From ancient influences on the essay as a form of rhetoric to the Irish essay as performance, from British imperial propaganda to African postcolonial resistance, from political pamphlets to the rise of literary professionalism, from gastronomy to ecocriticism, The Cambridge History of the British Essay offers the first authoritative single-volume history of the form's development within the British literary tradition. It restores to the contemporary understanding of the essay an appreciation of its true richness and diversity. The fifty contributors to this volume come from widely diverse backgrounds and areas of expertise that brings out neglected pockets of essayistic activity, by women, by persons of colour, by poets and pamphleteers. Together, they show how the form morphs to serve new contexts and concerns, remaining a vital genre of literary 'attempt' in the fields of journalism, academic study, autobiography and other forms of life writing, and online language arts.

This delicious anthology of primary texts brings together the major English and French nineteenth-century writings on the arts and pleasures of the table. With the invention of the restaurant and a public scene of dining after the French Revolution, gastronomy emerged as a distinct genre of writing, treating food with philosophical significance. Romantic Gourmand recognizes that more goes into the making of a good meal than food itself, and they transformed dining into a fine art and a medium for self-expression. This excellent book examines the theories of ettiquette and food connoisseruship and how it became the foundation for our modern food culture with gourmet magazines, reviews and televized cuisine. Presenting texts, some of which appear in English for the fitst time, Diane Gigante's looks at the French genius behind modern gastronomy, essays include: Grimod de la Reyniere; Jean-Anthelme Brillat-Savarin's Physiology of Tast; Alexandre Dumas' Dictionary of Cuisine; Charles Lamb's Dissertation on Roast Pig; William Thackeray's Dinner-Giving Snobs; lesser-known works by pseudonymous authors such as Launcelot Sturgeon and Dick Humelbergius Secundus. with an intereste in, the history of food.

This delicious anthology of primary texts brings together the major English and French nineteenth-century writings on the arts and pleasures of the table. With the invention of the restaurant and a public scene of dining after the French Revolution, gastronomy emerged as a distinct genre of writing, treating food with philosophical significance. Romantic Gourmand recognizes that more goes into the making of a good meal than food itself, and they transformed dining into a fine art and a medium for self-expression. This excellent book examines the theories of ettiquette and food connoisseruship and how it became the foundation for our modern food culture with gourmet magazines, reviews and televized cuisine. Presenting texts, some of which appear in English for the first time, Diane Gigante's looks at the French genius behind modern gastronomy, essays include: Grimod de la Reyniere; Jean-Anthelme Brillat-Savarin's Physiology of Tast; Alexandre Dumas' Dictionary of Cuisine; Charles Lamb's Dissertation on Roast Pig; William Thackeray's Dinner-Giving Snobs; and lesser-known works by pseudonymous authors such as Launcelot Sturgeon and Dick Humelbergius Secundus. with an intereste in, the history of food.

The fascinating history of American bookishness as told through the sale of Charles Lamb's library in 1848 Charles Lamb's library-a heap of sixty scruffy old books singed with smoke, soaked with gin, sprinkled with crumbs, stripped of illustrations, and bescribbled by the essayist and his literary friends-caused a sensation when it was sold in New York in 1848. The transatlantic book world watched as the relics of a man revered as the patron saint of book collectors were dispersed. Following those books through the stories of the bibliophiles who shaped intellectual life in America-booksellers, publishers, journalists, editors, bibliographers, librarians, actors, antiquarians, philanthropists, politicians, poets, clergymen-Denise Gigante brings to life a lost world of letters at a time when Americans were busy assembling the country's major public, university, and society libraries. A human tale of loss, obsession, and spiritual survival, this book reveals the magical power books can have to bring people together and will be an absorbing read for anyone interested in what makes a book special.

What makes something alive? Or, more to the point, what is life? The question is as old as the ages and has not been (and may never be) resolved. Life springs from life, and liveliness motivates matter to act the way it does. Yet vitality in its very unpredictability often appears as a threat. In this intellectually stimulating work, Denise Gigante looks at how major writers of the Romantic period strove to produce living forms of art on an analogy with biological form, often finding themselves face to face with a power known as monstrous. The poets Christopher Smart, William Blake, Percy Bysshe Shelley, and John Keats were all immersed in a culture obsessed with scientific ideas about vital power and its generation, and they broke with poetic convention in imagining new forms of "life." In Life: Organic Form and Romanticism, Gigante offers a way to read ostensibly difficult poetry and reflects on the natural-philosophical idea of organic form and the discipline of literary studies.

John and George Keats-Man of Genius and Man of Power, to use John's words-embodied sibling forms of the phenomenon we call Romanticism. George's 1818 move to the western frontier of the United States, an imaginative leap across four thousand miles onto the tabula rasa of the American dream, created in John an abysm of alienation and loneliness that would inspire the poet's most plangent and sublime poetry. Denise Gigante's account of this emigration places John's life and work in a transatlantic context that has eluded his previous biographers, while revealing the emotional turmoil at the heart of some of the most lasting verse in English. In most accounts of John's life, George plays a small role. He is often depicted as a scoundrel who left his brother destitute and dying to pursue his own fortune in America. But as Gigante shows, George ventured into a land of prairie fires, flat-bottomed riverboats, wildcats, and bears in part to save his brothers, John and Tom, from financial ruin. There was a vital bond between the brothers, evident in John's letters to his brother and sister-in-law, Georgina, in Louisville, Kentucky, which run to thousands of words and detail his thoughts about the nature of poetry, the human condition, and the soul. Gigante demonstrates that John's 1819 Odes and Hyperion fragments emerged from his profound grief following George's departure and Tom's death-and that we owe these great works of English Romanticism in part to the deep, lasting fraternal friendship that Gigante reveals in these pages.

What does eating have to do with aesthetic taste? While most accounts of aesthetic history avoid the gustatory aspects of taste, this book rewrites standard history to uncover the constitutive and dramatic tension between appetite and aesthetics at the heart of British literary tradition. From Milton through the Romantics, the metaphor of taste serves to mediate aesthetic judgment and consumerism, gusto and snobbery, gastronomes and gluttons, vampires and vegetarians, as well as the philosophy and physiology of food. The author advances a theory of taste based on Milton's model of the human as consumer (and digester) of food, words, and other commodities-a consumer whose tasteful, subliminal self remains haunted by its own corporeality. Radically rereading Wordsworth's feeding mind, Lamb's gastronomical essays, Byron's cannibals and other deviant diners, and Kantian nausea, Taste resituates Romanticism as a period that naturally saw the rise of the restaurant and the pleasures of the table as a cultural field for the practice of aesthetics.

A collection of outstanding British periodical essays from the era in which the genre was invented From the pens of spectators, ramblers, idlers, tattlers, hypochondriacs, connoisseurs, and loungers, a new literary genre emerged in eighteenth-century England: the periodical essay. Situated between classical rhetoric and the novel, the English essay challenged the borders between fiction and nonfiction prose and helped forge the tastes and values of an emerging middle class. This authoritative anthology is the first to gather in one volume the consummate periodical essays of the period. Included are the Spectator cofounders Joseph Addison and Richard Steele, literary lion Samuel Johnson, and Romantic recluse Thomas De Quincey, addressing a wide variety of topics from the oddities of virtuosos to the private lives of parrots and the fantastic horrors of opium dreams. In a lively and informative introduction, Denise Gigante situates the essayists in the context of the contemporary Republic of Letters and highlights the stylistic innovations and conventions that distinguish the periodical essay as a literary form. Critical notes on the essays, a chronology, descriptions and a map of key London sites, and a glossary of eighteenth-century English terms complete the anthology-a uniquely pleasurable survey of the golden era of British essays.