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The Dry Wood (Paperback)
Caryll Houselander, Bonnie Lander Johnson, Julia Meszaros
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R742
Discovery Miles 7 420
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Ships in 10 - 15 working days
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In the English-speaking world, the Catholic Literary Revival is
typically associated with the work of G. K. Chesterton/Hilaire
Belloc, Evelyn Waugh and Graham Greene. But in fact the Revival's
most numerous members were women. While some of these women remain
well known?Muriel Spark, Antonia White, Flannery O'Connor, Dorothy
Day?many have been almost entirely forgotten. They include: Enid
Dinnis, Anna Hanson Dorsey, Alice Thomas Ellis, Eleanor Farjeon,
Rumer Godden, Caroline Gordon, Clotilde Graves, Caryll Houselander,
Sheila Kaye-Smith, Jane Lane, Marie Belloc Lowndes, Alice Meynell,
Kathleen Raine, Pearl Mary Teresa Richards, Edith Sitwell, Gladys
Bronwyn Stern, Josephine Ward, and Maisie Ward. There are various
reasons why each of these writers fell out of print: changes in the
commercial publishing world after World War II, changes within the
Church itself and in the English-speaking universities that
redefined the literary canon in the last decades of the 20th
century. Yet it remains puzzling that a body of writing so
creative, so attuned to its historical moment, and so unique in its
perspective on the human condition, should have fallen into
obscurity for so long. The Catholic Women Writers series brings
together the English-language prose works of Catholic women from
the 19th and 20th centuries; work that is of interest to a broad
range of readers. Each volume is printed with an accessible but
scholarly introduction by theologians and literary specialists. The
first volume in the series is Caryll Houselander's The Dry Wood.
Houselander is known primarily for her spiritual writings but she
also wrote one novel, set in a post-war London Docklands parish.
There a motley group of lost souls are mourning the death of their
saintly priest and hoping for the miraculous healing of a
vulnerable child whose gentleness in the face of suffering brings
conversion to them all in surprising and unexpected ways. The Dry
Wood offers a vital contribution to the modern literary canon and a
profound meditation on the purpose of human suffering.
The Catholic University of America Press is pleased to present the
second volume in our Catholic Women Writers series, which will
attempt to bring new attention to prose work of Catholic women
writers from the 19th and 20th centuries. Sheila Kaye-Smith was a
best selling author who had published over 50 books in her
lifetime, few of which remain in print since her death in 1956. The
End of the House of Alard (1922) documents the choices made by the
final generation of the aristocratic Alard family and the ways in
which they, both willingly and reluctantly, bring the long line of
their ancestral blood to a complete and sudden end. For some of
them, the end of the Alard line is as painful to enact as it is for
others to witness; for others it is welcomed as a necessary
modernization or a true realignment toward religious integity and
universal human truth. Some of the family's children yearn for
individual liberty; others have it forced upon them. But none of
them can find it under the burden of the Alard name and its
crumbling estate. The End of the House of Alard is a novel about
the human need for purpose, for a truth by which to live and for
which to die. It is a novel about faith and idolatry, love and
death, freedom and bondage, nature and grace. Put another way, it
is about how human beings cannot escape the great challenge of
salvation, of breaking free from false, man made gods in order to
unite instead with the divine love of Christ. The novel's
characters span a breadth of options on this spectrum and their
various outlooks on life continue to reflect those available to us
today.
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Hinterland 2022 - Spring (Paperback)
Andrew Kenrick, Yin F Lim; Cover design or artwork by Reece Reilly; Stephanie Tam, Anna Vaught, …
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R257
Discovery Miles 2 570
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Ships in 12 - 17 working days
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In late medieval and early modern Europe, definitions of blood in
medical writing were slippery and changeable: blood was at once the
red fluid in human veins, a humor, a substance governing crucial
Galenic models of bodily change, a waste product, a cause of
corruption, a source of life, a medical cure, a serum appearing
under the guise of all other bodily secretions, and-after William
Harvey's discovery of its circulation-the cause of one of the
greatest medical controversies of the premodern period. Figurative
uses of "blood" are even more difficult to pin down. The term
appeared in almost every sphere of life and thought, running
through political, theological, and familial discourses. Blood
Matters explores blood as a distinct category of inquiry and draws
together scholars who might not otherwise be in conversation.
Theatrical and medical practice are found to converge in their
approaches to the regulation of blood as a source of identity and
truth; medieval civic life intersects with seventeenth-century
science and philosophy; the concepts of class, race, gender, and
sexuality find in the language of blood as many mechanisms for
differentiation as for homogeneity; and fields as disparate as
pedagogical theory, alchemy, phlebotomy, wet-nursing, and wine
production emerge as historically and intellectually analogous. The
volume's essays are organized within categories derived from
medieval and early modern understanding of blood
behaviors-Circulation, Wounds, Corruption, Proof, and Signs and
Substances-thereby providing the terms through which
interdisciplinary and cross-period conversations can take place.
Contributors: Helen Barr, Katharine Craik, Lesel Dawson, Eleanor
Decamp, Frances E. Dolan, Elisabeth Dutton, Margaret Healy, Dolly
Jorgensen, Helen King, Bonnie Lander Johnson, Hester Lees-Jeffries,
Joe Moshenska, Tara Nummedal, Patricia Parker, Ben Parsons, Heather
Webb, Gabriella Zuccolin.
The Catholic University of America Press is pleased to continue to
present new volumes in our Catholic Women Writers series, which
will shed new light on prose work of Catholic women writers from
the 19th and 20th centuries. Josephine Ward is one of Catholicism's
greatest literary treasures and a foremost contributor to English
literary history—except that she has all but completely fallen
from the historical record. She spent her life in close
companionship with the most active minds working in the late 19th
century to restore to the Catholic Church in England the
intellectual, sacramental and theological integrity it had once
enjoyed before three hundred years of persecution. All seven of her
novels are out of print, despite their once high acclaim in the fin
de siècle literary world. First published in 1899, One Poor
Scruple follows the recusant Riversdale family who have survived
the long penal years by observing a quiet aristocratic life of
sport and agriculture, never stepping into the public sphere from
which Catholics in Britain had been barred for so long. But at the
start of the twentieth century, a new generation has emerged. The
novel's younger characters are now legally able to go to Oxford and
Cambridge and to enter the public life of letters. Emboldened by
the confident work of John Henry Newman, this younger generation of
Catholics are nonetheless cautioned not to trust the Protestant
establishment. One Poor Scruple is a coming-of-age story in which
the new generation of more worldly Catholics search for love,
friendship and intellectual emancipation in the decadent social
world of Edwardian London. Decades before Evelyn Waugh examined in
Brideshead Revisitedthe human struggle to distinguish between true
and false beauty, Ward's novel examined the challenge of discerning
between conflicting desires and of living a life that is as
truthful and good as it is beautiful.
In this book, Bonnie Lander Johnson explores early modern ideas of
chastity, demonstrating how crucial early Stuart thinking on
chastity was to political, medical, theological and moral debates,
and that it was also a virtue that governed the construction of
different literary genres. Drawing on a range of materials, from
prose to theatre, theological controversy to legal trials, and
court ceremonies - including royal birthing rituals - Lander
Johnson unearths previously unrecognised opinions about chastity.
She reveals that early Stuart theatrical and court ceremonies were
part of the same political debate as prose pamphlets and religious
sermons. The volume also offers new readings of Milton's Comus,
Shakespeare's The Winter's Tale, Henrietta Maria's queenship and
John Ford's plays. It will appeal to scholars of early modern
literature, theatre, political, medical and cultural history, and
gender studies.
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