After a swift re-shuffle of parts due to late arrivals, the Nottingham Byron Confer- ence started with the annual evening poetry reading. This year's poem was Byron's Siege of Corinth, and after Bernard Beatty stepped into the breach with a sprightly and surprisingly feminine performance, the evening went smoothly, bar a brief struggle between Peter Cochran and Peter Francev over whose lines were whose. Afterwards the conference attendees enjoyed a supper and became increasingly raucous as the evening progressed.The following morning, somewhat worse for wear, there was a small delay due to road closures, and the opening plenary took place in our hotel rather than at Nottingham Trent University. This was given by Stephen Minta (York), who provided a detailed and wide-ranging insight into the role of nostalgia in Byron's writings, linking the poet's fears of incipient middle age and mental decline with reminiscences of his bygone social glories when lionised in London. Minta considered various definitions of this nostalgia, variously interpreted as a disease, the hope of return to a former state, home- sickness, bygone friendships, the innocence of childhood, and the fantasy of returning to Eden or an Edenic state. Focusing on Byron's earlier works, Minta examined the association of death and rejection with nostalgia, and Byron's presentation of nostalgia as a form of therapy triggered by both pain and pleasure, before turning his attention to the central role Greece played both in Byron's pervasive nostalgia and the nineteenth century public en mass.After overcoming various traffic obstructions and delays, the attendees were at last able to get to the aptly named Ada Byron King building for the main body of the conference. The first session opened with Christine Kenyon Jones's (King's College London) consideration of the deliberately 'Romantic' aspects of the numerous portraits of Byron which both created and sustained his public persona. These included those creations favoured by Byron such as that of the windswept adventurer, the carefully posed dandy, against the backdrop of naval settings and gothic landscapes. This was followed by a discussion of Byron's inability to control his public image and his futile attempts to stop the proliferation of pictorial personas which did not meet with his approval. In particular, Murray's repeated commissioning of images of Byron as the louche yet tortured poet en dishabilles, and engravings in pirated editions of his poems which presented a more satanic, debauched figure, complete with sullen frown, length- ened nose and pointed chin. Monika Coghen (Krakow) followed with an inspection of the role played by publishers and editors, writers and poets, in Byron's evolution into the central Romantic poet on the Continent, paying particular attention to Byron's influence on authors such as de Stael and Stendhal, and how their perceptions of Byron, reflected in their works, entered the wider European consciousness. Agustin Coletes Blanco (Oviedo) continued this theme in his amusing and unusual discussion of the interrelation of the concepts of lost or fictional papers and fictional Byron. He revealed the presence of these concepts in works ranging from literary stalwarts such as Henry James's The Aspern Papers, to Robert Nye's provocative first-person presentation of Byron's sexual exploits in The Memoirs of Lord Byron, and Tom Holland's The Vampire: The Secret History of Lord Byron, in which Byron is discovered to still be among us as a member of the un-dead fraternity.The parallel session 2A, chaired by Agustin Coletes Blanco, opened with Peter Francev's (Leicester) argument that, far from emulating Wordsworth's veneration of nature, Childe Harold's Pilgrimage Canto III is rather a challenge to the reverential Wordsworthian stance. Instead, Canto III is a reflection of the exuberant joy inspired by the power of nature's overwhelming vastness which takes hold of Byron. Francev argued that much of the text exhibits Byronic transcendence rather than Wordsworth's transcendentalism as seen in 'Tintern Abbey'. …