First published in 1968. Richard Hengist Horne, virtually unknown today, was one of the more extraordinary figures of the nineteenth century literary scene. The author of an epic poem Orion was acclaimed a work of genius by almost every English critic. His voluminous literary output is for the most part forgotten, but his life and character, his widely romantic aspirations to be a Man of Genius, provide a fascinating tragi-comic study. As a background study to the literature and society of the time, Ann Blainey’s book is packed with interest and anecdote, and as a study of a remarkable man it is consistently entertaining.
First published in 1968. Richard Hengist Horne, virtually unknown today, was one of the more extraordinary figures of the nineteenth century literary scene. The author of an epic poem Orion was acclaimed a work of genius by almost every English critic. His voluminous literary output is for the most part forgotten, but his life and character, his widely romantic aspirations to be a Man of Genius, provide a fascinating tragi-comic study. As a background study to the literature and society of the time, Ann Blainey’s book is packed with interest and anecdote, and as a study of a remarkable man it is consistently entertaining.
An influential family’s weekend party is the stage for murder in this alternative history trilogy opener set in a post-WWII England where the Nazis won. Eight years have passed since the upper-crust “Farthing Set” overthrew Winston Churchill and led Britain into a separate peace with Hitler. Now those families have gathered for a weekend retreat. Among them is estranged scion Lucy Kahn, who can’t understand why she and her husband, David, were so enthusiastically invited. But all becomes clear when the eminent Sir James Thirkie is found murdered—with a yellow Star of David pinned to his chest. Lucy realizes that her Jewish husband is about to be framed for the crime, an outcome that would be altogether too politically convenient, given the machinations underway in Parliament in the coming week. The Farthing Set are determined to pass laws further restricting the right to vote, and a new outcry against Jews and foreigners would suit them fine. But whoever’s behind the murder and the frame-up didn’t count on the principal investigator from Scotland Yard being so prone to look beyond the obvious—or his being a man with his own private reasons for sympathizing with outcasts and underdogs . . . Praise for Farthing “If le Carré scares you, try Jo Walton. Of course her brilliant story of a democracy selling itself out to fascism sixty years ago is just a mystery, just a thriller, just a fantasy—of course we know nothing like that could happen now. Don’t we?” —Ursula K. Le Guin “Walton . . . crosses genres without missing a beat with this stunningly powerful alternative history set in 1949. . . . While the whodunit plot is compelling, it’s the convincing portrait of a country’s incremental slide into fascism that makes this novel a standout. Mainstream readers should be enthralled as well.” —Publishers Weekly (starred review)
A ground-breaking study of nineteenth-century British colonial poetry. Imagined Homelands chronicles the emerging cultures of nineteenth-century British settler colonialism, focusing on poetry as a genre especially equipped to reflect colonial experience. Jason Rudy argues that the poetry of Victorian-era Australia, New Zealand, South Africa, and Canada—often disparaged as derivative and uncouth—should instead be seen as vitally engaged in the social and political work of settlement. The book illuminates cultural pressures that accompanied the unprecedented growth of British emigration across the nineteenth century. It also explores the role of poetry as a mediator between familiar British ideals and new colonial paradigms within emerging literary markets from Sydney and Melbourne to Cape Town and Halifax. Rudy focuses on the work of poets both canonical—including Tennyson, Browning, Longfellow, and Hemans—and relatively obscure, from Adam Lindsay Gordon, Susanna Moodie, and Thomas Pringle to Henry Kendall and Alexander McLachlan. He examines in particular the nostalgic relations between home and abroad, core and periphery, whereby British emigrants used both original compositions and canonical British works to imagine connections between their colonial experiences and the lives they left behind in Europe. Drawing on archival work from four continents, Imagined Homelands insists on a wider geographic frame for nineteenth-century British literature. From lyrics printed in newspapers aboard emigrant ships heading to Australia and South Africa, to ballads circulating in New Zealand and Canadian colonial journals, poetry was a vibrant component of emigrant life. In tracing the histories of these poems and the poets who wrote them, this book provides an alternate account of nineteenth-century British poetry and, more broadly, of settler colonial culture.
A fact-filled reference for discovering, and learning more about, the literary greats of the nineteenth century. The Victorian era produced many famous writers and poets, including Dickens, Thackeray, H.G. Wells, and Tennyson. Magazines like The Strand launched famous creations such as Conan Doyle’s Sherlock Holmes, whose cliffhanger stories were told in part-works to add to the excitement. And the poetry was epic—Tennyson’s Morte d’Arthur and The Lady of Shalott tapped into the Pre-Raphaelite style so popular in the art of the day. In this guide, Russell James has explored the role of the Victorian writer and their genres, from Dickens’s desire to correct social wrongs and expose poverty to H.G. Wells’s desire to escape the modern world. The responsibility of the Victorian poet is also revealed from romantic declaration and escapism to heroism and historical commemorations—would modern generations know about the Charge of the Light Brigade if Tennyson hadn’t immortalized it? Together with A–Zs of writers and poets, this is a must-read book for everyone who loves good writing and wants to discover more.
Few stories capture the unique interplay of critical theory, mass media and public taste better than the story of the Spasmodics. These earnest, youthful and largely self-educated neo-Romantics hoped to become prophets who would influence literary society on a grand scale. From about 1850 to 1860, the Spasmodics successfully cast a long shadow over virtually every serious discussion of Victorian poetry. Many mid-nineteenth-century writers, including Tennyson, both Brownings and Matthew Arnold, were either adherents or outspoken detractors of the Spasmodic School. This work documents, in appropriate social contexts, the trajectory of the Spasmodic School in both its original incarnation and subsequent appraisals. Examining the various personalities and aesthetic principles that fashioned the movement, the author does not champion any particular critical stance or verdict. The scholarly apparatus cites a number of competing Victorianist interpretations, approaches and judgments with varying degrees of expertise.
Elizabeth Barrett Browning (1806-61) was the first major woman poet in the English literary tradition. Her significance has been obscured in this century by her erasure from most literary histories and her exclusion from academic anthologies. Dorothy Mermin's critical and biographical study argues for Barrett Browning's originative role in both the Victorian poetic tradition and the development of women's literature. Barrett Browning's place at the wellhead of a new female tradition remains the single most important fact about her in terms of literary history, and it was central to her self-consciousness as a poet. Mermin's study shows that Barrett Browning's anomalous situation was constantly present to her imagination and that questions of gender shaped almost everything she wrote. Mermin argues that Barrett Browning's poetry covertly inspects and dismantles the barriers set in her path by gender and that in her major works—Sonnets from the Portuguese, Aurora Leigh, her best political poems, "A Musical Instrument"—difficulty is turned into triumph, incorporating the author's femininity, her situation as a woman poet, and her increasingly substantial fame. Mermin skillfully interweaves biography and close readings of the poems to show precisely how Barrett Browning's life as a woman writer is a part of the essential meaning of her art. Both her personal and her literary achievements are exceptionally well documented, especially for her formative years. Mermin makes extensive use of the poet's early essays, a diary covering most of her twenty-sixth year, and the enormous number of letters that have survived. Ranging from her earliest ambitions through her long periods of discouragement and illness to her happy married life with Robert Browning, this comprehensive study of Elizabeth Barrett Browning is essential reading for students of the Victorian period, English literature, and women's studies.
Some people keep journals - with daily entries being tallied everyday - while others write poetry and fiction short stories, as well as getting the occasional tattoo. All of these contain clues into their daily lives, emotional and physical journeys, and chronicles of their newest epiphanies, accomplishments, realizations, and milestones - small, medium, and large. Run on sentence much? This book, Michael DeBenedictis' sixth self-published volume - a collection of poems and fiction short stories - does just that. It also contains pieces that reach out to others to tell of observations and stories that encompass experiences of the collective "everyone else" and "others", as well as snippets of daily life in his own small town though his eyes. There also exists a personal journal - sitting atop one of his bookcases - that isn't necessarily written in every day, but will still not see the light of day, however.
