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William Sharp (1855-1905) conducted one of the most audacious literary deceptions of his or any time. Sharp was a Scottish poet, novelist, biographer and editor who in 1893 began to write critically and commercially successful books under the name Fiona Macleod. This was far more than just a pseudonym: he corresponded as Macleod, enlisting his sister to provide the handwriting and address, and for more than a decade "Fiona Macleod" duped not only the general public but such literary luminaries as William Butler Yeats and, in America, E. C. Stedman. Sharp wrote "I feel another self within me now more than ever; it is as if I were possessed by a spirit who must speak out". This three-volume collection brings together Sharp’s own correspondence – a fascinating trove in its own right, by a Victorian man of letters who was on intimate terms with writers including Dante Gabriel Rossetti, Walter Pater, and George Meredith – and the Fiona Macleod letters, which bring to life Sharp’s intriguing "second self". With an introduction and detailed notes by William F. Halloran, this richly rewarding collection offers a wonderful insight into the literary landscape of the time, while also investigating a strange and underappreciated phenomenon of late-nineteenth-century English literature. It is essential for scholars of the period, and it is an illuminating read for anyone interested in authorship and identity.
William Sharp (1855-1905) conducted one of the most audacious literary deceptions of his or any time. A Scottish poet, novelist, biographer, and editor, he began in 1893 to write critically and commercially successful books under the name Fiona Macleod who became far more than a pseudonym. Enlisting his sister to provide the Macleod handwriting, he used the voluminous Fiona correspondence to fashion a distinctive personality for a talented, but remote and publicity-shy woman. Sometimes she was his cousin and other times his lover, and whenever suspicions arose, he vehemently denied he was Fiona. For more than a decade he duped not only the general public but such literary luminaries as George Meredith, Thomas Hardy, Henry James, William Butler Yeats, and E. C. Stedman. Drawing extensively on his letters, his wife Elizabeth Sharp’s Memoir, and accounts by friends and associates, this biography provides a lucid and intimate account of William Sharp’s life, from his rejection of the dour religion of his Scottish boyhood, his turn to spiritualism, to his role in the Scottish Celtic Revival in the mid-nineties. The biography illuminates his wide network of close male and female friendships, through which he developed advanced ideas about the place of women in society, the constraints of marriage, the fluidity of gender identity, and the complexity of the human psyche. Uniquely this biography reveals the autobiographical content of the writings of Fiona Macleod, the remarkable extent to which Sharp used the feminine pseudonym to disguise his telling and retelling the complex story of his extramarital love affair with a beautiful and brilliant woman. The biography illuminates not only the talented and conflicted William Sharp, but also the cultural landscape of Great Britain in the late-nineteenth century. From late Pre-Raphaelitism through the "yellow nineties” and on to the excesses of the early twentieth century, Sharp dabbled in all the movements that comprised what some have called the Age of Decadence.
2019 PEN/E.O. Wilson Literary Science Writing Award Finalist "Science book of the year"—The Guardian One of New York Times 100 Notable Books for 2018 One of Publishers Weekly's Top Ten Books of 2018 One of Kirkus's Best Books of 2018 One of Mental Floss's Best Books of 2018 One of Science Friday's Best Science Books of 2018 “Extraordinary”—New York Times Book Review "Magisterial"—The Atlantic "Engrossing"—Wired "Leading contender as the most outstanding nonfiction work of the year"—Minneapolis Star-Tribune Celebrated New York Times columnist and science writer Carl Zimmer presents a profoundly original perspective on what we pass along from generation to generation. Charles Darwin played a crucial part in turning heredity into a scientific question, and yet he failed spectacularly to answer it. The birth of genetics in the early 1900s seemed to do precisely that. Gradually, people translated their old notions about heredity into a language of genes. As the technology for studying genes became cheaper, millions of people ordered genetic tests to link themselves to missing parents, to distant ancestors, to ethnic identities... But, Zimmer writes, “Each of us carries an amalgam of fragments of DNA, stitched together from some of our many ancestors. Each piece has its own ancestry, traveling a different path back through human history. A particular fragment may sometimes be cause for worry, but most of our DNA influences who we are—our appearance, our height, our penchants—in inconceivably subtle ways.” Heredity isn’t just about genes that pass from parent to child. Heredity continues within our own bodies, as a single cell gives rise to trillions of cells that make up our bodies. We say we inherit genes from our ancestors—using a word that once referred to kingdoms and estates—but we inherit other things that matter as much or more to our lives, from microbes to technologies we use to make life more comfortable. We need a new definition of what heredity is and, through Carl Zimmer’s lucid exposition and storytelling, this resounding tour de force delivers it. Weaving historical and current scientific research, his own experience with his two daughters, and the kind of original reporting expected of one of the world’s best science journalists, Zimmer ultimately unpacks urgent bioethical quandaries arising from new biomedical technologies, but also long-standing presumptions about who we really are and what we can pass on to future generations.
Correspondence is vol. ix in the ten-volume Collected Works of Walter Pater. Among Victorian writers, Pater (1839-1894) challenged academic and religious orthodoxies, defended 'the love of art for own sake', developed a new genre of prose fiction (the 'imaginary portrait'), set new standards for intermedial and cross-disciplinary criticism, and made 'style' the watchword for creativity and life. For the first time, all the known correspondence of Walter Pater has been assembled and fully annotated, including letters exchanged with his main publisher, the Macmillans, for more than two decades. Pertinent letters written after his death by his sisters Clara and Hester Pater are also included. The Correspondence provides a richer, much more complete overview of Pater's academic, professional, and personal lives and demonstrates how vigorously he participated in some of the most important literary and cultural networks of the Victorian era.