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My 'poetry' was written at times of great happiness and love and at other times of deep sorrow and betrayal. And yet again, it was times of pure self-talk when I had to shore up my own strength and worth. So, each poem is mine and it is read, accompanied by a symphony in my mind. Each poem was written at a different time and with a slightly different 'beat' to the rhyme. Poetry must be read aloud. It may take on different meanings depending on how it is read, by whom it is read and when it is read. Poetry can be almost anything. It simply needs to be in writing with words that express feelings and ideas with style and rhythm. I thought I could do just that. It gave me an opportunity to play around with words and to search for the perfect word. It had to fit with the style and rhythm of the poem. Robert Frost said, "A poem begins as a lump in the throat." It can also begin with joy in your heart and a tear in your eye. The rest does not matter. I think I have broken a lot of rules in the English language, but then, rules are meant to be broken, at least the literary ones. That's what makes it exciting, because I can create my own rules. I can play around and do what I want. To use a pun, I do not have to have any rhyme or reason. That is freedom.
More than fifty specialists have contributed to this new edition of volume 2 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.
This book addresses the place of women writers in anthologies and other literary collections in eighteenth-century England. It explores and contextualizes the ways in which two different kinds of printed material--poetic miscellanies and biographical collections--complemented one another in defining expectations about the woman writer. Far more than the single-authored text, it was the collection in one form or another that invested poems and their authors with authority. By attending to this fascinating cultural context, Chantel Lavoie explores how women poets were placed posthumously in the world of eighteenth-century English letters. Investigating the lives and works of four well known poets--Katherine Philips, Aphra Behn, Anne Finch, and Elizabeth Rowe--Lavoie illuminates the way in which celebrated women were collected alongside their poetry, the effect of collocation on individual reputations, and the intersection between bibliography and biography as female poets themselves became curiosities. In so doing, Collecting Women contributes to the understanding of the intersection of cultural history, canon formation, and literary collecting in eighteenth-century England.