UNITED KINGDOM AUTHOR · CORRESPONDENCE · PERSONAL NARRATIVES
Keith Castellain Douglas
WHO stands on that cliff, like a figure of stone,
— from Poems
Most acclaimed
The letters
Is there any mystery greater than those we love the most? In this remarkable collaboration, New York Times bestselling author Luanne Rice and Joseph Monninger combine their unique talents to create a powerfully moving novel of an estranged husband and wife through a series of searching, intimate letters. By way of a correspondence so achingly real you'll forget it's fiction, they trace the history of a love affair and of a family before, and after, the moment that changed the course of two people's journey forever. Sam and Hadley West are both trying in their own ways to survive after the unthinkable loss of their only son in Alaska. For Sam, a sports journalist, acceptance means an arduous trek by dogsled across the bleak and beautiful arctic wilderness to find the place where Paul died. For Hadley, it means renting a benignly haunted, salt-soaked cottage off the Maine coast where she begins to paint again. Now, at opposite ends of the country, waiting for their divorce to be finalized, they begin to exchange letters by post, missives filled with longing and truths they've never before voiced, as they recall their marriage--its magic moments and its challenges--and begin to rediscover the reasons they fell in love in the first place. As Sam risks his life to reach the remote crash site, Hadley begins an equally hazardous inner journey to a rendezvous with the mad grief of a mother's heart. At the place where all else is lost, they will meet again....From the Hardcover edition.
Poems
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.