Do you people get that way from living here, or were you all peculiar to start with? someone once asked Louise Dickinson Rich. In her early thirties, she took to the woods with her husband. They found their livelihood and raised a family in the remote Maine backcountry. Louise made time after morning chores to write about their lives, and these magnificent books are the result. They are still captivating readers a half-century later.
In her early thirties, Louise Dickinson Rich took to the woods of Maine with her husband. They found their livelihood and raised a family in the remote backcountry settlement of Middle Dam, in the Rangeley area. Rich made time after morning chores to write about their lives. We Took to the Woods is an adventure story, written with humor, but it also portrays a cherished dream awakened into full life. First published 1942.
Do you people get that way from living here, or were you all peculiar to start with? someone once asked Louise Dickinson Rich. In her early thirties, she took to the woods with her husband. They found their livelihood and raised a family in the remote Maine backcountry. Louise made time after morning chores to write about their lives, and these magnificent books are the result. They are still captivating readers a half-century later.
In Literature of Place Melanie Simo looks beyond crowded malls and boarded-up storefronts on Main Street to our collective memory, finding answers to these questions in stories, novels, memoirs, poetry, essays, diaries, travel writing, and nature writing that range in origin from New England and the Southern Highlands to Hawaii and in subject from little gardens to lost or reinhabited places in cities, mill towns, deserts, and woodlands. In her consideration of selected American works from 1890 to 1970 - years that mark the closing of the Western frontier and later openings in space exploration, environmental protection, genetic engineering, and cyberspace - Simo uncovers a literature of place and the often-surprising relationship of place to our daily lives."--BOOK JACKET.
Focusing on the genre of poetry, Kete argues that sentimentality functioned within the American Romantic period as a mode by which subjects fashioned a system of values which tended to define middle-class in the19th century.
When the author was offered a cabin on the Gouldsboro Peninsula in Maine, she took it sight unseen and fell in love with what she found there. Anecdotes, personalities and social activities of a barren island community are described in this gay, humorous and thoughtful book.
In this first substantial study of Emily Dickinson's devotion to flowers and gardening, Judith Farr seeks to join both poet and gardener in one creative personality. She casts new light on Dickinson's temperament, her aesthetic sensibility, and her vision of the relationship between art and nature, revealing that the successful gardener's intimate understanding of horticulture helped shape the poet's choice of metaphors for every experience: love and hate, wickedness and virtue, death and immortality. Gardening, Farr demonstrates, was Dickinson's other vocation, more public than the making of poems but analogous and closely related to it. Over a third of Dickinson's poems and nearly half of her letters allude with passionate intensity to her favorite wildflowers, to traditional blooms like the daisy or gentian, and to the exotic gardenias and jasmines of her conservatory. Each flower was assigned specific connotations by the nineteenth century floral dictionaries she knew; thus, Dickinson's association of various flowers with friends, family, and lovers, like the tropes and scenarios presented in her poems, establishes her participation in the literary and painterly culture of her day. A chapter, "Gardening with Emily Dickinson" by Louise Carter, cites family letters and memoirs to conjecture the kinds of flowers contained in the poet's indoor and outdoor gardens. Carter hypothesizes Dickinson's methods of gardening, explaining how one might grow her flowers today. Beautifully illustrated and written with verve, The Gardens of Emily Dickinson will provide pleasure and insight to a wide audience of scholars, admirers of Dickinson's poetry, and garden lovers everywhere. Table of Contents: Introduction 1. Gardening in Eden 2. The Woodland Garden 3. The Enclosed Garden 4. The "Garden in the Brain" 5. Gardening with Emily Dickinson Louise Carter Epilogue: The Gardener in Her Seasons Appendix: Flowers and Plants Grown by Emily Dickinson Abbreviations Notes Acknowledgments Index of Poems Cited Index Reviews of this book: In this first major study of our beloved poet Dickinson's devotion to gardening, Farr shows us that like poetry, gardening was her daily passion, her spiritual sustenance, and her literary inspiration...Rather than speaking generally about Dickinson's gardening habits, as other articles on the subject have done, Farr immerses the reader in a stimulating and detailed discussion of the flowers Dickinson grew, collected, and eulogized...The result is an intimate study of Dickinson that invites readers to imagine the floral landscapes that she saw, both in and out of doors, and to re-create those landscapes by growing the same flowers (the final chapter is chock-full of practical gardening tips). --Maria Kochis, Library Journal Reviews of this book: This is a beautiful book on heavy white paper with rich reproductions of Emily Dickinson's favorite flowers, including sheets from the herbarium she kept as a young girl. But which came first, the flowers or the poems? So intertwined are Dickinson's verses with her life in flowers that they seem to be the lens through which she saw the world. In her day (1830-86), many people spoke 'the language of flowers.' Judith Farr shows how closely the poet linked certain flowers with her few and beloved friends: jasmine with editor Samuel Bowles, Crown Imperial with Susan Gilbert, heliotrope with Judge Otis Lord and day lilies with her image of herself. The Belle of Amherst, Mass., spent most of her life on 14 acres behind her father's house on Main Street. Her gardens were full of scented flowers and blossoming trees. She sent notes with nosegays and bouquets to neighbors instead of appearing in the flesh. Flowers were her messengers. Resisting digressions into the world of Dickinson scholarship, Farr stays true to her purpose, even offering a guide to the flowers the poet grew and how to replicate her gardens. --Susan Salter Reynolds, Los Angeles Times Cuttings from the book: "The pansy, like the anemone, was a favorite of Emily Dickinson because it came up early, announcing the longed-for spring, and, as a type of bravery, could withstand cold and even an April snow flurry or two in her Amherst garden. In her poem the pansy announces itself boldly, telling her it has been 'resoluter' than the 'Coward Bumble Bee' that loiters by a warm hearth waiting for May." "She spoke of the written word as a flower, telling Emily Fowler Ford, for example, 'thank you for writing me, one precious little "forget-me-not" to bloom along my way.' She often spoke of a flower when she meant herself: 'You failed to keep your appointment with the apple-blossoms,' she reproached her friend Maria Whitney in June 1883, meaning that Maria had not visited her . . . Sometimes she marked the day or season by alluding to flowers that had or had not bloomed: 'I said I should send some flowers this week . . . [but] my Vale Lily asked me to wait for her.'" "People were also associated with flowers . . . Thus, her loyal, brisk, homemaking sister Lavinia is mentioned in Dickinson's letters in concert with sweet apple blossoms and sturdy chrysanthemums . . . Emily's vivid, ambitious sister-in-law Susan Dickinson is mentioned in the company of cardinal flowers and of that grand member of the fritillaria family, the Crown Imperial.
This book considers the place of deification in the writings of Julian of Norwich and Richard Rolle, two of the fourteenth-century English Mystics. It argues that, as a consequence of a belief in deification, both produce writing that is helpfully viewed as sacred eloquence. The book begins by discussing the nature of deification, employing Norman Russell’s typology. It explores the realistic and ethical approaches found in the writings of several Early Greek Fathers, including Irenaeus of Lyons, Cyril of Alexandria, Origen, and Evagrius Ponticus, as well as engaging with the debate around whether deification is a theological idea found in the West across its history. The book then turns its attention to Julian and Rolle, arguing that both promote forms of deification: Rolle offering a primarily ethical approach, while Julian’s approach is more realistic. Finally, the book addresses the issue of sacred eloquence, arguing that both Rolle and Julian, in some sense, view their words as divinely inspired in ways that demand an exegetical response that is para-biblical. Offering an important perspective on a previously understudied area of mysticism and deification, this book will be of interest to scholars of mysticism, theology, and Middle English religious literature.
Love Inspired Historical brings you four new titles at a great value, available now! Enjoy these historical romances of adventure and faith. THE MARRIAGE AGREEMENT Charity House by Renee Ryan Fanny Mitchell has cared for her boss, hotelier Jonathon Hawkins, since they met. When they're caught in an innocent kiss, Jonathon proposes marriage to save her reputation. Can Fanny turn their engagement of convenience into one of love? COWGIRL FOR KEEPS Four Stones Ranch by Louise M. Gouge The last thing Rosamond Northam wants to do when she returns to her hometown is help a stuffy aristocrat build a hotel. But her father insists she work with Garrick Wakefield, and now it's a clash between Englishman and cowgirl. THE LAWMAN'S REDEMPTION by Danica Favorite Wrongly accused former deputy Will Lawson is determined to clear his name. His search leads to lovely Mary Stone, who seems to know more about the bandit who framed Will than she lets on… CAPTIVE ON THE HIGH SEAS by Christina Rich When ship captain Nicolaus sees a beautiful woman in a dire situation, he offers to buy her from slavery. As their friendship grows at sea, Nicolaus wants to offer her freedom—and his heart.
In the Words of Women brings together the writings-letters, diaries, journals, pamphlets, poems, plays, depositions, and newspaper articles-of women who lived between 1765 and 1799. The writings are organized chronologically around events, battles, and developments from before the Revolution, through its prosecution and aftermath. They reflect the thoughts, observations and experiences of women during those tumultuous times, women less well known to the reading public, including patriots and loyalists; the highborn and lowly; Native Americans and blacks, both free and enslaved; the involved and observers; the young and old; and those in between. Brief narrative passages provide historical context, and information about the women as they are introduced enable readers to appreciate their relevance and significance. In the Words of Women also focuses on topics such as health, everyday life, and travel. The selections not only document existing attitudes, practices, and customs but also changes wrought by the war and independence. This book allows the voices of these women to be heard and readers to make their own inferences and judgments based on women "speaking for themselves." For more information on this topic, please visit the author's website at www.inthewordsofwomen.com.
The Brussels I Regulation, which ensures the free circulation of judgments within the EU, was recently revised; one of the main issues addressed was whether the Regulation affects the efficient resolution of international commercial disputes through arbitration within the Union. This book provides an in depth examination of the interface between the Regulation and international commercial arbitration. The author demonstrates that the consequences of this interface can encourage the use of delaying tactics, hampering the efficient resolution of international disputes.
Writing, for Michael Snow, is as much a form of “art-making” as the broad range of visual art activities for which he is renowned, including the “Walking Woman” series and the film Wavelength. Conversely, many of the texts included in this anthology are as significant visually as they are at the level of content — they are meant to be looked at as well as read. Situated somewhere between a repository of contemporary thought by one of our leading Canadian artists and a history book as it brings to light some important moments in the cultural life of Canada since the 1950s, these texts tell their own story, marking the passage of time, ideas and attitudes. The works included here, ranging from essays and interviews and record album cover notes to filmscripts and speeches (which, in Snow’s hands, often fall into the category of performance art), are not only “built for browsing,” they offer insights into both the professional and the private Snow. Together, they expand the context of Snow’s work and show the evolution of a great Canadian artist, beginning with his early attempts at defining art, to his emergence and recognition on the international art scene. This book is one of four books that are part of the Michael Snow Project. Initiated by the Art Gallery of Ontario and The Power Plant Gallery, the project also includes four exhibitions of his visual art and music.
Appropriating Shakespeare: A Cultural History of Pyramus and Thisbe argues that the vibrant, transformative history of Shakespeare’s play-within-a-play from A Midsummer Night’s Dream across four centuries allows us to see the way in which Shakespeare is used to both create and critique emergent cultural trends. Because of its careful distinction between “good” and “bad” art, Pyramus and Thisbe’s playful meditation on the foolishness of over-reaching theatrical ambition is repeatedly appropriated by artists seeking to parody contemporary aesthetics, resulting in an ongoing assessment of Shakespeare’s value to the time. Beginning with the play’s own creation as an appropriation of Ovid, designed to keep the rowdy clown in check, Appropriating Shakespeare is a wide-ranging study that charts Pyramus and Thisbe’s own metamorphosis through opera, novel, television, and, of course, theatre. This unique history illustrates Pyramus and Thisbe’s ability to attract like-minded, experimental, genre-bending artists who use the text as a means of exploring the value of their own individual craft. Ultimately, what this history reveals is that, in excerpt, Pyramus and Thisbe affirms the place of artist as both consumer and producer of Shakespeare.
In Sacred Groves and Ravaged Gardens, Louise Westling explores how the complex, difficult roles of women in southern culture shaped the literary worlds of Eudora Welty, Carson McCullers, and Flannery O'Connor. Tracing the cultural heritage of the South, Westling shows how southern women reacted to the violent, false world created by their men--a world in which women came to be shrouded as icons of purity in atonement for the sins of men. Exposing the actual conditions of women's lives, creating assertive protagonists who resist or revise conventional roles, and exploring rich matriarchal traditions and connections to symbolic landscapes Welty, McCullers, and O'Connor created a body of fiction that enriches and complements the patriarchal version of southern life presented in the works of William Faulkner, John Crowe Ransom, Allen Tate, and William Styron.
In this title, originally published in 1950, the author has set out to give a description and a critical assessment of the most important (not necessarily the most famous) Utopian writings since Plato first gave, in his Republic, a literary form to the dreams of a Golden Age and of ideal societies which had doubtless been haunting man since the beginning of the conscious discussion of social problems. It is more than a mere compilation and criticism of Utopias, it brings out in a striking way the close and fateful relationship between Utopian thought and social reality, and takes its place among the important books which had appeared in the previous few years, warning us, from various points of view, of the doom that awaits those who are foolish enough to put their trust in an ordered and regimented world.
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