A rampaging wife of a Manhattan socialite plunges with her car into the East River -- and it is only weeks afterward that a sleugh decides to do something about a recurring corpse... A Detective McKee mystery, from the author of Dead Man Control and McKee of Centre Street.
After more than a century of study, we know more about Keats than we do about most writers of the past, but we still cannot frilly grasp the magical processes by which he created some of the most celebrated poems in all of English literature. This volume, containing 140 photographs of Keats's own manuscripts, offers the most concrete evidence we have of the way in which his thoughts and feelings were transmuted into art. The rough first drafts in particular are frill of information about what occurred, if not in Keats's mind, at least on paper when he had pen in hand: the headlong rush of ideas coming so fast that he had no time to punctuate or even form the letters of his words; the stumbling places where he had to begin again several times before the words resumed their flow; the efforts to integrate story, character, and theme with the formal requirements of rhyme and meter. Each revision teaches the inquiring reader something about Keats's poetic practice. Several of the manuscripts are unique authoritative sources, while others constitute our best texts among multiple existing versions. They reveal much about the maturation of the poet's creativity during four years of his brief life, between "On Receiving a Curious Shell" (1815) and "To Autumn" (1819). Above all, they show us what is lost when penmanship yields to the printed page: what Helen Vendler, in her insightfiul essay on the manuscripts, calls "the living hand of Keats." These sharply reproduced facsimiles provide compelling visual evidence of a mortal author in the act ofcomposing immortal works.
Helen Hunt Jackson’s passionate crusade for Indian rights comes to life in this collection of more than 200 letters, most of which have never been published before. With Valerie Sherer Mathes’s helpful notes, the letters reveal the behind-the-scenes drama of Jackson’s involvement in Indian reform, which led her to write A Century of Dishonor and her protest novel, Ramona. Ralph Waldo Emerson described Jackson as the "greatest American woman poet." These stirring letters will intrigue anyone interested in Indian affairs, nineteenth-century women’s studies, or the social history of Victorian America, where Jackson made her mark despite the restrictions on women. Among her correspondents were Oliver Wendell Holmes, Henry Wadsworth Longfellow, Moncure D. Conway, Henry B. Whipple, Henry L. Dawes, Henry Teller, Carl Schurz, and of course, commissioners of Indian affairs and such prominent editors as Whitelaw Reid, Charles Dudley Warner, and Richard Watson Gilder. The letters are presented in sections on the Ponca and Mission Indian causes, allowing readers to focus on the time period and Indian group of choice.
This edition of Ben Jonson's four middle comedies places the works in the popular history and culture of the times, 1605-1614, and surveys the influences, both classical and contemporary, on Jonson as a playwright. On-the-page annotations recreate the audiences perception of the plays as performances by commenting on the stage-directions, the self-conscious theatricality of characters and scenes, and the vivid colloquialisms of early modern London that give the dialogue a heightened dimension of realism. Brief introductions to each play discuss the local settings, sources, theatre history and further readings. The general introduction includes a biography of Jonson, a chronology of the plays and masques, and separate essays on each play, dealing particularly with Jonson's satirical treatments of trends and shams of the day, whether political, social, commercial, or spiritual.
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