Takamura Kotaro (1883-1956) drew on his studies in New York, London, and Paris to lay the foundations in Japan for Western-style Japanese sculpture through his intricate wood carvings and powerful bronzes. But Takamura also composed poems infused with startling energy, directness, and narrative clarity. Among the first to use the vernacular masterfully in verse, he has long been recognized as one of Japan's premier modern poets. Takamura thus stood in the confluence of two artistic currents, both shaping and being shaped by them. His personal experiences, from exultation to tragedy, found expression through this dynamic. Hiroaki Sato now captures a lucid picture of Takamura's eloquent struggle with art and with life. Originally published in 1980 as Chieko and Other Poems, this expanded volume includes a new introduction and a new selection of Takamura's essays on art and other subjects. The poetry included here is divided into three parts: "The Journey" represents a chronology of the poet's life; "Chieko" is a selection of poems about Takamura's wife which describes his devotion to her for more than thirty years through courtship and marriage, during her illness and insanity, and continuing after her death; and "A Brief History of Imbecility" is a sequence of twenty autobiographical poems composed in 1947. The essays, appearing in English for the first time, offer a more complete understanding of Takamura's relationship to art, his complex experience of Paris, and his views on beauty and creativity. Included here are "The Latter Half of Chieko's Life," a moving prose complement to the Chieko poems, and "A Last Glance at the Third Ministry of Education Art Exhibition," a scathing review of the modern art world, the first of its kind in Japan.

This book is about the life and work of David Milch, the writer who created NYPD Blue, Deadwood and a number of other important US television dramas. It provides a detailed account of Milch's journey from academia to the heights of the television industry, locating him within the traditions of achievement in American literature over the past in order to evaluate his contribution to fiction writing. It also draws on behind-the-scenes materials to analyse the significance of NYPD Blue, Deadwood, John From Cincinatti and Luck. Contributing to academic debates in film, television and literary studies on authorship, the book will be of interest to fans of Milch's work, as well as those engaged with the intersection between literature and popular television.

This book explores the understudied history of the so-called ‘incurables’ in the Victorian period, the people identified as idiots, imbeciles and the weak-minded, as opposed to those thought to have curable conditions. It focuses on Caterham, England’s first state imbecile asylum, and analyses its founding, purpose, character, and most importantly, its residents, innovatively recreating the biographies of these people. Created to relieve pressure on London’s overcrowded workhouses, Caterham opened in September 1870. It was originally intended as a long-stay institution for the chronic and incurable insane paupers of the metropolis, more commonly referred to as idiots and imbeciles. This purpose instantly differentiates Caterham from the more familiar, and more researched, lunatic asylums, which were predicated on the notion of cure and restoration of the senses. Indeed Caterham, built following the welfare and sanitary reforms of the late 1860s, was an important feature of the Victorian institutional landscape, and it represented a shift in social, medical and political responsibility towards the care and management of idiot and imbecile paupers.