This volume discusses the Bhaikṣukī manuscript of the Candrālaṃkāra (“Ornament of the Moon”), a commentary of the twelfth century based on the Cāndravyākaraṇa, Candragomin’s seminal Buddhist grammar of Sanskrit. The discovery of the Bhaikṣukī script and of all available written sources are described. The detailed study of this codex unicus of the Candrālaṃkāra is accompanied by a facsimile edition and extensive tables of the script, a long-felt desideratum in the field of palaeography. The Buddhist author of the commentary has been identified for the first time, and the nature of his treatise and its position in the Cāndra school of grammar have been expounded. The history of the manuscript and newly discovered traces of the Bhaikṣukī script in Tibet are discussed. This publication will serve as a prolegomenon necessary for the preparation of a critical edition of the Candrālaṃkāra, which until now was believed to have been lost irretrievably.

The Bhaikṣukī Manuscript of the Candrālaṃkāra will appeal to specialists with interests in a variety of fields such as Indian palaeography, grammar, Buddhism, history, and Indo-Tibetan studies.

In a letter from 1845, the 14-year-old Emily Dickinson asked her friend Abiah Root if she had started collecting flowers and plants for a herbarium: "it would be such a treasure to you; 'most all the girls are making one." Emily's own album of more than 400 pressed flowers and plants, carefully preserved, has long been a treasure of Harvard's Houghton Library. This beautifully produced, slipcased volume now makes it available to all readers interested in the life and writings of Emily Dickinson.

The care that Emily put into her herbarium, as Richard Sewall points out, goes far beyond what one might expect of a botany student her age: "Take Emily's herbarium far enough, and you have her." The close observation of nature was a lifelong passion, and Emily used her garden flowers as emblems in her poetry and her correspondence. Each page of the album is reproduced in full color at full size, accompanied by a transcription of Dickinson's handwritten labels. Introduced by a substantial literary and biographical essay, and including a complete botanical catalog and index, this volume will delight scholars, gardeners, and all readers of Emily Dickinson's poetry.

After more than a century of study, we know more about John Keats than we do about most writers of the past, but we still cannot fully grasp the magical processes by which he created some of the most celebrated poems in all of English literature. This volume, containing 140 photographs of Keats’s own manuscripts, offers the most concrete evidence we have of the way in which his thoughts and feelings were transmuted into art.

The rough first drafts in particular are full of information about what occurred, if not in Keats’s mind, at least on paper when he had pen in hand: the headlong rush of ideas coming so fast that he had no time to punctuate or even form the letters of his words; the stumbling places where he had to begin again several times before the words resumed their flow; the efforts to integrate story, character, and theme with the formal requirements of rhyme and meter. Each revision teaches the inquiring reader something about Keats’s poetic practice.

Several of the manuscripts are unique authoritative sources, while others constitute our best texts among multiple existing versions. They reveal much about the maturation of the poet’s creativity during four years of his brief life, between “On Receiving a Curious Shell” (1815) and “To Autumn” (1819). Above all, they show us what is lost when penmanship yields to the printed page: what Helen Vendler, in her insightful essay on the manuscripts, calls “the living hand of Keats.” These sharply reproduced facsimiles provide compelling visual evidence of a mortal author in the act of composing immortal works.

Here for the first time is the poetry of Emily Dickinson as she herself “published” it in the privacy of her upstairs room in the house in Amherst.

She invented her own form of bookmaking. Her first drafts, jotted on odd scraps of paper, were discarded when transcribed. Completed poems were neatly copied in ink on sheets of folded stationery which she arranged in groups, usually of sixteen to twenty-four pages, and sewed together into packets or fascicles. These manuscript books were her private mode of publication, a substitute perhaps for the public mode that, for reasons unexplained, she denied herself. In recent years there has been increasing interest in the fascicles as artistic gathering, intrarelated by theme, imagery, or emotional movement. But no edition in the past, not even the variorum, or has arranged the poems in the sequence in which they appear in the manuscript books.

Emily Dickinson’s poems, more than those of any other poet, resist translation into the medium of print. Since she never saw a manuscript through the press, we cannot tell how she would have adapted for print her unusual capitalization, punctuation, line and stanza divisions, and alternate readings. The feather-light punctuation, in particular, is misrepresented when converted to conventional stop or even to dashes.

This elegant edition presents all of Emily Dickinson’s manuscript books and unsewn fascicle sheets—1,148 poems on 1,250 pages—restored insofar as possible to their original order, as they were when her sister found them after her death. The manuscripts are reproduced with startling fidelity in 300-line screen. Every detail is preserved: the bosses on the stationery, the sewing holes and tears, and poet’s alternate reading and penciled revisions, ink spots and other stains offset onto adjacent leaves, and later markings by Susan Dickinson, Mabel Todd, and others. The experience of reading these facsimile pages is virtually the same as reading the manuscripts themselves. Supplementary information is provided in introductions, notes, and appendices.

A giant of the discipline of biogeography and co-discoverer of natural selection, Alfred Russel Wallace was the most famous naturalist in the world when he died in 1913. To mark the centennial of Wallace's death, James Costa offers an elegant edition of the "Species Notebook" of 1855-1859, which Wallace kept during his legendary expedition in peninsular Malaysia, Indonesia, and western New Guinea. Presented in facsimile with text transcription and annotations, this never-before-published document provides a new window into the travels, personal trials, and scientific genius of the co-discoverer of natural selection.

In one section, headed "Note for Organic Law of Change"--an extended critique of geologist Charles Lyell's anti-evolutionary arguments--Wallace sketches a book he would never write, owing to the unexpected events of 1858. In that year he sent to Charles Darwin an essay announcing his discovery of the mechanism for species change: natural selection. Darwin's friends Lyell and the botanist Joseph Hooker proposed a "delicate arrangement": a joint reading at the Linnean Society of his essay with Darwin's earlier private writings on the subject. Darwin would publish On the Origin of Species in 1859, to much acclaim; pre-empted, Wallace's first book on evolution waited two decades, but by then he had abandoned his original concept.

On the Organic Law of Change realizes in spirit the project Wallace left unfinished, and asserts his stature as not only a founder of biogeography and the preeminent tropical biologist of his day but as Darwin's equal among the pioneers of evolution.