Summary of The Immortal Life of Henrietta Lacks: Booksquint Summary (BookSquint Summaries)

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6. XIILiterature – The Romantic Period | The Year's Work in English Studies | Oxford Academic.

The chapter on Letters of a Hindoo Rajah examines the text as an oriental study rather than the more common critical perspective as a satire on manners. Hamilton returns to economic theory and language in The Cottagers of Glenburnie , the focus of the final chapter.

Criticism on the historical novel has come a long way from Scott, as the contributions to this journal prove, with its welcome range of unusual and under-discussed Romantic novels. The issue is completed by two articles on poetry: Richardson offers a substantial and persuasive account of the ways in which Edgeworth engages with theatrical practice to achieve a greater novelistic reality, figuring Belinda as a crucial text in the development of nineteenth-century realism. Much valuable work of criticism and literary recovery in the field of Romantic fiction has been produced in recent years by Miriam L.

Wallace and the late A. Markley, particularly surrounding the political novels of the s. Their edited collection, Re-viewing Thomas Holcroft, — Essays on His Works and Life , furthers this work by setting out a range of thought-provoking approaches to the long and very varied career of a still neglected writer. A detailed chronology and handsome illustrations complete the volume. From Holcroft to his better-known friend William Godwin, whose ideas become ever more influential in Romantic studies.

Fact, Evidence, Doubt , pp. Further work on vitalism may be found in Richard C. Catherine Packham, in Eighteenth-Century Vitalism: Here the active, vital body is contrasted to the failure and confusion of the mind, and presents a site of possible future sympathy despite present mental despair. In this final section a varied range of Romantic fiction receives due critical attention. Similarly concerned with cosmopolitanism is Laura J. This historical novel, argues Zuwe, demonstrates an unusually progressive attitude towards religion, Jewish stereotyping, and the dominant conversion narrative in the Romantic period and earlier.

Gregory Dart, in Metropolitan Art and Literature, — Cockney Adventures reviewed in Section 1 above , devotes a chapter to the generally neglected and fascinating Life in London [] by Pierce Egan pp. The overview it provides offers an instructive indication of the direction of studies in Romantic poetry.

Stafford has succeeded in producing an elegant, informative, and inspiring introduction. A less useful book would have attacked the image of the solitary poet, celebrated the literary circles, and failed to appreciate the possibility that poets might gain most strength from other poems. This lightness of touch is especially useful when discussing the relation between poems and their cultural and political contexts. Here she takes two examples: In both, her careful readings show poets engaging with public and political concerns but also with a living poetic tradition.

Anna Barbauld alludes thoughtfully to William Cowper, while Byron alludes with careless abandon to anything he can think of. There is, as there probably ought to be in a book for the classroom, more of the famous poets than those recently resuscitated, though we do get more of Cowper, Burns, and Clare than is common, and I especially enjoyed her introduction to the verse of the Cumberland poet Robert Anderson. But the real success of the book is to make the whole period, in all its rich variety, seem light and fresh, open to new readings.

His emphasis is primarily on canonical examples, though his range of reference is impressively broad. These draw on a wider context without being swamped by it.

This is a superbly balanced introduction. Each of them is written with intelligence and insight. The collection, by leading scholars, gives an important overview of the state of the field.

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Leavis, to Jerome McGann. Perry finds all of the Romantics disagreeing, productively, about everything, from the poetics of ordinariness to the grandeur of the imagination. Thomson considers Barbauld, Smith, Robinson, Hemans, and Landon, offering thoughtful readings with a strong sense of context. Class and the Canon: Constructing Labouring-Class Poetry and Poetics, — , edited by Kirstie Blair and Mina Gorji, offers a series of important interventions in the way we conceive of the relation between poetry and class.

The collection is distinctive, and enormously refreshing, in its combination of authoritative scholarship about poets who remain in many cases marginal with delicate, insightful textual criticism. Orr develops a detailed picture of labouring-class Ulster writers with Thomson at their centre who dealt in radical politics, conflicted nationalism, and rituals of homosocial bonding. Mina Gorji offers appropriately close and attentive readings of poems that are similarly minute and careful in their descriptions.

Andrews claims that Wordsworth likely knew the poem, and her insightful reading of it suggests how subtly Yearsley used the metre to reflect her thoughts about time. Marcus Waithe begins by suggesting that Carlyle might be seen as a labouring-class writer. Brian Hollingworth considers the Lancashire labourer Edwin Waugh. Waugh modelled his aspirations to dialect canonicity on Burns, and as with Burns readers have wished to find, and to sanitize, the link between his poetry and his life.

Drawing on a wealth of historical and biographical detail, this study provides sustained, contextual readings of four lyric tragedies: The second section of the book comprises chapters on Osario , Remorse , and The Cenci , three plays which Parker sees as responding to moments of intense personal and political crisis.

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Accordingly, although the book reads more as a collection of essays on three canonical authors than as a concerted study of Romantic tragedy per se, it is nonetheless a major contribution to our understanding of the poetry and politics of the Regency stage. Science, Evolution, and Ecology , Michael R. Page offers two chapters of interest to scholars of Romantic poetry: He uses Darwin to suggest a fruitful relation between Green Romanticism and science fiction.

There were three books on Welsh Romantic poetry this year. They are all of them, importantly, written by scholars deeply conversant with Welsh-language culture in the period. The ballads and poems are in Welsh with parallel English translations. I am not in a position to judge, but Jones and Charnell-Whyte in their introductions set out their aim to be as literal as possible in translating, and they have maintained as far as possible the verse forms.

Each text comes with very full notes which set the texts in their political and historical contexts. One feature of this is to suggest just how fully Welsh speakers were involved in the debates which convulsed Europe. That said, a bardic culture was still strong, and this dictated the verse forms that many of the poets adopted.

As with the Scots and Irish in the period, the majority of Welsh people celebrated their own national identity as an extension of a wider British identity, regardless of political persuasion. Some poets celebrated monarchy, especially following the regicide, but others quoted Thomas Paine with enthusiasm. Some of the poems come from manuscript many were first performed at bardic competitions , but others circulated in periodicals and in other print forms.

Ballad culture was an important part of popular culture in Britain and Ireland in this period, as much recent scholarship has shown, but it was also under pressure. In Wales, this is partly on account of the spread of Methodism. Ballad production was most prominent in North Wales, with Carmarthen an important southern outpost.

Because of their popular nature, ballads tended to reflect class tensions, and this fact made them ripe ground for discussing the revolution debates. The anthology begins with the war in the Burke—Paine debate impacted on poets, not ballad writers. Given recent attention by the likes of Kevin Gilmartin [] to counter-revolutionary culture, it ought not to prompt a groan that significantly more of the ballads are loyalist.

That said, they were not uniform in their response. Although ballads were less common in the south-west, those written tended to reflect religious if not usually political dissent. The most important aspect of all of the ballads, and an aspect that signals a distinction from ballads produced over the border, is the centrality of God. The revolution was clearly important to the writers, but they tend towards ambiguity because the determining context was always the divine.

Other ballads discussed Nelson and Napoleon, and, as might be expected, a great many discussed the attempted French landing at Fishguard in Ballad culture, one might assume, was lively, even rambunctious, but disengaged from the world around it. The most famous Welsh writer of the period, and the subject of the greatest critical discussion, is Iolo Morganwg or Edward Williams.

His work, as Geraint H. Jenkins demonstrates in Bard of Liberty: The Political Radicalism of Iolo Morganwg , provides the radicalism one might miss in the ballad tradition. This is the ninth and final volume in a book series dedicated to him. Glamorgan was a good place to be: Iolo spent time in London in and sucked up as much of the intellectual life of the city as he could. He also composed a song supporting the volunteers who would defend Wales from a French invasion. Jenkins is clearly disappointed by this. Indeed, the book resembles criticism of Burns in its desire to make an engaged radical out of a national icon.

In both cases the distinction between radical and loyalist was probably less clear-cut. Jenkins writes with lively vigour, producing a highly entertaining, somewhat polemical political biography of a very important Romantic poet. The Languages of Resistance , pp. There were a number of other general discussions of Romantic poetry. The lyric might usually be opposed to narrative, but Stelzig shows the hidden links between two apparently divergent genres. These two seemingly distant speech communities in fact influenced each other as they developed a nostalgic poetics which began in a specific political situation before becoming a more general condition.

Chandler suggests its similarity to works by Wordsworth and Southey and its differing receptions in Britain and America on stage and in literature. The Romantic lyric became, perhaps surprisingly, a major mode of expression for prisoners, who were often, as LeGrand shows, denied paper and ink. From , Byron, Hunt, Moore, Hone, Lamb, and many others found verse the most congenial form to express their disdain. Dyer claims that the mode of circulation in private, in newspapers, in limited print runs is a crucial aspect of the way poets engaged with a public debate without like Hunt and Hone ending up in prison.

Nationality, Identity, and Appropriation , pp. The politics of the question of what one does with an empire which survives as ruin is especially compelling. An appropriation does not aspire to originality and Slagle makes a convincing case that these writers made a virtue of the fact. Their work depends upon, but creatively reworks, other histories and poetic romances. Baillie followed Hodson in writing on William Wallace, and they both engaged with Scott and Southey in doing so, before having their own substantial influences on those poets and others in turn.

Slagle tracks the relations between the four, providing important new information. She offers relatively little critical analysis, but her suggestion of their influence on Tennyson p. Slagle seems a little unsure at times about how important gender might be. The wealth of their interests, and the skill with which they weave their tales, make them worthy of further investigation.

Montgomery was especially closely involved, and asked Baillie for a poem on the subject. It took time, but their efforts had an effect. These suggest her attempt to negotiate the division between history and fiction, a generic divide that Fermanis shows was gendered in the period. A crucial means for making this appeal, for Watkins, is the book rather than the individual poem.

He considers the epigraphs and allusions, her choice of genre and form, and the arrangement of the poems in the volume, both in the first edition and in the second, which was published by Joseph Johnson in Small poems follow her initial struggle to clarify her idealism: Barbauld uses this small poem, and its small subject, in opposition to her epigraph from Virgil to think through the relation between genres and between small moments and large schemes. The religious poems which end the volume return her to her first difficulties. A larger scheme becomes possible: A transformative political vision becomes possible, and is revealed to the reader, through hard work.

Thomas Lovell Beddoes has been discussed more frequently in recent years, but books devoted to him are relatively rare.

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Beddoes seems to exist outside time: Berns is opposed to this view, and seeks to reconnect Beddoes with history. Beddoes left Britain for Germany in and lived there until In this period, as Berns shows, Beddoes was not inert: Berns also claims that he was intent on making an impact in Britain. Beddoes was much possessed by death but his interest in the topic was driven by his career as a medical student. Medicine also colours his politics: The understanding of history he derives from his German researches drives what Berns sees as his radical political outlook which protests against a Restauration Europe which thought the clock could be turned back.

Again, this has political as well as philosophical consequences: This is a long, very full book. Berns takes every opportunity to fill in as much historical detail as she can. For this reason the book is very informative; by the same token, it is not always a breezy read. It will, however, become a touchstone in Beddoes criticism for many years. Re-envisioning Blake , edited by Mark Crosby, Troy Patenaude and Angus Whitehead, seeks to provide a more synoptic overview of Blake studies by attending with equal interest to the range of usually competing critical perspectives that have characterized the field.

The breadth of work on Blake is attested to by the range my review covers this year, and this collection is heartening in its aspiration to maintain that range while moving beyond narrow partisanship. Keri Davies and David Worrall also co-author a chapter, if in a more integrated fashion, dissenting from the Victorian construction of Blake as a Dissenter while also offering important reflections on the currently historicist tenor of the field. Shirley Dent makes equally challenging claims. Mark Crosby and Angus Whitehead continue the recent attempts discussed last year to recover Catherine Blake as a powerful businesswoman in her own right.

The collection suggests the vigour with which Blakeans question their field, and the variety of the contents bodes well for its future. Blake, Gender and Culture , edited by Helen P. Bruder, and Tristanne J. Mark Crosby offers an overview of his depictions of Eve, especially in Genesis and his Paradise Lost illustrations. Catherine McClenehan offers a reading of Jerusalem informed by the historical shifts in the understanding of sexuality.

The population debate, led by Godwin and Malthus, may not seem a likely route into Blakean sexuality, but David Fallon, in a fascinating piece of historical scholarship, manages just that. Elizabeth Effinger claims that The Book of Thel can help us join the history of medicine to Lacanian theory. This leads her to consider their submerged homoeroticism, a fact that his publisher attempted to undermine. Steve Clark counterintuitively connects Blake with Joanna Baillie and the theatre: She offers a complex and wide-ranging argument, but it is compelling, focused, and clear.

This is why Deleuze desires an analogue language: Colebrook offers Blake as a vital guide to these difficulties. His work incorporates systematic and anti-systematic thinking, immanence and transcendence, and considers writing as taking necessarily a form, a limit to thought, and yet possessing the ability to point beyond those limits. His ability to grasp the necessity of the things he critiqued makes him, for Colebrook, especially able to provide a critique of the digital. The central concept for this process is incarnation, an idea usually Neoplatonic or Christian.

For Blake the relation between body and spirit, or between idea and book, is much more ambivalent. Neither body nor spirit is dominant, but he does not unite them either. His texts assert the primacy of text, but do so, Colebrook proposes, in such a way as to make feeling the primary expression.

Study Guide to The Immortal Life of Henrietta Lacks by Rebecca Skloot

This relationship also drives his understanding of the divine: Colebrook offers a complex, fascinating argument, seeming always, and enjoyably so, to be both on the one hand and on the other. Ballard and Michael Moorcock. Roger Whitson wonders how Blake might be transformed by Web 2. The pleasure of the volume, and the way it makes good on its desire to find a Blake fit for the modern age, lies in this very multiplicity: William Blake in the Art World — , a substantial discussion of a large topic, offered further proof that Blakean adaptation remains an unusually busy area for scholars.

Victorians like Swinburne are at the heart of the study. This proto-Nietzschean individualism had its appeal, but more conservative critics saw a dangerous dissolution of social bonds. Blake becomes bound up in debates about national identity and the avant-garde, is condemned for an association with the Pre-Raphaelites, but is also celebrated for his commitment to the work of art.

There was, Trodd demonstrates, a lively, various public debate about Blake amongst artists, academics, curators, and the public. This is a highly impressive achievement, and will be a point of reference for Blakeans and scholars of Victorian and Edwardian art for many years. Both writers, as she shows, take on the role of prophets who imagine a renewed future state for mankind.

Ballard and William Blake: Visions and Revisions , pp. Cormack considers the limits of history when dealing with writers who push at the edges of the imagination. He also sees Ballard offering a critique of those who too easily co-opt Blake to the counter-culture.

Thomas argues that the film is far more deeply imbued with Blakean ideas than might at first appear. Blake does not single out specialist readers, but becomes split between them all. This complex article ought to prove influential. Essick, with an essay by Robert R. Wark, is an extraordinary publication. The plates are reproduced from a copy in the Huntington, and they are the first published in the size of the original.

The editors show, in their remarkably well-informed and careful commentary, how Blake intervened in contemporary controversies over biblical interpretation. Their meticulous plate-by-plate commentaries describe the plates with care and deep knowledge. They will surely achieve just this. In a rich and compelling article, Miner sheds much light on Blake and also makes a claim for him as especially creative in his allusions to the poets.

The reason it so fascinated and frustrated him was that it offered an unrepresentable moment of collapse and fragmentation. This leads Goldsmith to consider the consequences for how Blake thinks about action and the authority for violence. Blake tests and ultimately challenges traditional as well as more well-intentioned anthropocentric views; if it offers no comforting solution then, for Morris, it is the more valuable.

Junod considers in particular detail the role of Friedrich Christoph Perthes, the German publisher in whose journal the article appeared. Crabb Robinson emerges from her treatment as a crucial figure in the mediation of English literature in Germany, as well as vice versa. In these, the distinction between masque and antimasque typically ensures the eventual triumph of order over disorder. Blake takes this template and, as might be expected, squashes the two poles together, subverting traditional authority.

There were several shorter articles on Blake. The William Blake Archive published this year an electronic edition of Europe: A Prophecy based on copy D held in the British Museum. The letters were published online in in an excellent edition, also via Romantic Circles , edited by Tim Fulford and Lynda Pratt. Fulford has made excellent use of the electronic format to do what a printed book could not.

Indeed, Bloomfield had hoped to produce an edition incorporating prose, poetry, and sketches, though publishing costs ruled this out for years. It is a remarkably full and easily navigable edition.

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Fulford offers a glossary of notable people and places mentioned in the poem, and his introduction is especially helpful. It ought to prompt further work for critics as well as, one hopes, a great deal of pleasure for readers. His relation with his predecessors is well explored. Perhaps this gets it the wrong way round: Burns was also consumed in the Americas, and Fiona Black and Rhona Brown suggest the ways in which publishers and editors shaped the way in which he was consumed often to conservative ends.

Burns becomes as mutable as ever: Nigel Leask suggests a less conventional mode of influence in his discussion of Burns and Latin America. Burns had little immediate impact, and was rarely translated into Portuguese or Spanish, but he becomes a kind of submerged model productive precisely in its disconnections. Essays by Michael Vance and Kirsteen McCue consider more directly the role of mediation, discussing, respectively, statues and folk songs. Her worshippers have little print to go on, but, perhaps appropriately, this Marian cult depends on gossip, memorials, speculation, and commemorative objects, from egg-cups to statues.

It is likely, argues Brown, that the printer used a manuscript of some kind, though print was not that important. Ross Roy and Patrick G. The letter concerns the poem and its inspiration Burns had caught a neighbour shooting a hare and was written to the Edinburgh medical professor James Gregory. The authors discuss the differences between the published version and the manuscript, and print both. He discusses the major aspects of his work: Lord Byron and Discourses of Otherness: Angeletti offers a particularly careful and insightful discussion of an aspect of Byron often glossed over or misunderstood.

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Italian otherness, though, forms the main focus of the book. Byron lived there between and , and it remained a combination of dream and reality. Again, this is refreshingly open criticism: The book begins and ends with two writers who became Byron: This habit of exchange characterizes her book as a whole, which is a thoughtful, engaging account of Byron and others. Cochran shows how important Italian literature was to him. Cochran makes a compelling claim for the importance of these writers to Don Juan. Cochran also tells many amusing anecdotes of the years in Venice, including tales of his huge menagerie.

Born in , this African-American woman became unexpectedly one of the greatest contributors to medical scientists' struggles to find a cure for cancer. She was diagnosed with cervical cancer in But during her treatment at the hospital, Dr. George Gey clipped cancerous cells from her cervix without her knowledge.

During his studies of the cells, Dr. Gey found that Mrs. Lacks' cells were essentially immortal. And this is the beginning framework of the story of this immortal boon to medical and biological research. Read more Read less. Booksquint Summary BookSquint Summaries.