This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent. Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores - works of psychoanalysis, sexology, fiction, and poetry - emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.

Wandor has written a history of creative writing in the UK, analysing its complex relationship with English and literary theory.

Wandor has written a history of creative writing in the UK, analysing its complex relationship with English and literary theory.

Albert Meltzer (1920-whenever) has been involved actively in class struggles since the age of 15; exceptionally for his generation in having been a convinced Anarchist from the start, without any family background in such activity. I Couldn't Paint Golden Angels is a lively, witty account of what he claims would have been the commonplace life of a worker but for the fact that he spent sixty years in anarchist activism. As a result it is a unique recounting of many struggles otherwise distorted or unrecorded, including the history of the contemporary development of anarchism in Britain and other countries where he was involved, notably Spain. His story tells of many struggles, including for the first time, the Anglo-Spanish cooperation in the post-War anti-Franco resistance and provides interesting sidelights on, amongst others, the printers' and miners' strikes, fighting Blackshirts and the battle of Cable Street, the so-called Angry Brigade activities, the Anarchist Black Cross, the Cairo Mutiny and wartime German anti-Nazi resistance, the New Left of the 60s, the rise of squatting - and through individuals as varied as Kenyata, Emma Goldman, George Orwell, Guy Aldred and Frank Ridley - all of which have crowded out not only his story, but his life too.

The essays in this collection investigate the ways in which the past was exploited to meet the concerns of the present in early modern England. The understanding of the past in this period was characterized by a deepening and more fully articulated conception of time and history, with its roots in impassioned religious and political controversies. The discourses that arose from this dialogue informed and drew together a daunting range of genres and activities: prose accounts, polemical tracts, poems, plays, romances, secret histories, novels. Although many of these genres are no longer recognized as history, early modern writers and readers treated them as such. In assessing the uses of the past, therefore, these essays consider “literary” and “factual” writings side by side, avoiding traditional chronological and disciplinary divisions and the artificial separation of secular from ecclesiastical history. Cumulatively, they supply the context and provide a vast array of evidence for the way in which the deployment of history for political, religious, moral, aesthetic, or commercial purposes shifted between the mid-sixteenth century and the late eighteenth. Contributors include Ian W. Archer, Eve Tavor Bannet, David Cressy, Richard Dutton, Martin Dzelzainis, Felicity Heal, Christopher Highley, John N. King, Mark Knights, Karen O’Brien, Paul Seaward, John Spurr, Andrew Starkie, Arthur H. Williamson, David Womersley, Daniel R. Woolf, and Blair Worden. Paulina Kewes is a fellow and tutor in English literature at Jesus College, Oxford, and a fellow of the Royal Historical Society. Her publications include Authorship and Appropriation: Writing for the Stage in England, 1660–1710 (1998), and a number of articles on Renaissance, Restoration, and eighteenth-century drama and politics. She has also edited a volume of essays, Plagiarism in Early Modern England (2003), and is completing a book on the staging of history in Elizabethan England.

This book was written in 1940, but never published. The authors had held, until May 1940, responsible positions in the Czech Refugee Trust Fund, which brought political refugees (including large numbers of communists) to Britain. In May 1940 they were dismissed from their posts by the Home Office due to their political affiliations. The introduction (pp. ix-xxvi) relates the history of the authors and their book, which is a critique of British prewar and wartime immigration policy. 65,000 refugees from Germany, Austria, and Czechoslovakia immigrated to Britain in 1933-39; 90% of them were "racial refugees" - i.e. Jews or part-Jews. Describes the events that impelled these people to leave the Reich. Dwells on the hardships and social discrimination which confronted the refugees in Britain both before and during the war. In April 1940 an internment campaign was launched; many refugees were interned in camps in the country or in the dominions. Discusses the legal aspects of the reception of refugees in Britain. Compares the ordeals of refugees in Britain with those in France, where the situation was much worse.

The Tudor era has long been associated with the rise of nationalism in England, yet nationalist writing in this period often involved the denigration and outright denial of Englishness. Philip Schwyzer argues that the ancient, insular, and imperial nation imagined in the works of writers such as Shakespeare and Spenser was not England, but Britain. Disclaiming their Anglo-Saxon ancestry, the English sought their origins in a nostalgic vision of British antiquity. Focusing on texts including The Faerie Queene, English and Welsh antiquarian works, The Mirror for Magistrates, Henry V and King Lear, Schwyzer charts the genesis, development and disintegration of British nationalism in the sixteenth and early seventeenth centuries. An important contribution to the expanding scholarship on early modern Britishness, this study gives detailed attention to Welsh texts and traditions, arguing that Welsh sources crucially influenced the development of English literature and identity.

A study of the theater's treatment of homosexuals and homosexuality from the 1920s to the 1990s.

Book by Namier, Lewis B.

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