The approximately 20,000 pages of Joyce manuscripts and letters in the Lockwood Memorial Library of the University of Buffalo here catalogued by Dr. Spielberg offer scholars and critics much unpublished and unsifted material for the explication and examination of Joyce's individual works, as well as the raw material necessary for a detailed exploration of James Joyce's creative process. The scope of the Buffalo Joyce Collection is vast, spanning the full range of Joyce's writing career from 1900 to 1940, from his Epiphanies to possible revisions for Finnegans Wake. Dr. Spielberg's work in compiling the present catalogue of Joyce's own writings and letters in the collection now provides for Joyceans a guide to what up until now has been mainly uncharted territory. The manuscripts--workbooks, notebooks, sketches, schemas, notes, early and late drafts, fair copies, typescripts, galley and page proofs, errata, translations, and letters--have been divided into ten major categories: "Epiphanies," "A Portrait of the Artist as a Young Man," "Exiles," "Verses," "Ulysses," "Finnegans Wake," "Criticism," "Notebooks," "Miscellaneous Manuscripts," and "Letters from Joyce." Each item has been described and identified, following a uniform format for the pertaining facts: title, collation, pagination, contents, other markings, dating, publication, and notes. In his introduction to the catalogue, the author describes the Buffalo Joyce Collection itself, giving the history of its growth, its extent, and holdings. In discussing the manuscripts, he calls particular attention to the "Finnegans Wake Workbooks" (MSS. VI. A., B., C., and D.), which, he comments, "are probably the strangest manuscripts in existence--even for so strange a book as Finnegans Wake ... The apparent disorder and lock of organization of these workbooks is a false impression. Where the reader of the workbooks stumbles and bombinates through what seems to be utter blackness, Joyce danced and skipped with ease. What to us seems chaos was neatness and method to Joyce." It is Dr. Spielberg's hope that the manuscripts he has catalogued will, when examined in detail, "offer a key to the better understanding of the 'hides and hints and misses in prints' in the writings of the most controversial figure of twentieth-century literature.
The approximately 20,000 pages of Joyce manuscripts and letters in the Lockwood Memorial Library of the University of Buffalo here catalogued by Dr. Spielberg offer scholars and critics much unpublished and unsifted material for the explication and examination of Joyce's individual works, as well as the raw material necessary for a detailed exploration of James Joyce's creative process. The scope of the Buffalo Joyce Collection is vast, spanning the full range of Joyce's writing career from 1900 to 1940, from his Epiphanies to possible revisions for Finnegans Wake. Dr. Spielberg's work in compiling the present catalogue of Joyce's own writings and letters in the collection now provides for Joyceans a guide to what up until now has been mainly uncharted territory. The manuscripts--workbooks, notebooks, sketches, schemas, notes, early and late drafts, fair copies, typescripts, galley and page proofs, errata, translations, and letters--have been divided into ten major categories: "Epiphanies," "A Portrait of the Artist as a Young Man," "Exiles," "Verses," "Ulysses," "Finnegans Wake," "Criticism," "Notebooks," "Miscellaneous Manuscripts," and "Letters from Joyce." Each item has been described and identified, following a uniform format for the pertaining facts: title, collation, pagination, contents, other markings, dating, publication, and notes. In his introduction to the catalogue, the author describes the Buffalo Joyce Collection itself, giving the history of its growth, its extent, and holdings. In discussing the manuscripts, he calls particular attention to the "Finnegans Wake Workbooks" (MSS. VI. A., B., C., and D.), which, he comments, "are probably the strangest manuscripts in existence--even for so strange a book as Finnegans Wake ... The apparent disorder and lock of organization of these workbooks is a false impression. Where the reader of the workbooks stumbles and bombinates through what seems to be utter blackness, Joyce danced and skipped with ease. What to us seems chaos was neatness and method to Joyce." It is Dr. Spielberg's hope that the manuscripts he has catalogued will, when examined in detail, "offer a key to the better understanding of the 'hides and hints and misses in prints' in the writings of the most controversial figure of twentieth-century literature.
This is the first scholarly book on de Forest. It explores his career in the decorative arts by examining cultural context, material culture, biography, and patronage. Lockwood de Forest (1850-1932) is best known as an artistic decorator with a flair for designs based on the arts and crafts of the Middle East and India. He began his career in partnership with Louis Comfort Tiffany. By 1883, de Forest had his own business and successfully introduced the East Indian craft revival to the United States. His interior designs and furnishings were embraced by some of the wealthiest families of the Gilded Age. His family home at 7 East Tenth Street in New York City served as a designer showcase and was compared to Arab Hall, a pinnacle of exotic design that was part of Frederic, Lord Leighton's home and studio in Holland Park, London. Complemented by sixty color plates and 132 black-and-white illustrations." --Publisher description.
HoosierLit: A Literary Magazine by The Geeky Press is a publication that features some of the best fiction, non-fiction, essays, poetry, and script writing by Indiana writers.
In this thought-provoking study of nineteenth-century America, J. Samaine Lockwood offers an important new interpretation of the literary movement known as American regionalism. Lockwood argues that regionalism in New England was part of a widespread woman-dominated effort to rewrite history. Lockwood demonstrates that New England regionalism was an intellectual endeavor that overlapped with colonial revivalism and included fiction and history writing, antique collecting, colonial home restoration, and photography. The cohort of writers and artists leading this movement included Sarah Orne Jewett, Alice Morse Earle, and C. Alice Baker, and their project was taken up by women of a younger generation, such as Charlotte Perkins Gilman and Pauline Elizabeth Hopkins, who extended regionalism through the modernist moment. Lockwood draws on a diverse archive that includes fiction, material culture, collecting guides, and more. Showing how these women intellectuals aligned themselves with a powerful legacy of social and cultural dissent, Lockwood reveals that New England regionalism performed queer historical work, placing unmarried women and their myriad desires at the center of both regional and national history.
The complex and hard-fought movement for political freedom in India coincided with the rise of a wealthy capitalist class of Indian industrialists who had profited under British rule. By 1947, these prominent businessmen had forged a partnership with the socialist-led Indian National Congress, and supported Jawaharlal Nehru's implementation of a centrally-planned economy. In this political history of modern India, David Lockwood traces the roots of this capitalist class, concentrated in Bombay, Calcutta and the west Bengal coal mining region, and examines British economic policy in the nineteenth century. Indian capitalists, such as J.R.D Tata of Tata Steel, established powerful relationships with domestic governments throughout the period, holding indigenous industrial conferences and supporting the swadeshi movement which aimed to promote Indian-manufactured goods. The Indian Bourgeoisie is a unique and important contribution to the lively debate on the role of India's capitalists during the Raj and throughout the early years of independence.
On April 14, 1861, following the surrender of Fort Sumter, Washington was "put into the condition of a siege," declared Abraham Lincoln. Located sixty miles south of the Mason-Dixon Line, the nation's capital was surrounded by the slave states of Maryland and Virginia. With no fortifications and only a handful of trained soldiers, Washington was an ideal target for the Confederacy. The South echoed with cries of "On to Washington!" and Jefferson Davis's wife sent out cards inviting her friends to a reception at the White House on May 1. Lincoln issued an emergency proclamation on April 15, calling for 75,000 troops to suppress the rebellion and protect the capital. One question now transfixed the nation: whose forces would reach Washington first-Northern defenders or Southern attackers? For 12 days, the city's fate hung in the balance. Washington was entirely isolated from the North-without trains, telegraph, or mail. Sandbags were stacked around major landmarks, and the unfinished Capitol was transformed into a barracks, with volunteer troops camping out in the House and Senate chambers. Meanwhile, Maryland secessionists blocked the passage of Union reinforcements trying to reach Washington, and a rumored force of 20,000 Confederate soldiers lay in wait just across the Potomac River. Drawing on firsthand accounts, The Siege of Washington tells this story from the perspective of leading officials, residents trapped inside the city, Confederates plotting to seize it, and Union troops racing to save it, capturing with brilliance and immediacy the precarious first days of the Civil War.
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