After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not.In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself.

    Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius.

    Now an Edgar Award Nominee!This is the first book about the Detection Club, the world’s most famous and most mysterious social network of crime writers. Drawing on years of in-depth research, it reveals the astonishing story of how members such as Agatha Christie and Dorothy L. Sayers reinvented detective fiction.Detective stories from the so-called “Golden Age” between the wars are often dismissed as cosily conventional. Nothing could be further from the truth: some explore forensic pathology and shocking serial murders, others delve into police brutality and miscarriages of justice; occasionally the innocent are hanged, or murderers get away scot-free. Their authors faced up to the Slump and the rise of Hitler during years of economic misery and political upheaval, and wrote books agonising over guilt and innocence, good and evil, and explored whether killing a fellow human being was ever justified. Though the stories included no graphic sex scenes, sexual passions of all kinds seethed just beneath the surface.Attracting feminists, gay and lesbian writers, Socialists and Marxist sympathisers, the Detection Club authors were young, ambitious and at the cutting edge of popular culture – some had sex lives as bizarre as their mystery plots. Fascinated by real life crimes, they cracked unsolved cases and threw down challenges to Scotland Yard, using their fiction to take revenge on people who hurt them, to conduct covert relationships, and even as an outlet for homicidal fantasy. Their books anticipated not only CSI, Jack Reacher and Gone Girl, but also Lord of the Flies. The Club occupies a unique place in Britain’s cultural history, and its influence on storytelling in fiction, film and television throughout the world continues to this day.The Golden Age of Murder rewrites the story of crime fiction with unique authority, transforming our understanding of detective stories and the brilliant but tormented men and women who wrote them.

    And this is precisely what Bruce Fink does in this ambitious book, a fine analysis of Lacan's work on language and psychoanalytic treatment conducted on the basis of a very close reading of texts in his Icrits: A Selection.As a translator and renowned proponent of Lacan's works, Fink is an especially adept and congenial guide through the complexities of Lacanian literature and concepts. He devotes considerable space to notions that have been particularly prone to misunderstanding, notions such as "the sliding of the signified under the signifier,"or that have gone seemingly unnoticed, such as "the ego is the metonymy of desire." Fink also pays special attention to psychoanalytic concepts, like affect, that Lacan is sometimes thought to neglect, and to controversial concepts, like the phallus.From a parsing of Lacan's claim that "commenting on a text is like doing an analysis," to sustained readings of "The Instance of the Letter in the Unconscious," "The Direction of the Treatment," and "Subversion of the Subject" (with particular attention given to the workings of the Graph of Desire), Fink's book is a work of unmatched subtlety, depth, and detail, providing a valuable new perspective on one of the twentieth century's most important thinkers.Bruce Fink is a practicing Lacanian psychoanalyst, analytic supervisor, and professor of psychology at Duquesne University in Pittsburgh. He is the author of A Clinical Introduction to LacanianPsychoanalysis (1997) and The Lacanian Subject (1995). He has coedited three volumes on Lacan's seminars and is the translator of Lacan's Seminar XX, On Feminine Sexuality, the Limits of Love and Knowledge (1998), Icrits: A Selection (2002), and Icrits: The Complete Text (forthcoming).

    In twenty-three passionate, sparkling dispatches—that range over such crucial writers as Thomas Hardy, Leon Tolstoy, Edmund Wilson, and Mikhail Lermontov—Wood offers a panoramic look at the modern novel. He effortlessly connects his encyclopedic, passionate understanding of the literary canon with an equally in-depth analysis of the most important authors writing today, including Cormac McCarthy, Lydia Davis, Aleksandar Hemon, and Michel Houellebecq. Included in The Fun Stuff are the title essay on Keith Moon and the lost joys of drumming—which was a finalist for last year's National Magazine Awards—as well as Wood's essay on George Orwell, which Christopher Hitchens selected for the Best American Essays 2010. The Fun Stuff is indispensable reading for anyone who cares about contemporary literature.

    In these timeless and witty essays George Orwell explores the English love of reading about a good murder in the papers (and lament the passing of the heyday of the 'perfect' murder involving class, sex and poisoning), as well as unfolding his trenchant views on everything from boys' weeklies and naughty seaside postcards to being arrested in East End.

    Tragic, virginal, sweet, stoic, selfless, Anne. The less talented Brontë, the other Brontë.Or that's what Samantha Ellis, a life-long Emily and Wuthering Heights devotee, had always thought. Until, that is, she started questioning that devotion and, in looking more closely at Emily and Charlotte, found herself confronted by Anne instead.Take Courage is Samantha's personal, poignant and surprising journey into the life and work of a woman sidelined by history. A brave, strongly feminist writer well ahead of her time -- and her more celebrated siblings -- and who has much to teach us today about how to find our way in the world.

    Already weakened in spirit by Guinevere’s infidelity with the now-exiled Lancelot, Arthur must rouse his knights to battle one last time against Mordred’s rebels and foreign mercenaries. Powerful, passionate, and filled with vivid imagery, this unfinished poem reveals Tolkien’s gift for storytelling at its brilliant best. Christopher Tolkien, editor, contributes three illuminating essays that explore the literary world of King Arthur, reveal the deeper meaning of the verses and the painstaking work his father applied to bring the poem to a finished form, and investigate the intriguing links between The Fall of Arthur and Tolkien’s Middle-earth.

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.

    The maiden Britomart, Queen Elizabeth's fictional ancestor, dons armor to search for a man whom she has seen in a crystal ball. While on this quest, she seeks to understand how one can be chaste while pursuing a sexual goal, in love with a man while passionately attached to a woman, a warrior princess yet a wife. As Spenser's most sensitively developed character, Britomart is capable of heroic deeds but also of teenage self-pity. Her experience is anatomized in the stories of other characters, where versions of love and friendship include physical gratification, torture, mutual aid, competition, spiritual ecstasy, self-sacrifice, genial teasing, jealousy, abduction, wise government, sedition, and the valiant defense of a pig shed.

    Eliot, published individually from 1936 to 1942, and in book form in 1943; it was considered by Eliot himself to be his finest work. Each of the quartets has five "movements" and each is titled by a place name -- BURNT NORTON (1936), EAST COKER (1940), THE DRY SALVAGES (1941), and LITTLE GIDDING (1942). Eliot's insights into the cyclical nature of life are revealed through themes and images woven throughout the four poems. Spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. The work addresses the connections of the personal and historical present and past, spiritual renewal, and the very nature of experience; it is considered the poet's clearest exposition of his Christian beliefs. (The Merriam-Webster Encyclopedia of Literature)

    When Charles Dickens died in 1870, The Times of London successfully campaigned for his burial in Westminster Abbey, the final resting place of England's kings and heroes. Thousands flocked to mourn the best recognized and loved man of nineteenth-century England. His books had made them laugh, shown them the squalor and greed of English life, and also the power of personal virtue and the strength of ordinary people. In his last years Dickens drew adoring crowds to his public appearances, had met presidents and princes, and had amassed a fortune.Like a hero from his novels, Dickens trod a hard path to greatness. Born into a modest middle-class family, his young life was overturned when his profligate father was sent to debtors' prison and Dickens was forced into harsh and humiliating factory work. Yet through these early setbacks he developed his remarkable eye for all that was absurd, tragic, and redemptive in London life. He set out to succeed, and with extraordinary speed and energy made himself into the greatest English novelist of the century.Years later Dickens's daughter wrote to the author George Bernard Shaw, "If you could make the public understand that my father was not a joyous, jocose gentleman walking about the world with a plum pudding and a bowl of punch, you would greatly oblige me." Seen as the public champion of household harmony, Dickens tore his own life apart, betraying, deceiving, and breaking with friends and family while he pursued an obsessive love affair.Charles Dickens: A Life gives full measure to Dickens's heroic stature-his huge virtues both as a writer and as a human being- while observing his failings in both respects with an unblinking eye. Renowned literary biographer Claire Tomalin crafts a story worthy of Dickens's own pen, a comedy that turns to tragedy as the very qualities that made him great-his indomitable energy, boldness, imagination, and showmanship-finally destroyed him. The man who emerges is one of extraordinary contradictions, whose vices and virtues were intertwined as surely as his life and his art.

    What impact do these images and ideas have on people's identities?The new edition of Media, Gender and Identity is a highly readable introduction to the relationship between media and gender identities today. Fully revised and updated, including new case studies and a new chapter, it considers a wide range of research and provides new ways for thinking about the media's influence on gender and sexuality.David Gauntlett discusses movies such as Knocked Up and Spiderman 3, men's and women's magazines, TV shows, self-help books, YouTube videos, and more, to show how the media play a role in the shaping of individual self-identities.The book includes:a comparison of gender representations in the past and today, from James Bond to Ugly Bettyan introduction to key theorists such as Judith Butler, Anthony Giddens and Michel Foucault an outline of creative approaches, where identities are explored with video, drawing, or Lego bricks a Companion Website with extra articles, interviews and selected links, at: www.theoryhead.com.

    It is a delight and a solace, a challenge and a reward, and perhaps even an obsession. For two centuries Austen has enthralled readers. Few other authors can claim as many fans or as much devotion. So why are we so fascinated with her novels? What is it about her prose that has made Jane Austen so universally beloved?In essays culled from the last one hundred years of criticism juxtaposed with new pieces by some of today’s most popular novelists and essayists, Jane Austen’s writing is examined and discussed, from her witty dialogue to the arc and sweep of her story lines. Great authors and literary critics of the past offer insights into the timelessness of her moral truths while highlighting the unique confines of the society in which she composed her novels. Virginia Woolf examines Austen’s maturation as an artist and speculates on how her writing would have changed if she’d lived twenty more years, while C. S. Lewis celebrates Austen’s mirthful, ironic take on traditional values.Modern voices celebrate Austen’s amazing legacy with an equal amount of eloquence and enthusiasm. Fay Weldon reads Mansfield Park as an interpretation of Austen’s own struggle to be as “good” as Fanny Price. Anna Quindlen examines the enduring issues of social pressure and gender politics that make Pride and Prejudice as vital today as ever. Alain de Botton praises Mansfield Park for the way it turns Austen’s societal hierarchy on its head. Amy Bloom finds parallels between the world of Persuasion and Austen’s own life. And Amy Heckerling reveals how she transformed the characters of Emma into denizens of 1990s Beverly Hills for her comedy Clueless. From Harold Bloom to Martin Amis, Somerset Maugham to Jay McInerney, Eudora Welty to Margot Livesey, each writer here reflects on Austen’s place in both the literary canon and our cultural imagination.We read, and then reread, our favorite Austen novels to connect with both her world and our own. Because, as A Truth Universally Acknowledged so eloquently demonstrates, the only thing better than reading a Jane Austen novel is finding in our own lives her humor, emotion, and love.

    John Sutherland is perfectly suited to the task. He has researched, taught, and written on virtually every area of literature, and his infectious passion for books and reading has defined his own life. Now he guides young readers and the grown-ups in their lives on an entertaining journey 'through the wardrobe' to a greater awareness of how literature from across the world can transport us and help us to make sense of what it means to be human. Sutherland introduces great classics in his own irresistible way, enlivening his offerings with humor as well as learning: Beowulf, Shakespeare, Don Quixote, the Romantics, Dickens, Moby Dick, The Waste Land, Woolf, 1984, and dozens of others. He adds to these a less-expected, personal selection of authors and works, including literature usually considered well below 'serious attention' - from the rude jests of Anglo-Saxon runes to The Da Vinci Code. With masterful digressions into various themes - censorship, narrative tricks, self-publishing, taste, creativity, and madness - Sutherland demonstrates the full depth and intrigue of reading. For younger readers, he offers a proper introduction to literature, promising to interest as much as instruct. For more experienced readers, he promises just the same.