Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Textual Production | Kathleen Raine | KR
's The Human Face of God: William Blake
and the Book of Job was a critical work in which she considered good and evil in Blake's Job engravings and his works in general. Blackwell’s Online Bookshop. http://Bookshop.Blackwell.co.uk. Stanford, Donald E., editor. Dictionary of Literary Biography 20. Gale Research, 1983. 20: 289 |
Textual Production | Kathleen Raine | KR
published her final critical work, Golgonooza, City of Imagination: Last Studies in William Blake. British Library Catalogue. http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&tab=local_tab&dstmp=1489778087340&vid=BLVU1&mode=Basic&fromLo. |
Textual Production | Helen Dunmore | HD
published a novel entitled Burning Bright (whose title comes from Blake
's lines about the tiger). Blackwell’s Online Bookshop. http://Bookshop.Blackwell.co.uk. Solo: Search Oxford University Libraries Online. 18 July 2011, http://solo.bodleian.ox.ac.uk/primo_library/libweb/action/search.do?vid=OXVU1&fromLogin=true&reset_config=true. |
Textual Production | Joanna Trollope | From this time on, JT
sometimes published a new book as Caroline Harvey, and sometimes reassigned to her pseudonym works first issued under her own name. Leaves from the Valley, for instance (whose... |
Textual Production | Eleanor Farjeon | The title is a quotation from William Blake
's Introduction to Songs of Experience. This poem begins, Hear the voice of the Bard! and concludes, The starry floor, / The wat'ry shore, / Is... |
Textual Production | Kathleen Raine | Early in her career KR
was known as a commentator on contemporary or near-contemporary, modernist poetry: a volume of her reviews written between January 1941 and March 1951 was published in 2002 as Defining the... |
Textual Production | Marghanita Laski | ML
dedicated this novel to her son Jonathan. She took her title from Blake
's The Little Boy Lost: Father, father where are you going? / Oh, do not walk so fast! / Speak... |
Textual Production | Anne Stevenson | In her reply to Nuala Ní Dhomhnaill
's accusation of subtle sneering, qtd. in Stevenson, Anne. Between the Iceberg and the Ship. University of Michigan Press, 1998. 85 |
Textual Production | Q. D. Leavis | In this work the Leavises argue (radically modifying the view stated in The Great Tradition) that Dickens was an inheritor of Shakespeare
and Blake
, and a major influence on the formation of the... |
Textual Production | Kathleen Raine | |
Textual Production | Eva Figes | EF
explicitly addressed to grandparents her Tales of Innocence and Experience. An Exploration, which is both a memoir and a collection of revisions of fairy-tales. By its allusion to Blake
, the title evokes... |
Textual Production | Kathleen Raine | In 1979 she published From Blake to A Vision, an essay arguing that both Yeats
and Blake
fall within the central and primary tradition of British Poetry. Stanford, Donald E., editor. Dictionary of Literary Biography 20. Gale Research, 1983. 20: 291 |
Textual Production | Mary Butts | This account of her life from childhood to the age of twenty takes its title from a poem by William Blake
. The poem's speaker is caught by a Maiden while dancing in the wild... |
Textual Production | Penelope Lively | Once more the titles provoke curiosity. They include Venice, Now and Then, Grow Old Along with Me, the Best Is Yet to Be (opening line of a poem by Robert Browning
), Yellow... |
Textual Production | Margaret Gatty | Juliana Ewing
called MG
's collection of three stories, The Human Face Divine and Other Tales (titled from Paradise Lost), 1859, a very characteristic volume. Ewing, Juliana Horatia. “Margaret Gatty, 1885”. A Celebration of Women Writers, edited by Mary Mark Ockerbloom. xvi The Athenaeum Index of Reviews and Reviewers: 1830-1870. http://replay.web.archive.org/20070714065452/http://www.soi.city.ac.uk/~asp/v2/home.html. 1677 (1859): 812 To most readers today the... |
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