This 1958 book forms the second part of a two-volume edition of Keats's letters, covering 1819 to 1821.

'The story of Coleridge's life does undoubtedly echo that of his poem; this is a book that provides rewarding rereadings of both' - The Sunday Times A new biography of Samuel Taylor Coleridge, shaped and structured around the story he himself tells in his most famous poem, 'The Rime of the Ancient Mariner'. Though the 'Mariner' was written in 1797 when Coleridge was only twenty-five, it was an astonishingly prescient poem. As Coleridge himself came to realise much later, this tale - of a journey that starts in high hopes and good spirits, but leads to a profound encounter with human fallibility, darkness, alienation, loneliness and dread, before coming home to a renewal of faith and vocation - was to be the shape of his own life. In this rich new biography, academic, priest and poet Malcolm Guite draws out how with an uncanny clarity, image after image and event after event in the poem became emblems of what Coleridge was later to suffer and discover. Of course 'The Rime of the Ancient Mariner' is more than just an individual's story: it is also a profound exploration of the human condition and, as Coleridge says in his gloss, our 'loneliness and fixedness'. But the poem also offers hope, release, and recovery; and Guite also draws out the continuing relevance of Coleridge's life and writing to our own time. 'Forcefully and convincingly argued' - The Telegraph

The premise of Chittick's study is that the national discourse found in British periodical literature of 1802-30 is crucial to an understanding of the literary language of the era.

"From the sounds of West Central African harps to the sounds of the European J. S. Bach revival, Creatures of the Air is a nineteenth-century music history told as a history of the art's elemental media system, air. Air is here understood as a human domain and music as an art of that domain, as such embedded in histories of environmental and colonial struggle around a thickened consciousness of the air and of breathing itself. The narrative moves across malarial equatorial climates and polluted industrial ones; the loss and recovery of the human voice in hazardous environmental conditions; scenes of suffocation and breathing mirrored in the creation and performance of Mendelssohn's enormous Elijah oratorio. No longer just an innocent luxury, by its claim to invisibility music is shown to be implicated in the struggle for control over air as a most precious natural resource. What emerges is a complex political ecology where differentiated musical systems combined, struggled against, and co-constituted one another in the course of the global nineteenth century and beyond"--

How the role of the philosopher has changed over time and across cultures—and what it reveals about philosophy today What would the global history of philosophy look like if it were told not as a story of ideas but as a series of job descriptions—ones that might have been used to fill the position of philosopher at different times and places over the past 2,500 years? The Philosopher does just that, providing a new way of looking at the history of philosophy by bringing to life six kinds of figures who have occupied the role of philosopher in a wide range of societies around the world over the millennia—the Natural Philosopher, the Sage, the Gadfly, the Ascetic, the Mandarin, and the Courtier. The result is at once an unconventional introduction to the global history of philosophy and an original exploration of what philosophy has been—and perhaps could be again. By uncovering forgotten or neglected philosophical job descriptions, the book reveals that philosophy is a universal activity, much broader—and more gender inclusive—than we normally think today. In doing so, The Philosopher challenges us to reconsider our idea of what philosophers can do and what counts as philosophy.

Shortlisted for the James Tait Black Prize An electrifying, revelatory new biography of D. H. Lawrence, with a focus on his difficult middle years “Never trust the teller,” wrote D. H. Lawrence, “trust the tale.” Everyone who knew him told stories about Lawrence, and Lawrence told stories about everyone he knew. He also told stories about himself, again and again: a pioneer of autofiction, no writer before Lawrence had made so permeable the border between life and literature. In Burning Man: The Trials of D. H. Lawrence, acclaimed biographer Frances Wilson tells a new story about the author, focusing on his decade of superhuman writing and travel between 1915, when The Rainbow was suppressed following an obscenity trial, and 1925, when he was diagnosed with tuberculosis. Taking after Lawrence’s own literary model, Dante, and adopting the structure of The Divine Comedy, Burning Man is a distinctly Lawrentian book, one that pursues Lawrence around the globe and reflects his life of wild allegory. Eschewing the confines of traditional biography, it offers a triptych of lesser-known episodes drawn from lesser-known sources, including tales of Lawrence as told by his friends in letters, memoirs, and diaries. Focusing on three turning points in Lawrence’s pilgrimage (his crises in Cornwall, Italy, and New Mexico) and three central adversaries—his wife, Frieda; the writer Maurice Magnus; and his patron, Mabel Dodge Luhan—Wilson uncovers a lesser-known Lawrence, both as a writer and as a man. Strikingly original, superbly researched, and always revelatory, Burning Man is a marvel of iconoclastic biography. With flair and focus, Wilson unleashes a distinct perspective on one of history’s most beloved and infamous writers.

Taking its cue from Jacques Derrida’s concept of le mal d’archive, this study explores the interrelations between the experience of loss, melancholia, archives and their (self-)destructive tendencies, surfacing in different forms of spectrality, in selected poetry of British Romanticism. It argues that the British Romantics were highly influenced by the period’s archival fever – manifesting itself in various historical, material, technological and cultural aspects – and (implicitly) reflected and engaged with these discourses and materialities/medialities in their works. This is scrutinized by focusing on two basal, closely related facets: the subject’s feverish desire to archive and the archive’s (self-)destructive tendencies, which may also surface in an ambivalent, melancholic relishing in the archived object’s presence within its absence. Through this new theoretical perspective, details and coherence previously gone unnoticed shall be laid bare, ultimately contributing to a new and more profound understanding of British Romanticism(s). It will be shown that the various discursive and material manifestations of archives and archival practices not only echo the period’s technological-cultural and historical developments along with its incisive experiencing of loss, but also fundamentally determine Romantic subjectivity and aesthetics.

A Financial Times most anticipated read for 2024 'A fascinating, erudite and entertaining journey through the gut-brain connection' TIFFANY WATT SMITH, author of The Book of Human Emotions 'A thrilling and surprising journey into the science and culture of an organ that refuses to be civilised' PAUL CRADDOCK, author of Spare Parts Have you ever had a gut feeling? Found something hard to stomach? Have you gone belly up under pressure? Did you pull yourself together and show some guts? The growls and gurgles of our digestive system are a constant reminder of the physical work it does to keep our bodies running. But throughout history, humans have puzzled over how this rowdy organ might influence us in other ways, from our emotional states and mental well-being to the decisions we make and even our sense of self. Through Ancient Greece and Victorian England, eighteenth-century France and contemporary America, cultural historian Elsa Richardson leads us on a lively tour of all the ways we've tried to make sense of this endlessly fascinating (and sometimes embarrassing) body part. From etiquette guides and diet advice to medieval alchemy and microbiology, she reveals that the gut-brain connection may be a modern obsession, but the question of whether we are ruled by our stomachs is as old as humanity itself.

Every literary household in nineteenth-century Britain had a commonplace book, scrapbook, or album. Coleridge called his collection "Fly-Catchers", while George Eliot referred to one of her commonplace books as a "Quarry," and Michael Faraday kept quotations in his "Philosophical Miscellany." Nevertheless, the nineteenth-century commonplace book, along with associated traditions like the scrapbook and album, remain under-studied. This book tells the story of how technological and social changes altered methods for gathering, storing, and organizing information in nineteenth-century Britain. As the commonplace book moved out of the schoolroom and into the home, it took on elements of the friendship album. At the same time, the explosion of print allowed readers to cheaply cut-and-paste extractions rather than copying out quotations by hand. Built on the evidence of over 300 manuscripts, this volume unearths the composition practices of well-known writers such as Samuel Taylor Coleridge, Sir Walter Scott, George Eliot, and Alfred Lord Tennyson, and their less well-known contemporaries. Divided into two sections, the first half of the book contends that methods for organizing knowledge developed in line with the period's dominant epistemic frameworks, while the second half argues that commonplace books helped Romantics and Victorians organize people. Chapters focus on prominent organizational methods in nineteenth-century commonplacing, often attached to an associated epistemic virtue: diaristic forms and the imagination (Chapter Two); "real time" entries signalling objectivity (Chapter Three); antiquarian remnants, serving as empirical evidence for historical arguments (Chapter Four); communally produced commonplace books that attest to socially constructed knowledge (Chapter Five); and blank spaces in commonplace books of mourning (Chapter Six). Richly illustrated, this book brings an archive of commonplace books, scrapbooks, and albums to the reader.

Timeless and contemplative sayings from the earliest Christian sages of desert spirituality can be a companion on your own spiritual journey. The desert fathers and mothers were ordinary Christians living in solitude in the deserts of Egypt, Palestine, Syria and Arabia who chose to renounce the world in order to deliberately and individually follow God's call. They embraced lives of celibacy, labor, fasting, prayer and poverty, believing that denouncing material goods and practicing stoic self-discipline would lead to unity with the Divine. Their spiritual practice formed the basis of Western monasticism and greatly influenced both Western and Eastern Christianity. Their writings, first recorded in the fourth century, consist of spiritual advice, parables and anecdotes emphasizing the primacy of love and the purity of heart. Focusing on key themes of charity, fortitude, lust, patience, prayer and self-control, the Sayings influenced the rule of St. Benedict and have inspired centuries of opera, poetry and art. This probing and personal SkyLight Illuminations edition opens up their wisdom for readers with no previous knowledge of Western monasticism and early Christianity. It provides insightful yet unobtrusive commentary that describes historical background, explains the practice of asceticism and illustrates how you can use their wisdom to energize your spiritual quest.