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It's 1872 and China – still bruised from its defeat in the two Opium Wars – sends a group of boys, including seven-year-old Chen Mu, to America to study and bring back the secrets of the West. But nine years on Chen Mu becomes a fugitive and flees to Umberumberka, a mining town in outback Australia. He eventually finds peace working for Matthew Dawson, a rich pastoralist. When the bubonic plague ravages Sydney, Matthew Dawson's daughter returns to her father's property with her son, Edward. But it's a lonely life for a small boy surrounded only by adults, and he soon befriends Chen Mu, forging a friendship that will last a lifetime. Years later, Edward visits a mysterious and decadent Shanghai, where he falls in love with Ming Li, the beautiful young wife of a Chinese businessman. Invading Japanese armies tear the couple apart and years pass before they reunite, each scarred by the events of World War II and the Korean War. But will it be only to be torn apart once again? The Yellow Papers is a story of love, obsession and friendship set against a backdrop of war and racial prejudice. ‘Moving and though-provoking. An outstanding novel of originality and psychological depth.'Julienne van Loon ‘Will satisfy a readership hungry for a gripping, grandiose read.'Bookseller & Publisher

A reimagining of Devotions upon Emergent Occasions as an original treatment of human life shaped by innovations in seventeenth-century science and medicine. In 1624, poet and preacher John Donne published Devotions upon Emergent Occasions, a book that recorded his near-death experience during a deadly epidemic in London. Four hundred years later, in the aftermath of our own pandemic, Harvey and Harrison show how Devotions crystalizes the power, beauty, and enduring strangeness of Donne's thinking. Arguing that Donne saw human life in light of emergent ideas in the study of nature (physics) and the study of the body (physick), John Donne's Physics reveals Devotions as a culminating achievement, a radically new literary form that uses poetic techniques to depict Donne's encounter with death in a world transformed by new discoveries and knowledge systems.

This book sets out on an intellectual journey, with each chapter acting as a unique compass to lead the reader through the critical perspectives on resistance waiting to be discovered in 21st-century British literature. As such, the book appeals to general readers, including undergraduates, researchers, professionals, and anyone who is interested in cultural studies, literary studies, the humanities, and sociology, particularly resistance and discourse studies.

This collection brings together extended versions of papers delivered at the 2015 meeting of the Hungarian Society for the Study of English (HUSSE). The timeframe the papers deal with, starting with 15th century devotional texts, including Tudor interludes, Shakespearean plays and their adaptations, and ending in Milton, embraces three centuries of the history of English literature. As such, the contributions offer not only a variety of methodological approaches and disciplinary perspectives, but also highlight converging problems within this broad field, crystallized around three main topics of scholarship and constituting the three thematic parts of the volume, each containing three to four chapters. The first part, entitled “Medieval and Early Modern Experiments with Genre”, offers a set of readings that interpret texts in the light of their generic and thematic innovativeness. Attesting to the multiple ways in which Shakespeare is made our contemporary, the second part, “Shakespearean Texts and Adaptations—Our Contemporaries”, is comprised of essays on contemporary adaptations of Shakespeare and Renaissance theatre, taking the term “adaptation” in a broad sense. The contributions in the third part of the volume, “Perspectives on Milton”, all focus on John Milton, highlighting debates or underrepresented discourses in Milton studies. What connects the papers of the volume as a whole is the reinterpretation of traditional critical assumptions through innovative methods, including viewpoints integrated from other disciplines and discourses, such as theatre studies, digital humanities and social sciences, addressing the relevance of both traditional and innovative topics within English studies in a contemporary academic context.

This book, by the eminent poetry critic Neil Corcoran, examines the ways in which the work of significant modern Irish, British and American poets interacts with or ‘negotiates'different contexts – historical, social, political, artistic and aesthetic. In Part 1 important work by David Jones, Robert Graves, Seamus Heaney and Bob Dylan is shown to negotiate poetic methods – both traditional and modernist – and also the work of major earlier writers to produce strikingly original new forms; and Derek Mahon's prose is read in the light of these concerns. The books shows how, by negotiating in this way, their work engages profoundly with complex and sometimes terrible histories, including the First World War and the Northern Irish Troubles. Part 2 discusses the ways in which ‘ekphrastic'work – poems which engage with visual art – by Elizabeth Bishop, W. S. Graham, John Ashbery, Sylvia Plath and Ciaran Carson negotiates comparable poetic and historical inheritances while also inventively responding to work by significant artists, notably Parmigianino, Poussin, de Chirico, Klee and members of the St Ives School. The book is a signal contribution to current critical debates about these poets, situating them in original or newly clarified contexts, and it offers exemplary close readings of noteworthy poems.

Identifies and investigates international medievalism through three distinct strands:'Internationally Nationalist','Someone Else's Past?', and'Activist Medievalism'.Medievalism - the reception of the Middle Ages - often invokes a set of tropes generally considered'medieval', rather than consciously engaging with medieval cultures and societies. International medievalism offers an additional interpretative layer by juxtaposing two or more national cultures, at least one of which is medieval.'National'can be aspirational: it might refer to the area within agreed borders, or to the people who live there, but it might also describe the people who understand, or imagine, themselves to constitute a nation. And once'medieval'becomes simply a collection of ideas, it can be re-formed as desired, cast as more geographically than historically specific, or function as a gateway to an even more nebulous past.This collection identifies and investigates international medievalism through three distinct strands,'Internationally Nationalist','Someone Else's Past?', and'Activist Medievalism', exploring medievalist media from the textual to the architectural. Subjects range from The Green Children of Woolpit to Refugee Tales, and from Viking metal to Joan of Arc. As the contributors to each section make clear, for centuries the medieval has provided material for countless competing causes and cannot be contained within historical, political, or national borders. The essays show how the medieval is repeatedly co-opted and recreated, formed as much as formative: inviting us to ask why, and in service of what.

Perhaps no great poet, in any language, has suffered more than Byron from being merely read about rather than actually read. As Bernard Beatty remarks in his introduction to this important collection of essays, the popular conception of ‘Byron'still often approximates to ‘Rupert Everett with a limp'.Reading Byron is the product and summation of nearly sixty years devoted to studying and teaching his poetry. It argues that, far from being ‘mad, bad and dangerous to know', Byron is serious, ethically orientated and rewarding to read. The book is in three parts: Poems – Life – Politics. Five new essays have been written especially for the first and largest section, which provides fresh perspectives on Byron's major works. The volume continues with three of Beatty's lively lectures on unappreciated aspects of Byron the man, and three pithy essays on Byron as a complex, if not systematic, political thinker.While Beatty does not question the pre-eminent status of the ‘bright'Don Juan, devoting a chapter to an unconventional reading of its final cantos, he argues powerfully that nineteenth-century readers, who responded on an unprecedented scale to the forceful poetic structures of the ‘dark'Byron in Childe Harold's Pilgrimage, The Tales, Manfred, and Cain, were right to do so. Introduced by Jerome McGann (editor of the great Clarendon edition of the poet's works) and concluded in dialogue with Gavin Hopps (co-editor of the forthcoming Longman edition), Reading Byron is itself essential reading for any student or lover of Romantic poetry.

Eternity in British Romantic Poetry explores the representation of the relationship between eternity and the mortal world in the poetry of the period. It offers an original approach to Romanticism that demonstrates, against the grain, the dominant intellectual preoccupation of the era: the relationship between the mortal and the eternal. The project's scope is two-fold: firstly, it analyses the prevalence and range of images of eternity (from apocalypse and afterlife to transcendence) in Romantic poetry; secondly, it opens up a new and more nuanced focus on how Romantic poets imagined and interacted with the idea of eternity. Every poet featured in the book seeks and finds their uniqueness in their apprehension of eternity. From Blake's assertion of the Eternal Now to Keats's defiance of eternity, Wordsworth's ‘two consciousnesses'versus Coleridge's capacious poetry, Byron's swithering between versions of eternity compared to Shelleyan yearning, and Hemans's superlative account of everlasting female suffering, each poet finds new versions of eternity to explore or reject. This monograph sets out a paradigm-shifting approach to the aesthetic and philosophical power of eternity in Romantic poetry.

This book proposes a new approach to the literary representations of London by means of correlating geocriticism, spatial literary studies and memory studies in order to investigate the interplay between reality and fiction in mapping the urban imaginary. It conducts an analysis of depictions of London in British literature published between 1975 and 2005, exploring the literary representations of the real urban restructurings prompted by the rebuilding projects in war and poverty-stricken districts of London, the remapping of the metropolis by immigrants, gentrification and the displacement of communities, as well as the urban dissolution caused by terrorism. The selected works of fiction written by Peter Ackroyd, Penelope Lively, Zadie Smith, Andrea Levy, J.G. Ballard, Michael Moorcock, Doris Lessing and Ian McEwan provide a record of the city in times of de/reconstruction, emphasizing the structure of London as a palimpsest, which becomes a central image. The book contributes to the development of the subject field by introducing a number of original concepts which connect geocriticism and memory studies.

An exploration across thirteen essays by critics, translators and creative writers on the modern-day afterlives of Old English, delving into how it has been transplanted and recreated in the twentieth and twenty-first centuries.Old English language and literary style have long been a source of artistic inspiration and fascination, providing modern writers and scholars with the opportunity not only to explore the past but, in doing so, to find new perspectives on the present. This volume brings together thirteen essays on the modern-day afterlives of Old English, exploring how it has been transplanted and recreated in the twentieth and twenty-first centuries by translators, novelists, poets and teachers. These afterlives include the composition of neo-Old English, the evocation in a modern literary context of elements of early medieval English language and style, the fictional depiction of Old English-speaking worlds and world views, and the adaptation and recontextualisation of works of early medieval English literature. The sources covered include W. H. Auden, J. R. R. Tolkien, and Seamus Heaney, alongside more recent writers such as Christopher Patton, Hamish Clayton and Paul Kingsnorth, as well as other media, from museum displays to television. The volume also features the first-hand perspectives of those who are authors and translators themselves in the field of Old English medievalism.

This volume analyses the form, structure and genre of a selection of non-fictional works by Daniel Defoe. Directing our scholarly gaze away from the much studied novels, the essays explore the rhetorical strategies and generic inventiveness on display in Defoe's better known non-fictional texts, such as The Shortest Way with the Dissenters and A Tour through the Whole Island of Great Britain, and some of his lesser known publications, such as his Complete English Tradesman and An Essay on the History and Reality of Apparitions. What emerges from the collection is the picture of an author who responded to early eighteenth-century debates and events with outstanding authorial skill and energy, and to whom matters of form and style were of great importance.

The English Association of Pennsylvania State Universities held its annual meeting in 2006 at Mansfield University in Pennsylvania. The conference theme was “Literature, Writing, and the Natural World.” This collection grows out of the conference and indicates the desire to understand all aspects of our relationship with the natural world, the function of literature in clarifying that relationship (in ways science and politics cannot), and the role of the literature teacher-scholar wanting to respond to pressures of environmental change.In these times, interpretation is a vital task, not only for the way it educates us about our attitudes toward nature, but because it develops the crucial skills of looking closely, engaging, reflecting, and responding. One could argue that, as a culture, Americans are behind the curve in understanding the ways we depend upon a healthy relationship with nature, and one way (among many) depends upon examining it through texts and textual representation. When the writers here dig into The Main Woods, Jayber Crow, the poetry of Pablo Guevara, or the movie Crash, they are contributing to our understanding of the ways in which we view nature and how that view plays a role in the way we relate to nature.These days, many disciplines engage global warming and other environmental issues routinely, and the literature classroom should be no different. Just as we read a book and address fundamental themes such as “What does it mean to love?” or “How do we develop identity?” we should also be asking “What is my responsibility when I decide what resources to use?” If we understand literature as equipment for living in a warming world, we may be able to help students make some sense out of their world and some decisions about how to act.

Swift's A Modest Proposal has always aroused the interest not just of literary critics, but also of linguists and pragmatists. Within the latter approaches, the study of irony, and more concretely, the intentions and attitudes that must have guided the production of such an intricate work, have always been paramount. However, it seems that within pragmatics the analysis has been restricted so far to the 1729 work itself. In the present author's view, it is interesting to contextualise this masterpiece of irony and satire within Swift's wider writing on Ireland, an approach that remains to be carried out. Accordingly, this work sets out to analyse a selection of Swift's Irish Tracts, with a view to tracing the evolution within Swift's literary production of his views and attitudes towards the situation of his homeland. Although different pragmatic approaches are applied, the emphasis is laid upon the contributions that the relevance-theoretical framework and its studies on irony may bring to the understanding of this particular Tract. The works selected are meant to cover and also be representative of the main phases currently distinguished within Swift's writing on the'Irish Question'. It is therefore hoped that a deeper analysis of the former works by Swift on this topic will provide new insights for a better understanding of A Modest Proposal.

The essays in this book, written by poets, novelists, mountain-climbers and academics from all over the world, evoke the representation of mountains in the English-speaking world as artists, writers, philosophers or mountain-climbers have represented them from the sixteenth to the twenty-first centuries.From the Alps to the Pyrenees, from Mount Fuji to Mount Shasta, from the Himalayas to the Scottish Highlands, from Ikere in Nigeria to Devil's Tower in the United States, from Uluru in Australia to the most northern mountain of the Arctic, the shapes of the world speak the same language and tell the world its own story.This interdisciplinary book, weaving together mountaineering, literature, philosophy, painting, cinema, ecology, history, palaeontology, geography, geopolitics, toponymy, law, religion and myth, invites people to an innovative reading of mountains: it reveals the close relationship existing between the shapes of the world and all forms of writing and, at the same time, it shows how the representations of the imagination may be instrumental in protecting the natural world.The story told by the landscape inscribes a broken line in the shapes of the world, tearing the landscape like a fragile page whenever historical and political events (wars, mining or deforestation) leave scars in the landscape; but writers'and artists'representations of mountains constitute a path to awareness as they are not only a painting of beauty, but an image of our link to nature and a warning as well.For centuries the image of the mountain has conveyed a symbolism telling the story of human thought, and this book shows to what extent literature and art play an essential part in our awareness of nature.

Transgression and Its Limits is a long overdue collection that reads the complex relationship between artistic transgressions and the limits of law and the subject. In mid-twentieth century theoretical understandings of transgressive culture, it is the existence of the limit that guarantees the possibility and success of the transgression. While the limit calls for obedience, it also tempts with the possibility of violation. To breach the limits of the acceptable is to simultaneously define them. However, this classical understanding of transgression may no longer apply under the conditions of post-modernity, late-capitalism, and the simulated or empty transgressions that this period of the simulacra encourages. Context becomes paramount in reading the myriad forms of transgression that encompass politics, aesthetics and the ethics of the obscene; while a range of theoretical perspectives are employed in order to elucidate the economies at work underneath the seemingly transgressive act. The essays selected include explorations of transgression in cinema, photography, art, law, music, philosophy, technology, and both classical and contemporary literature and drama. Professor Fred Botting's (co-author of Bataille and The Tarantinian Ethics) analysis of transgression from Bataille, to Baudrillard and Ballard compliments the collection's concerns about the status of transgression. Aside from fourteen critical essays on topics such as early-modern drama, George Bataille, J. G. Ballard, the female necrophilic, “torture-porn” cinema, and the art of Robert Mapplethorpe and Salvador Dali, there is also a new discussion of transgression between novelist Iain Banks and Professor Roderick Watson (Emeritus at the University of Stirling). With its focus on the paradoxical nature of the impulse to transgress, as well at its wide-ranging historical and artistic concerns, Transgression and Its Limits is a landmark book in a rapidly developing scholarly field.

The first full length study of Patrick McCabe's work, We Won't Make It Out Alive, examines the mental instability and carefully constructed childhoods that McCabe has crafted for his various characters—the one eyed quasi Al Pacino, the sequin studded transvestite, the bachelor farmer who routinely exhumes his dead mother for a chat.Beneath the grotesque and often very funny narratives of Irish border town life lurks startlingly similar pasts for these characters, spanning all of McCabe's catalogue. As children, they were subject to the cruelty of the orphanage/workhouse or deadbeat parents numbed by alcohol. Many were victims of sexual abuse by priests and witnesses to the senseless violence brought on by political divides. The outrageous personalities and later actions of these characters often overshadow these very real beginnings, and in this book, Kate Walls discusses the impact of these social problems and how McCabe's unfortunate (and usually well-meaning) narrators are driven crazy as a result.We Won't Make It Out Alive also discusses how these characters fare against the Troubles of the 1970s and, for the novels set in more contemporary times, the changing Ireland of the Celtic Tiger. Being on the fringes of society themselves, McCabe's characters have a unique vantage point from which to comment on these defining moments of social upheaval.

Magic and the supernatural are common themes in the philosophy and fiction of the sixteenth and seventeenth centuries. This book explores varieties of scepticism and belief exhibited by a selection of philosophers and playwrights, including Heinrich Cornelius Agrippa, Giordano Bruno, John Dee, Christopher Marlowe, William Shakespeare, Ben Jonson, and Thomas Middleton, explicating how each author defines the supernatural, whether he assumes magic to operate in the world, and how he uses occult principles to explain what can be known and what is ethical. Beliefs and claims concerning impossible phenomena and superhuman agency require literary historians to determine whether an occult system of magical operation is being described in a given text. Each chapter in this volume evaluates whether a chosen early modern author is endorsing magic as efficacious or divinely sanctioned, or criticising it for being fraudulent or unholy. By examining works of fiction, it is possible to explore fantastic settings which were not intended to be synonymous with the early modern audience's everyday experience, settings where magic exists and operates according to the playwrights'designs. This book also sets out to determine what historical sources provided given authors with knowledge of the occult and speculates on how aware an audience would have been of academic, classical, or popular contexts surrounding the text at hand.

This volume is a collection of Lawrence Durrell's prose writings from his earliest years until shortly before his death. It is illustrated with photographs, cartoons by This unique collection of work by Lawrence Durrell brings together a vast range of unpublished and ephemeral material spanning his entire writing career, illustrating the diversity, candour, depth of interests and humanity, humour, philosophical imagination and critical and aesthetic vision of one of the twentieth century's leading poets and novelists.Illustrated throughout with photographs, cartoons by Lawrence and Nancy Durrell, manuscript notes by Durrell and memorabilia, Lawrence Durrell's Endpapers and Inklings 1933-1988 provides the general reader, the specialist and the book collector with an unprecedented insight into Durrell's creativity and literary craftsmanship.This volume contains: “Durrell on Durrell” (the writer's autobiographical essays); “The Artist's Eye” (detailing Durrell's interest in the visual arts); and “Fictions”, including the unpublished The Magnetic Island and the unfinished novel “Sappho”. It also encompasses “Durrell at War” (letters and essays relating to World War 2) and “Spirit of Place” (essays and prefaces including a deleted chapter from Reflections on a Marine Venus, an account of a 1949 duty trip through Tito's Yugoslavia, and in-depth surveys of the Cyprus situation in the 1950s).

This unique collection of work by Lawrence Durrell brings together a vast range of unpublished and ephemeral material spanning his entire writing career, illustrating the diversity, candour, depth of interests and humanity, humour, philosophical imagination and critical and aesthetic vision of one of the twentieth century's leading poets and novelists.Illustrated throughout with photographs, cartoons by Lawrence and Nancy Durrell, manuscript notes by Durrell and memorabilia, Lawrence Durrell's Endpapers and Inklings 1933-1988 provides the general reader, the specialist and the book collector with an unprecedented insight into Durrell's creativity and literary craftsmanship.This volume contains: “Durrell on Miller” (his lifelong admiration for Henry Miller); “Dramas and Screenplays” (including Black Honey, his melodramatic farce on Baudelaire and his mistress, and his screen treatments for Cleopatra and for Oedipus the King); “Essays, Lectures and Review” (including “The Minor Mythologies”, Durrell's essay on popular literature and his 1974 lecture on James Joyce's Ulysses). It also includes “Incorrigibilia” (spoofs from the juvenile writer to the elderly sage, with Bromo Bombastes, Durrell's squib on Shaw's Black Girl, unavailable since its private publication in 1933) and “The Asides of Demonax”, Durrell's final valedictory notebook, crammed with aperçus, jokes and profound reflections on life, beauty and death.