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In Byron's Ghosts British and American scholars join together to overturn some of the prevailing assumptions that romance scholars have made about Byron, offering a fresh new reading of his poetry. Informed by recent critical theory focused on spectrality, they look at ghosts in his work, both in the conventional sense—what Mary Shelley once described as the “true, old-fashioned, foretelling, flitting, gliding ghost”—and in a postmodern sense, one concerned with a range of phantom effects. Balancing attention on these diverse concepts of the ghost, their essays complicate the popular images of Byron as a materialist, skeptic, and anti-Romantic, revealing crucial new insights about his poetry.
An examination of a noted civil rights case involving the murder of an NAACP official and his killer's three trials draws comparisons between the case and the racial climate in the Deep South
Byron is rarely thought of as a spiritual writer. However, as this bold new collection shows, this is the result of an impoverished notion of the ‘spiritual’ and a reflection of biased priorities in Romantic studies. Reflecting on the poet’s claim that ‘immaterialism’s a serious matter’, this interdisciplinary collection of essays, from British and American scholars, calls into question the prevailing ‘materialist’ consensus, and offers a fresh and theoretically inflected reading of Byron’s poetry. Byron’s Ghosts is the first book-length examination of spectrality in Byron’s work. It is on the one hand concerned with what Mary Shelley in her essay ‘On Ghosts’ refers to as ‘the true old-fashioned, foretelling, flitting, gliding ghost’, though it is also a postmodern response to the ‘spectral turn’ in critical theory, which brings into view a range of phantom effects and ‘non-Gothic’ spectres. Focusing attention on these diverse modalities of the ghostly, the specially assembled essays complicate the popular image of Byron as a sceptical or ‘anti-Romantic’ poet and reveal a great deal about his work that could not be uncovered in any other way.
The Little Ghost Who Was a Quilt by Riel Nason Pdf
When you're a quilt instead of a sheet, being a ghost is hard! An adorable picture book for fans of Stumpkin and How to Make Friends with a Ghost. Ghosts are supposed to be sheets, light as air and able to whirl and twirl and float and soar. But the little ghost who is a quilt can't whirl or twirl at all, and when he flies, he gets very hot. He doesn't know why he's a quilt. His parents are both sheets, and so are all of his friends. (His great-grandmother was a lace curtain, but that doesn't really help cheer him up.) He feels sad and left out when his friends are zooming around and he can't keep up. But one Halloween, everything changes. The little ghost who was a quilt has an experience that no other ghost could have, an experience that only happens because he's a quilt . . . and he realizes that it's OK to be different.
Excerpt from Don Juan Junior: A Poem, by Byron's Ghost Is it not pretty? You would think it still prettier, if you had heard It, as I did two hours ago, from the lips of a Venetian girl, with large black eyes, a face like Faustina's, and the figure of a J uno - tall and energetic as a Pythoness, with eyes flashing, and her dark hair streaming in the moonlight - one of those women who may be made anything. I am sure, if I put a poniard into the hand of this one, she would plunge it where I told her - and into me, if I offended her. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
From the award-winning essayist and author of the “shrewd as hell and hysterically funny” (Carmen Maria Machado, author of Her Body and Other Parties) novel Cheer Up, Mr. Widdicombe comes a moving and unforgettable essay collection about his travels around the globe as he reflects on the power and complexity of human relationships. From the award-winning essay “Lover’s Theme,” in which Evan James explores the life of a drag queen in San Francisco, to his poignant story of coming out in “One Hell of a Homie,” set against the backdrop of the 1992 film Class Act, this essay collection brilliantly captures both the beauty and pain of relationships—friendly, familiar, and romantic. I’ve Been Wrong Before is an eye-opening and heartfelt illustration of how our differences are often the things that bring us closer together. Masterfully balancing tremendous insight with startling humor, this absorbing collection features Evan James’s “wry intelligence and sense of the absurd” (R.O. Kwon, author of The Incendiaries) and is perfect for fans of Alexander Chee and Maggie Nelson.
A Sunday Times Book of the Year Shortlisted for The Pol Roger Duff Cooper Prize 'This magnificent, highly readable double biography...brings these two driven, complicated women vividly to life' The Financial Times 'A gripping saga of a double-biography' Daily Mail 'A masterful portrait' The Times 'Vastly enjoyable' Literary Review 'Deeply absorbing and meticulously researched' The Oldie In 1815, the clever, courted and cherished Annabella Milbanke married the notorious and brilliant Lord Byron. Just one year later, she fled, taking with her their baby daughter, the future Ada Lovelace. Byron himself escaped into exile and died as a revolutionary hero in 1824, aged 36. The one thing he had asked his wife to do was to make sure that their daughter never became a poet. Ada didn't. Brought up by a mother who became one of the most progressive reformers of Victorian England, Byron's little girl was introduced to mathematics as a means of calming her wild spirits. Educated by some of the most learned minds in England, she combined that scholarly discipline with a rebellious heart and a visionary imagination. As a child invalid, Ada dreamed of building a steam-driven flying horse. As an exuberant and boldly unconventional young woman, she amplified her explanations of Charles Babbage's unbuilt calculating engine to predict, as nobody would do for another century, the dawn today of our modern computer age. When Ada died - like her father, she was only 36 - great things seemed still to lie ahead for her as a passionate astronomer. Even while mired in debt from gambling and crippled by cancer, she was frenetically employing Faraday's experiments with light refraction to explore the analysis of distant stars. Drawing on fascinating new material, Seymour reveals the ways in which Byron, long after his death, continued to shape the lives and reputations both of his wife and his daughter. During her life, Lady Byron was praised as a paragon of virtue; within ten years of her death, she was vilified as a disgrace to her sex. Well over a hundred years later, Annabella Milbanke is still perceived as a prudish wife and cruelly controlling mother. But her hidden devotion to Byron and her tender ambitions for his mercurial, brilliant daughter reveal a deeply complex but unsuspectedly sympathetic personality. Miranda Seymour has written a masterful portrait of two remarkable women, revealing how two turbulent lives were often governed and always haunted by the dangerously enchanting, quicksilver spirit of that extraordinary father whom Ada never knew.
Don Juan Junior by G R Wythen (George Robert W Baxter,Wordsworth Collection Pdf
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Romantic Shades and Shadows by Susan J. Wolfson Pdf
Setting the stage: apparitions of writing -- Shades of Will + words + worth: what's in a name? -- Hazlitt's conjurings: first acquaintance & "quaint allusion" -- Shelley's phantoms of the future in 1819 -- Me and my shadows: Byron's Company of ghosts -- Shades of relay: Yeats's latent Keats / Keats's latent Yeats -- After wording: writing of apparitions
A DAY WITH BYRON. One February afternoon in the year 1822, about two o'clock, -for this is the hour at which his day begins, -"the most notorious personality of his century" arouses himself, in the Palazzo Lanfranchi at Pisa. George Gordon Noel, Lord Byron, languidly arises and dresses, with the assistance of his devoted valet Fletcher. Invariably he awakes in very low spirits, "in actual despair and despondency," he has termed it: this is in part constitutional, and partly, no doubt, a reaction after the feverish brain-work of the previous night. It is, at any rate, in unutterable melancholy and ennui that he surveys in the mirror that slight and graceful form, which had been idolised by London drawing-rooms, and that pale, scornful, beautiful face, "like a spirit, good or evil," which the enthusiastic Walter Scott has termed a thing to dream of. He notes the grey streaks already visible among his dark brown locks, and mutters his own lines miserably to himself, - Through life's dull road, so dim and dirty, I have dragg'd to three-and-thirty. What have these years left to me? Nothing-except thirty-three. An innumerable motley crowd of reminiscences-most of them bitter, sorrowful, or contemptuous, throng across his mind, shaping themselves into poignant verse: There's not a joy the world can give like that it takes away, When the glow of early thought declines in feeling's dull decay; 'Tis not on youth's smooth cheek the blush alone, which fades so fast, But the tender bloom of heart is gone, ere youth itself be past. ..... Oh! could I feel as I have felt, -or be what I have been, Or weep as I could once have wept o'er many a vanished scene; As springs in desert found seem sweet, all brackish though they be, So, 'midst the wither'd waste of life, those tears would flow to me. A meagre breakfast, -of claret and soda with a few mouthfuls of some Italian dish, -somewhat restores his natural vivacity: and he listens with cynical amusement to Fletcher's blood-curdling stories of the phantoms who have made night hideous. For the famous old feudal Palazzo, with its dungeons and secret chambers, has been immemorially infested with ghosts, and harassed by inexplicable noises. Fletcher has already begged leave to change his room, and then refused to occupy his new room, because, as his master reports, "there are more ghosts there than in the Other!... There is one place where people were evidently walled up.... I am bOthered about these spectres, as they say the last occupants were too." However, he is laughing as he descends the magnificent staircase, -the reputed work of Michael Angelo, -laughing until the shrill querulous cries of peevish children make him stop and frown. He has allowed the Leigh Hunts, with their large and fractious family, to occupy for the present the ground-floor of the Palazzo; and children are his pet abhorrence. "I abominate the sight of them so much," he has already told Moore, "that I have always had the greatest respect for the character of Herod!" No child figures in any of his poems: his own paternal feeling towards "Ada, sole daughter of my house and home," is merely a fluctuating sentiment. He shrugs his shoulders and enters his great salon, again moody and with a downcast air: and throws himself upon a couch in gloomy reverie. Snatches of poetry wander through his thoughts-poetry intrinsically autobiographical, for "the inequalities of his style are those of his career," and his imaginary heroes are endless reproductions of himself, "the wandering outlaw of his own dar
A heartbreaking and powerful story about a black boy killed by a police officer, drawing connections through history, from award-winning author Jewell Parker Rhodes. Only the living can make the world better. Live and make it better. Twelve-year-old Jerome is shot by a police officer who mistakes his toy gun for a real threat. As a ghost, he observes the devastation that's been unleashed on his family and community in the wake of what they see as an unjust and brutal killing. Soon Jerome meets another ghost: Emmett Till, a boy from a very different time but similar circumstances. Emmett helps Jerome process what has happened, on a journey towards recognizing how historical racism may have led to the events that ended his life. Jerome also meets Sarah, the daughter of the police officer, who grapples with her father's actions. Once again Jewell Parker Rhodes deftly weaves historical and socio-political layers into a gripping and poignant story about how children and families face the complexities of today's world, and how one boy grows to understand American blackness in the aftermath of his own death.
