This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies
With their powerful blend of political and aesthetic concerns, Edward W. Said's writings have transformed the field of literary studies. This long-awaited collection of literary and cultural essays offers evidence of how much the fully engaged critical mind can contribute to the reservoir of value, thought, and action essential to our lives and culture.
The third volume of Leon Edel's superb edition of Henry James's letters finds the novelist settled in Europe and his expatriation complete. The letters of this time reflect the growth of James's literary and personal friendships and introduce the reader to the frescoed palazzos, Palladian villas, and great estates of the Roseberys, the Rothschilds, the Bostonian-Venetian Curtises, and the Florentine-American Boott circle. In all his travels, James closely observes the social scene and the dilemmas of the human beings within it. During this fruitful period he writes The Bostonians, The Princess Casamassima, The Tragic Muse, and some thirty-five of his finest international tales. Undermining his success, however, are a devastating series of disappointments. Financial insecurity, an almost paraniod defensiveness following the utter failure of his dramatic efforts, and the deaths of his sister, his friend Robert Louis Stevenson, and his ardent admirer Constance Fenimore Woolson all combine to take him to what he recognizes is the edge of an abyss of personal tragedy. And yet James endures, and throughtout these trials his letters reveal the flourish, the tongue-in-cheek humor, and the social insight that marked his genius. As Edel writes in his Introduction: "The grand style is there, the amusement at the vanities of this world, the insistence that the great ones of the earth lack the imagination he is called upon to supply, and then his boundless affection and empathy for those who have shown him warmth and feeling." In an appendix Mr. Edel presents four remarkable unpublished letters from Miss Woolson to James. These throw light on their ambiguous relationship and on James's feelings of guilt and shock after her suicide in Venice.
Through close readings of diverse examples by Lamb, De Quincey, Hazlitt, Irving and Poe, this book argues that the familiar essay in the Romantic period embodies a quintessentially metropolitan mode of affect. The generic traits of the essay—astuteness of observation, an ambulatory or paratactic movement of thought, and an urbane tone of wry or ironic humour—all predispose it to the expression of a detached, non-pathological state of mind. This is a mind conditioned by the quickened pace, assorted humanity, and plenitude of spectacle which characterise urban and urbanised life. In making a valuable, genre-based contribution to scholarship on the importance to Romantic studies of the city and metropolitan culture, the traditional concept of Romantic affect is reassessed. The book proposes a more complex and varied model than the simple binary one of a “feeling” reaction to Enlightenment “reason.” Partly enacted within its own formal parameters and partly through its disruptive and genre-transcending progeny, the essayistic figure, the familiar essay articulates a blithe and, at times, shocking and provocative discourse of “un-affect,” or a strategically and often satirical callousness. Therefore, the overall concept of affect in this period needs to be understood not as a unified entity opposed to Enlightenment reason, but a dialogue between concurrent, opposing modes, played out against a dichotomized geo-cultural landscape of the country and the city. Essayistic un-affect emerges, in the end, as an apolitical phenomenon, a primary vehicle for the essayist’s inherent scepticism, sometimes enabling outright ridicule and, at other times, a tentative questioning or probing of both orthodox thought and emerging ideas: from the rarefied liberalist sensibility of the Lake poets, to the hubristic vanity of the colonial adventurer, and from the allure of hedonistic, Old World decadence to the proscriptive strictures of moralistic art.
In O My America!, the travel writer and biographer Sara Wheeler embarks on a journey across the United States, guided by the adventures of six women who reinvented themselves as they chased the frontier west. Wheeler's career has propelled her from pole to pole—camping in Arctic igloos, tracking Indian elephants, contemplating East African swamps so hot that toads explode—but as she stared down the uncharted territory of middle age, she found herself in need of a guide. "Fifty is a tough age," she writes. "Role models are scarce for women contemplating a second act." Scarce, that is, until she stumbled upon Fanny Trollope. In 1827, forty-nine-year-old Trollope—mother of Victorian novelist Anthony—swapped England for Ohio and wrote one of the most sensational travel accounts of the nineteenth century. Domestic Manners of the Americans made an instant splash on both sides of the Atlantic: Mark Twain judged her the best foreign commentator of his country, and the last king of France threw a ball in her honor. Fanny was living proof of life after fertility, and she led Wheeler to other trailblazing British travelers and transplants: - the actress Fanny Kemble, who shocked the nation with her passionate firsthand indictment of slavery; - the prolifically pamphleteering economist Harriet Martineau; - the homesteader Rebecca Burlend, who had never been more than twelve miles from her Yorkshire village before she sailed to the New World; - the traveler Isabella Bird, whose many ailments remained in check as long as she was scaling the Rockies; - and the novelist Catherine Hubback, a niece of Jane Austen, who deposited her husband in a madhouse and rode the rails to San Francisco. Tough-minded outsiders, these women's truest qualities emerged in a country as incomplete and tentative as their native land was staid and settled. And they discovered second acts for themselves at a time when the world expected them to politely disappear. In O My America!, Wheeler tracks her subjects from the Mississippi to the cinder cones of the Mayacamas at the tail end of the Cascades, armed with two sets of maps for each adventure: one current and one the women before her would have used. Ambitious and full of life, O My America! is not only a great writer's reckoning with a young country, but also an exuberant tribute to fresh starts, second acts, and six unstoppable women. Shortlisted for the Dolman Travel Book Award
Drawing from two political and several literary homelands, this collection presents a remarkable series of trenchant essays, demonstrating the full range and force of Salman Rushdie's remarkable imaginative and observational powers. With candour, eloquence and indignation he carefully examines an expanse of topics; including the politics of India and Pakistan, censorship, the Labour Party, Palestinian identity, contemporary film and late-twentieth century race, religion and politics. Elsewhere he trains his eye on literature and fellow writers, from Julian Barnes on love to the politics of George Orwell's 'Inside the Whale', providing fresh insight on Kipling, V.S. Naipaul, Graham Greene, John le Carré, Raymond Carver, Philip Roth and Thomas Pynchon among others. Profound, passionate and insightful, Imaginary Homelands is a masterful collection from one of the greatest writers working today.
