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"Lambs Fiction."
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In like a lion out like a lamb
Describes in verse the lion that is March weather, which finally gives way to the lamb of spring.
Book
The sheepover
A photo-illustrated story of an orphan lamb, Sweet Pea, who lives on a farm in Vermont. When she becomes ill, she recovers with the help of the farmer, the vet and her farmyard friends.
Book
The Limits of Familiarity
What did Wordsworth wear, and where did he walk? Who was Byron’s new mistress, and how did his marriage fare? Answers—sometimes accurate, sometimes not—were tantalizingly at the ready in the Romantic era, when confessional poetry, romans à clef, personal essays, and gossip columns offered readers exceptional access to well-known authors. But at what point did familiarity become overfamiliarity ? Widely recognized as a social virtue, familiarity—a feeling of emotional closeness or comforting predictability—could also be dangerous, vulgar, or boring. In The Limits of Familiarity, Eckert persuasively argues that such concerns shaped literary production in the Romantic period. Bringing together reception studies, celebrity studies, and literary history to reveal how anxieties about familiarity shaped both Romanticism and conceptions of authorship, this book encourages us to reflect in our own fraught historical moment on the distinction between telling all and telling all too much.
eBook
BODIES OF SCHOLARSHIP: WITNESSING THE LIBRARY IN LATE-VICTORIAN FICTION
In one of the fictive dialogues from his 1872 book The Poet at the Breakfast-Table, Oliver Wendell Holmes Sr. dispensed advice to any scholar planning to start a private library:
I have a kind of notion of the way in which a library ought to be put together – no, I don't mean that, I mean ought to grow. . . . A scholar must shape his own shell, secrete it one might almost say, for secretion is only separation, you know, of certain elements derived from the material world about us. And a scholar's study, with books lining its walls, is his shell. It isn't a mollusk's shell, either; it's a caddice-worm's shell. (211)
Here, the scholar's library entails separation in several senses both physical and ideal. On the one hand, books form a literal carapace insulating the scholar from the outside world – and perhaps even from the distractions of home life. At the same time, the library operates by separation in the sense of discrimination. In accumulating his library, the scholar winnows a vast textual tradition into the manageable dimensions of a single room, and curriculum just enough for a singular human life. Most interesting, however, is the suggestion that the scholar “secretes” the library, as though the books are somehow synthesized from within as an expression of, and memorial to, the scholar's essential self. The caddice worm, as Holmes informs us, “has his special fancy as to what he will pick up and glue together, with a kind of natural cement he provides himself” (211). This may strike us as a crudely glandular way of envisioning the relationship between tradition and the individual talent. Nevertheless, the passage is in keeping with the late-Victorian obsession with the private library, as well as with period representations of the scholar, who is best encountered within a concealing womb of books, carrying on secret exchange with the dusty relics of his own intellectual pilgrimage.
Journal Article
Introduction: The Drift of Fiction
Drawing the trajectory from Ian Watt to critics like Michael McKeon, Nancy Armstrong, Catherine Gallagher, Deidre Lynch, and Franco Moretti, the Introduction to this special issue of The Eighteenth Century: Theory and Interpretation engages the ongoing conversation about the novel -- an entity that remains provisional, open-ended, and far from monolithic. This special issue gives us a new picture of the eighteenth-century novel not so much as a unified body, but as self-conscious permutations of fiction that drift rather than march into mixed forms of realism. For this reason, fiction—with its meaning rooted in fashioning, framing, and inventing—is a more apt term for the elastic imaginative prose narratives of eighteenth-century England than novel.
Journal Article
Historical Re-enactment, Extremity, and Passion
Lamb examines the intersections between eighteenth-century conceptions of historical engagement and the growing popularity of contemporary historical re-enactment to suggest a new direction in historiography. He notes that in a general sense these intersections are straightforward--for both Enlightenment philosophers and re-enactment enthusiasts, history seems always to renew itself by reducing the distance between the past and the present\" and this reduction is affected through a sympathetic rather than a cognitive identification.
Journal Article
Vexing Resistance, Complicating Occupation: A Contrapuntal Reading of Sahar Khalifeh's \Wild Thorns\ and David Grossman's \The Smile of the Lamb\
This article examines two novels representing the fifth year of Israeli occupation of the West Bank (1972)—\"Wild Thorns,\" written by (Palestinian) Sahar Khalifeh, and \"The Smile of the Lamb,\" written by (Israeli) David Grossman—testing the possibilities and limits of Edward Said's notion of contrapuntal reading in the Israeli/Palestinian context. While both novels address primarily their own nation, both bridle against the limits of nationalism. \"Wild Thorns\" dramatizes the diversity of struggle within Palestinian society to resist military occupation, complicating Orientalist views of Palestinian society. By contrast, \"The Smile of the Lamb\" examines the psychological and moral damage of occupation to both Palestinians and Israelis. In tracking the relationship between an Israeli soldier in moral crisis and an Arab outcast grieving the death of his son, Grossman's novel opens up the possibility of cross-national identification in ways that echo and extend Khalifeh's novel.
Journal Article
Addiction and Isolation in Frankenstein: A Case of Terminal Uniqueness
Mary Shelley‘s Frankenstein reflects both Romantic critiques of autonomy, as they have been recently defined by Nancy Yousef, and discourses of isolation and addiction as they appear in key texts by Samuel Coleridge and Charles Lamb. For Coleridge and Lamb, addiction leads to what current specialists often call ‘terminal uniqueness’, a feeling of isolation both incommunicable to others and incapable of being heard by a non-addicted audience. In its own portrayals of isolation, Frankenstein may be seen to intersect with these larger discourses of isolation, chemical dependence, and what Anya Taylor calls ‘the empty self ’ of Romantic addiction.
Journal Article