In 2002 Lucy Newlyn found herself incarcerated in a mental hospital in Leeds. She had been sectioned under the Mental Health Act as a danger to herself and others during a psychotic episode after several nights without sleep. The psychosis was triggered by nearly three years of grieving for a dead sister, followed by a vigil at her father's deathbed during which she hallucinated that his hospital ward was a trench in the First World War. The episode uncovered psychiatric problems, which led in due course to a diagnosis of Bipolar Disorder (manic depression). This condition, which involves extreme mood swings, is classified as a disability and requires medication; but it is also a source of creativity, giving access to some unusual dimensions of human experience. In her fifteen-year diary, Lucy Newlyn discloses recurring episodes of mania, depression, hallucination and paranoid delusion. Describing her struggles with family life and the workplace, she de-mystifies bipolarity and critiques an environment which still, even in the twenty-first century, is suspicious of mental illness. Above all, she celebrates the discovery that writing poetry enables a cathartic engagement with her own condition. Diary of a Bipolar Explorer is not a self-help manual but a candid confessional memoir which offers no easy solutions. It involves a mixture of observation and reflection, interspersing poetry with prose. Written accessibly, it will appeal to anyone interested in mental illness, creative process and the life of the mind.

Samuel Taylor Coleridge is one of the most influential, and one of the most enigmatic, of all Romantic figures. This Cambridge Companion does full justice to the many facets of Coleridge's life and work. Specially commissioned essays focus on his major poems, his notebooks and the Biographia Literaria. Attention is given to his role as talker, journalist, critic, and philosopher, his politics, religion, and his contemporary and subsequent reputation. A chronology and guides to further reading complete the volume, making this an indispensable guide to Coleridge and his work.

William Wordsworth's creative collaboration with his 'beloved Sister' spanned nearly fifty years, from their first reunion in 1787 until her premature decline in 1835. Rumours of incest have surrounded the siblings since the 19th century, but Lucy Newlyn sees their cohabitation as an expression of deep emotional need, arising from circumstances peculiar to their family history. Born in Cockermouth and parted when Dorothy was six by the death of their mother, the siblings grew up separately and were only reunited four years after their father had died, leaving them destitute. How did their orphaned consciousness shape their understanding of each other? What part did traumatic memories of separation play in their longing for a home? How fully did their re-settlement in the Lake District recompense them for the loss of a shared childhood? Newlyn shows how William and Dorothy's writings - closely intertwined with their regional affiliations - were part of the lifelong work of jointly re-building their family and re-claiming their communal identity. Walking, talking, remembering, and grieving were as important to their companionship as writing; and at every stage of their adult lives they drew nourishment from their immediate surroundings. This is the first book to bring the full range of Dorothy's writings into the foreground alongside her brother's, and to give each sibling the same level of detailed attention. Newlyn explores the symbiotic nature of their creative processes through close reading of journals, letters and poems - sometimes drawing on material that is in manuscript. She uncovers detailed interminglings in their work, approaching these as evidence of their deep affinity. The book offers a spirited rebuttal of the myth that the Romantic writer was a 'solitary genius', and that William Wordsworth was a poet of the 'egotistical sublime' - arguing instead that he was a poet of community, 'carrying everywhere with him relationship and love'. Dorothy is not presented as an undervalued or exploited member of the Wordsworth household, but as the poet's equal in a literary partnership of outstanding importance. Newlyn's book is deeply researched, drawing on a wide range of recent scholarship - not just in Romantic studies, but in psychology, literary theory, anthropology and life-writing. Yet it is a personal book, written with passion by a scholar-poet and intended to be of some practical use and inspirational value to non-specialist readers. Adopting a holistic approach to mental and spiritual health, human relationships, and the environment, Newlyn provides a timely reminder that creativity thrives best in a gift economy.

A wonderfully accessible handbook to the art of writing and reading poetry-itself written entirely in verse "Reading this book, you get to know poetry from the inside, without the alienating or distracting effect of abstract definition. Knowledge of how poetry works is here imbibed not as a course of instruction but as a sustained pleasure."-Bernard O'Donoghue, University of Oxford, Winner of the Whitbread Prize for Poetry How does poetry work? What should readers notice and look out for? Poet Lucy Newlyn demystifies the principles of the form, effortlessly illustrating key approaches and terms-all through her own original verse. Each poem exemplifies an aspect of poetic craft-but read together they suggest how poetry can evoke a whole community and its way of life in myriad ways. In a series of beautiful meditations, Newlyn guides the reader through key aspects of poetry, from sonnets and haiku to volta and synecdoche. Avoiding glosses and notes, her poems are allowed to speak for themselves, and show that there are no limits to what poetry can communicate. Newlyn's timeless verse will appeal to lovers of poetry as well as to practitioners, teachers, and students of all ages. Onomatopoeia You'd play here all day if you had your way- near the stepping-stones, in the clearest of rock-pools, where water slaps and slips; where minnows dart, and a baby trout flop-flips.

"No city preserves the memory and signature of so many men. The past and the dead have here as it were, a corporate life..." Edward Thomas is now best known for the poetry he wrote between 1914 and his untimely death at Arras in 1917. But during his lifetime his reputation was based on the extraordinary body of travel writing, reviews, and critical books he produced against intense deadline pressures in order to feed his growing family. His travel books, most notably Oxford and The South Country have had an enduring appeal for all lovers the English countryside. Through these and his later poems, Thomas has come to be regarded as the quintessential English writer. And yet he was Welsh, observing and loving England as a semi-outsider. Oxford, published three years after he completed his degree, was Thomas's first major commission. In it, he gives an evocative account of Oxford's architecture, history, and customs, drawing on personal memories of undergraduate life at Lincoln College. His prose was written to accompany the paintings of Fulleylove, who shared his interest in juxtaposing Oxford's grandeur with the ordinary details of domestic life. Between them, the artist and the writer catch the beauty of this "city within the heart" at a pivotal moment in pre-war history, and give it to us as though it could last forever in that form. In a Critical Introduction, Lucy Newlyn examines the importance of Oxford as a historical record. But she also argues that it is a piece of vivid experimental prose, in which much of Thomas's later greatness is anticipated. Her analysis of his prose style shows how Thomas tries out the voices of the past, defining his own particular brand of Modernism by creating a kind of "bricolage" through allusion and imitation. Running steadily beneath the text's elaborate ventriloquism is the quiet ruminative voice of the authentic Thomas, edging ever closer to the simple speech rhythms of his lyric poems. This is the first critical edition of Oxford, giving long overdue credit to the book as an early masterpiece in the Thomas oeuvre.

The authors in this collection join an animated debate on the persistence of Romanticism. Even as dominant twentieth-century cultural movements have contested Romantic ""myths"" of redemptive Nature, individualism, perfectibility, the transcendence of art, and the heart's affections, the Romantic legacy survives as a point of tension and of inspiration for modern writers. Rejecting the Bloomian notion of anxious revisionism, ""The Monstrous Debt"" argues that various kinds of influences, inheritances, and indebtedness exist between well-known twentieth-century authors and canonical Romantic writers. Among the questions asked by this volume are: How does Blake's graphic mythology submit to ""redemptive translations"" in the work of Dylan Thomas? How might Ted Hughes' strong readings of a ""snaky"" Coleridge illuminate the ""mercurial"" poetic identity of Sylvia Plath? How does Shelley ""sustain"" the work of W. B. Yeats and Elizabeth Bishop with supplies of ""imaginative oxygen""? In what ways does Keats enable Bob Dylan to embrace influence? How does Keats prove inadequate for Tony Harrison as he confronts contemporary violence? How does ""cockney"" Romanticism succeed in shocking John Betjeman's poetry out of kitsch into something new and strange? ""The Monstrous Debt"" seeks to broaden our sense of what ""influence"" is by defining the complex of relations that contribute to the making of the modern literary text. Scholars and students of the Romantic era will enjoy this informative volume.

The unifying thrust of the book is an exploration of the tension in Coleridge's theory and practice between the Imagination and the Natural, and a delineation of the particular profile of Coleridge's imagination as compared to that of Wordsworth. There are challenging reassessments of Dejection: an Ode, Christabel and Kubla Khan, among other poems; a cluster of essays on the relations between Coleridge and Wordsworth; a strikingly original examination of Coleridge's imagination at work in the privacy of his notebooks; and an intriguing study of the neglected imagination of Mrs Coleridge. The volume opens and closes with major statements by Jonathan Wordsworth on Coleridge's primary imagination and by John Beer on Kubla Khan, and includes work by such eminent scholars as Thomas MacFarland, David Erdman, Norman Fruman, Robert Barth, Anthony Harding, and Stephen Parrish.

Samuel Taylor Coleridge is one of the most influential, and one of the most enigmatic, of all Romantic figures. This Cambridge Companion does full justice to the many facets of Coleridge's life and work. Specially commissioned essays focus on his major poems, his notebooks and the Biographia Literaria. Attention is given to his role as talker, journalist, critic, and philosopher, his politics, religion, and his contemporary and subsequent reputation. A chronology and guides to further reading complete the volume, making this an indispensable guide to Coleridge and his work.

A work of historical fiction, an experiment in life writing and a verse drama designed to be read aloud. Vital Stream takes the form of a long sonnet sequence, revisiting six extraordinary months in 1802 - a threshold year for William and Dorothy Wordsworth. Parted when they were very young, the siblings had eventually set up home together in the Lake District, where they were to remain for the rest of their lives. After two years in Grasmere, William became engaged to Mary Hutchinson. There followed an intense period of re-adjustment for all three, and for his former lover Annette Vallon, who had borne him a daughter he had never met. During 1802 the Wordsworth siblings wrote some of their most beautiful work; these were their last months of living alone, and their writing has an elegiac quality. Their journey to see Annette Vallon and meet William's daughter for the first time took them through London to Calais during the brief Peace of Amiens, involving a careful dissociation from his past. Other complications coloured their lives, to do with Coleridge and his failing marriage. Lucy Newlyn draws all this material into the vital stream of her sequence. with a preface by Richard Holmes PUBLISHED IN ASSOCIATION WITH THE WORDSWORTH TRUST

Edward Thomas is an important figure in the English literary canon, a major twentieth-century poet, he was also one of England's most experienced and respected Edwardian and Georgian critics, and an observer of the countryside second to none. Although he died at the age of only 39, his prose output was massive and encompassed a range of genres: biography, autobiography, essays, reviews, fiction, nature books, travel writings, and anthologies. While Thomas's stature as a poet is widely appreciated, his prose works have yet to be given their critical due - in large part because scholarly editions have hitherto been lacking. Edward Thomas: Prose Writings: A Selected Edition shows that Thomas's prose deserves to be much better known, by literary scholars but also the general reading public. This six-volume edition establishes him as one of the most important prose writers in English, who contributed remarkable ideas and representations of the self and community, the landscape and ecology, literature and history, the spiritual and artistic life. It is the definitive edition of Thomas's prose and a significant scholarly resource for the twenty-first century. The second volume contains Thomas's writings on England and Wales, and is mostly concerned with his response to the countryside. It covers the entirety of his writing career, showing the development of his identity and style. Works appear in chronological order within the volume, which begins with a comprehensive introduction, providing biographical details, an account of the circumstances of composition, historical contextualisation of the volume's themes and concerns, and an interpretation based on original research. Thomas's complex and brilliant prose, intricately woven using many quotations and allusions, is elucidated by a detailed headnote at the start of each work, and by extensive annotation.

This book makes an important contribution to current debates about reading, audiences, and publishing in the Romantic period, while also exploring the competitive/collaborative relationship between creativity and criticism. Lucy Newlyn examines how readers are imagined, addressed, figured and understood in Romantic poetry and criticism. Non-canonical writers are included, and special attention is given to the emergence of women's poetry.

This book explores what Romantic literature does with questions Milton had posed, in the ambiguous language of Paradise Lost, about revolution and religion, sexuality and selfhood. The major works of the poets Blake, Coleridge, Wordsworth, Keats, Shelley, and Byron and the prose writers Godwin, Wollstonecraft, Mary Shelley, De Quincy, Lamb and Hazlitt are considered in detail.

In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. It is only on the surface, she argues, that each poet appears the other's ideal audience. Below the surface, radical differences led to misunderstanding. The key to Newlyn's new interpretation is in the poets' private language, for it is in echoes and allusions that their tacit opposition can be found.

This book makes an important contribution to current debates about reading, audiences and publishing in the Romantic period, while also exploring the competitive/collaborative relationship between creativity and criticism. Lucy Newlyn examines how readers are imagined, addressed, figured and understood in Romantic poetry and criticism. Non-canonical writers are included, and special attention is given to the emergence of women's poetry.

Was Milton on the side of the angels or the devils? Was he republican or anti-republican, feminist or misogynist? Did he value innocence or experience? Lucy Newlyn shows how the Romantic reader responds, in complex and often paradoxical ways, to multiple ambiguities inherent in the very language of Paradise Lost. She examines ambivalent allusions to Satan and God, in responses to the French Revolution (Coleridge and Wordsworth), in studies of the origin of evil (Godwin, Blake, the Shelleys), in accounts of the creative imagination; and looks at how Eve pervades representations of female sexuality (Byron and Keats). The book culminates in a chapter on Blake's Milton, and prose writers such as De Quincey, Lamb, Wollstonecraft, and Hazlitt are also considered. Milton emerges as a poet of indeterminacy, not an authority figure, whose concern with the problematic issues of revolution and religion, sexuality and selfhood, make his writing relevant and accessible.

'The one hundred and forty poems he wrote in the last two years of his life are a miracle. I can think of no body of work in English that is more mysterious.' - Michael Longley. When Edward Thomas died in the First World War, very few of his poems had been published, but he is now recognised as one of the finest and most influential poets of the last century. Although often referred to as 'a poet's poet', his writing has an almost universal appeal. He wrote accessibly, on traditional themes - the natural world, human relationships, transience and mortality. And yet his poetry is alive with the critical intelligence that came from years of writing non-fiction and reviewing verse. "Branch-Lines" captures the range of Thomas' achievement, not least by combining poetry with prose. In this unique collection, fifty-five contemporary poets reflect on Thomas' craftsmanship and enduring power. Some have chosen poems of their own in which they detect his influence, others have written new poems in his honour. Each poet has also contributed a piece of prose, and the volume contains an introduction, four critical essays, illustrations, a foreword by Andrew Motion and an afterword by Michael Longley. "Branch-Lines" offers a fascinating perspective on the workings of literary influence, with personal insights from some of the leading poet-critics of our time. 'The collection has a double value. It is a celebration of Thomas, and dignified tribute to his achievement; at the same time it bears witness to his powers of regeneration' - Andrew Motion. 'I read Thomas' collected poems at a sitting, poem by poem, all the way through and felt as I had not felt since reading Lawrence and Graves ten years before: I love this man, I can learn from him.' - David Constantine. 'I have always loved Edward Thomas' poetry' - Geoffrey Hill. 'He comes naturally, I think, to writers in English, like grass growing.' - U. A. Fanthorpe. 'When I started to try and write poetry and prose, a very uncertain beginning, it would have been even more uncertain if I hadn't read Thomas' poetry in my teens.' - Tom Paulin.

The poems in Earth's Almanac emerged over a fifteen-year period following the untimely death of the poet's sister. Lucy Newlyn adapts the tradition of the 'Shepherd's Calendar' to the phases of grief, condensing a long process of reflection and remembering into the passage of a single year. The poems shift through forms and move between places - Oxford, Borrowdale, and finally Cornwall, where the poet finds a second home near the sea. In these intense expressions of love and loss, anger and guilt, there is no smooth path towards consolation.

William Wordsworth's creative collaboration with his 'beloved Sister' spanned nearly fifty years, from their first reunion in 1787 until her premature decline in 1835. Rumours of incest have surrounded the siblings since the 19th century, but Lucy Newlyn sees their cohabitation as an expression of deep emotional need, arising from circumstances peculiar to their family history. Born in Cockermouth and parted when Dorothy was six by the death of their mother, the siblings grew up separately and were only reunited four years after their father had died, leaving them destitute. How did their orphaned consciousness shape their understanding of each other? What part did traumatic memories of separation play in their longing for a home? How fully did their re-settlement in the Lake District recompense them for the loss of a shared childhood? Newlyn shows how William and Dorothy's writings - closely intertwined with their regional affiliations - were part of the lifelong work of jointly re-building their family and re-claiming their communal identity. Walking, talking, remembering, and grieving were as important to their companionship as writing; and at every stage of their adult lives they drew nourishment from their immediate surroundings. This is the first book to bring the full range of Dorothy's writings into the foreground alongside her brother's, and to give each sibling the same level of detailed attention. Newlyn explores the symbiotic nature of their creative processes through close reading of journals, letters and poems - sometimes drawing on material that is in manuscript. She uncovers detailed interminglings in their work, approaching these as evidence of their deep affinity. The book offers a spirited rebuttal of the myth that the Romantic writer was a 'solitary genius', and that William Wordsworth was a poet of the 'egotistical sublime' - arguing instead that he was a poet of community, 'carrying everywhere with him relationship and love'. Dorothy is not presented as an undervalued or exploited member of the Wordsworth household, but as the poet's equal in a literary partnership of outstanding importance. Newlyn's book is deeply researched, drawing on a wide range of recent scholarship - not just in Romantic studies, but in psychology, literary theory, anthropology and life-writing. Yet it is a personal book, written with passion by a scholar-poet and intended to be of some practical use and inspirational value to non-specialist readers. Adopting a holistic approach to mental and spiritual health, human relationships, and the environment, Newlyn provides a timely reminder that creativity thrives best in a gift economy.