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Christopher Mulvey has entered the world of travellers writing about their journeys abroad during the eighty years following the end of the 1812-15 War.
Mark Twain is revealed here in an entirely new autobiographical light from his own writings as they reflect his career, his thinking, and his humor. This volume captures the grandeur that distinguishes Mark Twain as, in the words of George Bernard Shaw, “by far the greatest American writer.” Made up of short stories and excerpts from Twain’s principal works, this collection demonstrates Twain’s artistry in handling anecdotes, tales, description, and characterization; the fervency of his ethical convictions; his effective use of irony, satire, burlesque, and caricature; and his essential humanity. By arranging the materials in chronological order and weaving them together with critical commentary, the editors present the many facets of Mark Twain’s experience and his dynamic personality with greater continuity than in previous collections of Twain’s writings. Here is the optimism of the young Mark Twain responding to the rough and rugged vitality of the mid-nineteenth-century American scene, and the skepticism and pessimism of the older Mark Twain reacting to the American democratic experiment of the late nineteenth century.
This edifying volume presents mini-biographies of key British and American poets who at one time or another worked as journalists. Poets covered range from the famous to the obscure: Whittier to Whitman, Kipling to Bryant, Coleridge to Crane. Writing in a direct, straightforward style W. Dale Nelson tells each writer’s story, often relating how the poet in question felt about the journalistic experience and its impact upon creative work. Archbold MacLeish wrote “young poets are advised by their elders to avoid the practice of journalism as they would set socks and gin before breakfast.” On the other hand, Leonard Woolf suggests that Hemingway’s strong spare prose often “bears the mark of good journalism.” The author raises provocative issues about developments in poetic form, effects of printing and communication on poetry, and the relationship of poetry and cities. He also looks at how poetic diction has been influenced by the language of reportage and the basic difference in the purport of journalism versus that of poetry.
Being Kipling exposes Rudyard Kipling s identity as he himself perceived it through the lens of a collection of works composed over a period of years and brought together in the volume Land and Sea Tales for Scouts and Guides. Dillingham uses this extraordinary collection, ostensibly put together for the inspiration of Boy Scouts and Girl Guides and frequently ignored by critics and biographers, to offer rare insight into formative events from Kipling s youth that shaped his personality and made him the man and writer that he became. The eight stories, eight poems, and three essays of Land and Sea Tales for Scouts and Guides are all examined closely both for what they reveal about Kipling s life and worldview and for their rarely perceived, but considerable literary merit.
Mark Twain has been the subject of violent disagreement among critics. Most of them have believed that he was an “unconscious artist,” working by impulse. Mark Twain as a Literary Artist shows that Mark Twain was much more the conscious craftsman than is generally believed. Here is revealed Twain’s violent mental conflict, a logical dilemma, which forced much of his work into distorted patterns of thought and structure. Through years of practice he evolved methods to achieve detachment through techniques such as speaking through the lips of Huckleberry Finn or some other childlike person; placing satiric scenes far off in time or space; diminishing the human race to microscopic proportions so that its wrongs could be treated with detachment; and reducing life to a dream in which the greatest wrongs become tolerable because they seem unreal. Mark Twain as a Literary Artist is a mature, thorough, and revealing reassessment of the mind and methods of one of the most controversial figures in American literature.
From the 1860s through the early twentieth century, Great Britain saw the rise of the department store and the institutionalization of a gendered sphere of consumption. Come Buy, Come Buy considers representations of the female shopper in British women’s writing and demonstrates how women’s shopping practices are materialized as forms of narrative, poetic, and cultural inscription, showing how women writers emphasize consumerism as productive of pleasure rather than the condition of seduction or loss. Krista Lysack examines works by Christina Rossetti, Mary Elizabeth Braddon, George Eliot, and Michael Field, as well as the suffragette newspaper Votes for Women, in order to challenge the dominant construction of Victorian femininity as characterized by self-renunciation and the regulation of appetite. Come Buy, Come Buy considers not only literary works, but also a variety of archival sources (shopping guides, women’s fashion magazines, household management guides, newspapers, and advertisements) and cultural practices (department store shopping, shoplifting and kleptomania, domestic economy, and suffragette shopkeeping). With this wealth of sources, Lysack traces a genealogy of the woman shopper from dissident domestic spender to aesthetic connoisseur, from curious shop-gazer to political radical.
Part 1, Books, Group 1, v. 24 : Nos. 1-148 (March, 1927 - March, 1928)