A Guide to Serial Publications Founded Prior to 1918 and Now Or Recently Current in Boston, Cambridge, and Vicinity
Author: Thomas J. Homer
Publisher:
Published: 1922
Total Pages: 536
ISBN-13:
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Author: Thomas J. Homer
Publisher:
Published: 1922
Total Pages: 536
ISBN-13:
DOWNLOAD EBOOKAuthor: Thomas Johnston Homer
Publisher:
Published: 1922
Total Pages: 868
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Publisher:
Published: 1911
Total Pages: 612
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DOWNLOAD EBOOKBeginning in 1924, Proceedings are incorporated into the Apr. no.
Author:
Publisher:
Published: 1925
Total Pages: 602
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DOWNLOAD EBOOKIncludes business directory and state year book.
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Publisher:
Published: 1871
Total Pages: 628
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DOWNLOAD EBOOKAuthor: New York Public Library. Research Libraries
Publisher:
Published: 1979
Total Pages: 544
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Publisher:
Published: 1910
Total Pages: 698
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Published: 1914
Total Pages: 368
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Publisher:
Published: 1980
Total Pages: 748
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DOWNLOAD EBOOKAuthor: William Logan
Publisher: Columbia University Press
Published: 2018-06-05
Total Pages: 404
ISBN-13: 0231546513
DOWNLOAD EBOOKIn Dickinson’s Nerves, Frost’s Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems—“Ozymandias,” “On First Looking Into Chapman’s Homer,” “In a Station of the Metro,” “The Red Wheelbarrow,” “After great pain, a formal feeling comes,” and “Stopping by Woods on a Snowy Evening,” among others—Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney. In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan’s criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet’s daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet’s life and the shadow of the age.