A fresh look at how literary and visual portraiture in the Romantic era embodied a newly commercial culture

Gemstones is the first attempt in English to bring together the geological, mineralogical and gemmological developments that have taken place during the last thirty years. Though there have been many gemstone books published in that time, most have been concerned, understandably and rightly, with the science of gem testing and have covered that area very well. Details of the geological occurrence of many of the classic gemstones, and of nearly all those which have only recently been discovered, have been less adequately dealt with. Coverage has been restricted to a number of papers in a wide variety of geological and mineralogical journals. Gemstones hopes to get the balance right. In the preparation of the book all the journals and monographs in the field have been consulted so that the book should stand for some years as the authority to which gemmologists and others turn in the first instance. Ease of reference and depth of coverage make Gemstones both a reference book and a bench book. Acknow ledgements I am grateful to Brian Jackson of the Department of Geology, Royal Museums of Scotland who read the manuscript and painstakingly indicated places where amendment or alteration was needed. I am also grateful to the publishers of the books on which the line illustrations are based. The colour plates present in the book derive from a number of sources, which I would like to acknowledge as follows. Plates 1, 4-15 and 17 Crown copyright reserved.

Sick and tired of Halloween? Me too A brief series of rants about Halloween, the most frightening day of the year, or so they say. I don’t get too excited about it and am far from its biggest fan – in Not So Spooky, you’ll discover why. These days, Halloween is a celebration of all things chilling and macabre. It shines the spotlight on people, creatures and beings that instil terror and leave you petrified. Though it sounds thrilling, there are many aspects of it that I’m sick and tired of. Costumes that don’t fit the theme and money-grubbing companies bleeding us dry are just two things I hate about Halloween. After all my venting, there is a final piece in which I speak more positively about the day and what it brings. Do you see no good in Halloween? Is it more of a nightmare than anything? If you’re after a truthful collection of opinions about the day that celebrates horror, you’ll like Not So Spooky. Buy now and read my thoughts on Halloween. You may find some of them surprising, or not.

A penetrating literary and philosophical examination of major figures in the development of American intellectual culture, from Emerson to Santayana

Making Stars provides multiple perspectives on the simultaneous emergence of modern forms of life writing and celebrity culture in eighteenth-century Britain. Crossing multiple genres and media, contributors reveal the complex and varied ways in which these modern ways of thinking about individual identity mutually conditioned their emergence during this formative period.

Between the 1890s and the 1920s, mass consumer culture and modernism grew up together, by most accounts as mutual antagonists. This provocative work of cultural history tells a different story. By delving deeply into the publishing and promotional practices of the modernists in Britain and America, however, Mark Morrisson reveals that their engagements with the commercial mass market were in fact extensive and diverse. The phenomenal successes of new advertising agencies and mass market publishers did elicit what Morrisson calls a "crisis of publicity" for some modernists and for many concerned citizens in both countries. But, as Morrisson demonstrates, the vast influence of these industries on consumers also had a profound and largely overlooked effect upon many modernist authors, artists, and others. By exploring the publicity and audience reception of several of the most important modernist magazines of the period, The Public Face of Modernism shows how modernists, far from lamenting the destruction of meaningful art and public culture by the new mass market, actually displayed optimism about the power of mass-market technologies and strategies to transform and rejuvenate contemporary culture--and, above all, to restore a public function to art. This reconstruction of the "public face of modernism" offers surprising new perceptions about the class, gender, racial, and even generational tensions within the public culture of the early part of the century, and provides a rare insight into the actual audiences for modernist magazines of the period. Moreover, in new readings of works by James Joyce, George Bernard Shaw, Wyndham Lewis, Ford Madox Ford, T. S. Eliot, William Carlos Williams, and many others, Morrisson shows that these contexts also had an impact on the techniques and concerns of the literature itself.