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What was "information" in the early eighteenth century, and what influence did the emergence of information, as potential physical and psychological threat, have on readers of the period? Recent scholarship in eighteenth-century print culture and in twenty-first-century media studies and theory offers a unique opportunity to reconsider how and why information is figuratively imagined during the eighteenth century as an abstract yet bodily entity that can flood, suffocate, and incapacitate readers. Focusing on 1678 to 1722 -- a period that experienced impressive innovations in communication -- this study reveals that the term "information" undergoes a significant transformation with social, cultural, and literary consequences. By investigating discussions of information and media that are evident in works by literary authors, the author finds that writers like John Bunyan, Aphra Behn, Jonathan Swift, and Daniel Defoe confront the idea of information overload and provide case studies in literacy reform that operate on institutional, generic, and consumer levels. For example, while in Defoe's Journal of the Plague Year information is infectious and citizens depend upon comets and phantoms to construct reader-controlled, decentralized media, in Swift's Tale of a Tub commonplace books and collections demonstrate a new type of organizational, or secretarial, impulse in society.
As a new year dawns in the capital city, dual scandals rock the Metropolitan Police Department—and Lieutenant Sam Holland is right in the middle of them. Chief Farnsworth is catching heat for the way he handled a recent homicide investigation, and Detective Gonzales is accused of failing to disclose an earlier connection to the judge who decided his custody hearing. When Gonzo’s fight for his child turns deadly and he has a shaky alibi, Sam must defend two of her closest colleagues. All while her husband, Vice President Nick Cappuano, settles into his new office at the White House. Nick begins to wonder if the president is using him for a political boost, and his worries mount over a complication in the plans to adopt Scotty at a time when Sam is being put through the wringer by the always-rabid D.C. press corps. As the evidence against Gonzo piles up, Sam suspects someone is gunning for her—and her team.
This book reveals what is happening in small communities across the United States as their newspapers struggle to survive. It is a celebration not just of journalism, but of the inspirational people who do it and the news and events of small towns. Importantly, it asks the question: who will be the community watchdog of the future? This book memorializes the American newspaper through the story of the Post-Star of Glens Falls, NY. The author, a devoted veteran of the Post-Star, compiles a series of vignettes that depict the newspaper's coverage over the years. They provide a glimpse behind the newsroom curtain through the stories of the investigative journalism done in small towns.
Every family has its secrets… As the first anniversary of her marriage to Vice President Nick Cappuano approaches, Lieutenant Sam Holland is dreaming of Bora Bora—sun, sand and a desperately needed break from the DC grind. But real life has a way of intervening, and Sam soon finds herself taking on one of the most perplexing cases of her career. Government worker Josh Hamilton begs Sam to investigate his shocking claim that his parents stole him from another family thirty years ago. More complicated still, his “father” is none other than the FBI director. When a member of Josh’s family is brutally murdered, Sam begins to question how deep the cover-up goes. Is it possible the revered director was part of a baby-napping ring and others involved are also targets? With a killer intent on deadly revenge and her team still reeling from a devastating loss, Sam’s plate is full—and when Nick and their son, Scotty, take ill, is her dream of a tropical anniversary celebration in peril, too?
In The Fatal Englishman, his first work of nonfiction, Sebastian Faulks explores the lives of three remarkable men. Each had the seeds of greatness; each was a beacon to his generation and left something of value behind; yet each one died tragically young. Christopher Wood, only twenty-nine when he killed himself, was a painter who lived most of his short life in the beau monde of 1920s Paris, where his charm, good looks, and the dissolute life that followed them sometimes frustrated his ambition and achievement as an artist. Richard Hillary was a WWII fighter pilot who wrote a classic account of his experiences, The Last Enemy, but died in a mysterious training accident while defying doctor’s orders to stay grounded after horrific burn injuries; he was twenty-three. Jeremy Wolfenden, hailed by his contemporaries as the brightest Englishman of his generation, rejected the call of academia to become a hack journalist in Cold War Moscow. A spy, alcoholic, and open homosexual at a time when such activity was still illegal, he died at the age of thirty-one, a victim of his own recklessness and of the peculiar pressures of his time. Through the lives of these doomed young men, Faulks paints an oblique portrait of English society as it changed in the twentieth century, from the Victorian era to the modern world.
News of War: Civilian Poetry 1936-1945 is a powerful account of how civilian poets confront the urgent problem of writing about war. The six poets Rachel Galvin discusses-W. H. Auden, Marianne Moore, Raymond Queneau, Gertrude Stein, Wallace Stevens, and César Vallejo-all wrote memorably about war, but still they felt they did not have authority to write about what they had not experienced firsthand. Consequently, these writers developed a wartime poetics engaging with both classical rhetoric and the daily news in texts that encourage readers to take critical distance from war culture. News of War is the first book to address the complex relationship between poetry and journalism. In two chapters on civilian literatures of the Spanish Civil War, five chapters on World War II, and an epilogue on contemporary poetry about the wars in Iraq and Afghanistan, Galvin combines analysis of poetic form with attention to socio-historical context, drawing on rare archival sources and furnishing new translations. In comparing how poets wrestled with the limits of bodily experience, and with the ethical, political, and aesthetic problems they faced, Galvin theorizes the concept of meta-rhetoric, a type of ethical self-interference. She argues that civilian writers employed strategies drawn from journalism precisely to question the objectivity and facticity of war reporting. Civilian poetics of the 1930s and 1940s was born from writers' desire to acknowledge their own socio-historical position and to write poems that responded ethically to the gravest events of their day.
Standing over the body of a Supreme Court nominee, Lieutenant Sam Holland is hip-deep in another high-profile murder case. That she was one of the last people to see Julian Sinclair alive only complicates things even more. With her relationship with Senator Nick Cappuano heating up, they’re attracting a lot of unwanted media attention and blinding flashbulbs. The pressure is on for Sam to find Sinclair’s killer, but a new lead in her father’s unsolved shooting puts her in unexpected danger. When long-buried secrets threaten to derail her relationship with Nick, Sam realizes that while justice can be blind, mixing romance with politics has the potential to be fatal.