The meadows were green, and so was the rising wheat which had been sown, but which neither had nor would receive any further care. Such arable fields as had not been sown, but where the last stubble had been ploughed up, were overrun with couch-grass, and where the short stubble had not been ploughed, the weeds hid it. Jefferies' novel can be seen as an early example of post-apocalyptic fiction. After some sudden and unspecified catastrophe has depopulated England, the countryside reverts to nature, and the few survivors to a quasi-medieval way of life. The first part, The Relapse into Barbarism, is the account by some later historian of the fall of civilisation and its consequences, with a loving description of nature reclaiming England. The second part, Wild England, is an adventure set many years later in the wild landscape and society.
It is sweet on awaking in the early morn to listen to the small bird singing on the tree. No sound of voice or flute is like to the bird's song; there is something in it distinct and separate from all other notes. The throat of woman gives forth a more perfect music, and the organ is the glory of man's soul. The bird upon the tree utters the meaning of the wind-a voice of the grass and wild flower, words of the green leaf; they speak through that slender tone. Sweetness of dew and rifts of sunshine, the dark hawthorn touched with breadths of open bud, the odour of the air, the colour of the daffodil-all that is delicious and beloved of spring-time are expressed in his song. Genius is nature, and his lay, like the sap in the bough from which he sings, rises without thought. Nor is it necessary that it should be a song; a few short notes in the sharp spring morning are sufficient to stir the heart. But yesterday the least of them all came to a bough by my window, and in his call I heard the sweet-briar wind rushing over the young grass. Refulgent fall the golden rays of the sun; a minute only, the clouds cover him and the hedge is dark. The bloom of the gorse is shut like a book; but it is there-a few hours of warmth and the covers will fall open. The meadow is bare, but in a little while the heart-shaped celandine leaves will come in their accustomed place. On the pollard willows the long wands are yellow-ruddy in the passing gleam of sunshine, the first colour of spring appears in their bark. The delicious wind rushes among them and they bow and rise; it touches the top of the dark pine that looks in the sun the same now as in summer; it lifts and swings the arching trail of bramble; it dries and crumbles the earth in its fingers; the hedge-sparrow's feathers are fluttered as he sings on the bush.
As long ago as 1917, Virginia Woolf expressed surprise that anyone as good as John Davidson should 'be so little famous'. Now, at last, criticism has established Davidson as a key figure in the emergence of literary modernism, as the best Scottish poet between Robert Burns and Hugh MacDiarmid, and as an important influence on the younger poets of his day, most notably T. S. Eliot. In this, the first biography of Davidson for more than thirty years, John Sloan presents a wealth of new information about Davidson's life, including his time in London, and the ties which connect him to Sherard's circle, to Wilde, Yeats, and the Rhymers' Club. John Davidson, First of the Moderns explores Davidson's career in London as a penniless author, struggling to reconcile the freedom to experience demanded by the avant-garde artist in the age of the Decadence with the obligations of family, and to combine his ambition for a many-sided reputation as a poet, novelist, and playwright with his need to survive in the commercial rough and tumble of Fleet Street, the theatre, and Paternoster Row. The conditions of authorship, the literary scandals and rows of Fleet Street, and the revelations of the characters involved here provide the literary background to the life of John Davidson. The picture that emerges is not simply of a late Victorian rebel, but of a proto-Modernist who from his recovery from a breakdown in 1896 to his strange disappearance and death in 1909, pioneered a new idiom and subject matter for twentieth-century verse.
The English West Country is a land of exceptional landscapes: many miles of wild, unspoilt coastline and vast expanses of wild moorland; great cities such as Exeter, Plymouth, Bath and Bristol; and market towns, villages and hamlets. Farming, mining, quarrying, fishing and trade are the traditional industries of the counties of Wiltshire, Somerset, Dorset, Devon and Cornwall. On one level, the West Country is the most English of all English regions, home of clotted cream, thatch, church spires, folksong, hobby horses and Cecil Sharp. Yet the area was trading with Mediterranean Europe before the Romans. For many years Bristol was the centre of the slave trade, and many of its great mansions were built on the proceeds of slavery. Great swathes of land in Dorset, Wiltshire and Devon are still used by the military and are off-bounds to visitors. And within the West Country is the special case of Celtic Cornwall, and the even more remote Isles of Scilly. People lived in the West Country long before Britain, or England, were invented. From the great stone circles of Avebury and Stonehenge in Wiltshire to the menhirs of Cornwall, and the wealth of prehistoric remains on the Isles of Scilly, this has always been an inhabited landscape, crafted by men and women working closely with nature and natural forces. John Payne explores this culturally rich and varied region, revealing many facets of its distinctive and much-loved identity.
Archipelagic Modernism examines the anglophone literatures of the archipelago from 1890 to 1970 for what they tell us about changing identities, geographies, and ecologies.
Winner, 2020 Isaac and Tamara Deutscher Memorial Prize A fascinating reinterpretation of the radical and socialist origins of ecology Twenty years ago, John Bellamy Foster’s Marx’s Ecology: Materialism and Nature introduced a new understanding of Karl Marx’s revolutionary ecological materialism. More than simply a study of Marx, it commenced an intellectual and social history, encompassing thinkers from Epicurus to Darwin, who developed materialist and ecological ideas. Now, with The Return of Nature: Socialism and Ecology, Foster continues this narrative. In so doing, he uncovers a long history of the efforts to unite questions of social justice and environmental sustainability, and helps us comprehend and counter today’s unprecedented planetary emergencies. The Return of Nature begins with the deaths of Darwin (1882) and Marx (1883) and moves on until the rise of the ecological age in the 1960s and 1970s. Foster explores how socialist analysts and materialist scientists of various stamps, first in Britain, then the United States, from William Morris and Frederick Engels, to Joseph Needham, Rachel Carson, and Stephen J. Gould, sought to develop a dialectical naturalism, rooted in a critique of capitalism. In the process, he delivers a far-reaching and fascinating reinterpretation of the radical and socialist origins of ecology. Ultimately, what this book asks for is nothing short of revolution: a long, ecological revolution, aimed at making peace with the planet while meeting collective human needs.
English literary culture from the death of Thomas Carlyle to the First World War was paradoxical and diverse. In literature it was a time of confusion and a nervous, often frenzied, search for new terms on which the imagination could live. Professor Lester shows that the literary culture of the period moved steadily from a suspicion that the old bases of significant imaginative life were indefensible to a widespread conviction that they had collapsed. His book is not an exercise in literary criticism. Rather, it is an attempt to discover the "geist" of an age, to provide a synthesis for the years 1880-1914. His overriding concern is: “What is the primary force which so unsettles, disperses, and disorients the imaginative experience of this period?” Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
No previous author has attempted a book such as this: a complete history of novels written in the English language, from the genre's seventeenth-century origins to the present day. In the spirit of Dr. Johnson’s Lives of the Poets, acclaimed critic and scholar John Sutherland selects 294 writers whose works illustrate the best of every kind of fiction—from gothic, penny dreadful, and pornography to fantasy, romance, and high literature. Each author was chosen, Professor Sutherland explains, because his or her books are well worth reading and are likely to remain so for at least another century. Sutherland presents these authors in chronological order, in each case deftly combining a lively and informative biographical sketch with an opinionated assessment of the writer's work. Taken together, these novelists provide both a history of the novel and a guide to its rich variety. Always entertaining, and sometimes shocking, Sutherland considers writers as diverse as Daniel Defoe, Henry James, James Joyce, Edgar Allan Poe, Virginia Woolf, Michael Crichton, Jeffrey Archer, and Jacqueline Susann. Written for all lovers of fiction, Lives of the Novelists succeeds both as introduction and re-introduction, as Sutherland presents favorite and familiar novelists in new ways and transforms the less favored and less familiar through his relentlessly fascinating readings.
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