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A poem is presented.

The younger was a Movement fonnalist and a curmudgeonly, often sardonic, yet politely suited, bespectacled, and clean-shaven stay-at-home-though also poly-amorous (while horrified of marriage)-a drinker, a smoker, and a jazz lover, with what he himself described as the shape of a \"pregnant salmon\" (Larkin, Selected Letters 671). Motion 43-44), and-rather notoriously, as often reported in newspapers- purchased a Lawrence tee-shirt which he took to wearing while mowing the lawn of his house in Hull.1 Like Lawrence, Larkin was also an acolyte of Thomas Hardy, a novelist-poet who helped ground the imaginations of both these novelist-poet descendants (for Larkin was also an aspiring novelist) in quotidian reality.2 Railroads and factories, shops and beachside resorts, miners and the middle classes-these are among the quotidian topics on which both writers brooded in plain-spoken richly specific texts, many anchored in comparable provincial backgrounds, though Lawrence's was working-class, Larkin's more genteel. If we juxtapose it with the dark coupling that concludes \"Bavarian Gentians,\" in its determinedly anti-mythic stance this aubade also signals not only a repudiation of Lawrence's longed-for \"mar- riage of the living dark\" but also a parting of Pluto from Persephone, wintry death from the dream of spring. The early ballad 'The North Ship,''for instance, picks up on the haunting image of the ship of death to evoke a special bark of desolation that veers away from its life-laden companions to fare \"wide and far / Into an unforgiving sea\" and is \"rigged for a long journey.\"

\"A glorious survey of food writing from the classical world to the present, \"--NoveList.

When it was published in 1979, Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imaginationwas hailed as a pathbreaking work of criticism, changing the way future scholars would read Jane Austen, Mary Shelley, the Brontës, George Eliot, and Emily Dickinson. This thirtieth-anniversary collection adds both valuable reassessments and new readings and analyses inspired by Gilbert and Gubar's approach. It includes work by established and up-and-coming scholars, as well as retrospective accounts of the ways in which The Madwoman in the Attic has influenced teaching, feminist activism, and the lives of women in academia. These contributions represent both the diversity of today's feminist criticism and the tremendous expansion of the nineteenth-century canon. The authors take as their subjects specific nineteenth- and twentieth-century women writers, the state of feminist theory and pedagogy, genre studies, film, race, and postcolonialism, with approaches ranging from ecofeminism to psychoanalysis. And although each essay opens Madwoman to a different page, all provocatively circle back—with admiration and respect, objections and challenges, questions and arguments—to Gilbert and Gubar's groundbreaking work. The essays are as diverse as they are provocative. Susan Fraiman describes how Madwoman opened the canon, politicized critical practice, and challenged compulsory heterosexuality, while Marlene Tromp tells how it elegantly embodied many concerns central to second-wave feminism. Other chapters consider Madwoman's impact on Milton studies, on cinematic adaptations of Wuthering Heights, and on reassessments of Ann Radcliffe as one of the book's suppressed foremothers. In the thirty years since its publication, The Madwoman in the Attic has potently informed literary criticism of women's writing: its strategic analyses of canonical works and its insights into the interconnections between social environment and human creativity have been absorbed by contemporary critical practices. These essays constitute substantive interventions into established debates and ongoing questions among scholars concerned with defining third-wave feminism, showing that, as a feminist symbol, the raging madwoman still has the power to disrupt conventional ideas about gender, myth, sexuality, and the literary imagination.