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Strange Likeness provides the first full account of how Old English (or Anglo-Saxon) was rediscovered by twentieth-century poets, and the uses to which they put that discovery in their own writing. Chapters deal with Ezra Pound, W. H. Auden, Edwin Morgan, and Seamus Heaney. Stylistic debts to Old English are examined, along with the effects on these poets' work of specific ideas about Old English language and literature as taught while these poets were studying the subject at university. Issues such as linguistic primitivism, the supposed 'purity' of the English language, the politics and ethics of translation, and the construction of 'Englishness' within the literary canon are discussed in the light of these poets and their Old English encounters. Heaney's translation of Beowulf is fully contextualized within the body of the rest of his work for the first time.
"The Strange Likeness" by Harriet Pyne Grove. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
The modern novel, so the story goes, thinks poorly of mere description—what Virginia Woolf called “that ugly, that clumsy, that incongruous tool.” As a result, critics have largely neglected description as a feature of novelistic innovation during the twentieth century. Dora Zhang argues that descriptive practices were in fact a crucial site of attention and experimentation for a number of early modernist writers, centrally Woolf, Henry James, and Marcel Proust. Description is the novelistic technique charged with establishing a common world, but in the early twentieth century, there was little agreement about how a common world could be known and represented. Zhang argues that the protagonists in her study responded by shifting description away from visualizing objects to revealing relations—social, formal, and experiential—between disparate phenomena. In addition to shedding new light on some of the best-known works of modernism, Zhang opens up new ways of thinking about description more broadly. She moves us beyond the classic binary of narrate-or-describe and reinvigorates our thinking about the novel. Strange Likeness will enliven conversations around narrative theory, affect theory, philosophy and literature, and reading practices in the academy.
When American Indians and Europeans met on the frontiers of 18th-century eastern North America, they had many shared ideas about human nature, political life, and social relations. This title is about how they came to see themselves as people so different in their customs and natures that they appeared to be each other's opposite.
FAMILY SECRETS Something had gone wrong with the London end of the Dilhorne business empire, and Alan had been sent to England to make things right. But almost immediately after his arrival Alan met Ned Hatton, and to his total astonishment found that they were almost identical. It wasn’t until he met Ned’s sister, Eleanor, and learned more of their family background that he realized the likeness was more than a coincidence. The trouble was, as he grew to love Eleanor, the family secret could sweep away any hope he had of a lifetime with his true love.
Back after 45 years, Margaret Sutton's young detective, Judy Bolton, returns for her 39th mystery adventure. At the end of book #38, The Secret of the Sand Castle, the author gave the title of the next book in the series, The Strange Likeness. However, the series was canceled, and the promised book was not written...until now. Beloved author Margaret Sutton (1903-2001) published her first Judy Bolton mysteries in 1932. The original series continued until 1967, making it the longest-lasting juvenile series written by a single author. The books are noted not only for their engaging plots and thrilling stories, but also for their realism and social commentary. To many young girls Judy was an ideal role model--smart, capable, courageous, nurturing, and always unwavering in her core beliefs. Based on conversations with Margaret Sutton and her family, plus extensive research, coauthors Kate Duvall and Beverly Hatfield recreate the magic of Judy and her friends, who find themselves pursuing a criminal who resembles Judy's husband. Courage and keen observation are Judy's trademarks, and they prove her up to the task once again.
A follow-up to In the Woods finds a traumatized detective Cassie Maddox struggling in her career and relationship with Sam O'Neill while investigating the unsettling murder of a young woman whose name matches an alias Cassie once had used as an undercover officer. 50,000 first printing.
"This book affirms the experience of likeness at the heart of many, if not all, disciplines of knowledge and seeks to formalize that basic experience into a science of its own, "homeotics.""--
A collection of nine critical essays on the modern social science fiction novel, arranged in chronological order of their original publication.
NATIONAL BESTSELLER • A tour de force of love and loneliness, war and art—from one of our greatest writers. • “Exhilarating ... magical.” —The Washington Post When a thirty-something portrait painter is abandoned by his wife, he secludes himself in the mountain home of a world famous artist. One day, the young painter hears a noise from the attic, and upon investigation, he discovers a previously unseen painting. By unearthing this hidden work of art, he unintentionally opens a circle of mysterious circumstances; and to close it, he must undertake a perilous journey into a netherworld that only Haruki Murakami could conjure.