A SCHOLARLY BOOK REPOSITORY46 start with O start with O
The ornate complexity of pre-Reformation Catholic liturgies revealed the exclusive nature of this form of worship. By contrast, simple English psalms, set to well-known folk songs, summed up the aims of the Reformation with its music for everyone. The Enlightenment brought hymns, the Methodists and Victorians a new delight in the beauty and emotion of worship. Today, church music mirrors our multifaceted worldview, embracing the sounds of pop and jazz along with the more traditional music of choir and organ. And reflecting its truly global reach, the influence of English church music can be found in everything from masses sung in Korean to American Sacred Harp singing.
From medieval chorales to “Amazing Grace,” West Gallery music to Christmas carols, English church music has broken through the boundaries of time, place, and denomination to remain familiar and cherished everywhere. Expansive and sure to appeal to all music lovers, O Sing unto the Lord is the biography of a tradition, a book about people, and a celebration of one of the most important sides to our cultural heritage.
Robert Frankel examines the New World experiences of these commentators and the books they wrote about America. He also probes similar writings by other prominent observers from the British Isles, including Beatrice Webb, Rudyard Kipling, and George Bernard Shaw. The result is a book that offers keen insights into America’s national identity in a time of vast political and cultural change.
Chet shows how the traditional focus on the growth of the modern state overlooked the extent to which old attitudes and cultural practices continued to hold sway. Even as the British government extended its naval, legal, and bureaucratic reach, in many parts of the Atlantic world illegal trade was not only tolerated but encouraged. In part this was because Britain's constabulary command of the region remained more tenuous than some have suggested, and in part because maritime insurance and wartime tax policies ensured that piracy and smuggling remained profitable. When Atlantic piracy eventually waned in the early nineteenth century, it had more to do with a reduction in its profitability at port than with forceful confrontation at sea.
Challenging traditional accounts that chronicle forces of civilization taming a wild Atlantic frontier, this book is a valuable addition to a body of borderlands scholarship reevaluating the relationship between the emerging modern state and its imperial frontiers.
The Comaroffs trace many of the major themes of twentieth-century South African history back to these formative encounters. The relationship between the British evangelists and the Southern Tswana engendered complex exchanges of goods, signs, and cultural markers that shaped not only African existence but also bourgeois modernity "back home" in England. We see, in this volume, how the colonial attempt to "civilize" Africa set in motion a dialectical process that refashioned the everyday lives of all those drawn into its purview, creating hybrid cultural forms and potent global forces which persist in the postcolonial age.
This fascinating study shows how the initiatives of the colonial missions collided with local traditions, giving rise to new cultural practices, new patterns of production and consumption, new senses of style and beauty, and new forms of class distinction and ethnicity. As noted by reviewers of the first volume, the Comaroffs have succeeded in providing a model for the study of colonial encounters. By insisting on its dialectical nature, they demonstrate that colonialism can no longer be seen as a one-sided relationship between the conquering and the conquered. It is, rather, a complex system of reciprocal determinations, one whose legacy is very much with us today.
A work of original scholarship and compelling sweep, Okfuskee is a community-centered Indian history with an explicitly comparativist agenda. Joshua Piker uses the history of Okfuskee, an eighteenth-century Creek town, to reframe standard narratives of both Native and American experiences.
This unique, detailed perspective on local life in a Native society allows us to truly understand both the pervasiveness of colonialism's influence and the inventiveness of Native responses. At the same time, by comparing the Okfuskees' experiences to those of their contemporaries in colonial British America, the book provides a nuanced discussion of the ways in which Native and Euro-American histories intersected with, and diverged from, each other.
Piker examines the diplomatic ties that developed between the Okfuskees and their British neighbors; the economic implications of the Okfuskees' shifting world view; the integration of British traders into the town; and the shifting gender and generational relationships in the community. By both providing an in-depth investigation of a colonial-era Indian town in Indian country and placing the Okfuskees within the processes central to early American history, Piker offers a Native history with important implications for American history.
The Book of Pastoral Rule, or Liber regulae pastoralis, by Pope Gregory the Great—the pontiff responsible for the conversion of the English to Christianity beginning in 597—is a guide for aspiring bishops. Pope Gregory explains who ought and who ought not seek such a position and advises on what sort of spiritual guidance a bishop should provide to those under his direction.
The Old English Pastoral Care, a translation of Gregory’s treatise completed between 890 and 896, is described in a prefatory letter by King Alfred the Great as his own work, composed with the assistance of his bishops and chaplains. It appears to be the first of the Alfredian translations into Old English of Latin texts deemed necessary for the revitalization of the English Church, which had been ravaged by the depredations of Scandinavian invaders during the ninth century and by the decline of clerical competence in Latin.
This new edition and translation into modern English is the first to appear in a century and a half.
Edinburgh and Glasgow enjoy a famously scratchy relationship. Resembling other intercity rivalries throughout the world, from Madrid and Barcelona, to Moscow and St. Petersburg, to Beijing and Shanghai, Scotland’s sparring metropolises just happen to be much smaller and closer together—like twin stars orbiting a common axis. Yet their size belies their world-historical importance as cultural and commercial capitals of the British Empire, and the mere forty miles between their city centers does not diminish their stubbornly individual nature.
Robert Crawford dares to bring both cities to life between the covers of one book. His story of the fluctuating fortunes of each city is animated by the one-upping that has been entrenched since the eighteenth century, when Edinburgh lost parliamentary sovereignty and took on its proud wistfulness, while Glasgow came into its industrial promise and defiance. Using landmarks and individuals as gateways to their character and past, this tale of two cities mixes novelty and familiarity just as Scotland’s capital and its largest city do. Crawford gives us Adam Smith and Walter Scott, the Scottish Enlightenment and the School of Art, but also tiny apartments, a poetry library, Spanish Civil War volunteers, and the nineteenth-century entrepreneur Maria Theresa Short. We see Glasgow’s best-known street through the eyes of a Victorian child, and Edinburgh University as it appeared to Charles Darwin.
Crawford's lively account, drawing on a wealth of historical and literary sources, affirms what people from Glasgow and Edinburgh have long doubted—that it is possible to love both cities at the same time.
On or about December 1910 human character changed, Virginia Woolf remarked, and well she might have. The company she kept, the Bloomsbury circle, took shape before the coming of World War I, and would have a lasting impact on English society and culture after the war. This book captures the dazzling world of Bloomsbury at the end of an era, and on the eve of modernism.
Peter Stansky depicts the vanguard of a rising generation seizing its moment. He shows us Woolf in that fateful year, in the midst of an emotional breakdown, reaching a turning point with her first novel, The Voyage Out, and E. M. Forster, already a success, offering Howards End and acknowledging his passion for another man. Here are Roger Fry, prominent art critic and connoisseur, remaking tradition with the epochal exhibition “Manet and the Post-Impressionists”; Vanessa Bell and Duncan Grant beginning their most interesting phase as artists; Lytton Strachey signing the contract for his first book; and John Maynard Keynes entering a significant new stage in his illustrious career.
Amid the glittering opulence and dismal poverty, the swirl of Suffragists, anarchists, agitators, and organizers, Stansky—drawing upon his historical and literary skills—brings the intimate world of the Bloomsbury group to life. Their lives, relationships, writings, and ideas entwine, casting one member after another in sharp relief. Even their Dreadnought Hoax, a trick played on the sacred institution of the navy, reveals their boldness and esprit. The picture Stansky presents, with all its drama and detail, encompasses the conflicts and sureties of a changing world of politics, aesthetics, and character.
This publication, issued in cooperation with the Selden Society, reproduces completely the Yale edition of 1915–1942, which has long been unobtainable. To it has been added an English translation, the first in almost a century, incorporating many improvements of the text, drawn from a re-examination of the manuscripts and a further identification of Henry de Bracton’s sources, Roman and English.
Volume I contains George E. Woodbine’s prolegomena to his edition, written in 1915, to which Samuel Thorne has added a prefatory note, reclassifying and redating the manuscripts on which the edition was based. Volume II begins the text and translation, which will be completed in Volume III and Volume IV. Notes and indices will appear in Volume V.
This publication, issued in cooperation with the Selden Society, reproduces completely the Yale edition of 1915–1942, which has long been unobtainable. To it has been added an English translation, the first in almost a century, incorporating many improvements of the text, drawn from a re-examination of the manuscripts and a further identification of Henry de Bracton’s sources, Roman and English.
Volume I contains George E. Woodbine’s prolegomena to his edition, written in 1915, to which Samuel Thorne has added a prefatory note, reclassifying and redating the manuscripts on which the edition was based. Volume II begins the text and translation, which will be completed in Volume III and Volume IV. Notes and indices will appear in Volume V.
This publication, issued in cooperation with the Selden Society, reproduces completely the Yale edition of 1915–1942, which has long been unobtainable. To it has been added an English translation, the first in almost a century, incorporating many improvements of the text, drawn from a re-examination of the manuscripts and a further identification of Henry de Bracton’s sources, Roman and English.
Volume I contains George E. Woodbine’s prolegomena to his edition, written in 1915, to which Samuel Thorne has added a prefatory note, reclassifying and redating the manuscripts on which the edition was based. Volume II begins the text and translation, which will be completed in Volume III and Volume IV. Notes and indices will appear in Volume V.
This publication, issued in cooperation with the Selden Society, reproduces completely the Yale edition of 1915–1942, which has long been unobtainable. To it has been added an English translation, the first in almost a century, incorporating many improvements of the text, drawn from a re-examination of the manuscripts and a further identification of Henry de Bracton’s sources, Roman and English.
Volume I contains George E. Woodbine’s prolegomena to his edition, written in 1915, to which Samuel Thorne has added a prefatory note, reclassifying and redating the manuscripts on which the edition was based. Volume II begins the text and translation, which will be completed in Volume III and Volume IV. Notes and indices will appear in Volume V.
"Stumping," or making political speeches in favor of a candidate, cause, or campaign has been around since before the 1800s, when speechmaking was frequently portrayed as delivered from the base of a tree. The practice, which has been strongly associated with the American frontier, British agitators, and colonial Australia, remains an effective component of contemporary democratic politics.
In his engaging book On the Stump, Sean Scalmer provides the first comprehensive, transnational history of the "stump speech." He traces the development and transformation of campaign oratory, as well as how national elections and public life and culture have been shaped by debate over the past century.
Scalmer presents an eloquent study of how "stumping" careers were made, sustained, remembered, and exploited, to capture the complex rhythms of political change over the years. On the Stump examines the distinctive dramatic and performative styles of celebrity orators including Davy Crockett, Henry Clay, and William Gladstone. Ultimately, Scalmer recovers the history of the stump speech and its historical significance in order to better understand how political change is forged.
From a historically grounded, feminist perspective, Bose offers four case studies, each of which illuminates a distinct individualizing rhetorical strategy. She looks at the parliamentary debates on the Amritsar Massacre of 1919, in which several hundred unarmed Indian protesters were killed; Margaret Cousins’s firsthand account of feminist organizing in Ireland and India; Kalpana Dutt’s memoir of the Bengali terrorist movement of the 1930s, which was modeled in part on Irish anticolonial activity; and the popular histories generated by ex-colonial officials and their wives. Bringing to the fore the constraints that colonial domination placed upon agency and activism, Organizing Empire highlights the complexity of the multiple narratives that constitute British colonial history.
Building on the theoretical insights of Slavoj Zizek, Judith Butler, Julia Kristeva, and Eve Kosofsky Sedgwick, Batten interweaves the discourses of psychoanalysis, economics, biography, sexuality, melancholy, value, and exchange to question accepted ideas of how Romantic poetry works. She asserts that poetic labor is in fact paradigmatic of the kinds of production—and the kinds of desire—that capitalist culture renders invisible. If symbolic exchange, in cash or in words, requires the surrender of a beloved object, if healthy mourning requires an orphan to “work through” emotional loss through the consolation of art or a love for the living, then the rebellious Romantic poet, Batten contends, possessed unique insight into the alternative authority of a poetic language that renounced a culture of denial. Batten urges that scholars move beyond critical approaches condemning allegedly regressive forms of pleasure, recognizing that they, too, are haunted by melancholic attachments to dead poets as they conduct their work.
The Orphaned Imagination will interest anyone concerned with the claims of the English Romantic poets to a distinctive, valuable form of knowledge and those who may wonder about the power of contemporary theory to illuminate a traditional field.
Oscar Wilde and Modern Culture: The Making of a Legend explores the meteoric rise, sudden fall, and legendary resurgence of an immensely influential writer’s reputation from his hectic 1881 American lecture tour to recent Hollywood adaptations of his dramas. Always renowned—if not notorious—for his fashionable persona, Wilde courted celebrity at an early age. Later, he came to prominence as one of the most talented essayists and fiction writers of his time.
In the years leading up to his two-year imprisonment, Wilde stood among the foremost dramatists in London. But after he was sent down for committing acts of “gross indecency” it seemed likely that social embarrassment would inflict irreparable damage to his legacy. As this volume shows, Wilde died in comparative obscurity. Little could he have realized that in five years his name would come back into popular circulation thanks to the success of Richard Strauss’s opera Salome and Robert Ross’s edition of De Profundi. With each succeeding decade, the twentieth century continued to honor Wilde’s name by keeping his plays in repertory, producing dramas about his life, adapting his works for film, and devising countless biographical and critical studies of his writings.
This volume reveals why, more than a hundred years after his demise, Wilde’s value in the academic world, the auction house, and the entertainment industry stands higher than that of any modern writer.
Oscar Wilde Prefigured is a study of the prehistory of this “queer moment” in 1895. Janes explores the complex ways in which men who desired sex with men in Britain had expressed such interests through clothing, style, and deportment since the mid-eighteenth century. He supplements the well-established narrative of the inscription of sodomitical acts into a homosexual label and identity at the end of the nineteenth century by teasing out the means by which same-sex desires could be signaled through visual display in Georgian and Victorian Britain. Wilde, it turns out, is not the starting point for public queer figuration. He is the pivot by which Georgian figures and twentieth-century camp stereotypes meet. Drawing on the mutually reinforcing phenomena of dandyism and caricature of alleged effeminates, Janes examines a wide range of images drawn from theater, fashion, and the popular press to reveal new dimensions of identity politics, gender performance, and queer culture.
Nicholas Frankel presents a new and revisionary account of Wilde’s final years, spent in poverty and exile on the European continent following his release from an English prison for the crime of “gross indecency” between men. Oscar Wilde: The Unrepentant Years challenges the prevailing, traditional view of Wilde as a broken, tragic figure, a martyr to Victorian sexual morality, and shows instead that he pursued his post-prison life with passion, enjoying new liberties while trying to resurrect his literary career.
After two bitter years of solitary confinement, Frankel shows, Wilde emerged from prison in 1897 determined to rebuild his life along lines that were continuous with the path he had followed before his conviction, unapologetic and even defiant about the crime for which he had been convicted. England had already done its worst. In Europe’s more tolerant atmosphere, he could begin to live openly and without hypocrisy.
Frankel overturns previous misunderstandings of Wilde’s relationship with Lord Alfred Douglas, the great love of his life, with whom he hoped to live permanently in Naples, following their secret and ill-fated elopement there. He describes how and why the two men were forced apart, as well as Wilde’s subsequent relations with a series of young men. Oscar Wilde pays close attention to Wilde’s final two important works, De Profundis and The Ballad of Reading Gaol, while detailing his nearly three-year residence in Paris. There, despite repeated setbacks and open hostility, Wilde attempted to rebuild himself as a man—and a man of letters.
Nicholas Frankel approaches Wilde's writings as graphical or "printed" phenomena that reveal their significance through the beautiful and elaborate decorations with which they were published in Wilde's own lifetime. With extensive reference to and exposition on Wilde's theoretical writings and letters, the author shows that, far from being marginal elements of the literary text, these decorative devices were central to Wilde's understanding of his own writings as well as to his "aesthetic" theory of language. Extensive illustrations support Frankel's arguments.
While its principal appeal will be to students of Oscar Wilde and the Victorian fin-de-siècle, this book will also appeal to textual and literary scholars, art historians, and linguistic philosophers interested in the graphical nature of the linguistic sign.
Nicholas Frankel is Assistant Professor of English, Virginia Commonwealth University.
Rowe traces a particular development in James’s work, showing how in his early writings James criticized women’s rights, same-sex relations, and other social and political trends now identified with modern culture; how he ambivalently explored these aspects of modernity in his writings of the 1880s; and, later, how he increasingly identified with such modernity in his heretofore largely ignored or marginally treated fiction of the 1890s. Building on recent scholarship that has shown James to be more anxious about gender roles, more conflicted, and more marginal a figure than previously thought, Rowe argues that James—through his treatment of women, children, and gays—indicts the values and conventions of the bourgeoisie. He shows how James confronts social changes in gender roles, sexual preferences, national affiliations, and racial and ethnic identifications in such important novels as The American, The Tragic Muse, What Maisie Knew, and In the Cage, and in such neglected short fiction as “The Last of the Valerii,” “The Death of the Lion,” and “The Middle Years.”
Positioning James’s work within an interpretive context that pits the social and political anxieties of his day against the imperatives of an aesthetic ideology, The Other Henry James will engage scholars, students, and teachers of American literature and culture, gay literature, and queer theory.
This collection addresses this void, revealing the extraordinary diversity of Victorian motherhood. Exploring diaries, novels, and court cases, with contexts ranging from London to Egypt to Australia, these varied accounts take the collection “beyond the maternal ideal” to consider the multiple, unpredictable ways in which motherhood was experienced and imagined in this formative historical period.
Other Mothers joins revisionist approaches to femininity that now characterize Victorian studies. Its contents trace intersections among gender, race, and class; question the power of separate spheres ideology; and insist on the context-specific nature of social roles. The fifteen essays in this volume contribute to the fields of literary criticism, history, cultural studies, and history.
What do modern multiverse theories and spiritualist séances have in common? Not much, it would seem. One is an elaborate scientific theory developed by the world’s most talented physicists. The other is a spiritual practice widely thought of as backward, the product of a mystical world view fading under the modern scientific gaze.
But Christopher G. White sees striking similarities. He does not claim that séances or other spiritual practices are science. Yet he points to ways that both spiritual practices and scientific speculation about multiverses and invisible dimensions are efforts to peer into the hidden elements and even the existential meaning of the universe. Other Worlds examines how the idea that the universe has multiple, invisible dimensions has inspired science fiction, fantasy novels, films, modern art, and all manner of spiritual thought reaching well beyond the realm of formal religion. Drawing on a range of international archives, White analyzes how writers, artists, filmmakers, televangelists, and others have used the scientific idea of invisible dimensions to make supernatural phenomena such as ghosts and miracles seem more reasonable and make spiritual beliefs possible again for themselves and others.
Many regard scientific ideas as disenchanting and secularizing, but Other Worlds shows that these ideas—creatively appropriated in such popular forms as C. S. Lewis’s Chronicles of Narnia, the art of Salvador Dalí, or the books of the counterculture physicist “Dr. Quantum”—restore a sense that the world is greater than anything our eyes can see, helping to forge an unexpected kind of spirituality.
How early American Catholics justified secularism and overcame suspicions of disloyalty, transforming ideas of religious liberty in the process.
In colonial America, Catholics were presumed dangerous until proven loyal. Yet Catholics went on to sign the Declaration of Independence and helped to finalize the First Amendment to the Constitution. What explains this remarkable transformation? Michael Breidenbach shows how Catholic leaders emphasized their church’s own traditions—rather than Enlightenment liberalism—to secure the religious liberty that enabled their incorporation in American life.
Catholics responded to charges of disloyalty by denying papal infallibility and the pope’s authority to intervene in civil affairs. Rome staunchly rejected such dissent, but reform-minded Catholics justified their stance by looking to conciliarism, an intellectual tradition rooted in medieval Catholic thought yet compatible with a republican view of temporal independence and church–state separation. Drawing on new archival material, Breidenbach finds that early American Catholic leaders, including Maryland founder Cecil Calvert and members of the prominent Carroll family, relied on the conciliarist tradition to help institute religious toleration, including the Maryland Toleration Act of 1649.
The critical role of Catholics in establishing American church–state separation enjoins us to revise not only our sense of who the American founders were, but also our understanding of the sources of secularism. Church–state separation in America, generally understood as the product of a Protestant-driven Enlightenment, was in key respects derived from Catholic thinking. Our Dear-Bought Liberty therefore offers a dramatic departure from received wisdom, suggesting that religious liberty in America was not bestowed by liberal consensus but partly defined through the ingenuity of a persecuted minority.
Our Lady of Victorian Feminism is about three nineteenth-century women, Protestants by background and feminists by conviction, who are curiously and crucially linked by their extensive use of the Madonna in arguments designed to empower women.
In the field of Victorian studies, few scholars have looked beyond the customary identification of the Christian Madonna with the Victorian feminine ideal—the domestic Madonna or the Angel in the House. Kimberly VanEsveld Adams shows, however, that these three Victorian writers made extensive use of the Madonna in feminist arguments. They were able to see this figure in new ways, freely appropriating the images of independent, powerful, and wise Virgin Mothers.
In addition to contributions in the fields of literary criticism, art history, and religious studies, Our Lady of Victorian Feminism places a needed emphasis on the connections between the intellectuals and the activists of the nineteenth-century women's movement. It also draws attention to an often neglected strain of feminist thought, essentialist feminism, which proclaimed sexual equality as well as difference, enabling the three writers to make one of their most radical arguments, that women and men are made in the image of the Virgin Mother and the Son, the two faces of the divine.
From a major British political thinker and activist, a passionate case that both the left and right have lost their faith in ordinary people and must learn to find it again.
This is an age of polarization. It’s us vs. them. The battle lines are clear, and compromise is surrender.
As Out of the Ordinary reminds us, we have been here before. From the 1920s to the 1950s, in a world transformed by revolution and war, extreme ideologies of left and right fueled utopian hopes and dystopian fears. In response, Marc Stears writes, a group of British writers, artists, photographers, and filmmakers showed a way out. These men and women, including J. B. Priestley, George Orwell, Barbara Jones, Dylan Thomas, Laurie Lee, and Bill Brandt, had no formal connection to one another. But they each worked to forge a politics that resisted the empty idealisms and totalizing abstractions of their time. Instead they were convinced that people going about their daily lives possess all the insight, virtue, and determination required to build a good society. In poems, novels, essays, films, paintings, and photographs, they gave witness to everyday people’s ability to overcome the supposedly insoluble contradictions between tradition and progress, patriotism and diversity, rights and duties, nationalism and internationalism, conservatism and radicalism. It was this humble vision that animated the great Festival of Britain in 1951 and put everyday citizens at the heart of a new vision of national regeneration.
A leading political theorist and a veteran of British politics, Stears writes with unusual passion and clarity about the achievements of these apostles of the ordinary. They helped Britain through an age of crisis. Their ideas might do so again, in the United Kingdom and beyond.
Vron Ware and Les Back look at key points in recent American and British culture where the "color line" has been blurred. Through probing accounts of racial masquerades in popular literature, the growth of the white power music scene on the Internet, the meteoric rise of big band jazz during the Second World War, and the pivotal role of white session players in crafting rhythm and blues classics by black artists, Ware and Back upset the idea of race as a symbol of inherent human attributes. Their book gives us a timely reckoning of the forces that continue to make people "white," and reveals to us the polyglot potential of identities and cultures.
On May 23, 1988, Paul Baker sat down with his family to eat cake on his sixteenth birthday while The Six O’Clock News played in the background. But something was not quite right. There was muffled shouting—“Stop Section 28!”—and a scuffle. The papers would announce: “Beeb Man Sits on Lesbian.”
The next day Section 28 passed into UK law, forbidding local authorities from teaching “of the acceptability of homosexuality as a pretended family relationship.” It would send shockwaves through British society: silencing gay pupils and teachers, while galvanizing mass protests and the formation of the LGBTQ+ rights groups OutRage! and Stonewall.
Outrageous! tells its story: the background to the Act, how the press fanned the flames and what politicians said during debates, how protestors fought back to bring about the repeal of the law in the 2000s, and its eventual legacy. Based on detailed research, interviews with key figures—including Ian McKellen, Michael Cashman, and Angela Mason—and personal recollection, Outrageous! is an impassioned, warm, often moving account of unthinkable prejudice enshrined within the law and of the power of community to overcome it.
Owning Performance follows the careers of some of the 18th century’s most influential playwrights, actors, and theater managers as they vied for control over the period’s most popular shows. Without protection for dramatic literary property, these figures developed creative extra-legal strategies for controlling the performance of drama—quite literally performing their ownership. Their various strategies resulted in a culture of ephemerality, with many of the period’s most popular works existing only in performance and manuscript copies. Author Jane Wessel explores how playwrights and actors developed strategies for owning their works and how, in turn, theater managers appropriated these strategies, putting constant pressure on artists to innovate. Owning Performance reveals the wide-reaching effects of property law on theatrical culture, tracing a turn away from print that affected the circulation, preservation, and legacy of 18th century drama.
This book tells the story of the garden through accounts of each of its keepers, tracing their work and priorities, from its founding keeper, Jacob Bobart, through to the early nineteenth-century partnership of gardener William Baxter and academic Charles Daubeny, who together gave the garden its greenhouse and ponds and helped ensure its survival to the present. Richly illustrated, this book offers a wonderful introduction to a celebrated Oxford site.
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