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It is difficult to think of a family more endowed with literary genius than the Shelley family—from the Romantic poet Percy Bysshe Shelley and his wife, novelist Mary Shelley, to Mary’s parents, William Godwin and Mary Wollstonecraft—all were authors in their own right. Using extensive archival material, Shelley’s Ghost explores the making of this remarkable literary family’s reputation.

            Drawing on the Bodleian Library’s outstanding collection of letters, poetry manuscripts, rare printed books, portraits, and other personalia—including Shelley’s working notebooks, Keats’s letters to Shelley, William Godwin’s diary, and the original manuscript of Mary Shelley’s Frankenstein—Stephen Hebron charts the history of this talented yet troubled family. After Percy Bysshe Shelley’s drowning in 1822, Mary published various manuscripts relating to both her husband’s and her father’s lives, and passed this historical legacy to her son, Sir Percy Florence Shelley and his wife, Lady Jane Shelley. As guardians of the archive until they bequeathed it to the Bodleian in 1892, Sir Percy Florence and Lady Jane helped shape the posthumous reputations of these writers. An afterword by Elizabeth Denlinger of the New York Public Library offers an additional perspective, exploring material relating to the Shelley family that slipped beyond the family’s control.

            An unparalleled look at one of the most significant families of British Romantic literature, Shelley’s Ghost will be welcomed by scholars and the many fans of this enduring literacy legacy.

The recurrent treatment of shipwrecks in the creative arts demonstrates an enduring fascination with this archetypal scene: a shipwreck survivor confronting the elements. It is remarkable, for example, that the characters in the 2004 television show Lost share so many features with those from Homer’s Odyssey and Shakespeare’s The Tempest.

For survivors who are stranded on an island for some period of time, shipwrecks often present the possibility of a change in political and social status—as well as romance and even paradise. In each of the major shipwreck narratives examined, the poet or novelist links the castaways’ arrival on a new shore with the possibility of a new sort of life. Readers will come to appreciate the shift in attitude toward the opportunities offered by shipwreck: older texts such as the Odyssey reveals a trajectory of returning to the previous order. In spite of enticing new temptations, Odysseus—and some of the survivors in The Tempest—revert to their previous lives, rejecting what many might consider paradise. Odysseus is reestablished as king; Prospero travels back to Milan. In such situations, we may more properly speak of potential transformations. In contrast, many recent shipwreck narratives instead embrace the possibility of a new sort of existence. That even now the shipwreck theme continues to be treated, in multiple media, testifies to its long-lasting appeal to a very wide audience.

Unlocking the rich symbolic world of Chaucer through the lens of medieval culture and meaning.

Innovative and thorough, Signs and Symbols in Chaucer’s Poetry presents nine essays that reexamine the literary iconography of Middle English. Chaucer’s work is the most well-known, and possibly the most significant, remnant of the Middle Ages; investigations into his writing and meanings are fruitful even today. The essays collected by John P. Hermann and John J. Burke Jr. invite scholars to consider new interpretations of old symbols while acknowledging the intricacies of historical context.

Each highly distinguished scholar responds to D. W. Robertson’s seminal, if controversial, approach to Chaucer’s work. Robertson’s scholarship, which also provides the opening essay of the collection, uses a historicist approach to contextualize Chaucer’s imagery within the literary and cultural conventions of the Middle Ages. Sources for such contextualization include etymology, topology, the classics, pictorial art, the Bible, and the developing sciences of the time. Robertson, as well as his contemporary Bernard F. Huppé, provided a fascinating new direction for modern Chaucer studies that focused on daily life.

Each essay uses this approach to draw attention to various examples of Chaucer’s iconography. The texts span several of Chaucer’s works and a plethora of subjects, including music, disappointed expectations, repeated or conflicting signs, and more. This volume provides insight into Chaucer’s work as well as the Middle Ages as a whole, examining conventions and expectations of society at that time. Scholars, instructors, and lovers of Chaucer will all find value in this finely edited collection.

This book focuses on the integral, interdisciplinary, and intermedial "compositions"—verbal, visual, musical, theatrical, and cinematic—of the avant-gardes in the period following World War II. It also considers the artistic politics of these postwar avant-gardes and their works. The book’s geographical span is primarily the United States, although in its more extended reach, it comprehends an international context of American postwar cultural hegemony throughout what was once referred to as "the free world."

The works and the artists Miller takes up are those of the so-called "neo–avant-garde" with its inherent contradiction: an avant-garde whose newness is defined by its seeming reiteration of an earlier historical formation. Concentrating on the rhetorical, contextual, and performative characteristic of neo–avant-garde practice, including its relation to politics, Miller emphasizes the centrality of the example in this practice. John Cage, Jackson Mac Low, Gilbert Sorrentino, David Tudor, Stan Brakhage, and Samuel Beckett are among the artists whose exemplary works feature in Singular Examples. Miller’s key readings of these major artists of the period open up some of the most difficult texts of the neo–avant-garde even as they contribute to an eloquent argument for "artistic politics." Underlining the relation between material particulars and their thematic implications, between particular works and larger theoretical claims, between avant-garde aesthetics and formalist analysis, Singular Examples is exemplary in its own right, revealing the ultimate shape and direction of a postwar avant-garde contending with the historical predicaments of radical modernism.

During the second half of the eighteenth century, the social role of educated women and the nature of domesticity were the focus of widespread debate in Britain. The emergence of an identifiably feminist voice in that debate is the subject of Harriet Guest's new study, which explores how small changes in the meaning of patriotism and the relations between public and private categories permitted educated British women to imagine themselves as political subjects.

Small Change considers the celebration of learned women as tokens of national progress in the context of a commercial culture that complicates notions of gender difference. Guest offers a fascinating account of the women of the bluestocking circle, focusing in particular on Elizabeth Carter, hailed as the paradigmatic learned and domestic woman. She discusses the importance of the American war to the changing relation between patriotism and gender in the 1770s and 1780s, and she casts new light on Mary Wollstonecraft's writing of the 1790s, considering it in relation to the anti-feminine discourse of Hannah More, and the utopian feminism of Mary Hays.

Many people of Portuguese descent take pride in claiming that the word “saudade” is untranslatable. In reality, we come close with a melding of bittersweet nostalgia, bone-­deep longing, and an endless yearning for what one can never have again—or indeed may never have had. Adelaide Freitas dipped her pen in saudade to tell of family separation and bonds that never loosen. In her authentic Azorean voice, she recounts the immigrant experience and centrifugal impulses that force people apart in spite of their desperation to cling to one another. In their sensitive rendering, the translators have captured the nuances of Freitas's novel Smiling in the Darkness, with special care for those who have her native language in their heritage and heartfelt saudade for its loss.

Centers on the discourse of the liberal intellectual as exemplified in the novels of George Eliot, whose awareness of her aesthetic and social task was keener than that of most Victorian writers.

Andalusia was the central feature and influence in the life and writings of the twentieth-century author, musician, and artist, Federico Garcia Lorca. Rooted in his native region, which both captivated and shaped him, Lorca maintained that "The better a writer learns how to interpret the landscape, the greater the artist he will be." Blessed with an acute historical sense of a region where the past is both present and enduring, Lorca proved himself sensitive and articulate enough to interpret "the emotion of the landscape" in all of his creative work.

For Lorca, Andalusia was a landscape not only of place but of people. Through exhaustive research and painstaking readings in a wide range of anthologies of Andalusian folk culture and collections of popular verse, author C. Brian Morris reveals how Lorca transformed and veiled real people and real places in his poetry and drama. Exploring subjects ranging from medieval ballads to flower and plant lore, he further investigates the relationship between Lorca and the writings of other Andalusian-born authors, as well as traditional Andalusian poetry and song. Juxtaposing this material with well-chosen quotations from Lorca's works, Morris provides myriad examples of analogy and reminiscence that will inform and enlighten both general readers and Lorca specialists.

This revised and updated bilingual edition of Sonnets and Other Poems offers a cross-section of lyric poetry by Portugal's Luís de Camões, author of The Lusiads (1572), the great Renaissance epic memoralizing Vasco da Gama's inaugural voyage to India (1497-99). A selection of forty sonnets is followed by poems using other metrical patterns and rhyme schemes, including terza rima, ottava rima, the sestina, the canzone, and the redondilha, a verse form typical of Portuguese poetry. Richard Zenith's fluid renditions, far from attempting to "update" Camões, closely adhere to the original text, employing modern English but resisting the temptation to expand on the relatively small and simple lexicon of the Portuguese. Along with discussing his method of translation, Zenith's illuminating introduction shows how Camões's life and work were intimately entwined.

Grappling with metaphysical questions of suffering, death, and infinity, Antero de Quental’s sonnets have been widely celebrated by writers and intellectuals around the world, with Fernando Pessoa calling him “one of the greatest poets of the nineteenth century.” Irreverent and nonconformist,  Antero became the ideologue and moving spirit behind the group of progressive intellectuals known as the Generation of 1870 who rebelled against tradition and attempted to reverse Portugal’s intellectual stagnation. This is the first bilingual (Portuguese-English) edition of Antero's sonnets and poems, as well as the first to assemble the translations by Aubrey F. G. Bell, Roy Campbell, Richard Garnett, George Monteiro, S. Griswold Morley, Fernando Pessoa, Edgar Prestage, and Richard Zenith in a single volume.