An interdisciplinary exploration of how writers have conveyed sound through text. Edited by Christopher Cannon and Steven Justice, The Sound of Writing explores the devices and techniques that writers have used to represent sound and how they have changed over time. Contributors consider how writing has channeled sounds as varied as the human voice and the buzzing of bees using not only alphabets but also the resources of the visual and musical arts. Cannon and Justice have assembled a constellation of classicists, medievalists, modernists, literary historians, and musicologists to trace the sound of writing from the beginning of the Western record to poetry written in the last century. This rich series of essays considers the writings of Sappho, Simonides, Aldhem, Marcabru, Dante Alighieri, William Langland, Charles Butler, Tennyson, Gertrude Stein, and T. S. Eliot as well as poems and songs in Ancient Greek, Old and Middle English, Italian, Old French, Occitan, and modern English. The book will interest anyone curious about the way sound has been preserved in the past and the kinds of ingenuity that can recover the process of that preservation. Essays focus on questions of language and expression, and each contributor sets out a distinct method for understanding the relationship between sound and writing. Cannon and Justice open the volume with a survey of the various ways sound has been understood as the object of our senses. Each ensuing chapter presents a case study for a sonic phenomenology at a specific time in history. With approaches from a wide variety of disciplines, The Sound of Writing analyzes writing systems and the aural dimensions of literary cultures to reconstruct historical soundscapes in vivid ways.

Anne Middleton's essays have been among the most vigorous, learned, and influential in the field of medieval English literature. Their 'crux-busting' energies have illuminated local obscurities with generous learning lightly wielded. Their historically- and theoretically-informed meditations on the nature of poetic discourse traced how the generation of Chaucer and Langland devised a category of the literary that could embody a ethos of engaged, worldly consensus and make that consensus available to imaginative and rational consideration. And their reflections on the enterprise of literary study found a rational way, free of cant, to understand the work of the literary scholar. This volume reprints eight essays: 'The Idea of Public Poetry in the Reign of Richard II,' 'Chaucer's 'New Men' and the Good of Literature in the Canterbury Tales,' 'The Physician's Tale and Love's Martyrs: 'Ensamples Mo than Ten' as a Method in the Canterbury Tales,' 'The Clerk and His Tale: Some Literary Contexts,' 'Narration and the Invention of Experience: Episodic Form in Piers Plowman,' 'Making a Good End: John But as a Reader of Piers Plowman,' 'William Langland's 'Kynde Name': Authorial Signature and Social Identity in Late Fourteenth-Century England,' 'Life in the Margins, or, What's an Annotator to Do?' It includes one essay previously unpublished, 'Playing the Plowman: Legends of Fourteenth-Century Authorship.'

An interdisciplinary exploration of how writers have conveyed sound through text. Edited by Christopher Cannon and Steven Justice, The Sound of Writing explores the devices and techniques that writers have used to represent sound and how they have changed over time. Contributors consider how writing has channeled sounds as varied as the human voice and the buzzing of bees using not only alphabets but also the resources of the visual and musical arts. Cannon and Justice have assembled a constellation of classicists, medievalists, modernists, literary historians, and musicologists to trace the sound of writing from the beginning of the Western record to poetry written in the last century. This rich series of essays considers the writings of Sappho, Simonides, Aldhem, Marcabru, Dante Alighieri, William Langland, Charles Butler, Tennyson, Gertrude Stein, and T. S. Eliot as well as poems and songs in Ancient Greek, Old and Middle English, Italian, Old French, Occitan, and modern English. The book will interest anyone curious about the way sound has been preserved in the past and the kinds of ingenuity that can recover the process of that preservation. Essays focus on questions of language and expression, and each contributor sets out a distinct method for understanding the relationship between sound and writing. Cannon and Justice open the volume with a survey of the various ways sound has been understood as the object of our senses. Each ensuing chapter presents a case study for a sonic phenomenology at a specific time in history. With approaches from a wide variety of disciplines, The Sound of Writing analyzes writing systems and the aural dimensions of literary cultures to reconstruct historical soundscapes in vivid ways.

Critics of "Piers Plowman" have often behaved as if the great fourteenth-century English poem were written by committee, "Written Work" marks a major shift in orientation by focusing on William Langland instead of "Piers Plowman."The five original historicist studies collected here are less concerned with searching for Langland's identity in medieval records than with examining the marks, even scars, left on him by the history he touched. Derek Pearsall studies what Langland knew about London--its geography, economics, and social life--and the way his focus on the city shifted in the course of revising the poem. Kathryn Kerby-Fulton examines the conditions for authorship and publishing in late fourteenth-century England and uncovers evidence of Langland's struggles to attract patronage and maintain control over the text and circulation of Piers. Anne Middleton's stunning chapter explores how the long shadow of fourteenth-century labor laws fell across Langland as he reworked his text. Ralph Hanna III examines the conflicting demands of manual and intellectual labor on the poet, while Lawrence M. Clopper uncovers the deep impressions that contemporary controversies about Franciscan poverty made on Langland and his life-work. Each of the chapters unfolds from Langland's apologia, the extraordinary autobiographical passage unique to the last of the three distinct versions of "Piers Plowman" that have come down to us.

"Original, courageous, and exemplary. . . . This will prove to be one of the most significant and energizing works of recent decades."--David Wallace, editor of "The Cambridge History of Medieval English Literature

"A thoroughly accomplished and groundbreaking piece of historicist medievalism, and a 'local' study that resonates in an extraordinarily sensitive and promising way with problems that are worrying and entrancing literary and cultural studies in general. . . . Justice's work powerfully addresses issues that have emerged in the controversies over essentialism and performativity in feminist and ethnicity and queer theory, over alteritism and intimacy in post-colonial theory, and over subversion and containment in new historicism. . . . If "Writing and Rebellion were to do no more than recharge the practice of medieval scholarship, draw attention to the textuality of 1381, and establish the importance of 1381 to Ricardian culture as a whole, thereby guiding us to a new reading of that period, it would be a wonderful book; it does all these things, but its implications go even farther. I hope it will be read by many people in many fields thinking seriously about the making of social and literary change."--Louise O. Fradenburg, author of "City, Marriage, Tournament: Arts of Rule in Late Medieval Scotland

Anne Middleton's essays have been among the most vigorous, learned, and influential in the field of medieval English literature. Their 'crux-busting' energies have illuminated local obscurities with generous learning lightly wielded. Their historically- and theoretically-informed meditations on the nature of poetic discourse traced how the generation of Chaucer and Langland devised a category of the literary that could embody a ethos of engaged, worldly consensus and make that consensus available to imaginative and rational consideration. And their reflections on the enterprise of literary study found a rational way, free of cant, to understand the work of the literary scholar. This volume reprints eight essays: 'The Idea of Public Poetry in the Reign of Richard II,' 'Chaucer's 'New Men' and the Good of Literature in the Canterbury Tales,' 'The Physician's Tale and Love's Martyrs: 'Ensamples Mo than Ten' as a Method in the Canterbury Tales,' 'The Clerk and His Tale: Some Literary Contexts,' 'Narration and the Invention of Experience: Episodic Form in Piers Plowman,' 'Making a Good End: John But as a Reader of Piers Plowman,' 'William Langland's 'Kynde Name': Authorial Signature and Social Identity in Late Fourteenth-Century England,' 'Life in the Margins, or, What's an Annotator to Do?' It includes one essay previously unpublished, 'Playing the Plowman: Legends of Fourteenth-Century Authorship.'

Adam Usk, a Welsh lawyer in England and Rome during the first years of the fifteenth century, lived a peculiar life. He was, by turns, a professor, a royal advisor, a traitor, a schismatic, and a spy. He cultivated and then sabotaged figures of great influence, switching allegiances between kings, upstarts, and popes at an astonishing pace. Usk also wrote a peculiar book: a chronicle of his own times, composed in a strangely anxious and secretive voice that seems better designed to withhold vital facts than to recount them. His bold starts tumble into anticlimax; he interrupts what he starts to tell and omits what he might have told. Yet the kind of secrets a political man might find safer to keep-the schemes and violence of regime change-Usk tells openly. Steven Justice sets out to find what it was that Adam Usk wanted to hide. His search takes surprising turns through acts of political violence, persecution, censorship, and, ultimately, literary history. Adam Usk's narrow, eccentric literary genius calls into question some of the most casual and confident assumptions of literary criticism and historiography, making stale rhetorical habits seem new. Adam Usk's Secret concludes with a sharp challenge to historians over what they think they can know about literature-and to literary scholars over what they think they can know about history.