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An unwanted boy from a large city becomes a man on the Outer Banks of North Carolina. His future father -in-law is held by the boy dying in the surf from a gunshot wound. A minister paints violent paintings, a city editor investigates murder while the daughter of a wealthy fox hunter marries a weakling. The memory of a yellow bird killed by a troubled child flashes across the mind of a mate on a fishing boat as a giant Marlin is pulled aboard. The FBI investigates and natures wrath pounds the shores of The Graveyard of The Atlantic as two seemingly opposite personalities are drawn together both striving to answer the unanswerable. The solution is in the little black eyes of a Fiddler Crab.
Singing by Herself reinterprets the rise of literary loneliness by foregrounding the female and feminized figures who have been overlooked in previous histories of solitude. Many of the earliest records of the terms "lonely" and "loneliness" in British literature describe solitaries whose songs positioned them within the tradition of female complaint. Amelia Worsley shows how these feminized solitaries, for whom loneliness was both a space of danger and a space of productive retreat, helped to make loneliness attractive to future lonely poets, despite the sense of suspicion it evoked. Although loneliness today is often associated with states of atomized interiority, soliloquy, and self-enclosure, this study of eighteenth-century poetry disrupts the presumed association between isolation, singular speech, and bounded models of poetic subjectivity. In five chapters focused on lonely poet figures in the works of John Milton, Anne Finch, Alexander Pope, Thomas Gray, and Charlotte Smith—which also take account of the wider eighteenth-century fascination with literary loneliness—Singing by Herself shows how poets increasingly associated the new literary mode of being alone with states of disembodiment, dispersal, and echoic self-doubling. Seemingly solitary lonely voices often dissolve into polyvocal, allusive community, Worsley argues, when in dialogue with each other and also with classical figures of feminized lament such as Sappho, Echo, and Philomela. The book's provocative reflections on lyric mean that it will have a broad appeal to scholars interested in the history of poetry and poetics, as well as to those who study the literary history of gender, affect, and emotion.
This book explores the Indian Ocean world as it is produced by colonial and postcolonial fiction in English. It analyses the work of three contemporary authors who write the Indian Ocean as a region and world—Amitav Ghosh, Abdulrazak Gurnah, and Lindsey Collen—alongside maritime-imperial precursor Joseph Conrad. If postcolonial literatures are sometimes read as national allegories, this book presents an account of a different and significant strand of postcolonial fiction whose geography, in contrast, is coastal and transoceanic. This work imaginatively links east Africa, south Asia and the Arab world via a network of south-south connections that precedes and survives European imperialism. The novels and stories provide a vivid, storied sense of place on both a local and an oceanic scale, and in so doing remap the world as having its centre in the ocean and the south.
Contents include four keynote lectures - on Wordsworth and Coleridge by John Beer, on Byron by Angela Esterhammer and Kasahara Yorimichi, and on Harriet Martineau by Anthony John Harding - together with Judith Thompson's 'Bindman Lecture' on John Thelwall. In shorter papers, Monika Class writes on Coleridge and Kant; Laurent Folliot, Mandy Swann, Timothy Michael, Martina Domines Veliki, Patrick Vincent and Yu Xiao on Wordsworth; and Madeleine Callaghan on Shelley. A Feature of the book is five 'new' poems by the famous agitator John Thelwall, transcribed from the recently discovered Derby MS.
This is the first volume of the famous series "Story of the World", which teaches children and juveniles the history of our planet and the most important countries and civilizations. This volume focuses on the countries surrounding the Mediterranean Sea from the time of Abraham to the birth of Christ. It tells the avid reader not only about the Ancient Israelites, the Phoenicians, Egyptians, Scythians, Persians, Greeks, and Romans, concluding with the conquest of the entire Mediterranean by Rome, but also of the most important myths and legends that preceded what we perceive as history.
Starship rigging is a long-lost art. But the ocean world Ernathe may hold the key to its rediscovery, if a young star pilot can learn the ways of the mysterious sea people, the Nale’nid. A touching story of love and personal discovery, Seas of Ernathe takes us on a journey back toward the mode of star travel that once knit the galaxy together. Seas of Ernathe was Jeffrey A. Carver’s first novel, and the first full-length tale of what was to become his popular Star Rigger Universe. Set farthest into the future of all the Star Rigger stories, Seas of Ernathe sets the stage for a new cycle of star-faring history. From the Nebula-nominated author of Eternity’s End and The Chaos Chronicles. REVIEWS: “Jeffrey Carver imagines wonders and allows us to share his vision.” —Terry Carr “A wonderful ability to deal sensitively with the interrelationships of characters and their environments... [Carver succeeds] in creating a race and milieu that is not only a good solution to his mystery, but is emotionally effective and believable.” —Galileo Magazine