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George and Emily Eden were a devoted sibling pair. Both unmarried, they were accepted as a mildly unconventional couple by friends in the dynastically conscious governing class. George (1784-1849) entered politics as a Whig to replace his elder brother, who had been groomed for success but drowned in the Thames off Westminster one January night in 1810. Four years later George inherited his father’s peerage as 2nd Baron Auckland. In 1835 he was appointed Governor-General of India, and Emily (1797-1869), although reluctant to leave her close friend, the Prime Minister Lord Melbourne, went with him. A witty and perceptive writer, who later published a distinctively voiced pair of novels, Emily chronicled the Indian period, as she did her entire adult life, in letters. Allen traces the development of her closeness to George, their interlocking private and public lives and the events that impacted on them, including the Afghan disaster of January 1842 and the mixture of blame and forbearance that George attracted at home. A poignant coda describes Emily’s final twenty years as Victorian invalid, author, and observer of the political scene.
"Up the Country" is a charming and witty travelogue written by way of Emily Eden, an outstanding English writer and sister of the Governor-General of India, Lord Auckland. The book chronicles her reviews and observations all through her travels via India, in particular in the northern regions of the usa throughout the 1830s. In "Up the Country," Emily Eden's storytelling style is marked by way of its humor, eager wit, and astute observations. She affords readers with a delightful and candid account of her interactions with an extensive range of humans, from colonial officials and Indian royalty to local residents and British expatriates. Through her enticing narrative, she gives a brilliant and insightful window into the social and political panorama of the time. While the book is lighthearted in its tone, it also delves into the complexities of British colonial rule in India, losing light at the challenges and absurdities of governance in a foreign land. Eden's work is not only a travelogue however a social statement that explores the interactions and cultural clashes between the British and the Indian populace.
The author of the letters Emily Eden and her sister Fanny accompanied their brother George Eden, the Governor-General of India, in his 2-year trip across India. George and Emily kept a journal which she sent as a series of letters to another sister in England. This volume covers the period from October 1837 to 1840 when George Eden went on tour in the upper provinces meeting local rulers and potentates with a caravan of staff, followers, and soldiers, which often numbered up to 20,000 people. The journal about this trip is an interesting look at life in the English upper classes in India before the mutiny and before Victoria was proclaimed Empress.
Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience? Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking—all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing. Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the isolated, withdrawn Emily Dickinson. Well-versed in poststructuralist, feminist, and new textual criticism, Rowing in Eden uncovers the process by which the conventional portrait of Emily Dickinson was drawn and offers readers a chance to go back to original letters and poems and look at the poet and her work through new eyes. It will be of great interest to a wide audience in literary and feminist studies.