effort is to distinguish between them by pointing out their several characteristic attitudes towards the musical representation of poetic texts. All four groups show patterns of change during the first half of the seventeenth century.
Jorgens concludes that the celebrated union of the "sister arts" for which Elizabethan song was renowned was increasingly difficult to maintain after about 1610. Poets no longer favored those elements of poetic style that could in turn produce pleasing musical styles. Solo songs became, with continuo composers like Henry and William Lawes, Nicholas Lanier, and John Wilson, either notated recitations of poetry or simple pleasant trifles.
Natalya Bekhta’s We-Narratives: Collective Storytelling in Contemporary Fiction analyzes a storytelling form shaped by the pronoun “we,” probing the tensions between individuality and collectivity in more recent narratives in English. Despite a growing interest in collective characters and the we-form in narratology and beyond, narrative theory has not yet done justice to the plural voice in fiction. In fact, the formulation of a poetics of collective expression needs clear theoretical conventions and a reassessment of established concepts in order to approach plural voices and agents on their own terms. We-Narratives addresses this demand by distinguishing between indicative and performative uses of the first-person plural pronoun in fiction and by identifying formal and rhetorical possibilities of stories told by group narrators.
What does it mean for a multitude to speak as one? How can a truly collective narrative voice be achieved or lost? What are its aesthetic and political repercussions? In order to tackle these questions, Bekhta reads a range of contemporary novels and short stories by Jeffrey Eugenides, Joshua Ferris, Toby Litt, Zakes Mda, Joyce Carol Oates, and Julie Otsuka. She also focuses on narrative innovation by Margaret Atwood, William Faulkner, and Susan Sontag. These narratives feature group protagonists and narrators and therefore offer insight into collective narrative discourse and focalization, construction of communal knowledge and unreliability. We-narrative, taken as a distinct storytelling form, illuminates fiction’s expressive potential and nuances models of narrative analysis.
“My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel—it is, before all, to make you see. That—and no more, and it is every-thing.” So wrote Joseph Conrad in the best-known account of literary impressionism, the late nineteenth- and early twentieth-century movement featuring narratives that paint pictures in readers’ minds. If literary impressionism is anything, it is the project to turn prose into vision.
But vision of what? Michael Fried demonstrates that the impressionists sought to compel readers not only to see what was described and narrated but also to see writing itself. Fried reads Conrad, Stephen Crane, Frank Norris, W. H. Hudson, Ford Madox Ford, H. G. Wells, Jack London, Rudyard Kipling, Erskine Childers, R. B. Cunninghame Graham, and Edgar Rice Burroughs as avatars of the scene of writing. The upward-facing page, pen and ink, the look of written script, and the act of inscription are central to their work. These authors confront us with the sheer materiality of writing, albeit disguised and displaced so as to allow their narratives to proceed to their ostensible ends.
What Was Literary Impressionism? radically reframes a large body of important writing. One of the major art historians and art critics of his generation, Fried turns to the novel and produces a rare work of insight and erudition that transforms our understanding of some of the most challenging fiction in the English language.
A literary scholar explains how eighteenth-century novels were manufactured, sold, bought, owned, collected, and read alongside Protestant religious texts. As the novel developed into a mature genre, it had to distinguish itself from these similar-looking books and become what we now call “literature.”
Literary scholars have explained the rise of the Anglophone novel using a range of tools, from Ian Watt’s theories to James Watt’s inventions. Contrary to established narratives, When Novels Were Books reveals that the genre beloved of so many readers today was not born secular, national, middle-class, or female.
For the first three centuries of their history, novels came into readers’ hands primarily as printed sheets ordered into a codex bound along one edge between boards or paper wrappers. Consequently, they shared some formal features of other codices, such as almanacs and Protestant religious books produced by the same printers. Novels are often mistakenly credited for developing a formal feature (“character”) that was in fact incubated in religious books.
The novel did not emerge all at once: it had to differentiate itself from the goods with which it was in competition. Though it was written for sequential reading, the early novel’s main technology for dissemination was the codex, a platform designed for random access. This peculiar circumstance led to the genre’s insistence on continuous, cover-to-cover reading even as the “media platform” it used encouraged readers to dip in and out at will and read discontinuously. Jordan Alexander Stein traces this tangled history, showing how the physical format of the book shaped the stories that were fit to print.
Wild Colonial Girl situates O'Brien in Irish contexts that allow for an appraisal of her significant contribution to a specifically Irish women's literary tradition while attesting to the potency of writing against patriarchal conventions. Each chapter's clear and detailed readings of O'Brien's fiction build a convincing case for her literary, political, and cultural importance, providing an invaluable critical guide for an enriched appreciation of O'Brien and her work.
A variety of educational experiments failed to tame these feral children by the standards of the day. After telling their stories, Douthwaite turns to literature that reflects on similar experiments to perfect human subjects. Her examples range from utopian schemes for progressive childrearing to philosophical tales of animated statues, from revolutionary theories of regenerated men to Gothic tales of scientists run amok. Encompassing thinkers such as Rousseau, Sade, Defoe, and Mary Shelley, Douthwaite shows how the Enlightenment conceived of mankind as an infinitely malleable entity, first with optimism, then with apprehension. Exposing the darker side of eighteenth-century thought, she demonstrates how advances in science gave rise to troubling ethical concerns, as parents, scientists, and politicians tried to perfect mankind with disastrous results.
This generously illustrated book tells the story of Owen’s life and work, from his birth in 1893 to his tragic death just one week before the signing of the armistice that would end the war. The shocking realism of poems such as “Strange Meeting” and the angry disillusionment of “Anthem for Doomed Youth” reveal Owen’s transformation from a romantic youth steeped in the poetry of Keats to a mature soldier awakened to the horrors of the Western Front.
Drawing on numerous manuscripts, artifacts, and family photographs, this book gives a comprehensive view of the relationship between the poet’s lived experience and his writing that will appeal equally to both those well-versed in Owen’s work and those seeking a well-researched, accessible introduction.
This series of letters written between 1859 and 1868 by John Ruskin to Miss Bell and the girls of her school in Cheshire and discovered in a Brighton house in 1952 reveal for the first time the extent of the friendship between Miss Bell and Ruskin. She was a sympathetic listener, with whom he could discuss the spiritual crisis that marked his life during his important middle years, when he was completing Modern Painters and his earlier books on political economy. Van Akin Burd studies the letters as an expression of this struggle. He also develops a portrait of the unorthodox schoolmistress, and suggests her reasons for turning to the art critic.
Besides the charming pictures of Ruskin with the children, the correspondence provides new sources for his ideas on art, education, and religion, as well as additional insight into his tragic love for Rose La Touche. Most of Ruskin's letters to Winnington have been collected by the Pierpont Morgan Library. Of the 542 letters in this volume, 497 have not been published before.
Winters in the World is a beautifully observed journey through the cycle of the year in Anglo-Saxon England, exploring the festivals, customs, and traditions linked to the different seasons. Drawing on a wide variety of source material, including poetry, histories, and religious literature, Eleanor Parker investigates how Anglo-Saxons felt about the annual passing of the seasons and the profound relationship they saw between human life and the rhythms of nature. Many of the festivals celebrated in the United Kingdom today have their roots in the Anglo-Saxon period, and this book traces their surprising history while unearthing traditions now long forgotten. It celebrates some of the finest treasures of medieval literature and provides an imaginative connection to the Anglo-Saxon world.
The Other Voice in Early Modern Europe - The Toronto Series: Volume 60
The nineteenth century saw a marked rise both in the sheer numbers of women active in visual art professions and in the discursive concern for the woman artist in fiction, the periodical press, art history, and politics. The Woman Painter in Victorian Literature argues that Victorian women writers used the controversial figure of the woman painter to intervene in the discourse of aesthetics. These writers were able to assert their own status as artistic producers through the representation of female visual artists.
Women painters posed a threat to the traditional heterosexual erotic art scenarios—a male artist and a male viewer admiring a woman or feminized art object. Antonia Losano traces an actual movement in history in which women writers struggled to rewrite the relations of gender and art to make a space for female artistic production. She examines as well the disruption female artists caused in the socioeconomic sphere. Losano offers close readings of a wide array of Victorian writers, particularly those works classified as noncanonical—by Anne Thackeray Ritchie, Margaret Oliphant, Anne Brontë, and Mrs. Humphrey Ward—and a new look at better-known novels such as Jane Eyre and Daniel Deronda, focusing on the pivotal social and aesthetic meanings of female artistic production in these texts. Each of the novels considered here is viewed as a contained, coherent, and complex aesthetic treatise that coalesces around the figure of the female painter.
In this book Anaïs Nin speaks with warmth and urgency on those themes which have always been closest to her: relationships, creativity, the struggle for wholeness, the unveiling of woman, the artist as magician, women reconstructing the world, moving from the dream outward, and experiencing our lives to the fullest possible extent.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Women as Translators in Early Modern England offers a feminist theory of translation that considers both the practice and representation of translation in works penned by early modern women. It argues for the importance of such a theory in changing how we value women’s work. Because of England’s formal split from the Catholic Church and the concomitant elevation of the written vernacular, the early modern period presents a rich case study for such a theory. This era witnessed not only a keen interest in reviving the literary glories of the past, but also a growing commitment to humanist education, increasing literacy rates among women and laypeople, and emerging articulations of national sentiment. Moreover, the period saw a shift in views of authorship, in what it might mean for individuals to seek fame or profit through writing. Until relatively recently in early modern scholarship, women were understood as excluded from achieving authorial status for a number of reasons—their limited education, the belief that public writing was particularly scandalous for women, and the implicit rule that they should adhere to the holy trinity of “chastity, silence, and obedience.”
While this view has changed significantly, women writers are still understood, however grudgingly, as marginal to the literary culture of the time. Fewer women than men wrote, they wrote less, and their “choice” of genres seems somewhat impoverished; add to this the debate over translation as a potential vehicle of literary expression and we can see why early modern women’s writings are still undervalued. This book looks at how female translators represent themselves and their work, revealing a general pattern in which translation reflects the limitations women faced as writers while simultaneously giving them the opportunity to transcend these limitations. Indeed, translation gave women the chance to assume an authorial role, a role that by legal and cultural standards should have been denied to them, a role that gave them ownership of their words and the chance to achieve profit, fame, status and influence.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
While foregrounding the figure of the New Woman as a white imperialist reformer, Das illustrates how the New Woman movement detaches itself from the domestic politics of female friendship. In works by George Eliot, George Gissing, Olive Schreiner, Bram Stoker, and others, antagonism and indifference enable the fin de siècle New Woman to transcend traditionally defined roles and fashion social progress for herself at the expense of femininities she excludes as “other.” By contesting the critical notion of solidarity as the only force that brings Victorian women’s narratives to fruition, Women at Odds reveals the troubled but effective role of antagonistic and indifferent reformist politics in loosening rigid social structures for privileged populations.
Women, Epic, and Transition in British Romanticism argues that early nineteenth-century women poets contributed some of the most daring work in modernizing the epic genre. The book examines several long poems to provide perspective on women poets working with and against men in related efforts, contributing together to a Romantic movement of large-scale genre revision. Women poets challenged longstanding categorical approaches to gender and nation in the epic tradition, and they raised politically charged questions about women’s importance in moments of historical crisis.
While Romantic epics did not all engage in radical questioning or undermining of authority, this study calls attention to some of the more provocative poems in their approach to gender, culture, and history. This study prioritizes long poems written by and about women during the Romantic era, and does so in context with influential epics by male contemporaries. The book takes its cue from a dramatic increase in the publication of epics in the early nineteenth-century. At their most innovative, Romantic epics provoked questions about the construction of ideological meaning and historical memory, and they centralized women’s experiences in entirely new ways to reflect on defeat, loss, and inevitable transition. For the first time the epic became an attractive genre for ambitious women poets.
The book offers a timely response to recent groundbreaking scholarship on nineteenth-century epic by Herbert Tucker and Simon Dentith, and should be of interest to Romanticists and scholars of 18th- and 19th-century literature and history, gender and genre, and women’s studies.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
In Victorian England, virtually all women were taught to sew; needlework was allied with images of domestic economy and with traditional female roles of wife and mother- with home rather than factory. The professional seamstress, however, labored long hours for very small wages creating gowns for the upper and middle classes. In her isolation and helplessness, she provided social reformers with a powerful image of working-class suffering that appealed to the sensibilities of the upper classes and helped galvanize public opinion around the need for reform.
Women, Work, and Representation addresses the use of that image in the reform movement, underscoring the shock to the Victorian public when reports revealed that the profession of needlework was extremely hazardous, even deadly.
Author Lynn M. Alexander traces the development of the symbol of the seamstress through a variety of presentations, drawing from the writings of Charles Dickens, Elizabeth Gaskell, Charlotte Elizabeth Tonna, and George W. M. Reynolds, and on visual representations by Richard Redgrave, Thomas Benjamin Kennington, John Everett Millais, John Leech, John Tenniel, and Hubert von Herkomer.
Written to appeal to Victorian scholars, women's studies scholars, and those interested in semiotics and aestheticism, Women, Work, and Representation includes twenty illustrations, most from periodicals of the day, providing new insights into the lives of working women throughout the Victorian era.
Contributors:
Penelope Anderson, Andrea Boffa, Jennifer N. Brown, Christine Chism, Melissa Ridley Elmes, Laurie Finke, Carissa M. Harris, Lydia Yaitsky Kertz, Clare A. Lees, Karma Lochrie, Gillian R. Overing, Alexandra Verini, Usha Vishnuvajjala, Stella Wang
Volume 66 in the Other Voice in Early Modern Europe - The Chicago Series
The Other Voice in Early Modern Europe - The Toronto Series, volume 65
From extensive archival and literary research, Joss Marsh reconstructs a unified and particular account of blasphemy in Victorian England. Rewriting English history from the bottom up, she tells the forgotten stories of more than two hundred working-class "blasphemers," like Foote, whose stubborn refusal to silence their "hooligan" voices helped secure our rights to speak and write freely today. The new standards of criminality used to judge their "word crimes" rewrote the terms of literary judgment, demoting the Bible to literary masterpiece and raising Literature as the primary standard of Victorian cultural value.
This book presents not just the Romantic Wordsworth, but Wordsworth as part of a large historical movement in poetry, beginning in the eighteenth century and continuing to the present day. It concentrates on the difficult, much discussed, but little analyzed problem of "sincerity" in poetry, which it treats both critically and historically, as a demand relatively new in Wordsworth's time and still with us. It contains an extended criticism of Wordsworth's later poems, and explores the vexing question of why the mode of his poetry changed as he grew older.
The author shows that the ideal of sincerity has influenced poets, critics, and common readers from Wordsworth to now, and describes the problems raised for poets by this new challenge. The first problem is the adequacy of language--does the very structure and fact of language stand as an obstacle to a complete sincerity? Perkins says: "One can hardly explain the history of poetic style or, indeed, of literature since Wordsworth, unless one keeps in mind that there has been a continuing mistrust of language. By words, it is feared, we chop realities into categories. The categories are arbitrary, or, even if they are not, their generality strips our experience of its unique aspects."
Another problem raised by the challenge of sincerity is the distrust of poetic form. How can you write with a personal sincerity when you have to use meters and stanzas? Or, more fundamentally, how can you be honest to the complexity and uncertainty of your own experience, when a poem must always be more limited than the consciousness from which it arises? Still another problem is the distrust of poetic conventions and traditions. The author says, "The wish to be sincere is challenged and baffled by the fact that poetry is a learned performance, that all poetic expression depends on traditions and conventions peculiar to the art and inherited from the past...Yet if you imitate the great achievements of the past, how can your poem be thought a sincere personal utterance? The question of imitation is only the most obvious result of this anxiety. For a fanatic sincerity may suppose that merely to be influenced by other writers--in fact, to be influenced by anything at all--somehow clouds the purity of self-expression."
Wordsworth in His Major Lyrics explores the identity, role, and subjectivity of the speaker in Wordsworth's finest and best-known longer lyrics—"Tintern Abbey," "Resolution and Independence," "Ode: Intimations of Immortality," and "Elegiac Stanzas." Because Wordsworth is the most autobiographical poet of the Romantic period, and perhaps in the English language, readers naturally take the speaker to be the poet himself or, as Wordsworth says in his prefaces and essays, "the poet in his own person."
Some readers allow for a fictional dimension in the characterization of the speaker and refer to him as a persona; others treat him as a biographical self, defined in literary, political, historical, or cultural terms. Leon Waldoff examines the critical issues posed by these different understandings of the speaker's identity and argues for a conception of Wordsworth's lyrical "I" that deals with the dramatic and psychological complexities of the speaker's act of self-representation.
Taking concepts from Freud and Winnicott, this book presents a psychoanalytic model for defining the speaker and conceptualizing his subjectivity. Waldoff suggests that the lyrical "I" in each poem is a transitional self of the poet. The poem offers, in the suspended moment and cultural space of lyrical form, a self-dramatization in which the speaker attempts to act out, in the sense of both performing and attempting to achieve, a reconstitution and transformation of the self.
In a series of close readings that provide formalistic and psychological analysis, the book shows that the major lyrics contain compelling evidence that Wordsworth devoted much of his poetic art to each speaker's act of self-dramatization. The various strategies that each speaker employs and the self- dramatizing character of his utterance are theorized and assimilated into an understanding of the subjectivity he represents.
Waldoff concludes that Wordsworth's lyrical "I" requires a conception of subjectivity that gives greater recognition to its individual, psychological dimensions and to the art of self-representation in each poem than recent Wordsworth criticism has provided. This important new work will be appreciated by anyone interested in Wordsworth or in Romantic poetry.
Wordsworth’s Fun explores the writer’s debts to the ludic and the ludicrous in classical tradition; his reworkings of Ariosto, Erasmus, and Cervantes; his engagement with forms of English poetic humor; and his love of comic prose. Combining close reading with cultural analysis, Bevis travels many untrodden ways, studying Wordsworth’s interest in laughing gas, pantomime, the figure of the fool, and the value of play. Intrepid, immersive, and entertaining, Wordsworth’s Fun sheds fresh light on how one poet’s strange humor helped to shape modern literary experiment.
Central to the discussion, which restores Wordsworth to both the French and English contexts in which he matured, is a consideration of his relation to Rousseau and Burke. Chandler maintains that by the time Wordsworth set forth his "program for poetry" in 1798, he had turned away from the Rousseauist idea of nature that had informed his early republican writings. He had already become a poet of what Burke called "second nature"–human nature cultivated by custom, habit, and tradition–and an opponent of the quest for first principles that his friend Coleridge could not forsake. In his analysis of the poetry, Chandler suggests that even Wordsworth's most apparently private moments, the lyrical "spots of time," ideologically embodied the uncalculated habits of an oral narrative discipline and a native English mind.
Lesjak demonstrates how the ideological work of the literature of the Victorian era, the “golden age of the novel,” revolved around separating the domains of labor and pleasure and emphasizing the latter as the proper realm of literary representation. She reveals how the utopian works of Morris and Wilde grapple with this divide and attempt to imagine new relationships between work and pleasure, relationships that might enable a future in which work is not the antithesis of pleasure. In Working Fictions, Lesjak argues for the contemporary relevance of the “labor novel,” suggesting that within its pages lie resources with which to confront the gulf between work and pleasure that continues to characterize our world today.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Philip Pullman recounts the experience of drawing a map as he set out on one of his early novels, The Tin Princess. Miraphora Mina recalls the creative challenge of drawing up ”The Marauder’s Map” for the Harry Potter films. David Mitchell leads us to the Mappa Mundi by way of Cloud Atlas and his own sketch maps. Robert Macfarlane reflects on the cartophilia that has informed his evocative nature writing, which was set off by Robert Louis Stevenson and his map of Treasure Island. Joanne Harris tells of her fascination with Norse maps of the universe. Reif Larsen writes about our dependence on GPS and the impulse to map our experience. Daniel Reeve describes drawing maps and charts for The Hobbit film trilogy. This exquisitely crafted and illustrated atlas explores these and so many more of the maps writers create and are inspired by—some real, some imagined—in both words and images.
Amid a cornucopia of 167 full-color images, we find here maps of the world as envisaged in medieval times, as well as maps of adventure, sci-fi and fantasy, nursery rhymes, literary classics, and collectible comics. An enchanting visual and verbal journey, The Writer’s Map will be irresistible for lovers of maps, literature, and memories—and anyone prone to flights of the imagination.
The cataclysm of the First World War gave rise to the British Peace Movement, a spectrum of pacifist, internationalist, and antiwar organizations and individuals. Antiwar sentiments found expression not only in editorials, criticism, and journalism but also in novels and other works of literature. Writing against War examines the work of Aldous Huxley, Storm Jameson, Siegfried Sassoon, Rose Macaulay, and Virginia Woolf to analyze the effects of their attempts to employ fiction in the service of peace activism. It further traces how Huxley, Woolf, and others sought to reconcile their antiwar beliefs with implacable military violence.
The British Peace Movement's failure to halt the rise of fascism and the Second World War continues to cast a shadow over contemporary pacifist movements. Writing about War will fascinate scholars of peace studies and literature and offers valuable insights for current-day peace activists and artists who seek to integrate creativity with activism.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Beautifully illustrated with seventy full-color illustrations, this book tells the river’s remarkable story through art, poetry, and prose, while celebrating the writers who helped form its enduring legacy.
—Jane Donawerth
Professor of English and affiliate faculty in women’s studies
University of Maryland
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press