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John and George Keats—Man of Genius and Man of Power, to use John's words—embodied sibling forms of the phenomenon we call Romanticism. George's 1818 move to the western frontier of the United States, an imaginative leap across four thousand miles onto the tabula rasa of the American dream, created in John an abysm of alienation and loneliness that would inspire the poet's most plangent and sublime poetry. Denise Gigante's account of this emigration places John's life and work in a transatlantic context that has eluded his previous biographers, while revealing the emotional turmoil at the heart of some of the most lasting verse in English. In most accounts of John's life, George plays a small role. He is often depicted as a scoundrel who left his brother destitute and dying to pursue his own fortune in America. But as Gigante shows, George ventured into a land of prairie fires, flat-bottomed riverboats, wildcats, and bears in part to save his brothers, John and Tom, from financial ruin. There was a vital bond between the brothers, evident in John's letters to his brother and sister-in-law, Georgina, in Louisville, Kentucky, which run to thousands of words and detail his thoughts about the nature of poetry, the human condition, and the soul. Gigante demonstrates that John's 1819 Odes and Hyperion fragments emerged from his profound grief following George's departure and Tom's death—and that we owe these great works of English Romanticism in part to the deep, lasting fraternal friendship that Gigante reveals in these pages.

Created with doctor and artist Emma Collins, the book features illustrations by Emma who used the transcripts of my conversations with the patients to create intricate and intimate art works made of fabric and thread that give voice to the patients and capture their fragility and memories (figure).Kelvin Corcoran is the author of 16 books of poetry, including most recently Facing West (2017) and the Medicine Unboxed commissioned Not Much To Say Really (2017).The sequence “Helen Mania” was a Poetry Book Society choice and the poem “At the Hospital Doors” was highly commended by the Forward Prize, 2017.

The second paragraph deals with children born or conceived before the verdict: if they do not go with the condemned to the place of exile, or if they leave it later, then parental rights over them are terminated.To Apollo and Evelina, that choice would have meant giving up their parental rights to the very family that had opposed and long delayed their marriage because they judged Apollo to be an ineligible, incompetent fantast.Deletion has left a large gap in subsequent Conrad studies, but it has facilitated the presentation of Evelina and Apollo to posterity in the simplest patriotic terms.[...]Evelina, according to Thaddeus, \"always succeeded in fulfilling the role imposed by the duties of a wife, a mother and citizen, sharing her husband's exile and worthily representing the ideal of Polish womanhood.Helping to move his mother's wasting but still feminine body, in the intimacy of the confined space necessary to conserve warmth in the brutal climate, would have had a profound effect on the seven-year-old boy.

Wilfred Owen (1893–1918) is highly regarded, particularly for his poems about World War I. He also wrote little-known poetical versions of H.C. Andersen’s fairy tales— Little Claus and Big Claus and The Little Mermaid . These poems are investigated, particularly for the strategies Owen adopted for dealing with some of the problematic issues raised by Andersen's original tales.

Who's next' Some of these deaths were more or less expected. Since I'm the youngest by far of seven children, it's not surprising I would oudive my siblings, and my oldest sisters, Rosie and Carlotta, were both in their upper eighties when they passed on. On one journey, when I reached Tennessee to find my sister Joan much sicker than I'd known - she died three weeks later - I was still abuzz over a bird I'd seen two days earlier on a pelagic trip out of North Carolina: Swinhoe's Storm-petrel, the first North American record and a species not even on my wish list. When my brother died, I scrambled to catch a flight, attended wakes and a funeral, delivered a eulogy, went to an Irish pub with his son, caught an early morning flight back home, and then spent the rest of the day looking for target birds to raise funds for our Cape Ann Birdathon team. No doubt there's a reasonable explanation - climate change or range expansion - but in earlier times their unseasonable appearance would have been an ill omen, a warning that death was close.

This dissertation defines and analyzes the primary attributes of a new sub-genre of contemporary fiction: the Henry James novelization. Novels by Colm Tóibín, Cynthia Ozick and Alan Hollinghurst, among dozens of others, turn James into a fictional protagonist, while drawing upon his distinctive literary style, treatment of human psychology, and personal history. James as represented in these fictions is secretive, cripplingly self-aware and obsessed with others' opinions. Above all, he is preoccupied with controlling narratives. Because these works combine biographical and thematic approaches, the Jamesian author-protagonist displays aspects of James's own life, while sharing attributes of his own fictional creations. Thus a principal character type in these works is the addictive personality, as authors like Tóibín invoke the history of alcoholism in the James family, as well as the manipulative yet self-divided creations for which James was famous. The Introduction traces the literary representation of historical authors from the Greek epic through the postmodern novel and explains why Henry James is such an attractive subject for novelization. Chapter One discusses Colm Tóibín's The Master, which represents James gathering material for The Golden Bowl and other late novels. Both Tóibín's James and James's Maggie Verver display personalities that bear the imprint of family pathology, specifically, alcoholism and abuse, and both inhabit communities where moral culpability becomes difficult to assign. Chapter Two treats Cynthia Ozick's \"Dictation,\" a novel about the composition of The Jolly Corner which portrays the Jamesian author as one among various technologies of writing. As James loses control over his narrative, The Jolly Corner becomes a trauma dream in which Spencer Brydon uncannily prefigures the alcoholic in recovery. In Chapter Three, Alan Hollinghurst replaces James with a flawed stand-in, shifting the focus to James's legacy and the state of humanities study today: Nick Guest is engaged in writing a dissertation on James and a screenplay adaptation of The Spoils of Poynton. At the end of The Line of Beauty, Nick Guest has learned the lesson taught by all these novelizations: that James's texts remain deeply, urgently relevant.

November can feel like a mournful time, but there are pleasures in its gray solitude.