An engaging guide to a rich literary heritage, The Stanford Companion presents a fascinating parade of novels, authors, publishers, editors, reviewers, illustrators, and periodicals that created the culture of Victorian fiction. Its more than 6,000 alphabetical entries provide an incomparable range of useful and little-known source material, its scholarship enlivened by the author's wit and candor.
The war on the old has been declared. In the post-Brexit world, intergenerational conflict has become a visible phenomenon. There is an overwhelming sense of blame from younger generations: it was 'the wrinklies', the grey-haired plutocracy, who voted Leave; who are overburdening hospitals, shutting the youth out of the housing market and hoarding accumulated wealth. By 2020, we are told, one in five Britons will be pensioners, and living a longer retirement than ever before. 'A good thing', politicians add, through gritted teeth. The truth is that for them, 'the old' are a social, economic and political inconvenience. John Sutherland (age 78, and feeling keenly what he writes about) examines this intergenerational combat as a new kind of war in which institutional neglect and universal indifference to the old has reached aggressive, and routinely lethal, levels. This is a book which sets out to provoke but in the process tells some deep and inconvenient truths, revealing something British society would rather not think about.
With over 900 biographical entries, more than 600 novels synopsized, and a wealth of background material on the publishers, reviewers and readers of the age the Longman Companion to Victorian Fiction is the fullest account of the period's fiction ever published. Now in a second edition, the book has been revised and a generous selection of images have been chosen to illustrate various aspects of Victorian publishing, writing, and reading life. Organised alphabetically, the information provided will be a boon to students, researchers and all lovers of reading. The entries, though concise, meet the high standards demanded by modern scholarship. The writing - marked by Sutherland's characteristic combination of flair, clarity and erudition - is of such a high standard that the book is a joy to read, as well as a definitive work of reference.
Shakespeare loves loose ends; Shakespeare also loves red herrings.' Stephen Orgel Loose ends and red herrings are the stuff of detective fiction, and under the scrutiny of master sleuths John Sutherland and Cedric Watts Shakespeare's plays reveal themselves to be as full of mysteries as any Agatha Christie novel. Is it summer or winter in Elsinore? Do Bottom and Titania makelove? Does Lady Macbeth faint, or is she just pretending? How does a man putrefy within minutes of his death? Is Cleopatra a deadbeat Mum? And why doesn't Juliet ask 'O Romeo Montague, wherefore art thou Montague?' As Watts and Sutherland explore these and other puzzles Shakespeare's genuius becomes ever more apparent. Speculative, critical, good-humoured and provocative, their discussions shed light on apparent anachronisms, perfromance and stagecraft, linguistics, Star Trek and much else. Shrewd andentertaining, these essays add a new dimension to the pleasure of reading or watching Shakespeare. 'Few modern academics are doing quite so much as Professor Sutherland to connect the "common reader" with great books' Independent
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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.
Which author had the heaviest brain? What was the original title of 1984? When did cigarettes first appear in English literature? And, while we’re at it, who wrote the first Western, and is there any link between asthma and literary genius? Sutherland’s irreverent literary exploration illuminates every topic imaginable from author advances to Civil War literature to Victorian sex to odd things eaten by literary characters (think Patrick Bateman’s girlfriend in American Psycho). This is a treasure trove of fascinating information for all book lovers.
Born in 1861 in French Sudan, imported to Paris as a two year old calf, then later sold to the London Zoo at Regent's Park, Jumbo the elephant delighted countless children (including Winston Churchill and Theodore Roosevelt) with rides and treats gently taken from outstretched hands. Each night, after the children and their families had gone home, he was mistreated in an attempt to keep him docile. By the time he reached sexual maturity, the abused and isolated animal had become dangerously unstable. He was sold to showman P.T. Barnum in 1881 (despite letters from 100,000 British schoolchildren who wrote to Queen Victoria begging her to prevent the sale) and brought to America. There, in the company of other elephants and amid greater physical freedom, Jumbo stabilized and went on to become one of the most lucrative circus acts of all time - as well as the most beloved. The world mourned when his life ended in 1885, with a storied (and most likely embellished) act of animal heroism. Jumbo reportedly rushed in front of an oncoming train in an effort to save a smaller elephant – his companion "Tom Thumb" – then perished while reaching his trunk out toward his longtime handler Matthew Scott – whose intense connection with the pachyderm spawned legends of its own. Integrating the history of elephants in captivity along with the details of Jumbo's celebrity life, dramatic death, and lasting cultural legacy, John Sutherland has written the first comprehensive "biography" of this incredible animal - one whose name has given us one of our most common and hyperbolic adjectives.
Using the heartwrenching story of Jumbo's celebrity life, tragic death in Canada in 1885, and his enduring cultural legacy, John Sutherland writes the first comprehensive 'biography' of the animal who gave us one of our favourite words.
A dreadful curse was laid on two families in 1497 when a wife murdered her husband of a few hours. He had intended to kill her for refusing his advances on their wedding night, but she had turned the tables on him and he was the one now dying. She could not escape, as he had wrapped a chain around them both and had affixed a padlock. She was in love with his brother and he with her, but the elder son had forced her into marriage while his brother was away on an errand for their duplicitous parents. As he lay dying, he laid a curse upon both families; hers and his brother's. She thought quickly, and told him, contemptuously, that the curse would not be condoned by the gods until there was also some means to see it lifted. He was not sure he could believe her, but what if...? He considered, in the short time still left to him, and stipulated three impossible conditions that would see the curse lifted. They were mirrored on what was happening to him. He knew they could not possibly be met. They required that a young woman of that line, must see the man who would be her lover, killed before her eyes, just as she had killed him; She must be chained to a dead man for the duration of a night, just as she soon would be to him; and she, and that dead man, must make love, as no dead man might ever do. The centuries passed. Then, unexpectedly, the first of those impossible conditions was met in China. At that point there was a sudden revival of those disembodied entities that had waited for so long. Now, they needed to bring those other two events to fruition, but how? Gradually, the necessary conditions are brought to one place and time. They are to take place at a girls' boarding school in northern England just after the second world war, when a blind man is reluctantly hired as a teacher.
I rejoice', said Doctor Johnson, 'to concur with the Common Reader.' For the last century, the tastes and preferences of the common reader have been reflected in the American and British bestseller lists, and this Very Short Introduction takes an engaging look through the lists to reveal what we have been reading - and why. John Sutherland shows that bestseller lists monitor one of the strongest pulses in modern literature and are therefore worthy of serious study. Along the way, he lifts the lid on the bestseller industry, examines what makes a book into a bestseller, and asks what separates bestsellers from canonical fiction. Exploring the relationship between bestsellers and the fashions, ideologies, and cultural concerns of the day, the book includes short case-studies and lively summaries of bestsellers through the years: from In His Steps - now almost totally forgotten, but the biggest all-time bestseller between 1895 and 1945, to Gone with the Wind and The Andromeda Strain, and The Da Vinci Code. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
THE SUNDAY TIMES BESTSELLER IN A BRAND NEW EDITION 'Enchanting...the most engagingly boffiny book imaginable.' Spectator Does Becky kill Jos at the end of Vanity Fair? Why does no one notice that Hetty is pregnant in Adam Bede? How, exactly, does Victor Frankenstein make his monster? Readers of Victorian fiction often find themselves tripping up on seeming anomalies, enigmas and mysteries in their favourite novels. In Is Heathcliff a Murderer? John Sutherland investigates 34 conundrums of nineteenth-century fiction, paying homage to the most rewarding of critical activities: close reading and the pleasures of good-natured pedantry
The proportion of Victorian novels in print today represents only a tiny fraction of what was published by this vast writing industry. Exact figures will never be known but we can estimate that around 50,000 works were produced by around 3,500 novelists during the Victorian era. But who wrote these novels and what inspired them to write? How were their novels published and how did they adapt their techniques to ensure the public's appetite for fiction was fed? Drawing on extensive research, John Sutherland builds up a fascinating picture of the cultural, social and commercial factors influencing the content and production of Victorian fiction. Collins, Dickens, Eliot, Thackeray and Trollope are discussed in tandem with writers also very popular with the reading public - Reade, Lytton and Mrs Humphry Ward - but whose fame has not endured. As John Sutherland demonstrates, author-publisher relations played a central role in determining the success of new novels, with some impressive achievements on both sides. Richly informative on the Victorian literary and cultural scene, this important study by one of our leading scholars is set to become essential reading for all those interested in the evolution of the Victorian novel.
From The Epic of Gilgamesh to Harry Potter, this rollicking romp through the world of literature reveals how writings from all over the world can transport us and help us to make sense of what it means to be human.
A minefield of ambiguous concepts, leaden prose, and circular definitions await anyone who wishes to tackle the terms used to describe literature. Indeed, words like hermeneutics, heteroglossia, and mimesis more often impede than enhance one's appreciation of a great literary work. Cutting through the cant, How Literature Works offers a reader-friendly, easy-to-navigate guide that will aid anyone - from the undergraduate to the general reader - who's seeking a greater appreciation of their favorite novel, poem, or play. With a series of pithy, jaunty essays, the renowned literary critic John Sutherland - widely admired for his wit and crystal-clear reasoning - strips away the obscurity and pretension associated with literature. His book offers concise definitions and clear examples of 50 terms and concepts that all book lovers should know. An indispensable reference tool, How Literature Works will be a boon to readers of all sorts, from fans of William Shakespeare and Philip Roth to readers of Jane Smiley and J.K. Rowling.
John Sutherland's new critical biography is an undertaking of major importance in which he penetrates into the darker areas of Scott's life in a sceptical (yet sympathetic) spirit,
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