Alice Cary

#2

1994

Katherine Paterson is the consummate storyteller, a crafter of tales in which characters must deal with the most elemental hopes and fears in settings - be it a Chesapeake Bay island or the mountains of China - that are alternately blissful and beatific, terrifying and desperate. In a sensitive analysis of the novels and stories of this award-winning children's author, Gary D. Schmidt finds that Paterson is, in a subtle way, a didactic writer, informed by her hopeful and ethical vision of the future. Here is a writer, Schmidt argues, who does not shy away from horrendous topics - unwanted foster children, the death of a schoolchild's best friend, rape, murder, political intrigue, religious mania, and war. He finds that Paterson's books - among them the National Book Award-winning Master Puppeteer (1976) and The Great Gilly Hopkins (1978) and the Newberry Award-winning Bridge to Terabithia (1977) and Jacob Have I Loved (1980) - are successful when the reader journeys with the author through distressing situations and then arrives, in a moment of grace, at a place of spiritual enlightenment. Paterson's characters, Schmidt argues, search for fathers, for families, for love and acceptance, for themselves, they recall the characters of Flannery O'Connor, who also find themselves caught in moments of distress and then find, like Paterson's characters, moments of grace. As Schmidt shows, that moment may come in the building of a bridge or in coming to understand the implications of a carol or poem or in resolving to live a life of burdens shared. Schmidt begins this study with a biographical essay about Paterson's life, drawn from her own essays as well as from an interview with her he conducted at her home in Barre, Vermont. In the balance of the book he addresses her copious work, beginning with her early historical fiction and proceeding on to the novels that explore her major themes - of the plight of prodigal children and the search for true family. Later chapters examine Paterson's more recent historical fiction and her retelling of folk tales. Throughout his discussion Schmidt focuses on the stories' elements of hope, for, as Paterson has said in a National Book Award acceptance speech, she wants to be "a spy for hope." Schmidt's lucid study brings readers a closer understanding of this remarkable "spy."

#3

This is an edition of all the known poems of Mark Akenside, the eighteenth-century English poet and physician, whose poetry has not been newly edited for more than a century. This edition will thus provide scholars and students with a much-needed opportunity to reassess the extent of Akenside's contribution to literary culture, and it will also clarify his role in the development of the aesthetic theories of his own generation and the one that followed. The career of Mark Akenside (1721-70) spans a period of extraordinarily fast change in English literature: his first major poem, The Pleasures of Imagination, appeared in the year of Pope's death; and Akenside died in the year Wordsworth was born. His works not only reflected the very considerable changes that took place during these years; they also contributed in many ways to the shifts in focus, interest, and emphasis that characterize the literature of the later eighteenth century. Akenside's fascination with the imagination, its characteristics and functions, resulted in an intriguing and influential blend of the poetic and the philosophical in his longer poems, The Pleasures of Imagination (1744) and The Pleasures of the Imagination (1772). The earlier work explores the then new subject of aesthetics in greater detail than it had ever been explored before, presenting various original insights and arguments. Yet it would be wrong to see the poem as merely a versified philosophical treatise; its complex structure offers satisfactions beyond those of sequential logic, and the examples cited to illustrate the central ideas are imbued with considerable vigor and clarity. As products of, and contributors to, the eighteenth-century enthusiasm for aesthetics, Akenside's longer poems are captivating examples of the eighteenth- and nineteenth-century experiment in developing the philosophical poem into a major literary form. It is for this reason above all others that they are valued by Coleridge and the writers of the next generation. Because of the comparative obscurity into which Akenside's works fell after the demise of the long philosophical poem in the latter part of the nineteenth century, they have not by and large attracted the attention of modern bibliographers. In this edition numerous bibliographical and textual puzzles presented by his poems are solved for the first time. The apparatus, meanwhile, demonstrates the full extent of the poet's urge to revise - an urge that extended from the wholesale rewriting of some poems to subtle alterations of textual minutiae, showing a mind and an ear alive to nuances of meaning and intonation.