In the first book-length study of the well-respected and popular British writer Elizabeth Hamilton, Claire Grogan addresses a significant gap in scholarship that enlarges and complicates critical understanding of the Romantic woman writer. From 1797 to 1818, Hamilton published in a wide range of genres, including novels, satires, historical and educational treatises, and historical biography. Because she wrote from a politically centrist position during a revolutionary age, Grogan suggests, Hamilton has been neglected in favor of authors who fit within the Jacobin/anti-Jacobin framework used to situate women writers of the period. Grogan draws attention to the inadequacies of the Jacobin/anti-Jacobin binary for understanding writers like Hamilton, arguing that Hamilton and other women writers engaged with and debated the issues of the day in more veiled ways. For example, while Hamilton did not argue for sexual emancipation à la Mary Wollstonecraft and Mary Hays, she asserted her rights in other ways. Hamilton’s most radical advance, Grogan shows, was in her deployment of genre, whether she was mixing genres, creating new generic medleys, or assuming competence in a hitherto male-dominated genre. With Hamilton serving as her case study, Grogan persuasively argues for new strategies to uncover the means by which women writers participated in the revolutionary debate.
The Oxford History of the Novel in English is a 12-volume series presenting a comprehensive, global, and up-to-date history of English-language prose fiction and written by a large, international team of scholars. The series is concerned with novels as a whole, not just the ‘literary’ novel, and each volume includes chapters on the processes of production, distribution, and reception, and on popular fiction and the fictional sub-genres, as well as outlining the work of major novelists, movements, traditions, and tendencies.
Volume 2 examines the period from1750-1820, which was a crucial period in the development of the novel in English. Not only was it the time of Smollett, Sterne, Austen, and Scott, but it also saw the establishment and definition of the novel as we know it, as well as the emergence of a number of subgenres, several of which remain to this day. Conventionally however, it has been one of the least studied areas-seen as a falling off from the heyday of Richardson and Fielding, or merely a prelude to the great Victorian novelists. This volume takes full advantage of recent major advances in scholarly bibliography, new critical assessments, and the fresh availability of long-neglected fictional works, to offer a new mapping and appraisal. The opening section, as well as some remarkable later chapters, consider historical conditions underlying the production, circulation, and reception of fiction during these seventy years, a period itself marked by a rapid growth in output and expansion in readership. Other chapters cover the principal forms, movements, and literary themes of the period, with individual contributions on the four major novelists (named above), seen in historical context, as well as others on adjacent fields such as the shorter tale, magazine fiction, children’s literature, and drama. The volume also views the novel in the light of other major institutions of modern literary culture, including book reviewing and the reprint trade, all of which played a part in advancing a sense of the novel as a defining feature of the British cultural landscape. A focus on ‘global’ literature and imported fiction in two concluding chapters in turn reflects a broader concern for transnational literary studies in general.
From living in a tin-roofed shack north of Dar-es-Salaam to becoming Baroness Park of Monmouth, Daphne Park led a most unusual life one that consisted of a lifelong love affair with the world of Britain’s secret services. In the 1970s, she was appointed to Secret Intelligence Service’s most senior operational rank as one of its seven Area Controllers an extraordinary achievement for a woman working within this most male-dominated and secretive of organizations.
In Queen of Spies, Paddy Hayes recounts the fascinating story of the evolution of the British Secret Intelligence Service (SIS) from World War II to the Cold War through the eyes of Daphne Park, one of its outstanding and most unusual operatives. He provides the reader with one of the most intimate narratives yet of how the modern SIS actually went about its business whether in Moscow, Hanoi, or the Congo, and shows how Park was able to rise through the ranks of a field that had been comprised almost entirely of men.
Queen of Spiescaptures all the paranoia, isolation, deception of Cold War intelligence work, and combines it with the personal story of one extraordinary woman trying to navigate this secretive world. Hayes unveils all that it may be possible to know about the life of one of Britain’s most celebrated spies.”
This new and absorbing encyclopedia is the definitive work on the story of Manchester United. With all the facts and figures, league tables, over 130,000 words of text and more than 400 photographs throughout, it provides the most comprehensive and authoritative overview of the club. Including a season-by-season look at United’s progress, with special features on the Reds’ trophy-winning campaigns, this book tells the complete story of the Red Devils. Of special value is a section profiling all the club’s most significant players throughout its history.
With timecharts, easy-to-follow design features and many other special entries, this book is an essential purchase for any fan.
Conor Broekhart was born to fly.
It is the 1890s, and Conor and his family live on the sovereign Saltee Islands, off the Irish coast. Conor spends his days studying the science of flight with his tutor and exploring the castle with the king’s daughter, Princess Isabella. But the boy’s idyllic life changes forever the day he discovers a deadly conspiracy against the king. When Conor intervenes, he is branded a traitor and thrown into jail on the prison island of Little Saltee. There, he has to fight for his life, as he and the other prisoners are forced to mine for diamonds in inhumane conditions.
There is only one way to escape Little Saltee, and that is to fly. So Conor passes the solitary months by scratching drawings of flying machines into the prison walls. The months turn into years, but eventually the day comes when Conor must find the courage to trust his revolutionary designs and take to the skies.
A fictionalised account of the Kaiser Wilhelm’s last years in Nazi-occupied Holland.It is 1940 and the exiled Kaiser is living in Holland, at his palace Huis Doorn.The old German king spends his days chopping logs and musing on what might have been.When the Nazis invade Holland, the Kaiser’s Dutch staff are replaced by SS guards, led by young, eager Untersturmfuhrer Krebbs, and an unlikely relationship develops between the king and his keeper. While they agree on the rightfulness of German expansion and on holding the country’s Jewish population accountable for all ills, they disagree on the solutions. Krebbs’s growing attraction and love affair with Akki, a Jewish maid in the house, further undermines his belief in Nazism. But as the tides of war roll around them, all three find themselves increasingly compromised and gravely at risk.This subtle, tender novel borrows heavily from real history and events, but remains a work of superlative, literary fiction.Through Judd’s depiction of the Lear-like Kaiser and the softening of brutal Krebbs, the novel draws unique parallels between Germany at the turn of the 20th century and Hitler’s Germany.
The first of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of ‘little magazines’ which were so instrumental in introducing the new writing and ideas that came to constitute literary and artistic modernism in the UK and Ireland. In thirty-seven chapters covering over eighty magazines expert contributors investigate the inner dynamics and economic and intellectual conditions that governed the life of these fugitive but vibrant publications. We learn of the role of editors and sponsors, the relation of the arts to contemporary philosophy and politics, the effects of war and economic depression and of the survival in hard times of radical ideas and a belief in innovation. The chapters are arranged according to historical themes with accompanying contextual introductions, and include studies of the New Age, Blast, the Egoist and the Criterion, New Writing, New Verse , and Scrutiny as well as of lesser known magazines such as the Evergreen, Coterie, the Bermondsey Book, the Mask, Welsh Review, the Modern Scot, and the Bell. To return to the pages of these magazines returns us a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.
In this study, Charles Fanning has written the first general account of the origins and development of a literary tradition among American writers of Irish birth or background who have explored the Irish immigrant or ethnic experience in works of fiction. The result is a portrait of the evolving fictional self-consciousness of an immigrant group over a span of 250 years.
Fanning traces the roots of Irish-American writing back to the eighteenth century and carries it forward through the traumatic years of the Famine to the present time with an intensely productive period in the twentieth century beginning with James T. Farrell. Later writers treated in depth include Edwin O’Connor, Elizabeth Cullinan, Maureen Howard, and William Kennedy. Along the way he places in the historical record many all but forgotten writers, including the prolific Mary Ann Sadlier. The Irish Voice in America is not only a highly readable contribution to American literary history but also a valuable reference to many writers and their works.
For this second edition, Fanning has added a chapter that covers the fiction of the past decade. He argues that contemporary writers continue to draw on Ireland as a source and are important chroniclers of the modern American experience.
DNCJ is a comprehensive representation of diverse facets of the industry provides a snapshot of the press, from journalist to reader. Its 1630 entries, contributed by an international team of experts and researchers,
reflect the full range of the press, including art, children, illustration, literature, religion, sports, politics, local and regional titles, satire, and trade journals. DNCJ includes newspapers and periodicals in England, Ireland, Scotland and Wales.
DNCJ contains entries on journals, journalists, illustrators, editors, publishers, proprietors, printers, and topics such as advertising, frequency of publication, magazine day, printing presses, readership, social science and the press, and war and journalism. It has been shaped by the editors and a team of thirteen associate editors in
collaboration with the research community. Authoritative new research, extensive indexes, a wide-ranging bibliography and a chronology enhance the coverage of this burgeoning field.
A co-edition with The British Library