Reviews of the hardback edition: 'A meticulously detailed and thought-provoking look at Grub Street.' Times Literary Supplement 'All the essays have insightful things to say about their individual authors as writers for the periodical press.' Media History 'An effective geneaology of modern journalism from the early nineteenth century through to the 1930s.' Sally Ledger, Birkbeck College Journalism has often been disregarded or represented as 'other' by literary critics and authors. The sense of its difference from literature has been heightened by its identification with daily newspaper journalism and reporting. Yet 'journalism' in its broadest sense refers to all writing in public journals, spanning both high and popular culture. It has been central to experiences of modernity, making its dismissal problematic. This book considers journalism in all its diversity, examining writing in journals across the cultural spectrum including literary journals, magazines and daily newspapers. Presenting a variety of critical approaches, the authors explore journalism's importance in relation to gender, modernity and modernism. They offer readings of established writers, critics and journalists: * William Hazlitt * Charles Dickens * Henry Mayhew * Matthew Arnold * Walter Pater * Dora Marsden * Rebecca West * Virginia Woolf * Laura Riding This book challenges received ideas of journalism's significance in literary and cultural history, as well as perceptions of modernity and modernism. Key Features: *Considers journalism in both its 'high' and 'low' cultural forms *Explores journalism's importance in relation to gender, modernity and modernism *Includes chapters on Hazlitt, Dickens, Arnold and Woolf

Seattle street artist Lizette Karlson tries to pull herself together in 1973 and turns to the Franklin Street Dogs for help. This low-life softball team is a horrifying choice for a fragile spirit like Lizette, who's only trying to stay warm and make it through another rainy night. The Dogs don't realize that while she's beautiful, talented, and a bit off-kilter-she's also cunning and very dangerous. Lizette wants to hook up with top-Dog, Rocket. He's fixed on next-door neighbor Sandy Shore, the little snake dancer who strips for soldiers coming home at the end of the Vietnam War. Everybody sleeps with everybody-whatever gets you through the night. It's a sexual free-for-all until Sandy turns up pregnant and the scene goes haywire. After witnessing a murder and getting kicked out by the Dogs, Lizette is on the run again, crisscrossing Puget Sound. She hides out on Orcas Island and paints in a secluded cabin owned by her childhood friend Marian, a gifted midwife who recently inherited her family's ranch. On the island, Lizette works with Lummi tribal leaders Poland and Abaya, who stick to their cultural values, guard their family secrets and offer her unconditional love. Along the way, Lizette sorts out crippling secrets in her own past, unwittingly makes a splash in the New York art world-and finds the only thing that really matters. If you lived through the free-love 60s, if you've ever wondered what happened the day after the music died, ADRIFT IN THE SOUND picks up the beat and offers unforgettable insights into a turbulent time in American history. It's a story about fighting the tides, surviving the storm, and swimming for shore. Top finalist for the 2011 Mercer Street Books Literary Prize, readers are calling ADRIFT IN THE SOUND an important exploration of the human spirit in a radically changing world. In both lyrical prose and gritty street language, Kate Campbell rocks our understanding of contemporary history and challenges our fiercely held beliefs. She reshapes old myths and creates new folktales to intrigue and delight.

Poet, school inspector, civil servant and critic: this study examines the interrelationship of Arnold’s different activities in tracing his evolution as a publicist to the publication of Culture and Anarchy in 1869. Kate Campbell shows how his critical concerns and attitudes first appear in his poetry and private writing, even though he reinterprets the ‘immense task’ of modern poetry as a critical programme. This book demonstrates in particular how his work in education leads to his use of indirect methods of political influence – methods that he has observed in politics, literature and journalism. As a publicist he uses such means to promote his objectives of culture and state. Accordingly, Matthew Arnold overturns the view of Arnoldian detachment as it argues his implication in the new cultural politics of the 1860s.