This magnificent book is a collection of stories, anecdotes, and legends from all six of the regions where celtic ways have persisted in the modern world.

    Essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theater, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film, the struggles between high and popular culture, and changing attitudes towards human identity, life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

    "Bold and unhesitating".--Times Literary Supplement (London). 16 pages of photos.

    The textbook's lively prose and clear organization help students make the connection that transform facts into an exiting, comprehensive story.Hardcover, 984 Pages.

    This book contains first hand accounts of life in the workhouse, enabling you to see the workhouse through the eyes of people who experienced it.CONTENTSFOODI am fond of gruelSaltless gruel and dry breadSweetened gruel and diarrhoeaSour gruelSICKNESSRaw, festering soresThe tramp with diarrhoeaAsking for the doctorBATHING, UNDRESSING AND DRESSINGDirty looking bathsOur clothes were taken from us“Hurry up, women”Wet clothesThe condition of the clothesCONDITIONS AND PEOPLEDo I look like a prostitute?We were “only tramps”Coming into contact with other men’s fleshThirst“Your neighbour breathed right into your face”Being woken up throughout the nightPunished for being cheekyBEDS AND BEDDINGThe wire mattressThe wire pillow – a cruel inventionDirty blankets and hard bedsLABOURPicking oakumStone-breaking in Paddington work houseA NIGHT IN A WORKHOUSEYou’ve missed your gruelA stain of blood bigger than a man's handFilthy anecdotesThe swearing clubChecking for liceThree fourths of a pint of gruel in a yellow basinMilling with the crank-handleTHE CRAWLERS: THE WOMAN UNABLE TO GET ADMISSION TO THE WORKHOUSEA CHILD'S MEMORIES OF BEING PUT IN THE WORKHOUSE

    The genius of this biography is that it delves behind this image to reveal a life in which loss and heartache existed alongside rebellion and fierce ambition. Claire Harman seizes on a crucial moment in the 1840s when Charlotte worked at a girls' school in Brussels and fell hopelessly in love with the husband of the school's headmistress. Her torment spawned her first attempts at writing for publication, and the object of her obsession haunts the pages of every one of her novels--he is Rochester in Jane Eyre, Paul Emanuel in Villette. Another unrequited love--for her publisher--paved the way for Charlotte to enter a marriage that ultimately made her happier than she ever imagined. Drawing on correspondence unavailable to previous biographers, Harman establishes Brontë as the heroine of her own story, one as dramatic and triumphant as one of her own novels.

    A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.

    With bold imaginative speculation he investigates thirty-four literary conundrums, ranging from Daniel Defoe to Virginia Woolf. Covering issues well beyond the strict confines of Victorian fiction, Sutherland explores the questions readers often ask but critics rarely discuss: Why does Robinson Crusoe find only one footprint? How does Magwitch swim to shore with a great iron on his leg? Where does Fanny Hill keep her contraceptives? Whose side is Hawkeye on? And how does Clarissa Dalloway get home so quickly? As in its universally well received predecessor, the questions and answers in Can Jane Eyre Be Happy? are ingenious and convincing, and return the reader with new respect to the great novels they celebrate.

    Lewellyn Powys called it "the greatest work of prose of the greatest period of English prose-writing," while the celebrated surgeon William Osler declared it the greatest of medical treatises. And Dr. Johnson, Boswell reports, said it was the only book that he rose early in the morning to read with pleasure. In this surprisingly compact and elegant new edition, Burton's spectacular verbal labyrinth is sure to delight, instruct, and divert today's readers as much as it has those of the past four centuries.

    Tolkien.When J.R.R. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.To celebrate the 75th anniversary of the publication of The Hobbit, the complete artwork created by the author for his story has been collected in The Art of The Hobbit by J.R.R. Tolkien. Including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans are presented here, preliminary and alternate versions and experimental designs as well as finished art. Some of these images are now published for the first time, and others for the first time in colour. Fresh digital scans from the Bodleian Libraries in Oxford and Marquette University in Wisconsin allow Tolkien’s Hobbit pictures to be seen more vividly than ever before.The Art of The Hobbit by J.R.R. Tolkien has been written and edited by Wayne G. Hammond and Christina Scull, two of the leading experts on Tolkien and authors of the acclaimed J.R.R. Tolkien: Artist and Illustrator, The Lord of the Rings: A Reader’s Companion, and The J.R.R. Tolkien Companion and Guide.

    Anna Karenina, Clarissa Dalloway, Daisy Buchanan...each seems to live on the page through celebrated artist Samantha Hahn's evocative portraits and hand-lettered quotations, with the pairing of art and text capturing all the spirit of the character as she was originally written. The book itself evokes vintage grace re-imagined for contemporary taste, with a cloth spine silk-screened in a graphic pattern, debossed cover, and pages that turn with the tactile satisfaction of watercolour paper. In the hand and in the reading, here is a new classic for the book lover's library.

    Also featured are extensive annotations and commentaries on the date of composition, how Tolkien’s professional and early mythological writings influenced the story, the imaginary geography he created, and how he came to revise the book in the years after publication to accommodate events in The Lord of the Rings.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.

    Put a map at the start of a book, and we know an adventure is going to follow. Displaying this truth with beautiful full-color illustrations, The Writer’s Map is an atlas of the journeys that our most creative storytellers have made throughout their lives. This magnificent collection encompasses not only the maps that appear in their books but also the many maps that have inspired them, the sketches that they used while writing, and others that simply sparked their curiosity.   Philip Pullman recounts the experience of drawing a map as he set out on one of his early novels, The Tin Princess. Miraphora Mina recalls the creative challenge of drawing up ”The Marauder’s Map” for the Harry Potter films. David Mitchell leads us to the Mappa Mundi by way of Cloud Atlas and his own sketch maps. Robert Macfarlane reflects on the cartophilia that has informed his evocative nature writing, which was set off by Robert Louis Stevenson and his map of Treasure Island. Joanne Harris tells of her fascination with Norse maps of the universe. Reif Larsen writes about our dependence on GPS and the impulse to map our experience. Daniel Reeve describes drawing maps and charts for The Hobbit film trilogy. This exquisitely crafted and illustrated atlas explores these and so many more of the maps writers create and are inspired by—some real, some imagined—in both words and images.   Amid a cornucopia of 167 full-color images, we find here maps of the world as envisaged in medieval times, as well as maps of adventure, sci-fi and fantasy, nursery rhymes, literary classics, and collectible comics. An enchanting visual and verbal journey, The Writer’s Map will be irresistible for lovers of maps, literature, and memories—and anyone prone to flights of the imagination.

    Every people or nation has its own way of experiencing this psychic reality, and so a study of the world's fairy tales yields a wealth of insights into the archetypal experiences of humankind. Perhaps the foremost authority on the psychological interpretation of fairy tales is Marie-Louise von Franz. In this book—originally published as An Introduction to the Interpretation of Fairy Tales —she describes the steps involved in analyzing and illustrates them with a variety of European tales, from "Beauty and the Beast" to "The Robber Bridegroom." Dr. von Franz begins with a history of the study of fairy tales and the various theories of interpretation. By way of illustration she presents a detailed examination of a simple Grimm's tale, "The Three Feathers," followed by a comprehensive discussion of motifs related to Jung's concept of the shadow, the anima, and the animus. This revised edition has been corrected and updated by the author.