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This volume offers the most complete English translation to date of the prose and poetry of José María Heredia (b. Cuba, 1803; d. Mexico, 1839), focusing on Heredia's political exile in the United States from November 1823 to August 1825. Frederick Luciani's introduction offers a complete biographical sketch that discusses the complications of Heredia's life in exile, his conflicted political views, his significance as a travel writer and observer of life in the United States, and his reception by nineteenth-century North American writers and critics. The volume includes thoroughly annotated letters that Heredia wrote to family and friends in Cuba, describing his struggles and adventures living among other young expatriates in New York City—fellow conspirators in a failed plot to overthrow Spanish rule on the island. His travel letters, especially those that describe his trip to the Niagara frontier in 1824 along the Hudson River and the Erie Canal, offer discerning reflections on American landscapes, technological advances, political culture, and social customs. The volume also offers translations of the verse that Heredia composed during his New York exile, in which he gave impassioned voice to Cuba's struggle for independence from Spain, and which reflected the emerging Romantic sensibilities in Spanish-language poetry. With accurate, clear translations, this volume serves as an introduction to a figure who is enshrined in the canon of Latin American literature, but scarcely known to Anglophone readers.
A shadow, in its most literal sense, is the projection of a silhouette against a surface and the obstruction of direct light from hitting that surface. For writers and artists, the shadows cast by their precursors can be either a welcome influence, one consciously evoked in textual production via homage or bricolage, or can manifest as an intrusive, haunting, prohibitive presence, one which threatens to engulf the successor. Many writers and artists are affected by an anxious and ambiguous relationship with their precursors, while others are energised by this relationship. The role that intertextuality plays in creative production invites interrogation, and this publication explores a range of conscious and unconscious influences informing relations between texts and contexts, between predecessors and successors. The chapters revolve around intertextual influence, ranging from conscious imitation and intentional allusion to Julia Kristeva’s idea of intertextuality. Do all texts contain references to and even quotations from other texts? Do such references help shape how we read? This multidisciplinary work includes chapters on the long shadows cast by Shakespeare, Dante, Scott, Virgil and Ovid, the shadows of colonial precursors on postcolonial successors, the shadows cast over Kipling and Murdoch, and chapters on other writers, dramatists and filmmakers and their relationships with precursor figures. With its focus on intertextual relationships, this book contributes to the thriving fields of adaptation studies and studies of intertextuality.
Brian Hamnett examines key historical novels by Scott, Balzac, Manzoni, Dickens, Eliot, Flaubert, Fontane, Galdós, and Tolstoy, revealing the contradictions inherent in this form of fiction and exploring the challenges writers encountered in attempting to represent a reality that linked past and present.
For over a hundred years, the journal of the Irish poet Thomas Moore (1779-1852) was thought to have been destroyed. In 1967 the manuscript was found in the archives of the Longman Publishing House in London. This edition, to be published in six volumes, reveals the essential Moore and introduces the reader to the daily, personal record of Moore's life from 1818 to 1847. The journal begins as an accurate rendering of the author's daily life and ends as a tragic reflection of a failing memory and a deteriorating mind.