Andrew Hodgson – författare

'If there were dreams to sell What would you buy?'Thomas Lovell Beddoes (1803-1849) was among the most talented writers of the Romantic age. A prodigiously gifted poet and dramatist, he already had two published volumes to his name and seemed set to assume a role at the vanguard of English letters when, in 1825, he left England to pursue anatomical studies at the University of Göttingen. He continued to write while overseas, treating his great themes of love, death, and nature, and attempting to unite the spirits of scientific and artistic enquiry, but published almost nothing. When he died by suicide in Basel in 1849, Beddoes left behind him a trail of thwarted hopes and ruined ambitions, but also a body of work that speaks eloquently and without self-pity about its own failures and disappointments. This volume presents a wide selection of Beddoes's writings across a variety of genres. At its heart lies his sprawling masterpiece Death's Jest-Book, an extravagant attempt to resurrect the tradition of Shakespearean verse drama that obsessed Beddoes throughout his writing life. Also included are a range of Beddoes's intricate and tender lyric poems, a sample of his grotesque comic verse, a number of dramatic fragments, and a selection of his witty and opinionated letters, which present his views on the writers of his age and reflect on his life in the German lands.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Elizabeth Hitchener (1783-1821) is best known to literary history for a brief but intense friendship with Percy Bysshe Shelley, during which he declared her 'the sister of my soul'. When, in 1812, the friendship fell apart, Shelley turned on her. She was, he said, 'an ugly, hermaphroditical beast of a woman'. He labelled her 'The Brown Demon'. This Element is the first biographical and critical study of a schoolmistress, letter-writer, and poet, whose achievements transcend Shelley's denigrating characterisation. Drawing on fresh archival research, it uncovers a wealth of new information about Hitchener's life and shows how she benefitted from and engaged with late-eighteenth century traditions of radical and proto-feminist thought. It offers a revisionary account both of Hitchener's correspondence with Shelley-based on newly-edited manuscripts-and her achievements as a poet, attending in particular to the generic and argumentative complexity of her topographical poem The Weald of Sussex (1822).

Elizabeth Hitchener (1783-1821) is best known to literary history for a brief but intense friendship with Percy Bysshe Shelley, during which he declared her 'the sister of my soul'. When, in 1812, the friendship fell apart, Shelley turned on her. She was, he said, 'an ugly, hermaphroditical beast of a woman'. He labelled her 'The Brown Demon'. This Element is the first biographical and critical study of a schoolmistress, letter-writer, and poet, whose achievements transcend Shelley's denigrating characterisation. Drawing on fresh archival research, it uncovers a wealth of new information about Hitchener's life and shows how she benefitted from and engaged with late-eighteenth century traditions of radical and proto-feminist thought. It offers a revisionary account both of Hitchener's correspondence with Shelley-based on newly-edited manuscripts-and her achievements as a poet, attending in particular to the generic and argumentative complexity of her topographical poem The Weald of Sussex (1822).

At the heart of this book is a belief that poetry matters, and that it enables us to enjoy and understand life. In this accessible guide, Andrew Hodgson equips the reader for the challenging and rewarding experience of unlocking poetry, considering the key questions about language, technique, feeling and subject matter which illuminate what a poem has to say. In a lucid and sympathetic manner, he considers a diverse range of poets writing in English to demonstrate how their work enlarges our perception of ourselves and our world. The process of independent research is modeled step-by-step, as the guide shows where to start, how to develop ideas, and how to draw conclusions. Providing guidance on how to plan, organise and write essays, close readings and commentaries, from initial annotation to final editing, this book will provide you with the confidence to discover and express your own personal response to poetry.

At the heart of this book is a belief that poetry matters, and that it enables us to enjoy and understand life. In this accessible guide, Andrew Hodgson equips the reader for the challenging and rewarding experience of unlocking poetry, considering the key questions about language, technique, feeling and subject matter which illuminate what a poem has to say. In a lucid and sympathetic manner, he considers a diverse range of poets writing in English to demonstrate how their work enlarges our perception of ourselves and our world. The process of independent research is modeled step-by-step, as the guide shows where to start, how to develop ideas, and how to draw conclusions. Providing guidance on how to plan, organise and write essays, close readings and commentaries, from initial annotation to final editing, this book will provide you with the confidence to discover and express your own personal response to poetry.

At the heart of this book is a belief that poetry matters, and that it enables us to enjoy and understand life. In this accessible guide, Andrew Hodgson equips the reader for the challenging and rewarding experience of unlocking poetry, considering the key questions about language, technique, feeling and subject matter which illuminate what a poem has to say. In a lucid and sympathetic manner, he considers a diverse range of poets writing in English to demonstrate how their work enlarges our perception of ourselves and our world. The process of independent research is modeled step-by-step, as the guide shows where to start, how to develop ideas, and how to draw conclusions. Providing guidance on how to plan, organise and write essays, close readings and commentaries, from initial annotation to final editing, this book will provide you with the confidence to discover and express your own personal response to poetry.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies’ perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader’s will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink.Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies'' perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader''s will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink. Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies'' perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader''s will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink. Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies’ perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader’s will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink.Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

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