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"A Meteor of Intelligent Substance" "Something was Missing in our
Culture, and Here It Is" Liberties - A Journal of Culture and
Politics features new essays and poetry from some of the world's
best writers and artists to inspire and impact the intellectual and
creative lifeblood of our current culture and today's politics.
This summer issue of Liberties includes: Elliot Ackerman on
Veterans Are Not Victims; Durs Grunbein on Fascism and the Writer;
R.B. Kitaj's Three Tales; Thomas Chatterton Williams on The
Blessings of Assimilation; Anita Shapira on The Fall of Israel's
House of Labor; Sally Satel on Woke Medicine; Matthew Stephenson On
Corruption's Honey and Poison; Helen Vender on Wallace Stevens;
David Haziza on Illusions of Immunity; Paul Berman on the Library
of America; Clara Collier's nostalgia for strong women in film;
Michael Kimmage on American Inquisitions; Leon Wieseltier (editor)
on the high price of Stoicism; Celeste Marcus (managing editor) on
a Native American Tragedy; and new poetry from Adam Zagajewski,
A.E. Stallings, and Peg Boyers.
Thomas Chatterton (1752-70) was only seventeen when he died of
arsenic poisoning. Among his family and friends he was known as a
versifier with a fascination for medieval manuscripts, but none
suspected the true scope of his work. At eleven, he was already
writing poetry, and by the end of his life his love poems, eclogues
and forged medieval pieces numbered in the hundreds. Chatterton is
best known for the Rowley poems, which he claimed were transcribed
from the work of a fifteenth-century monk. Although the precocious
skill of his forgeries, once exposed, often went unrecognised by
critics, Chatterton's legacy influenced the Romantics for decades
after his death. This three-volume collection of his work, edited
by Joseph Cottle and Robert Southey, first appeared in 1803. Volume
1 includes his earliest poetry, and a biography by George Gregory
(also reissued separately in this series).
Thomas Chatterton (1752-70) was only seventeen when he died of
arsenic poisoning. Among his family and friends he was known as a
versifier with a fascination for medieval manuscripts, but none
suspected the true scope of his work. At eleven, he was already
writing poetry, and by the end of his life his love poems, eclogues
and forged medieval pieces numbered in the hundreds. They were to
influence the Romantics for decades after his death. This
three-volume collection of his work, edited by Joseph Cottle and
Robert Southey, first appeared in 1803. Volume 2 contains the
Rowley poems, for which Chatterton is best known. Ironically, they
were never published under his own name in his lifetime: he claimed
that the poems were transcripts he had taken from the work of
Thomas Rowley, a fifteenth-century monk. The value of these
ambitious forgeries is still underappreciated.
Thomas Chatterton (1752-70) was only seventeen when he died of
arsenic poisoning. Among his family and friends he was known as a
versifier with a fascination for medieval manuscripts, but none
suspected the true scope of his work. At eleven, he was already
writing poetry, and by the end of his life his love poems, eclogues
and forged medieval pieces numbered in the hundreds. Chatterton is
best known for the Rowley poems, which he claimed were transcribed
from the work of a fifteenth-century monk. Although the precocious
skill of his forgeries, once exposed, often went unrecognised by
critics, Chatterton's legacy influenced the Romantics for decades
after his death. This three-volume collection of his work, edited
by Joseph Cottle and Robert Southey, first appeared in 1803. Volume
3 includes Chatterton's prose works, selected letters, some
contemporary discussion of his work, and Cottle's account of the
Rowley manuscripts.
A SUNDAY TIMES BOOK OF THE YEAR A TIME 'MUST-READ' 'An
extraordinarily thought-provoking memoir that makes a controversial
contribution to the fraught debate on race and racism . . .
intellectually stimulating and compelling' SUNDAY TIMES A reckoning
with the way we choose to see and define ourselves, Self-Portrait
in Black and White is the searching story of one American family's
multi-generational transformation from what is called black to what
is assumed to be white. Thomas Chatterton Williams, the son of a
'black' father from the segregated South and a 'white' mother from
the West, spent his whole life believing the dictum that a single
drop of 'black blood' makes a person black. This was so fundamental
to his self-conception that he'd never rigorously reflected on its
foundations - but the shock of his experience as the black father
of two extremely white-looking children led him to question these
long-held convictions. It is not that he has come to believe that
he is no longer black or that his daughter is white, Williams
notes. It is that these categories cannot adequately capture either
of them - or anyone else, for that matter. Beautifully written and
bound to upset received opinions on race, Self-Portrait in Black
and White is an urgent work for our time.
The son of a "black" father and a "white" mother, Thomas Chatterton
Williams found himself questioning long-held convictions about race
upon the birth of his blond-haired, blue-eyed daughter-and came to
realize that these categories cannot adequately capture either of
them, or anyone else. In telling the story of his family's
multigenerational transformation from what is called black to what
is assumed to be white, he reckons with the way we choose to see
and define ourselves. Self-Portrait in Black and White is a
beautifully written, urgent work for our time.
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The Rowley Poems
Thomas Chatterton
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R696
Discovery Miles 6 960
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Ships in 10 - 15 working days
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