Beckett and animals

This is the first full-length study to apply current debates about animality to the work of one of the twentieth century's most influential writers. Animals are to be found throughout Samuel Beckett's prose, drama, and poetry. SAMUEL BECKETT AND ANIMALS brings together an international array of Beckett specialists to explore the significance of the animals that populate Beckett's work. In doing so, they also draw attention to the ethical continuum that binds human and nonhuman animality, thus providing new ways of thinking the animal within contemporary culture.

Credit flow [poetry]

A poem within the Alhambra Poetry Calendar 2011, a desk calendar and poetry anthology in one.

The symbolic value of grafting in ancient Rome

Some scholars have read Virgil’s grafted tree (G. 2.78–82) as a sinister image, symptomatic of man’s perversion of nature. However, when it is placed within the long tradition of Roman accounts of grafting (in both prose and verse), it seems to reinforce a consistently positive view of the technique, its results, and its possibilities. Virgil’s treatment does represent a significant change from Republican to Imperial literature, whereby grafting went from mundane reality to utopian fantasy. This is reflected in responses to Virgil from Ovid, Columella, Calpurnius, Pliny the Elder, and Palladius (with Republican context from Cato, Varro, and Lucretius), and even in the postclassical transformation of Virgil’s biography into a magical folktale.

Ted Hughes: the development of a children's poet

This article looks at how Ted Hughes' poetry for children developed over more than 30 years of publication. It traces the movement from his earlier, more conventional rhyming poems, such as Meet My Folks! (1961) and Nessie the Mannerless Monster (1964), to the mature, free verse "animal poems" for older readers of Season Songs (1976c), Under the North Star (1981) and the "farmyard fable" What is the Truth? (1984). The article argues that the later lyrical poems for younger readers where Hughes returned to rhyme, The Cat and the Cuckoo (1987) and The Mermaid's Purse (1993), represent an undervalued final phase of Hughes' work for children which is rarely discussed by critics. The discussion considers Hughes' changing attitude to the concept of the "children's poet" at different periods of his career. Reference is made throughout to Hughes' own writing about children and poetry, such as Poetry in the Making (1967), and to parallel developments in his poetry for adults.

Muses

The Muses are goddesses and teachers of divine wisdom evoked in dance, music, and poetry. Late sources suggest that they invented the alphabet (Diod. Sic. 7.74.1) and the arts and sciences (Anth. Lat. 1.1.88; 1.2.664).

How not to do things with words

If philosophy and poetry are to illuminate each other, we should first understand their tendencies to mutual antipathy. Examining (and, where possible, correcting) mutual misapprehension is part of this task. J. L. Austin's remarks on poetry offer one such point of entry: they are often cited by poets and critics as an example of philosophy's blindness to poetry (I). These remarks are complex and their purpose obscure—more so than those who take exception to them usually allow or admit (II). But it is reasonable to think that, for all his levity at their expense, what Austin offers poets is exemption from forms of commitment. Since such exemption is precisely what poets and critics have sought, this diagnosis is eirenic (III). This exemption has a price, but it may be affordable (IV).

The selected poetry and prose of Vittorio Sereni

2013 centenary corrected paperback edition of a 2006 publication, with introduction, co-translations, and notes