This is a book, my dear Turner, which I had in my heart to write for many years. The thought of it came to me with that other thought that I was growing—rather, grown—old; that the curtain had definitely been rung down on all the days of my youth. And so I got into the way of looking back, of recalling the far gone times and suns of the 'seventies and early 'eighties when the scene of my life was being set. I made up my mind that I would write about it all—some day. Some day would undoubtedly have been Never; if it had not been for you. I had not spoken of the projected book to you or anyone else; but one fine morning in 1915 you ordered me to write it! You were then, you will remember, editing the London Evening News, and as a reporter on your staff I had nothing to do but to obey. The book was written, appeared in the paper as "The Confessions of a Literary Man," and now reappears as "Far Off Things." So far, good. I enjoyed writing the book enormously; and, I frankly confess, I enjoy reading it. In a word, I am not grumbling. But there is one little point that I do not mean to neglect. My complacent views as to "Far Off Things" may not be shared by other and, possibly, more competent judges. And what I want to impress on you is this: that if there is to be trouble, "you are going to have your share of it." You ordered the book to be written, you printed it in your paper, you have urged me to reprint it, not once or twice, but again and again.
Lord Dunsany was one of the most influential fantasy authors of the twentieth century. Like J. R. R. Tolkien and C. S. Lewis he served during the great war. Collected here are thirteen stories of that terrible war. Dunsany saw the horrors of war and he was uniquely qualified to capture the experience in prose. "I have chosen a title that shall show that I make no claim for this book to be "up-to-date." As the first title indicates, I hoped to show, to as many as might to read my words, something of the extent of the wrongs that the people of France had suffered. There is no such need any longer. The tales, so far as they went, I gather together here for the few that seem to read my books in England." —Lord Dunsany
The Red and the Black covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches. There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study. This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.
Occultism in the Work of W. B. Yeats, Arthur Machen, Algernon Blackwood, and Dion Fortune
Author: Susan Johnston Graf
Publisher: SUNY Press
Category: Literary Criticism
Explores occultism in the writings of four authors who were members of the Hermetic Order of the Golden Dawn. Talking to the Gods explores the linkages between the imaginative literature and the occult beliefs and practices of four writers who were members of the Hermetic Order of the Golden Dawn. William Butler Yeats, Arthur Machen, Algernon Blackwood, and Dion Fortune were all members of the occult organization for various periods from 1890 to 1930. Yeats, of course, is both a canonical and well-loved poet. Machen is revered as a master of the weird tale. Blackwood’s work dealing with the supernatural was popular during the first half of the twentieth century and has been influential in the development of the fantasy genre. Fortune’s books are acknowledged as harbingers of trends in second-wave feminist spirituality. Susan Johnston Graf examines practices, beliefs, and ideas engendered within the Hermetic Order of the Golden Dawn and demonstrates how these are manifest in each author’s work, including Yeats’s major theoretical work, A Vision.
This book explores how nineteenth-century science stimulated the emergence of weird tales at the fin de siècle, and examines weird fiction by British writers who preceded and influenced H. P. Lovecraft, the most famous author of weird fiction. From laboratory experiments, thermodynamics, and Darwinian evolutionary theory to psychology, Theosophy, and the ‘new’ physics of atoms and forces, science illuminated supernatural realms with rational theories and practices. Changing scientific philosophies and questioning of traditional positivism produced new ways of knowing the world—fertile borderlands for fictional as well as real-world scientists to explore. Reading Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886) as an inaugural weird tale, the author goes on to analyse stories by Arthur Machen, Edith Nesbit, H. G. Wells, William Hope Hodgson, E. and H. Heron, and Algernon Blackwood to show how this radical fantasy mode can be scientific, and how sciences themselves were often already weird.
I have chosen a title that shall show that I make no claim for this book to be "up-to-date." As the first title indicates, I hoped to show, to as many as might to read my words, something of the extent of the wrongs that the people of France had suffered. There is no such need any longer. The tales, so far as they went, I gather together here for the few that seem to read my books in England. Dunsany.
What real role can poetry have in the world? How are its truths created by the words and sounds chosen by the poet and by the way readers respond to them? Acclaimed poet Peter Robinson brings his knowledge of poetic art to the understanding of the reader's contribution in enabling poetry to play its part in life. Emphasising the value of individual writers' and readers' interactions, together with such key matters as meter and rhythm, voicing and form, rhyme and syntax, Robinson shows how poems engage in speech performances such as promising, justifying, excusing, and explaining - including the telling of truths. Illustrated with detailed readings of poems by, among others, Jonson, Marvell, Blake, Wordsworth, Coleridge, Tennyson, Christina Rossetti, Dickinson, Kipling, Basil Bunting, Frank O'Hara, Tony Harrison, and Denise Riley, this book shows how important poetry is as a means to do things with words and make things happen.
Uncovering Wordsworth's influence on TennysonThis book explores Tennyson's poetic relationship with Wordsworth through a close analysis of Tennyson's borrowing of the earlier poet's words and phrases, an approach that positions Wordsworth in Tennyson's poetry in a more centralised way than previously recognised. Focusing on some of the most representative poems of Tennyson's career, including 'The Lady of Shalott', 'Ulysses' and In Memoriam, the study examines the echoes from Wordsworth that these poems contain and the transformative part they play in his poetry, moving beyond existing accounts of Wordsworthian influence in the selected texts to uncover new and revealing connections and interactions that shed a penetrating light on Tennyson's poetic relationship with his Romantic predecessor.Key FeaturesFirst book-length study of Tennyson's poetic relationship with WordsworthBy focusing on echoes or parallel passages, book reevaluates Tennyson's poetic relationship with Wordsworth Reveals Wordsworth as the lynchpin of Tennyson's poetryRecalibrates critical estimates of Tennyson as poet, Poet Laureate and Post-Romantic poet
A master of horror in the early 20th century, this writer covered a series of different horror topics and subjects of mystery as well. These stories are the basis of many modern horror writers as he also influenced writers of his day such as Lovecraft and drew inspiration from writers like Stoker. These stories will excite anyone that is new to his writing and those who want to revel in the glory of Machen's writings for a long time.
The top-selling novel by prolific Southern writer Augusta J. Evans, St. Elmo was more widely read in its day than Uncle Tom's Cabin. The novel traces the relationship between a charming and charismatic lothario, St. Elmo, and the beautiful and chaste Edna Earl.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
For Decadent authors, Romanticism was a source of powerful imaginative revisionism, perversion, transition, and partial negation. But for all these strong Decadent reactions against the period, the cultural phenomenon of Decadence shared with Romanticism a mutual distrust of the philosophy of utilitarianism and the aesthetics of neo-Classicism. Reflecting on the interstices between Romantic and Decadent literature, Decadent Romanticism reassesses the diverse and creative reactions of Decadent authors to Romanticism between 1780 and 1914, while also remaining alert to the prescience of the Romantic imagination to envisage its own distorted, darker, perverted, other self. Creative pairings include William Blake and his Decadent critics, the recurring figure of the sphinx in the work of Thomas De Quincey and Decadent writers, and Percy Shelley with both Mathilde Blind and Swinburne. Not surprisingly, John Keats’s works are a particular focus, in essays that explore Keats’s literary and visual legacies and his resonance for writers who considered him an icon of art for art’s sake. Crucial to this critical reassessment are the shared obsessions of Romanticism and Decadence with subjectivity, isolation, addiction, fragmentation, representation, romance, and voyeurism, as well as a poetics of desire and anxieties over the purpose of aestheticism.
Drawing on art, media, and phenomenological sources, Showing Off!: A Philosophy of Image challenges much recent thought by proposing a fundamentally positive relationship between visuality and the ethical. In philosophy, cultural studies and art, relationships between visuality and the ethical are usually theorized in negative terms, according to the dyadic logics of seeing on the one hand, and being seen, on the other. Here, agency and power are assumed to operate either on the side of those who see, or on the side of those who control the means by which people and things enter into visibility. To be seen, by contrast - when it occurs outside of those parameters of control- is to be at a disadvantage; hence, for instance, contemporary theorist Peggy Phelan's rejection of the idea, central to activist practices of the 1970's and 80's, that projects of political emancipation must be intertwined with, and are dependent on, processes of 'making oneself visible'. Acknowledgment of the vulnerability of visibility also underlies the realities of life lived within increasingly pervasive systems of imposed and self-imposed surveillance, and apparently confident public performances of visual self display. Showing Off!: A Philosophy of Image is written against the backdrop of these phenomena, positions and concerns, but asks what happens to our debates about visibility when a third term, that of 'self-showing', is brought into play. Indeed, it proposes a fundamentally positive relationship between visuality and the ethical, one primarily rooted not in acts of open and non-oppressive seeing or spectating, as might be expected, but rather in our capacity to inhabit both the risks and the possibilities of our own visible being. In other words, this book maintains that the proper site of generosity and agency within any visual encounter is located not on the side of sight, but on that of self-showing - or showing off!
Royal Asiatic Society of Great Britain and Ireland
"The Seekers" by Jessie E. Sampter. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
In 1849, renowned Russian thinker and novelist Fyodor Dostoyevsky was sentenced to execution for his subversive political beliefs. As he awaited his turn in front of the firing squad, Tsar Nicholas I sent a message commuting the writer's sentence to a period of exile in Siberia. He spent the next four years there engaged in hard labor. Dostoyevsky's gripping novel The House of the Dead is based largely on his own experiences in a Siberian labor camp.