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1
E, Hazelrigg Lawrence, and Quadagno Jill S, eds. Ending a career in the auto industry: 30 and out. Plenum Press, 1996.
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Welton, Kent. The one-term solution: Ending the evils of reelection and politics as a career. Pandit Press, 1988.
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5
Phillips, William Bud. Pastoral transitions: From endings to new beginnings. Alban Institute, 1988.
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Tweets and consequences: 60 social media disasters in politics and how you can avert a career-ending mistake. Strategic Media Books, 2015.
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Forgotten families: Ending the growing crisis confronting children and working parents in the global economy. Oxford University Press, 2005.
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8
Hart, Anne. Dogs with Careers: Ten Happy-Ending Stories of Purpose and Passion. ASJA Press, 2007.
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Ending a Career in the Auto Industry. Springer US, 1996. http://dx.doi.org/10.1007/b102408.
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McKenna, Brian. Early Exits: The Premature Endings of Baseball Careers. The Scarecrow Press, Inc., 2006.
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Greene, Dana. Endings. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0007.
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This chapter details the life and career of Denise Levertov from 1972 to 1975. This period was marked by critical endings for Levertov, an extraordinary time of emotional turmoil and confusion. Three centrifugal forces—the end of the Vietnam War, her break with mentor Robert Duncan, and her divorce from Mitch—could have overwhelmed her. In the end they did not. She survived, and haltingly searched for a new life. Two books of poetry appeared. Footprints (1972) and The Freeing of the Dust (1975) both attested to her longing for freedom and desire to leave the past behind, and a collection of essays, The Poet in the World (1973), established her preeminence in poetics. As she groped toward the future, Levertov carried a talisman with her, a new understanding of her name Denise. Previously she assumed Denise derived from the Greek “Dionysus.” Now to her delight she discovered that in Hebrew its origin was in “Daleth,” meaning “door,” “entrance, exit/way through of/giving and receiving.” Obliquely she began to live into this new self-understanding.
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Hardy, Melissa A. Ending a Career in the Auto Industry: "30 and Out". Springer, 2013.
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Duncan, Christopher. Unite the Tribes: Ending Turf Wars for Career and Business Success. Apress, 2003.
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14
American Bar Association. UCC Committee. and American Bar Association. Committee on Commercial Financial Services., eds. Avoiding career ending mistakes: Guaranties and the new restatement of guaranty and suretyship. American Bar Association, Section of Business Law, 1996.
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Tuckett, Christopher. Women in the Gospels of Mark and Mary. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814801.003.0008.
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While the Gospels of Mark and Mary are very different and neither gospel makes the role of women the prime focus of attention, the prominence of female characters is striking in both. This chapter explores how, despite their great differences, the two texts show a remarkable similarity in their depiction of Jesus’ women followers. In both, women take on crucial roles at the conclusion of Jesus’ earthly career. Although the original ending of Mark may suggest that the women disciples failed to communicate the message entrusted to them at the, this impression is countered by the later Markan endings and by most other post-Markan retellings of the tomb story. In the Gospel of Mary, Peter and Andrew’s attack on Mary is countered by Levi’s defence of her as a uniquely privileged disciple. Both Mark and the Gospel of Mary use women figures to present a message of discipleship.
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Lawrence, Calvin, and Miles Howe. Black Cop: My 36 Years in Police Work, and My Career Ending Experiences with Official Racism. James Lorimer & Company Ltd., Publishers, 2020.
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Brockell, Earl G. Broken Promises and Shattered Dreams: The Tragic Ending of One Entertainer's Career, Based on a True Life Story. Brockell-Randall Publishing, 2007.
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Heymann, Jody. Forgotten Families: Ending the Growing Crisis Confronting Children and Working Parents in the Global Economy. Oxford University Press, USA, 2006.
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Heymann, Jody. Forgotten Families: Ending the Growing Crisis Confronting Children and Working Parents in the Global Economy. Oxford University Press, USA, 2007.
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22
Riley, Peter. Whitman, Melville, Crane, and the Labors of American Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836254.001.0001.
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This book confronts an enduring investment in the poetic vocation. It seeks to challenge a dominant cultural logic that frames contingent labor as a sacrifice that frustrates the righteous progress towards realizing that seemingly purest of callings: Poet. Incorporating the often overlooked or excluded workaday ephemera of three canonical U.S. Romantic poets—Walt Whitman, Herman Melville, and Hart Crane—it offers new archival insights that call for a re-examination of celebrated literary careers and questions their status as affirmatory icons of vocation. The poetry of Whitman the real estate dealer, Melville the customs inspector, and Crane the copywriter, does not constitute the formal inscription of a discrete poetic labor struggling against quotidian work towards the fulfilment of an exceptional individual career. Instead, the distracted forms of their poetry are always already intermingled with a variety of apparently lesser labors. Ousting poetic production from any sanctuary of privileged repose or transcendent focus, this book refigures the work of the poet as a living sensuous activity that transgresses labor’s conventional divisions and hierarchies. It consequently recasts the poet as a figure who unfastens and reimagines the “right of passage” vocational logic that does so much to reproduce the current political and economic paradigm.
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Bomberger, E. Douglas. Anxiety. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0003.
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Germany’s resumption of unrestricted submarine warfare on 1 February 1917 created a domino effect in the musical world, as Walter Damrosch and other conductors rushed to assert their patriotism by adding “The Star-Spangled Banner” to their concerts. Debates about German music revolved around issues of internationalism in classical music. The management of the Metropolitan Opera gave assurances that its German singers and European repertoire would not be impacted by future political events. Ernestine Schumann-Heink, the most beloved German singer in America, suffered potentially career-ending injuries in an automobile accident. Responding to the Original Dixieland Jazz Band’s sensational popularity, the Victor Talking Machine Company recorded two numbers by the band on 26 February for later release in the spring.
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Hartley, Jenny. Charles Dickens: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198714996.001.0001.
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Charles Dickens is credited with creating some of the world’s best-known fictional characters, and is widely regarded as the greatest novelist of the Victorian age. Charles Dickens: A Very Short Introduction explores the key themes running through his corpus of works, and considers how they reflect his attitudes towards the harsh realities of 19th-century society and its institutions. It considers Dickens’s multiple lives and careers: as magazine editor for much of his working life, as travel writer and journalist, and his work on behalf of social causes. Finally, it discusses what is meant by the use of the term ‘Dickensian’ today, and the enduring impact of his work.
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McHugh, Dominic. The Big Parade. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197554739.001.0001.
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Meredith Willson is best remembered as the composer, lyricist, and book writer of The Music Man, one of Broadway and Hollywood’s most enduring works. But it was just one of his four stage musicals and just a small part of his career as a whole. This book uses newly available archival sources from New York, Indiana, and Wisconsin to reassess Willson’s contribution to the musical theater canon, including in-depth analysis of The Unsinkable Molly Brown, Here’s Love, and 1491, in addition to completely new information about the genesis of The Music Man.
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Jackson, Robert. And the War Came. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0005.
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Chapter 4 deals with the cinematic legacies of the Civil War, from very early documentary films featuring Confederate Memorial Days and battlefield reenactments to the two most significant feature films in the history of American motion pictures: The Birth of a Nation and Gone with the Wind. D. W. Griffith’s singular career, and his enduring influence of the institutional structure of the medium and industry, is a central presence here, while the extraordinary popularity of Gone with the Wind as novel and film provided a sense of continuity with earlier Civil War films sympathetic to the Confederacy and its partisans.
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Capp, Bernard. Roger North and his Siblings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823384.003.0012.
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The Norths were a large, gifted, and extraordinarily successful family. They are also extremely well documented: Roger North wrote an autobiography and lives of three of his brothers, and these are supplemented by extensive family correspondence. Ten siblings reached adulthood, and nine of them enjoyed enduring bonds of affection and mutual support. The tenth was the eldest son and heir, at odds with his siblings throughout their lives. The chapter shows how the second son, Francis, took over the heir’s responsibilities, advancing the careers of his younger brothers and finding husbands for his sisters, and how the others also provided generous mutual support. It explores too the factors behind the lifelong rift between the heir (who eventually inherited as Lord North) and the others. The North family provides a striking example of both sibling bonds and sibling rivalries.
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Dickens, Charles. The Old Curiosity Shop. Edited by Elizabeth M. Brennan. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199538232.001.0001.
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‘… holding her solitary way among a crowd of wild, grotesque companions; the only pure, fresh, youthful object in the throng.’ ‘Little Nell’ cares for her grandfather in the gloomy surroundings of his curiosity shop. Reduced to poverty the pair flee London, pursued by the grotesque and vindictive Quilp. In a bizarre and shifting kaleidoscope of events and characters the story reaches its tragic climax, an ending that famously devastated the novel's earliest readers. Dickens blends naturalistic and allegorical styles to encompass both the actual blight of Victorian industrialization and textual echoes of Bunyan, the Romantic poets, Shakespeare, pantomine and Jacobean tragedy. Contrasting youth and old age, beauty and deformity, innocence and cynicism, The Old Curiosity Shop is a compelling mixture of humour and brooding meance. This edition uses the Clarendon text, the definitive edition of the novels of Charles Dickens, and includes the original illustrations.
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Kincaid, Paul. Outside Context Problems. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041013.003.0003.
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At the height of his career, Banks abandoned the Culture for two very different science fiction novels. Against a Dark Background presented an extreme capitalism that was a deliberate contrast to the communist character of the Culture; while Feersum Endjinn presented a structurally complex and linguistically dense account of a world in collapse. Civil war as a political manifestation of Laing’s divided self would also inform subsequent works of the Scottish fantastic, notably Whit and A Song of Stone. His return to the Culture with Excession and its companion Look to Windward were, it is proposed, intended to end the sequence by addressing the Sublime as a form of the death of civilization.
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Harris, Margaret. Major Authors: Christina Stead, Patrick White, David Malouf. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0019.
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This chapter examines the work of three Australian novelists who are read in the context of modernism, introducing a new dimension for the exploration of individual and national identity. David Malouf defines his Old and New World cultural heritage in a significant body of non-fiction prose, encompassing memoir and cultural commentary, along with reviews and interviews, that runs in tandem with his fiction. His intense literary self-consciousness is manifest in an extended mythology of place and history that emerges in his writing, such as Johnno (1975) and Remembering Babylon (1993). Patrick White's spiritual evocation of Australian landscape is evident from his first novel Happy Valley (1934) through The Tree of Man (1956) and Voss (1957), while issues of the construction of gender and identity are explicit in his memoir Flaws in the Glass: A Self-Portrait (1981) and the posthumously published The Hanging Garden (2012). Christina Stead's later international career, initiated by the republication in 1965 of The Man Who Loved Children (1940) followed by For Love Alone (1944), reveals her radical modernist techniques, her radical politics, and her focus on gender issues, particularly her concern with women artists, ending with the posthumous publication of I'm Dying Laughing: the Humourist (1986).
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Claes, Koenraad. The Late-Victorian Little Magazine. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474426213.001.0001.
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Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.
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Murphet, Julian. Affect and spatial dynamics in Flags in the Dust and The Sound and the Fury. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.003.0003.
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This chapter analyzes the critical break in Faulkner’s career, between the relatively conventional and long-winded draft of Flags in the Dust (1927) and the extraordinary literary achievement The Sound and the Fury (1929)—both of which tackle the same basic material. It speculates that one determining factor is the diminution, in absolute terms, of Southern descriptive prose from one book to the next, and argues that Faulkner motivates this eclipse of one of the perdurable romance techniques via an astute attention to the changes wrought to the “distribution of the sensible” by the increase in automobile use in the late 1920s. The “chronotopes” of romance are modified from within by the extent to which automobile and electric streetcar transport overtakes the now anachronistic horse-and-buggy traps and mule-drawn carts of an earlier epoch. Faulkner proved perceptive as regards these modifications, and rendered them in enduring aesthetic terms in his early masterpiece.
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Ansari, Emily Abrams. The Principled Brand Strategist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0005.
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This chapter examines the Cold War experience of composer Aaron Copland. It argues that after suffering at the hands of Senator Joseph McCarthy and his cronies in the early 1950s, Copland reoriented himself. He not only turned away from musical Americanism as a composer but also took advantage of opportunities to tour overseas for the State Department, both to remove the taint of leftism from his image and to politically neutralize the Americanist style. Yet Copland’s Cold War choices were not simply a strategic response to a radically altered political landscape. Both his work with government and his musical works from this period show his enduring commitment to a set of strong personal principles that shaped his compositions, his writings, and his cultural diplomacy work across his long career. Copland’s ability to stay true to what he believed in ensured he never succumbed to cynicism, as did many other members of the Old Left.
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Barany, Zoltan. Armies of Arabia. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190866204.001.0001.
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In Armies of Arabia—the first book to comprehensively analyze the Gulf monarchies’ militaries—Zoltan Barany explains the conspicuous ineffectiveness of these forces with a combination of political-structural and sociocultural factors. Based on over 150 personal interviews and meticulous multidisciplinary research, he offers a fascinating account of Arabia’s armies starting with Ibn Saud’s conquest of much of the peninsula and ending with the ongoing war in Yemen. He explores the ruling families’ role overseeing their militaries to ensure their loyalty and examines the backgrounds and career trajectories of soldiers and officers. Barany argues that Arabia’s armies remain ineffective because they are characterized by an absence of meritocracy, the domination of personal connections over institutional norms, disregard for personal responsibility, half-hearted leadership, casual work ethic, and training lacking intensity, frequency, and up-to-date settings. Massive expenditures on armaments are primarily payoffs to the United States for protecting them and have resulted in bloated arsenals and large-scale corruption. The setbacks of the Saudi-led coalition’s disastrous war in Yemen starkly illustrate the Gulf armies’ humiliating combat record. The book concludes with thoughts on waste (of human potential, resources, institutions) as a dominant theme of Gulf military affairs, considers likely changes in response to long-term weakening demand for oil, and suggests ways in which the effectiveness of Arabia’s armies could be raised. Chock-full of insights and stories from the field and written with a general audience in mind, Armies of Arabia is essential reading for anyone interested in military affairs and Middle Eastern politics, society, and international relations.
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Ryan, Tom. The Films of Douglas Sirk. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496817983.001.0001.
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Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists. He did things his own way: for him, rules were there to be broken, whether they were the decrees of Nazi authorities trying to turn film into propaganda or of studios insisting that characters’ problems should always be solved and that endings should always restore order, providing what Sirk used to call “emergency exits” for audiences. This study of Sirk is the first comprehensive critical overview of the filmmaker’s entire career, examining the ’50s melodramas for which he has been rightly acclaimed – films such as All That Heaven Allows, Written on the Wind, The Tarnished Angels and Imitation of Life – and instructively looking beyond them at his earlier work, which includes musicals, comedies, thrillers, war movies and westerns. Offering fresh insights into all of these films and situating them in the culture of their times, the book also incorporates extensive interview material drawn from a variety of sources, including the author’s own conversations with the director. Furthermore, it undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical overview of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s to the present day.
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Dean, Andrew. Metafiction and the Postwar Novel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198871408.001.0001.
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This book examines the origins, poetics, and capacities of self-reflexive fiction across the globe after World War II. Focusing on three authors’ careers—J. M. Coetzee, Janet Frame, and Philip Roth—it seeks to circumvent the large-scale theoretical paradigms (such as ‘postmodernism’) that have long been deployed to describe this writing. The book does so by developing new terms for discussing the intimacies of metafictional writing, derived from the writing of Miguel de Cervantes and J. L. Borges. The ‘self of writing’ refers to the figure of the author that a writer may imagine exists independently from discourse. The ‘public author as signature’ represents the public understandings of an author that emerge from biography and the author’s corpus itself. The book shows how these figures of authorship are handled by authors, as they draw on the materials offered by their own corpora and communities of readers. Sometimes, this book shows, authors invent distinctively literary ways of adjudicating enduring political debates: the responsibility of a novelist to the political aspirations of a community, the ability of the novel to pursue justice on behalf of others, and the public good that literature serves. Yet this is not a story of unmitigated success: the book also demonstrates how metafiction can be used as a way to close down interpretive schemes and to avoid contributing to public value. Through a close focus on literary environments, the book ultimately gives a finer-grained account of the history of postwar metafiction, and offers new ways of theorizing the relationship between fiction, life-writing, and literary institutions.
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Salzani, Carlo. Walter Benjamin. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0003.
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In a 1985 interview with Adriano Sofri, Agamben says of his encounter with Benjamin: I read him for the first time in the 1960s, in the Italian translation of the Angelus Novus edited by Renato Solmi. He immediately made the strongest impression on me: for no other author have I felt such an unsettling affinity. To me happened what Benjamin narrates about his own encounter with Aragon’s Paysan de Paris: that after a very short while he had to close the book because it made his heart thump. For Agamben, this encounter with Benjamin proved to be ‘decisive’2 and would mark his entire career, as much as meeting Heidegger in person at the end of the 1960s. Of these two first philosophical ‘masters’ he would often say, quite enigmatically, that for him the two philosophers worked ‘each one as antidote for the other’,3 or more precisely: ‘Every great work contains a shadowy and poisonous part, against which it does not provide the antidote. Benjamin has been for me this antidote, which helped me to survive Heidegger.’4 The nature of Heidegger’s poison and of Benjamin’s antidote is not very clear; what is clear, however, is that this early encounter with Benjamin shaped Agamben’s own encounter with philosophy itself, and would exert an enduring influence (perhaps ‘the single most important influence’)5 on his entire oeuvre.
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Hazzard, Oli. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822011.003.0001.
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This is an account of John Ashbery’s career in which, as he puts it in ‘Grand Galop’, the ‘minor eras / Take on an importance all out of proportion to the story’.1 The ‘minority’ of any part of any story is, of course, a relational status always open to dispute, but in the available narratives of Ashbery’s life and work his personal and textual engagements with contemporaneous English poets have, up to this point, occupied a certifiably marginal position. This is unsurprising. When compared with the most ambitious, compelling narratives of Ashbery’s place within literary history—portraying him as a late Romantic, a Francophile avant-gardist, or a coterie poet of the New York School, among many other possible identities—concentrating on his English connections might seem a limited perspective from which to view his work. Yet because the idea of ‘minority’ was a central preoccupation for Ashbery throughout his career, it is apt to discover that many of the important, enduring points of interest which occupied his poetry and poetics—the relation of the margin to the centre, the ways in which art represents the historical moment of its composition, the processes by which canons are formed, the methods through which aesthetic ‘strength’ and ‘weakness’ are determined, the connection between national identities and traditions and individual poetic expression—are foregrounded and illuminated when raised within such a ‘minor’ context. The limitation of scope in this study—which attends to Ashbery’s relationships with W. H. Auden, F. T. Prince, Lee Harwood and Mark Ford—allows for a localized, concentrated sample of his writing to be attended to, and obliquely to substantiate or complicate our understanding of more general themes or practices in his oeuvre. Ashbery’s body of work is broad and varied enough to justify its fragmentation into specific sub-categories, which in combination will allow for a larger, more comprehensive and more complex picture of this inexhaustible poet to be presented. This book hopes to make three central contributions to that broader picture: to demonstrate the significance of Anglo-American contexts to Ashbery’s work, to illustrate his importance ...
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Golden, Eve. Jayne Mansfield. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813180953.001.0001.
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Jayne Mansfield (1933−1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In the first definitive biography of Mansfield, Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves -- including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay -- her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest.
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Van Anglen, K. P., and James Engell, eds. The Call of Classical Literature in the Romantic Age. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.001.0001.
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The book reveals the extent to which writers we call “romantic” venerate and use the classics to serve their own ends in transforming poetry, epic, the novel, mythology, politics, and issues of race, as well as in practicing translation and reshaping models for a literary career and personal life. On both sides of the Atlantic the classics—including the surprising influence of Hebrew, regarded then as a classical language—play a major role in what becomes labeled Romanticism only much later in the nineteenth century. The relation between classic and romantic is not one of opposition but of a subtle and deep interpenetration. Classical texts retain an enduring, but newly transformational presence. While romantic writers regard what they are doing as new, this attitude does not prompt them to abjure lessons of genre, expression, and judgment flowing from classical authors they love. Their view is Janus-faced. Aside from one essay on Coleridge, the volume does not address major canonical British poets. Considerable work on their relation to the classics exists. Writers treated in detail include William Gilpin, Phillis Wheatley, Robert Lowth, Walter Savage Landor, Henry Wadsworth Longfellow, Henry David Thoreau, Margaret Fuller, James McCune Smith, Herman Melville, S. T. Coleridge, and Edward Gibbon. Four chapters each treat multiple authors from both sides of the Atlantic. Topics include the picturesque, political rhetoric, epic invocation, mythology, imitation, ekphrasis, slavery, feminism, history and historiography, and the innovative influence of ancient Hebrew, especially its poetry.