The poetry of Christina Rossetti is often described as 'gothic' and yet this term has rarely been examined in the specific case of Rossetti's work. Based on new readings of the full range of her writings, from 'Goblin Market' to the devotional poems and prose works, this book explores Rossetti's use of Gothic forms and images to consider her as a Gothic writer. Christina Rossetti's Gothic analyses the poet's use of the grotesque and the spectral and the Christian roots and Pre-Raphaelite influences of Rossetti's deployment of Gothic tropes.

Tales of Dionysus is the first English verse translation of one of the most extraordinary poems of the Greek literary tradition, the Dionysiaca of Nonnus of Panopolis. By any standard, the Dionysiaca is a formidable work. It is by far the longest poem surviving from the classical world, a massive mythological epic stretching to over 20,000 lines, written in the tradition of Homer, using Homer's verse, Homer's language, his narrative turns and motifs, and invoking his ancient Muses. But it is also the last ancient epic to follow a Homeric model, composed so late in fact that it stands as close in time to the Renaissance as it does to archaic Greece. Like its titular hero, Dionysus, with his fluidity of forms, names, and divine incarnations, the poem itself is continually shifting shape. Out of its formal epic frame spills a tumult of ancient literary types: tragedy, elegy, didactic, panegyric, pastoral idyll, and the novel are all parts of this gigantic enterprise, each genre coming to the fore one after the other.Tales of Dionysus brings together forty-two translators from a wide range of backgrounds, with different experiences and different potential relationships to the text of Nonnus' poem. All work in their own styles and with their own individual approaches to the poem, to translation, and to poetic form. This variety turns Tales of Dionysus into a showcase of the multiple possibilities open to classical translation in the contemporary world.

Often thought of as the quintessential poet of New England, Robert Frost is one of the most widely read American poets of the 20th century. He was a master of poetic form and imagery, his works seemed to capture the spirit of America, and he became so emblematic of his country that he read his work at President Kennedy's inauguration and traveled to Israel, Greece, and the Soviet Union as an emissary of the U.S. State Department. While many readers think of him as the personification of New England, he was born in San Francisco, published his first book of poetry in England, matured as a poet while abroad, taught for several years at the University of Michigan, and spent many of his winters in Florida. This reference helps illuminate the hidden complexities of his life and work.

Included in this volume are hundreds of alphabetically arranged entries on Frost's life and writings. Each of his collected poems is treated in a separate entry, and the book additionally includes entries on such topics as his public speeches, various colleges and universities with which he was associated, the honors that he won, his biographers, films about him, poets, and others whom he knew, and similar items. Each entry is written by an expert contributor and closes with a brief bibliography. The volume also provides a chronology and concludes with a general bibliography of major studies.

Modernist debates about waste - both aesthetic and economic - often express biases against gender and sexual errancy. The Poetics of Waste looks at writers and artists who resist this ideology and respond by developing an excessive poetics.

Provides a comprehensive survey of approaches to genre in Shakespeare's work. Contributors probe deeply into genre theory and genre history by relating Renaissance conceptions. In this sense, the volume proposes to read Shakespeare through genre and, just as importantly, read genre through Shakespeare.

The first book in a decade from a poet whose blank verse speaks "with the precise qualifications of Henry James, and conveys the muted but implicit drama of Edward Hopper"--Anthony Hecht.. In this, his first collection since the acclaimed Little Voices of the Pears , Herbert Morris gathers fifteen recent poems in his two signature modes, the dramatic monologue and the meditative reverie. His subjects include a resplendent apricot gown once worn by Lillian Gish ("Chaplin enthralled, Griffith smitten, ecstatic"); a poignant human detail in Caravaggio's The Sacrifice of Isaac ; and a host of variations on the Peaceable Kingdom , the obsessive lifework of the painter Edward Hicks. Mr. Morris's blank verse, for decades now a glory of American poetry, here achieves a new level of mastery.

A new survey of twentieth-century U.S. poetry that places a special emphasis on poets who have put lyric poetry in dialogue with other forms of creative expression, including modern art, the novel, jazz, memoir, and letters. Contesting readings of twentieth-century American poetry as hermetic and narcissistic, Morris interprets the lyric as a scene of instruction and thus as a public-oriented genre. American poets from Robert Frost to Sherman Alexie bring aesthetics to bear on an exchange that asks readers to think carefully about the ethical demands of reading texts as a reflection of how we metaphorically "read" the world around us and the persons, places, and things in it. His survey focuses on poems that foreground scenes of conversation, teaching, and debate involving a strong-willed lyric speaker and another self, bent on resisting how the speaker imagines the world.

The Pharsalia is Lucan's epic on the civil wars between Caesar and Pompey. It is a poem of immense energy and intelligence in which spectacle and spectatorship are prominent. The author shows that by transforming certain Virgilian narrative devices Lucan launches an attack on the Augustan ideology of the Aeneid: where Virgil writes the foundation myth for the new regime and celebrates the connections between Augustus and Aeneas, Lucan produces a savagely republican anti-Aeneid which represents the civil wars as the death of Rome.

In 1948, the poet Eugenio Montale published his Quaderno di traduzioni and created an entirely new Italian literary genre, the "translation notebook." The quaderni were the work of some of Italy's foremost poets, and their translation anthologies proved fundamental for their aesthetic and cultural development. Modern Italian Poets shows how the new genre shaped the poetic practice of the poet-translators who worked within it, including Giorgio Caproni, Giovanni Giudici, Edoardo Sanguineti, Franco Buffoni, and Nobel Prize-winner Eugenio Montale, displaying how the poet-translators used the quaderni to hone their poetic techniques, experiment with new poetic metres, and develop new theories of poetics. In addition to detailed analyses of the work of these five authors, the book covers the development of the quaderno di traduzioni and its relationship to Western theories of translation, such as those of Walter Benjamin and Benedetto Croce. In an appendix, Modern Italian Poets also provides the first complete list of all translations and quaderni di traduzioni published by more than 150 Italian poet-translators.

The late D. F. McKenzie worked on this comprehensive edition of the works of the playwright, poet, librettist, and novelist William Congreve for more than twenty years, until his sudden death in 1999. This was a task he had taken over from Herbert Davis, to whom this edition is dedicated. During that time McKenzie uncovered new verse and letters, collated Congreve's texts, recorded their complicated textual history, constructed appendices that shed light on the dramatic context in which Congreve worked, and examined how his contemporaries received Congreve's work. More importantly, McKenzie has convincingly re-evaluated Congreve's works and life to transform our image of the man and his reputation.
McKenzie here follows the editorial practice suggested in two early editions of the Works published by Congreve's friend, the bookseller Jacob Tonson, in 1710 and 1719. These three volumes follow a plan similar to that in the Tonson edition, with The Old Batchelor, The Double-Dealer, and Love for Love collected in the first, a central volume with The Way of the World, and a final volume with Congreve's novel Incognita, some of his prose works, letters, and later verse. In each case, Congreve's work is left to speak for itself, unencumbered by intrusive notes, textual apparatus, or collations, which are gathered instead near the end of each volume.
This edition will be an invaluable resource for scholars for many years to come. It is a monument to McKenzie's own scholarship as well as to the integrity of William Congreve.

The intention of this book is to acquaint readers with the first rate translations of North American Indian poems produced during the past hundred years. These compositions are not only valuable as poetry, but also serve to reveal the mental and emotional capabilities of the Indians. They are in their own right, a significant but relatively unknown part of American literature.

These volumes gather together a body of critical sources on the Jacobean dramatists. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from important essays in the history of criticism to journalism and contemporary opinion, and documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects.

"The Critical Heritage" series gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from important essays in the history of criticism to journalism and contemporary opinion, and documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Critical Heritage is available as a set of 67 volumes, as mini- sets selected by period (in slipcase boxes) or as individual volumes.

This series gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation.

Seventeenth-century authors so thoroughly imbued the language and imagery of the Bible in vernacular translation that their texts are to be read as attempts to inscribe themselves within the realm of the sacred. This book analyzes how three seventeenth-century English authors fashion themselves as a specific biblical figure, and how they fashion themselves in their works in order to bring their spiritual lives in line with the narrative arch of a biblical type.

This series gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from essays in the history of criticism to journalism and contemporary opinion, and little-published documentary material such as letters and diaries. Pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation.

Acknowledged Legislator: Critical Essays on the Poetry of Martin Espada stands as the first-ever collection of essays on poet and activist Martin Espada. It is also, to date, the only published book-length, single-author study of Espada currently in existence. Relying on innovative, highly original contributions from thirteen Espada scholars, its principal aim is to argue for a long overdue critical awareness of and cultural appreciation for Espada and his body of writing. Acknowledged Legislator accomplishes this task in three fundamental ways: by providing readers with background information on the poet s life and work; offering an examination into the subject matter and dominant themes that are frequently contained in his writing; and finally, by advocating, in a variety of ways, for why we should be reading, discussing, and teaching the Espada canon. Divided into four distinct sections that modulate through several theoretical frames from Espada s attention to resistance poetics and concerns for historical memory to his oppositional critique of neoliberalism and support for a class consciousness grounded in labor rights Acknowledged Legislator offers a cohesive, forward-thinking interpretive statement of the poet s vision and proposes a critical (re)assessment for how we read Espada, now and in the future.

Of the 16 WWI poets memorialized in Westminster Abbey, two were destined to become lifelong friends. Although both served on the Western Front, it was not until 1919 that Siegfried Sassoon received his first letter from Edmund Blunden. This collection of Sassoon and Blunden's correspondence contains more than 1,000 letters, cards and telegrams.

Hart Crane's Queer Modernist Aesthetic argues that the aspects of experience which modernists sought to interrogate - time, space, and material things - were challenged further by Crane's queer poetics. Reading Crane alongside contemporary queer theory shows how he creates an alternative form of modernism.

In this wide-ranging study, Simon Bainbridge highlights the major role that poetry played in the mediation of the Revolutionary and Napoleonic wars to the British public, and explores the impact that the wars had on poetic practices and theories in the Romantic period. Bainbridge examines a wide range of writers, both canonical (Wordsworth, Coleridge, and Byron) and non-canonical (Smith, Southey, Scott, and Hemans), and locates their work within the huge amount of war poetry published in newspapers and magazines.

Winner of the Excellence Award for Collaborative Research granted by the European Society of Comparative Literature (ESCL) In Great Immortality, twenty scholars from considerably different cultural backgrounds explore the ways in which certain poets, writers, and artists in Europe have become major figures of cultural memory.