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November 1925 found David and Frieda Lawrence on the Italian Riviera, looking for sun, sea air, and health. The Lawrences were exhilarated by life in their rented villa, set amid olive groves and vineyards, with a view of the sparkling Mediterranean. The drab English winter couldn’t have been farther away.

But before long Frieda found herself irresistibly attracted to their landlord, a dashing Italian army officer, and the resulting affair served as the background for Lawrence’s writing: while in the villa, he turned out two stories, “Sun” and “The Virgin and the Gypsy,” both prefiguring Lady Chatterley’s Lover in their depiction of women fatally drawn to earthy, muscular men.

Built on the unpublished, and previously unexplored, letters and diaries of Rina Secker, the Anglo-Italian wife of Lawrence’s publisher, and featuring never-before-published letters from Lawrence, Lady Chatterley’s Villa reconstructs the drama of the tempestuous marriage, and the ways it fired Lawrence’s creativity. Along the way, Richard Owen offers a new accounting of Lawrence’s passion for Italy, tracing his travels along the coasts and islands and his deep engagement with Italian culture. This exploration of a little-studied, but crucial period of the writer’s life will be a must for Lawrence’s many fans.

'Carolyn Steedman's 1950s South London childhood was shaped by her mother's longing: "What she actually wanted were real things, real entities, things she materially lacked, things that a culture and a social system withheld from her... When the world didn't deliver the goods, she held the world to blame." When Carolyn Steedman grows up and begins to look for reflections of her and her mother's lives in history, theory, and literature, she finds that "the tradition of cultural criticism that has employed working-class lives, and their rare expression in literature, has made solid and concrete the absence of psychological individuality - of subjectivity." Through an in-depth comparison of personal experience and prevailing political and social science theory on the psychology and attitudes of working-class people, Landscape for a Good Woman challenges an intellectual tradition that denies "its subjects a particular story, a personal history, except when that story illustrates a general thesis." In this poignantly written and thoroughly researched work, the common theoretical conclusion that the survival struggles of working-class people precludes the time necessary for more genteel "elaboration of relationships" is shot full of delightfully life-affirming holes.' -
--From 500 Great Books by Women; review by Jesse Larsen.

Small and isolated in the Colony of Natal, Fort Napier was long treated like a temporary outpost of the expanding British Empire. Yet British troops manned this South African garrison for over seventy years. Tasked with protecting colonists, the fort became even more significant as an influence on, and reference point for, settler society. Graham Dominy's Last Outpost on the Zulu Frontier reveals the unexamined but pivotal role of Fort Napier in the peacetime public dramas of the colony. Its triumphalist colonial-themed pageantry belied colonists's worries about their own vulnerability. As Dominy shows, the cultural, political, and economic methods used by the garrison compensated for this perceived weakness. Settler elites married their daughters to soldiers to create and preserve an English-speaking oligarchy. At the same time, garrison troops formed the backbone of a consumer market that allowed colonists to form banking and property interests that consolidated their control.

For six centuries following its foundation, Latin was the main language written and spoken at the University of Oxford. Today, one can still find Latin inscriptions carved into many of its monuments, as well those of the city, dating from the medieval period to the present day. But few of us can discern what all of these inscriptions mean.
           
For Latin Inscriptions in Oxford, Reginald H. Adams, a former scholar at St. John’s College, University of Oxford, has translated a selection of Latin inscriptions. Among them, he finds a great many tributes and memorials—to Queen Anne, Cardinal Wolsey, and T. E. Lawrence, but also to Irene Frude, a “most kindly landlady” on Little Clarendon who “provided each day for almost thirty-five years enormous breakfasts.” Some of the inscriptions offer concise commentary—“Without experiment, it is not possible to know anything adequately.” While others are instructive like the Rhodes House’s warning, “Let no one who is smoke-bearing enter here.”
           
Evocative mementoes of the past, the inscriptions collected by Adams bring insight to the vivid history of Oxford, the city and the university.

Laughing at the Devil is an invitation to see the world with a medieval visionary now known as Julian of Norwich, believed to be the first woman to have written a book in English. (We do not know her given name, because she became known by the name of a church that became her home.) Julian “saw our Lord scorn [the Devil's] wickedness” and noted that “he wants us to do the same.” In this impassioned, analytic, and irreverent book, Amy Laura Hall emphasizes Julian's call to scorn the Devil. Julian of Norwich envisioned courage during a time of fear. Laughing at the Devil describes how a courageous woman transformed a setting of dread into hope, solidarity, and resistance.

Invariably, armies are accused of preparing to fight the previous war. In Learning to Eat Soup with a Knife, Lieutenant Colonel John A. Nagl—a veteran of both Operation Desert Storm and the current conflict in Iraq—considers the now-crucial question of how armies adapt to changing circumstances during the course of conflicts for which they are initially unprepared. Through the use of archival sources and interviews with participants in both engagements, Nagl compares the development of counterinsurgency doctrine and practice in the Malayan Emergency from 1948 to 1960 with what developed in the Vietnam War from 1950 to 1975. 

In examining these two events, Nagl argues that organizational culture is key to the ability to learn from unanticipated conditions, a variable which explains why the British army successfully conducted counterinsurgency in Malaya but why the American army failed to do so in Vietnam, treating the war instead as a conventional conflict. Nagl concludes that the British army, because of its role as a colonial police force and the organizational characteristics created by its history and national culture, was better able to quickly learn and apply the lessons of counterinsurgency during the course of the Malayan Emergency. 

With a new preface reflecting on the author's combat experience in Iraq, Learning to Eat Soup with a Knife is a timely examination of the lessons of previous counterinsurgency campaigns that will be hailed by both military leaders and interested civilians. 
 

In Left of Karl Marx, Carole Boyce Davies assesses the activism, writing, and legacy of Claudia Jones (1915–1964), a pioneering Afro-Caribbean radical intellectual, dedicated communist, and feminist. Jones is buried in London’s Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism.

Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, “Half the World,” for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones’s thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones’s own narration of her life with the federal government’s. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.

In today's world, our television screens are filled with scenes from countless conflicts across the globe—commanding our attention and asking us to choose sides. In this insightful and wide-ranging book, Jim Hicks treats historical representation, and even history itself, as a text, asking questions such as Who is speaking?, Who is the audience?, and What are the rules for this kind of talk? He argues that we must understand how war stories are told in order to arm ourselves against them. In a democracy, we are each responsible for policy decisions taken on our behalf. So it is imperative that we gain fluency in the diverse forms of representation (journalism, photography, fiction, memoir, comics, cinema) that bring war to us.

Hicks explores the limitations of the sentimental tradition in war representation and asks how the work of artists and writers can help us to move beyond the constraints of that tradition. Ranging from Walt Whitman's writings on the Civil War to the U.S. wars in Iraq and Afghanistan, and focusing on the innovative and creative artistic expressions arising out of the wars of the former Yugoslavia, Hicks examines how war has been perceived, described, and interpreted. He analyzes the limitations on knowledge caused by perspective and narrative position and looks closely at the distinct yet overlapping roles of victims, observers, and aggressors. In the end, he concludes, war stories today should be valued according to the extent they make it impossible for us to see these positions as assigned in advance, and immutable.

Moving beyond views of European Romanticism as an essentially poetic development, Lessons of Romanticism strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. This anthology—in recasting Romanticism in its broader cultural context—ranges across literary studies, art history, musicology, and political science and combines a variety of critical approaches, including gender studies, Lacanian analysis, and postcolonial studies.
With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven’s music and letters, Lessons of Romanticism reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women’s writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.

Contributors. Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson

Accounts of women's transgressive behavior in eighteenth-century literature and social documents have much to teach us about constructions of femininity during the period often identified as having formed our society's gender norms. Lewd and Notorious explores the eighteenth century's shadows, inhabited by marginal women of many kinds and degrees of contrariness. The reader meets Laetitia Pilkington, whose sexual indiscretions caused her to fall from social and literary grace to become an articulate memoirist of personal scandal, and Elizabeth Brownrigg, who tortured and starved her young servants, propelling herself to an infamy comparable to Susan Smith's or Myra Hindley's. More awful women wait between these covers to teach us about society's reception (and construction) of their debauchery and dangerousness.

The authors draw upon a rich range of contemporary texts to illuminate the lives of these women. Astute analysis of literary, legal, evangelical, epistolary, and political documents provides an understanding of 1700s womanhood. From lusty old maids to murderous mistresses, the characters who exemplify this period's vision of women on the edge are essential acquaintances for anyone wishing to understand the development and ramifications of conceptions of femininity.

Katharine Kittredge is Associate Professor of English, Ithaca College.

We take liberalism to be a set of ideas committed to political rights and self-determination, yet it also served to justify an empire built on political domination. Uday Mehta argues that imperialism, far from contradicting liberal tenets, in fact stemmed from liberal assumptions about reason and historical progress. Confronted with unfamiliar cultures such as India, British liberals could only see them as backward or infantile. In this, liberals manifested a narrow conception of human experience and ways of being in the world.

Ironically, it is in the conservative Edmund Burke—a severe critic of Britain's arrogant, paternalistic colonial expansion—that Mehta finds an alternative and more capacious liberal vision. Shedding light on a fundamental tension in liberal theory, Liberalism and Empire reaches beyond post-colonial studies to revise our conception of the grand liberal tradition and the conception of experience with which it is associated.

Margaret Storm Jameson (1891–1986) is primarily known as a compelling essayist; her stature as a novelist and champion of the dispossessed is largely forgotten. In Life in the Writings of Storm Jameson, Elizabeth Maslen reveals a figure who held her own beside fellow British women writers, including Virginia Woolf; anticipated the Angry Young Women, such as Doris Lessing; and was an early champion of such European writers as Arthur Koestler and Czesław Miłosz. Jameson was a complex character whose politics were grounded in social justice; she was passionately antifascist—her novel In the Second Year (1936) raised the alarm about Nazism—but always wary of communism. An eloquent polemicist, Jameson was, as president of the British P.E.N. during the 1930s and 1940s, of invaluable assistance to refugee writers. Elizabeth Maslen’s biography introduces a true twentieth century hedgehog, whose essays and subtly experimental fiction were admired in Europe and the States.

Born on the same day in 1809, Abraham Lincoln and Charles Darwin were true contemporaries.  Though shaped by vastly different environments, they had remarkably similar values, purposes, and approaches. In this exciting new study, James Lander places these two iconic men side by side and reveals the parallel views they shared of man and God.

While Lincoln is renowned for his oratorical prowess and for the Emancipation Proclamation, as well as many other accomplishments, his scientific and technological interests are not widely recognized; for example, many Americans do not know that Lincoln is the only U.S. president to obtain a patent. Darwin, on the other hand, is celebrated for his scientific achievements but not for his passionate commitment to the abolition of slavery, which in part drove his research in evolution. Both men took great pains to avoid causing unnecessary offense despite having abandoned traditional Christianity. Each had one main adversary who endorsed scientific racism: Lincoln had Stephen A. Douglas, and Darwin had Louis Agassiz.

With graceful and sophisticated writing, Lander expands on these commonalities and uncovers more shared connections to people, politics, and events. He traces how these two intellectual giants came to hold remarkably similar perspectives on the evils of racism, the value of science, and the uncertainties of conventional religion.

Separated by an ocean but joined in their ideas, Lincoln and Darwin acted as trailblazers, leading their societies toward greater freedom of thought and a greater acceptance of human equality. This fascinating biographical examination brings the mid-nineteenth-century discourse about race, science, and humanitarian sensibility to the forefront using the mutual interests and pursuits of these two historic figures.

This study examines literary celebrity in Britain from 1850 to 1914. Through lively analysis of rare cultural materials, Easley demonstrates the crucial role of the celebrity author in the formation of British national identity. As Victorians toured the homes and haunts of famous writers, they developed a sense of shared national heritage. At the same time, by reading sensational accounts of writers’ lives, they were able to reconsider conventional gender roles and domestic arrangements. As women were featured in interviews and profiles, they were increasingly associated with the ephemerality of the popular press and were often excluded from emerging narratives of British literary history, which defined great literature as having a timeless appeal. Nevertheless, women writers were able to capitalize on celebrity media as a way of furthering their own careers and retelling history on their own terms. Press attention had a more positive effect on men’s literary careers since they were expected to assume public identities; however, in some cases, media exposure had the effect of sensationalizing their lives, bodies, and careers. With the development of proto-feminist criticism and historiography, the life stories of male writers were increasingly used to expose unhealthy domestic relationships and imagine ideal forms of British masculinity.

The first section of Literary Celebrity explores the practice of literary tourism in Victorian Britain, focusing specifically on the homes and haunts of Charles Dickens, Christina Rossetti, George Eliot, Elizabeth Barrett Browning, and Harriet Martineau. This investigation incorporates analysis of fascinating cultural texts, including maps, periodicals, and tourist guidebooks. Easley links the practice of literary tourism to a variety of cultural developments, including nationalism, urbanization, spiritualism, the women’s movement, and the expansion of popular print culture. The second section provides fresh insight into the ways that celebrity culture informed the development of Victorian historiography. Easley demonstrates how women were able to re-tell history from a proto-feminist perspective by writing contemporary history, participating in architectural reform movements, and becoming active in literary societies. In this chapter she returns to the work of Harriet Martineau and introduces a variety of lesser-known contributors to the field, including Mary Gillies and Mary Ward. Literary Celebrity concludes with a third section focused on the expansion of celebrity media at the fin de siècle. These chapters and a brief coda link the popularization of celebrity news to the de-canonization of women writers, the professionalization of medicine, the development of the open space movement, and the institutionalization of English studies. These investigations elucidate the role of celebrity media in the careers of Charlotte Robinson, Marie Corelli, Mary Braddon, Harriet Martineau, Thomas Carlyle, Ernest Hart, and Octavia Hill.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

Long before Citizens United and modern debates over corporations as people, such organizations already stood between the public and private as both vehicles for commerce and imaginative constructs based on groups of individuals. In this book, John O’Brien explores how this relationship played out in economics and literature, two fields that gained prominence in the same era.

Examining British and American essays, poems, novels, and stories from the seventeenth through the nineteenth centuries, O’Brien pursues the idea of incorporation as a trope discernible in a wide range of texts. Key authors include John Locke, Eliza Haywood, Harriet Martineau, and Edgar Allan Poe, and each chapter is oriented around a type of corporation reflected in their works, such as insurance companies or banks. In exploring issues such as whether sentimental interest is the same as economic interest, these works bear witness to capitalism’s effect on history and human labor, desire, and memory. This period’s imaginative writing, O’Brien argues, is where the unconscious of that process left its mark. By revealing the intricate ties between literary models and economic concepts, Literature Incorporated shows us how the business corporation has shaped our understanding of our social world and ourselves.

Dashingly told and meticulously researched, this double biography of D. H. Lawrence and his wife Frieda von Richthofen is the first to draw fully on Frieda’s unpublished letters and on interviews with people who knew her well. It explores their collision with an industrial world they hated and chronicles the stormy relationship between husband and wife. The strong sexual vitality that inspired Lawrence’s art brought both joy and anguish to his marriage. Here, the Lawrences emerge as proud but not conceited in their unconventional lives, staunch in the face of fierce opposition from a conformist society.
    Living at the Edge follows the separate lives of Lawrence and Frieda up to their first meeting in 1912. Tracing their new life together, it depicts their grateful escape from the English Midlands; their discovery of exotic places where they made temporary homes—Italy, Cornwall, Australia, New Mexico, and Mexico; Lawrence’s courageous battle against illness; and, after his death in 1930, Frieda’s success in recreating the simple life on ranches near Taos, New Mexico, where she died in 1956.
    At the center of their story is Lawrence’s literary career. Biographers Squires and Talbot see Lawrence’s major novels—The Rainbow, Women in Love, Lady Chatterley’s Lover—as a fresh way to understand his turbulent and conflicted life. They reveal the extreme care with which he rewrote his personal experience to satisfy his deepest needs, and they introduce the many influential people who entered the Lawrences’ lives and work. The rich materials from Frieda’s letters reveal a different Lawrence—more difficult as a man but more interesting as an artist; they also reveal a different Frieda—more vibrant as a woman, more substantial as a companion. This superb biography gives both Lawrence and Frieda striking new dimensions.

Offering a wide-ranging study of contemporary literature, film, visual art, and performance by writers and artists who live and work in the United Kingdom but also maintain strong ties to postcolonial Africa and the Caribbean, Living Cargo explores how contemporary black British culture makers have engaged with the institutional archives of colonialism and the Atlantic slave trade in order to reimagine blackness in British history and to make claims for social and political redress. 

Steven Blevins calls this reimagining “unhousing history”—an aesthetic and political practice that animates and improvises on the institutional archive, repurposing it toward different ends and new possibilities. He discusses the work of novelists, including Caryl Phillips, Fred D’Aguiar, David Dabydeen, and Bernardine Evaristo; filmmakers Isaac Julien and Inge Blackman; performance poet Dorothea Smartt; fashion designer Ozwald Boateng; artists Hew Locke and Yinka Shonibare; and the urban redevelopment of Bristol, England, which unfolded alongside the public demand to remember the city’s slave-trading past. 

Living Cargo argues that the colonial archive is neither static nor residual but emergent. By reassembling historical fragments and traces consolidated in the archive, these artists not only perform a kind of counter-historiography, they also imagine future worlds that might offer amends for the atrocities of the past.

A biography of the Liberal British Prime Minister, 'Who Won the War'.

Meet Shakespeare, Heine and Hogarth south of the river, find Virginia Woolf in Bloomsbury, discovers Blake and Trollope in Westminster, happen on the Carlyles in Chelsea, come across John Keats in beautiful Hampstead and search for Bacon and Hanif Kureishi in the London suburbs.

London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever.

It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period.
 

This volume contains selected papers from a major conference held in October 2008 to celebrate the 20th anniversary of the setting up of the Centre for Metropolitan History at the IHR, and the contribution of Professor Derek Keene to the Centre, the IHR and the wider world of scholarship.

"The recognition that ordinary people could and did trade in slaves, as well as the fact that ordinary people became slaves, is, indeed, the beginning of comprehending the enormity of the forced migration of eleven million people and the attendant deaths of many more."

Eighteenth-century London was a wonder: the second largest city in the world by 1800, its relentless growth, fueled by Britain’s expanding empire, making it a site of constant transformation. And before the age of photography, the only means of creating a visual record of the capital amid that change was through engravings, drawings, and other illustrations, which today are invaluable for understanding what London was like in the period.

This book presents more than a hundred images of Greater London from before 1800, all from the Gough Collection of the Bodleian Library. We see prints of London before and after the Great Fire, images of the 1780 tornado, panoramas of the Thames, depictions of the building and destruction of landmark bridges, and much more. Making brilliant use of the most extensive collection of London images amassed by any private collector of the period, the book will be essential to anyone delving into the history of the city.
 

If one had looked for a potential global city in Europe in the 1540s, the most likely candidate would have been Antwerp, which had emerged as the center of the German and Spanish silver exchange as well as the Portuguese spice and Spanish sugar trades. It almost certainly would not have been London, an unassuming hub of the wool and cloth trade with a population of around 75,000, still trying to recover from the onslaught of the Black Plague. But by 1700 London’s population had reached a staggering 575,000—and it had developed its first global corporations, as well as relationships with non-European societies outside the Mediterranean. What happened in the span of a century and half? And how exactly did London transform itself into a global city?

           

London’s success, Robert K. Batchelor argues, lies not just with the well-documented rise of Atlantic settlements, markets, and economies. Using his discovery of a network of Chinese merchant shipping routes on John Selden’s map of China as his jumping-off point, Batchelor reveals how London also flourished because of its many encounters, engagements, and exchanges with East Asian trading cities. Translation plays a key role in Batchelor’s study—translation not just of books, manuscripts, and maps, but also of meaning and knowledge across cultures—and Batchelor demonstrates how translation helped London understand and adapt to global economic conditions. Looking outward at London’s global negotiations, Batchelor traces the development of its knowledge networks back to a number of foreign sources and credits particular interactions with England’s eventual political and economic autonomy from church and King. 

           

London offers a much-needed non-Eurocentric history of London, first by bringing to light and then by synthesizing the many external factors and pieces of evidence that contributed to its rise as a global city. It will appeal to students and scholars interested in the cultural politics of translation, the relationship between merchants and sovereigns, and the cultural and historical geography of Britain and Asia.

Few countries attribute as much importance to the Second World War and its memory as Britain; arguably nowhere else has this conflict developed such longevity in cultural memory and retained such presence in contemporary culture. Long Shadows is about how literature and film have helped shape this process in Britain. More precisely, the essays collected here suggest that this is a continuous work in progress, subject to transgenerational revisions, political expediencies, commercial considerations, and the vicissitudes of popular taste. It would indeed be more accurate to speak of the meanings (plural) that the war has been given at various moments in British cultural life. These semantic variations and fluctuations in cultural import are rooted in the specificity of the British war experience, in the political aftermath of the war in Europe, and in its significance for Britain’s postwar position on the global stage. In other words, the books and films discussed in these essays respond to how the war has been interpreted and remembered; what is at stake is the way in which the war has been emplotted as a hegemonic cultural narrative about Britain.

British literature of the Victorian period has always been celebrated for the quality, innovativeness, and sheer profusion of its love poetry. Every major Victorian poet produced notable poems about love. This includes not only canonical figures, such as Alfred Lord Tennyson, Robert and Elizabeth Barrett Browning, and Christina Rossetti, but also lesser-known poets whose works have only recently become widely recognized and studied, such as Augusta Webster and the many often anonymous working-class poets whose verses filled the pages of popular periodicals. Modern critics have claimed, convincingly, that love poetry is not just one strain of Victorian poetry among many; it is arguably its representative, even definitive, mode. This collection of essays reconsiders the Victorian poetry of love and, just as importantly, of intimacy—a more inclusive term that comprehends not only romance but love for family, for God, for animals, and for language itself. Together the essays seek to define a poetics of intimacy that arose during the Victorian period and that continues today, a set of poetic structures and strategies by which poets can represent and encode feelings of love. There exist many studies of intimate relations (especially marriage) in Victorian novels. But although poetry rivals the novel in the depth and diversity of its treatment of love, marriage, and intimacy, that aspect of Victorian verse has remained underexamined. Love among the Poets offers an expansive critical overview. With its slate of distinguished contributors, including scholars from the US, Canada, Britain, and Australia, the volume is a wide-ranging account of this vital era of poetry and of its importance for the way we continue to write, love, and live today.

Few landscapes are as striking as that of the Hebrides, the hundreds of small islands that speckle the waters off Scotland’s northwest coast. The jagged, rocky cliffs and roiling waves serve as a reminder of the islands’ dramatic geological history, inspiring awe and dread in those drawn there. With Britain at their back and facing the Atlantic, the Hebrides were at the center of ancient shipping routes and have a remarkable cultural history as well, as a meeting place for countless cultures that interacted with a long, rich Gaelic tradition.

After years of hearing about Scotland as a place deeply interwoven with the story of her family, Madeleine Bunting was driven to see for herself this place so symbolic and full of history. Most people travel in search of the unfamiliar, to leave behind the comfort of what’s known to explore some suitably far-flung corner of the globe. From the first pages, it’s clear that Madeleine Bunting’s Love of Country marks a different kind of journey—one where all paths lead to a closer understanding of home, but a home bigger than Bunting’s corner of Britain, the drizzly, busy streets of London with their scream of sirens and high-rise developments crowding the sky. Over six years, Bunting returned again and again to the Hebrides, fascinated by the question of what it means to belong there, a question that on these islands has been fraught with tenacious resistance and sometimes tragedy. With great sensitivity, she takes readers through the Hebrides’ history of dispossession and displacement, a history that can be understand only in the context of Britain’s imperial past, and she shows how the Hebrides have been repeatedly used to define and imagine Britain. In recent years, the relationship between Britain and Scotland has been subject to its most testing scrutiny, and Bunting’s travels became a way to reflect on what might be lost and what new possibilities might lie ahead.

For all who have wondered how it might feel to stand face-out at the edge of home, Love of Country is a revelatory journey through one of the world’s most remote, beautiful landscapes that encourages us to think of the many identities we wear as we walk our paths, and how it is possible to belong to many places while at the same time not wholly belonging to any.
 

The autopsy of Samuel Johnson (1709-84) initiated two centuries of Johnsonian anatomy-both in medical speculation about his famously unruly body and in literary devotion to his anecdotal remains. Even today, Johnson is an enduring symbol of individuality, authority, masculinity, and Englishness, ultimately lending a style and a name—the Age of Johnson—to the eighteenth-century English literary canon.

Loving Dr. Johnson uses the enormous popularity of Johnson to understand a singular case of author love and to reflect upon what the love of authors has to do with the love of literature. Helen Deutsch's work is driven by several impulses, among them her affection for both Johnson's work and Boswell's biography of him, and her own distance from the largely male tradition of Johnsonian criticism—a tradition to which she remains indebted and to which Loving Dr. Johnson is ultimately an homage. Limning sharply Johnson's capacious oeuvre, Deutsch's study is also the first of its kind to examine the practices and rituals of Johnsonian societies around the world, wherein Johnson's literary work is now dwarfed by the figure of the writer himself.

An absorbing look at one iconic author and his afterlives, Loving Dr. Johnson will be of enormous value to students of English literature and literary scholars keenly interested in canon formation.

One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they?

That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history.

While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.

The United Kingdom's labor market policies place it in a kind of institutional middle ground between the United States and continental Europe. Low pay grew sharply between the late 1970s and the mid-1990s, in large part due to the decline of unions and collective bargaining and the removal of protections for the low paid. The changes instituted by Tony Blair's New Labour government since 1997, including the introduction of the National Minimum Wage, halted the growth in low pay but have not reversed it. Low-Wage Work in the United Kingdom explains why the current level of low-paying work remains one of the highest in Europe. The authors argue that the failure to deal with low pay reflects a policy approach which stressed reducing poverty, but also centers on the importance of moving people off benefits and into work, even at low wages. The U.K. government has introduced a version of the U.S. welfare to work policies and continues to stress the importance of a highly flexible and competitive labor market. A central policy theme has been that education and training can empower people to both enter work and to move into better paying jobs. The case study research reveals the endemic nature of low paid work and the difficulties workers face in escaping from the bottom end of the jobs ladder. However, compared to the United States, low paid workers in the United Kingdom do benefit from in-work social security benefits, targeted predominately at those with children, and entitlements to non-pay benefits such as annual leave, maternity and sick pay, and crucially, access to state-funded health care. Low-Wage Work in the United Kingdom skillfully illustrates the way that the interactions between government policies, labor market institutions, and the economy have ensured that low pay remains a persistent problem within the United Kingdom. A Volume in the Russell Sage Foundation Case Studies of Job Quality in Advanced Economies

Lyric Interventions explores linguistically innovative poetry by contemporary women in North America and Britain whose experiments give rise to fresh feminist readings of the lyric subject. The works discussed by Linda Kinnahan explore the lyric subject in relation to the social: an “I” as a product of social discourse and as a conduit for change.

Contributing to discussions of language-oriented poetries through its focus on women writers and feminist perspectives, this study of lyric experimentation brings attention to the cultural contexts of nation, gender, and race as they significantly shift the terms by which the “experimental” is produced, defined, and understood.

This study focuses upon lyric intervention in distinct but related spheres as they link public and ideological norms of identity. Firstly, lyric innovations with visual and spatial realms of cultural practice and meaning, particularly as they naturalize ideologies of gender and race in North America and the post-colonial legacies of the Caribbean, are investigated in the works of Barbara Guest, Kathleen Fraser, Erica Hunt, and M. Nourbese Philip. Secondly, experimental engagements with nationalist rhetorics of identity, marking the works of Carol Ann Duffy, Denise Riley, Wendy Mulford, and Geraldine Monk, are explored in relation to contemporary evocations of “self” in Britain. And thirdly, in discussions of all of the poets, but particularly accenuated in regard to Guest, Fraser, Riley, Mulford, and Monk, formal experimentation with the lyric “I” is considered through gendered encounters with critical and avant-garde discourses of poetics.

Throughout the study, Kinnahan seeks to illuminate and challenge the ways in which visual and verbal constructs function to make “readable” the subjectivities historically supporting white, male-centered power within the worlds of art, poetry, social locations, or national policy. The potential of the feminist, innovative lyric to generate linguistic surprise simultaneously with engaging risky strategies of social intervention lends force and significance to the public engagement of such poetic experimentation.

This fresh, energetic study will be of great interest to literary critics and womens studies scholars, as well as poets on both sides of the Atlantic.