A. This is the first book systematically to examine the intrusion of personal voice into the poetry of landscape in Britain in the long eighteenth century. B. The argument of the book proceeds from the premise that strong conventions, such as those that inhere in topographical verse of the period, stimulate original writers to overstep those bounds, resulting in verse that engages issues and energies far deeper than those of pictorial description. C. The book makes a strong claim for the autobiographical emphasis of much eighteenth-century poetry of place. D. The book hews to close readings as the soundest way to identify the often subtle shifts of tone and structure that betray the workings of agendae that may be operating under cover of conventional landscape poetry. E. The book supplements traditionally aesthetic and political readings of eighteenth-century British landscape poetry, suggesting not only that the autobiographical impulse is a distinctive and innovative feature of much great eighteenth-century poetry of place but also that the correlation of self and place, a topic of current interest to humanist geographers, is powerfully manifested in the landscape poetry of this period.

A dazzling yet little-known artist's book that distills the painter's seminal interests in abstraction and the unity of the arts Wassily Kandinsky (1866-1944) was a Russian pioneer of abstract painting whose work has influenced generations of artists. His Sounds (Klange) of 1912 is one of the earliest, most beautiful examples of a 20th-century artist's book. Its "sound poems" are alternately narrative and expressive, witty and simple in form. They treat questions of space, color, physical design, and the act of seeing in a world that offers multiple and often contradictory possibilities. The woodcut illustrations that accompany the poems range from representational designs to abstract vignettes. In its fusion of image and word, Sounds epitomizes the artist's move toward abstraction and his aspiration to a synthesis of the arts. This updated edition of Sounds includes all of the book's poems in English and German and its woodcuts, twelve of which appear in color for greater fidelity to the original. The translator's introduction offers close formal examination of the poems and situates Sounds in the context of Kandinsky's oeuvre. Although it was prized by prominent 20th-century artists, Sounds is one of the least known of Kandinsky's major writings, and this remains the most authoritative English version.

This book focuses on the pervasive concern with narrativity and self-construction that marks Defoe's first-person fictional narratives. Defoe's fictions focus obsessively and elaborately on the act of storytelling-not only in his creation of idiosyncratic voices preoccupied with the telling (and often the concealing) of their own life stories but also in his narrators' repeated adversion to other, untold stories that compete for attention with their own. Defoe's narratives raise profound questions about selfhood and agency (as well as demonstrate competing attitudes about narration) in his fictive worlds. His canon exhibits a broad range of first-person fictional accounts, from pseudo-memoir (A Journal of the Plague Year, Memoirs of a Cavalier) to criminal autobiography (Moll Flanders) to confession (Roxana), and the narrators of these accounts (secretive, compulsive, fractive) exhibit an array of resistances to the telling of their life stories. Such experiments with narration evince Defoe's deep involvement in projects of self-description and -delineation, as he interrogates the boundaries of the self and dramatizes the arduousness of self-accounting. Defoe's fictions are emphatically consciousness-centered and the significance of such a focus to the development of the novel is patently as great as is his "realistic" style. Defoe's narrative project, in fact, challenges current views on the moment at which inwardness and interiority begin, as Lukacs argued, to comprise the subject matter of the novel, implicitly attributing to identity and consciousness a place of signal and complex importance in the new genre.

F. T. Marinetti (1876-1944) is widely known as the founder of Futurism, an early twentieth-century cultural revolution that began as a literary movement and expanded to influence painters, musicians, dramatists, architects, and graphic artists throughout the world. This volume, a translation of more than forty poems and prose works by Marinetti, presents premier examples of his rich poetic creations, many for the first time in English. The collection has been selected by Luce Marinetti to represent the entire span of the poet's career, and it includes works originally written in either French or Italian, Marinetti's two primary languages. The volume begins with Marinetti's early lyrical works, poems that exemplify styles and themes that he later reacted against in his own manifestos. It continues with his poems of battle, in which Marinetti used the language of machines and explosions to express his view of poetry as reportage from the front; "Words in Freedom," in which he declared war on poetry by destroying syntax and spelling and by experimenting with typography; and finally love poems to his wife, Benedetta, in which he returned in part to subjects and forms that he had previously rejected. The volume includes a prefatory biography of Marinetti written by Luce Marinetti, as well as a critical review by Paolo Valesio of Marinetti's accomplishment as a poet.

This book focuses on the pervasive concern with narrativity and self-construction that marks Defoe's first-person fictional narratives. Defoe's fictions focus obsessively and elaborately on the act of storytelling-not only in his creation of idiosyncratic voices preoccupied with the telling (and often the concealing) of their own life stories but also in his narrators' repeated adversion to other, untold stories that compete for attention with their own. Defoe's narratives raise profound questions about selfhood and agency (as well as demonstrate competing attitudes about narration) in his fictive worlds. His canon exhibits a broad range of first-person fictional accounts, from pseudo-memoir (A Journal of the Plague Year, Memoirs of a Cavalier) to criminal autobiography (Moll Flanders) to confession (Roxana), and the narrators of these accounts (secretive, compulsive, fractive) exhibit an array of resistances to the telling of their life stories. Such experiments with narration evince Defoe's deep involvement in projects of self-description and -delineation, as he interrogates the boundaries of the self and dramatizes the arduousness of self-accounting. Defoe's fictions are emphatically consciousness-centered and the significance of such a focus to the development of the novel is patently as great as is his "realistic" style. Defoe's narrative project, in fact, challenges current views on the moment at which inwardness and interiority begin, as Lukacs argued, to comprise the subject matter of the novel, implicitly attributing to identity and consciousness a place of signal and complex importance in the new genre.