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One of the literary world's great deceptions was perpetrated when
Thomas Hardy wrote his Life in secret for publication after his
death as an official biography. Since the true circumstances of its
composition have been known The Early Life and Later Years of
Thomas Hardy, published over the name of Florence Emily Hardy, has
frequently been referred to as Hardy's autobiography. But this is
not the whole truth: Florence altered much of what Hardy meant to
appear in his 'biography'. Through careful examination of pre-
publication texts, Michael Millgate has retrieved the text as it
stood at the time of Hardy's final revision. For the first time The
Life and Work of Thomas Hardy can be read as a true work of
autobiography - an addition to the Hardy canon.
Thomas Hardy's "Poetical Matter" notebook, the last to be published
from among the small group of notebooks not destroyed by Hardy
himself or by his executors, has now been meticulously edited with
full scholarly annotation. Through its inclusion of so many notes
copied by Hardy from old pocket-books subsequently destroyed,
"Poetical Matter" reaches back to all periods of his life, and is
especially valuable from a biographical standpoint for its
expansion and enhancement of knowledge of Hardy's final years and
for its preservation of such intimate records as his richly
revealing memories of the Bockhampton of his childhood and his
sexually charged impressions of a woman glimpsed during a trip on a
pleasure steamer in 1868. Its special distinctiveness nevertheless
lies in its uniqueness as a late working notebook devoted
specifically to verse. Florence Hardy, Hardy's widow, recalled his
having experienced a great outburst of late creativity, feeling
that he could go on writing almost indefinitely, and "Poetical
Matter" bears direct witness to his actively thinking about poetry
and projecting and composing new poems until shortly before his
death at the age of eighty-seven. As such, it contains an abundance
of new ideas for poems and sequences of poems and demonstrates
Hardy's characteristic creative progression, his working variously
with initial ideas, with gathered notes, whether old or new, and
with tentative prose formulations, verse fragments, metrical
schemes, and rhyme patterns, towards the writing of the drafts from
which, yet further worked and reworked, the completed poem would
ultimately emerge.
Winner of the Thomas Hardy Society Book Prize.
Winner of the Thomas Hardy Society Book Prize.
Light in August (1932) is one of William Faulkner's most important,
most challenging, and most widely studied novels, demanding to be
approached from many angles and with a variety of critical and
scholarly skills. Here five distinguished critics offer just such a
range of approaches, discussing the novel in terms of its
composition and its place in Faulkner's oeuvre; its structure and
narrative techniques; its relation to the religious, racial, and
sexual assumptions of the society it depicts; its presentation of
women and handling of gender-related issues; and the social and
moral implications of the 'hero' status accorded to a figure like
Joe Christmas. Each contributor has had a double ambition: to write
clearly and directly, thus making the volume accessible to the
widest possible audience, and to write freshly and originally, so
as to enhance - even for those thoroughly familiar with the
existing criticism - understanding and appreciation of Light in
August itself and of Faulkner's work as a whole.
In a series of essays written especially for this volume, five distinguished critics offer a range of approaches, discussing the novel in terms of its composition and position in Faulkner's career, its structure and narrative techniques, and its relation to the religious, racial, and sexual assumptions of the society it represents.
One of the literary world's great deceptions was perpetrated when
Thomas Hardy wrote his Life in secret for publication after his
death as an official biography. Since the true circumstances of its
composition have been known The Early Life and Later Years of
Thomas Hardy, published over the name of Florence Emily Hardy, has
frequently been referred to as Hardy's autobiography. But this is
not the whole truth: Florence altered much of what Hardy meant to
appear in his 'biography'. Through careful examination of pre-
publication texts, Michael Millgate has retrieved the text as it
stood at the time of Hardy's final revision. For the first time The
Life and Work of Thomas Hardy can be read as a true work of
autobiography - an addition to the Hardy canon.
This is the long-awaited supplementary volume to the authoritative
seven-volume edition of The Collected Letters of Thomas Hardy,
edited by Michael Millgate and Richard Purdy, that was published by
OUP between 1978 and 1988. Volume 8, edited by Millgate in
collaboration with leading Hardy scholar Professor Keith Wilson,
contains previously unpublished letters from all periods of Hardy's
career, his earliest known letter among them. It introduces
important new correspondents, throws fresh light on existing
correspondences, and richly enhances the reader's understanding of
both familiar and hitherto unfamiliar aspects of Hardy's life and
work and of the times in which he lived.
A richly annotated and textually reliable edition of Hardy's numerous public utterances, from formal essays and speeches to anonymous contributions to literary gossip-columns. Many are newly identified as Hardy's, and he is revealed as having been much more actively involved with contemporary issues - literary, social, political, or merely local - than previously realized.
The testamentary acts of Michael Millgate's title are those
strategies of self-protection and self-projection--textual and
personal, before and after death--by which authors seek in old age
to enhance posterity's view of themselves and their work. The four
figures examined here in detail--Robert Browning, Alfred Tennyson,
Henry James, and Thomas Hardy--sought to maintain their personal
privacy and control the integrity of their texts by, for example,
destroying documents, writing autobiographies, revising their
earlier works and supplying them with retrospective prefaces, and
publishing so-called "collected" editions that omitted items they
no longer wished to preserve. These and other strategies have been
widely practiced by writers, but can have entirely unanticipated
results, as Millgate shows. His study also examines the difficult
role of such literary executors as Pen Browning, Hallam Tennyson,
and Florence Hardy, called upon to exercise a delegated, hence
compromised, authority. The final section of the book considers the
wills and wishes of many other literary figures, from Samuel
Johnson to Walt Whitman to Philip Larkin, emphasizing the
importance for contemporary biographers and editors of attention to
these end-games--to the often disregarded final years of writers,
and to both the intentions and the consequences of their explicit
and implicit testamentary acts.
Thomas Hardy's Studies, Specimens &c. notebook stands almost
alone as a witness to his exertions and aspirations of the 1860s,
when he was already in his middle twenties but still working in
London as an architectual assistant and only tentatively feeling
his way towards as yet dimly glimpsed possibilities of literary
expression and employment. Because so little documentation of any
kind has survived for this early period of his life and work, the
notebook is of extraordinary interest as containing detailed
evidence of the untutored deliberateness with which Hardy was
seeking to provide himself with a poetic background, educate
himself in poetic techniques, and initiate a process from which he
could perhaps emerge as a practising, even a publishing, poet. In
private hands until very recently, and seen by only a very few
scholars, Studies, Specimens &c.' dates from 1865-68, is
entirely in Hardy's own hand, and consists of eighty-eight closely
written pages of working memoranda, and quotations from other poets
- mostly extracts a few words long in which underlining has been
used to highlight individual images and word-usages. Although no
drafts of actual poems are present, there are numerous instances of
Hardy's seeking to generate a poetic, and sometimes erotic,
language and imagery out of materials (e.g., an architectual
textbook) apparently chosen precisley for their recalcitrance to
such treatment. The edition itself seeks to reproduce
typographically all essential features of the original document.
The introductory material describes the notebook bibliographically,
sets it in its biographical context, and discusses some of its more
important technical features. Included in the extensive apparatus
are textual notes, explications of Hardy's occasional quotations -
indicating, in most instances, the editions or actual volumes he
certainly or probably used. Explanatory notes are provided for -
among other things - some erased but now partly recoved memoranda
of Hardy's that appear to have significant biographical
implications.
The opening section of this seventh and final volume of the
definitive edition of Thomas Hardy's letters covers the period from
January 1926 to December 1927: his last letter, to Edmund Gosse,
was written on Christmas Day 1927 and he died seventeen days later,
on 11 January 1928. Although few of his long-standing personal
correspondences were actively kept up during these last two years
of his life, Hardy maintained (especially when writing to Sir
Frederick Macmillan) a lively and practical interest in all aspects
of his work and career; he also responded, usually with a courteous
refusal, to the many requests and enquiries that his fame
inevitably attracted. The second section is devoted to letters
which became available too late for publication in their correct
chronological sequence in earlier volumes of the edition; those now
added date mostly from the nineteenth century, and include a series
of letters to officials of the Duchy of Cornwall about the purchase
of land on which Max Gate was built, as well as numerous individual
letters of considerable interest and importance. This volume
contains more than 350 letters, the great majority of them
previously unpublished, which are supplemented, as before, by
scrupulous annotation and extensive cross-referencing; by a
chronology covering the whole of Hardy's career; and by an index of
recipients of the letters included. As the concluding volume,
however, it also incorporates an extensive General Index covering
the texts and annotations of the entire edition.
From reviews of previous volumes: "Has the qualities that a great
edition should have: it is meticulously thorough and accurate, and
its aids to the reader are clear and comprehensive."--Times
Literary Supplement. "An indispensable work of
scholarship."--Nineteenth-Century Fiction. The correspondents in
this volume range widely--from Edmund Gosse and Walter de la Mare
to Ezra Pound--and the letters show an aging Hardy still deeply
involved in all aspects of his professional life The nearly 700
letters, most of which have never been published, are supplemented
by scrupulous annotation and extensive cross-referencing, by a
chronology covering Hardy's entire career, and by an index of
correspondents included in this volume.
Winner of the Thomas Hardy Society Book Prize.
Michael Millgate's classic biography of the great novelist and poet
Thomas Hardy was first published in 1982. Much new information
about Hardy has since become available, often in volumes edited or
co-edited by Millgate himself, and many established assumptions
have been challenged and revolutionized by scholarly research. In
this extensively revised, fully reconsidered, and considerably
expanded new edition the world's leading Hardy scholar draws not
only upon these new materials, but upon an exceptional
understanding of Hardy gained from long immersion in the study of
his life and work. Many large and small aspects of Hardy's life are
here freshly illuminated, including his family background, his
fumbling self-education as a poet, his difficult relations with his
first wife and hers with his family, his sexual infatuations, his
secret collaborations with aspiring women writers, his clandestine
composition of his own official biography, and the memory-invoking
techniques by which he sustained his remarkable creativity into
extreme old age. Thorough, authoritative, and eminently readable,
Thomas Hardy: A Biography Revisited is now the standard life of
Hardy for a new generation.
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Selected Letters (Hardcover)
Thomas Hardy; Edited by Michael Millgate
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R4,352
R2,283
Discovery Miles 22 830
Save R2,069 (48%)
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Thomas Hardy's greatness as a novelist and poet is universally
acknowledged. These letters provide invaluable glimpses into his
life, from the years as an unknown architect's assistant in London
in the 1860s to the final period of extensive productivity in the
relative isolation of Max Gate. The more than three hundred letters
included here have been drawn from the recently completed
seven-volume Clarendon Press edition of the Collected Letters of
Thomas Hardy, which was edited by Michael Millgate in collaboration
with Richard L. Purdy. Although all aspects of Hardy's career are
reflected, the selection particularly emphasizes his personal
rather than his purely professional relationships: ample
representation is therefore given to his correspondence with his
family, with his two wives, and with such close friends as Edmund
Gosse and Florence Henniker. Many other notable figures are also
addressed, among them Walter de la Mare, Millicent Fawcett, Harley
Granville Barker, Ezra Pound, Marie Stopes, Robert Louis Stevenson,
Algernon Charles Swinburne, and Virginia Woolf. The full and
immediately accessible annotations to individual letters are
supplemented by editorial commentaries designed to place particular
letters or sequences of letters within the broader contexts of
Hardy's life and literary career. The volume also includes a brief
introduction, a chronology, and an index.
The mauve life and times of Edmund Gosse glow warmly in these
letters, delightful to even the most casual reader, engrossing to
one with an interest in the distinguished correspondents or in the
late-Victorian and Edwardian eras. An obscure figure today to all
but literary connoisseurs, Gosse was, in his day, a near giant in
both England and the United States. Max Beerbohm, that
discriminating man, in a mural of prominent figures who were also
his friends, sketched Edmund Gosse large among George Bernard Shaw,
John Masefield, G. K. Chesterton, John Galsworthy, and Lytton
Strachey. This volume consists primarily of a selection of the
letters exchanged between Gosse and a number of American writers,
notably William Dean Howells, Edmund Clarence Stedman, Oliver
Wendell Holmes, Richard Watson Gilder, Edith Wharton, and Henry
James. The letters, most of them previously unpublished, contain
much of biographical and general historical interest, but the main
theme of the book is the exploration of Anglo-American literary
relations during the last quarter of the nineteenth century and the
early years of the twentieth. The letters that passed between Gosse
and Stedman provide valuable evidence for the study of literary
taste on the two sides of the Atlantic and also show how each man
sought to enhance the other's transatlantic reputation; the
correspondence between Gosse and Gilder, particularly during the
period when Gosse was London editor of Gilder's Century magazine,
is especially revealing of cultural attitudes and antagonisms. A
central thread is provided by the warm and long-sustained
friendship between Gosse and Howells, the leading American man of
letters of his day. The long introduction to the book deals with
such topics as Gosse's American reputation, his immensely
successful visit to the United States in the winter of 1884-1885
(based on the manuscript diary that Gosse kept during the visit),
and his American friendships, with particular attention to the
relationship with Howells. The thoroughness and vitality of the
annotation are extremely effective in familiarizing the reader with
the people and events in the book.
Celebrating the centenary of William Faulkner's birthThis volume
brings together for the first time eight masterful essays on
William Faulkner by one of his most eloquent and influential
critics. Michael Millgate established himself as a leading
authority on Faulkner with the publication of The Achievement of
William Faulkner more than thirty years ago. Since then, in pieces
such as Faulkner and History and Faulkner's Masters, he has
continued to reflect upon the legendary southern writer, his unique
sense of physical place, and his place in literary history.Written
with humor and insight, Faulkner's Place is lively, readable, and
extremely accessible both to longtime Faulkner enthusiasts and to
those who are new to his work. Taken together, the essays represent
an impressive contribution to the understanding and appreciation of
Faulkner's richly varied career.Backward and past-obsessed though
it might seem and be, even Yoknapatawpha, even northern Mississipi,
could not remain motionless and unchanging. This was something
Faulkner came to understand very clearly in later years, when the
concept of life as motion became central to his thought and his
work, and that understanding was no doubt sharpened and confirmed,
within his own creative experience, by the way in which
Yoknapatawpha itself had so rapidly and so radically burst the
bonds of its initial time- and map-bound conception. -- from 'A
Cosmos of My Own': The Evolution of YoknapatawphaThese essays
represent the thinking of one of the most important of Faulkner
scholars. -- Hugh Ruppersburg
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