John Bugg – författare

'You said I killed you - haunt me, then!'Wuthering Heights is one of the most famous love stories in the English language. It is also one of the most potent revenge narratives. The intense and unbreakable bond between the fiery Catherine Earnshaw and the foundling Heathcliff has startled and fascinated readers since its first publication in 1847. Of uncertain parentage and ethnicity, Heathcliff comes to Wuthering Heights as a child when Catherine's father finds him wandering alone through the slave-trading port of Liverpool. After Mr Earnshaw's death, Heathcliff and Catherine find refuge in each other when the household falls into the hands of Catherine's dissolute older brother. Their bond deepens as they escape together from the violence and stern religion of their home to the Yorkshire moors. But the story of Catherine and Heathcliff's attachment transforms from intimacy to strife when Catherine marries the refined Edgar Linton. The ensuing story of violence and thwarted passion is one of the most powerful tales of the gothic tradition, a literary mode from which Emily Brontë wrings all of its terrifying potential. A regional novel with a global reach, a work of sensational effects with a startling ethical core, Wuthering Heights is both a romantic melodrama and wrenching study of the difficulty of escaping from the legacies of violence.This edition reproduces the authoritative Clarendon text, with revised and expanded notes and a selection from the poems of Emily Brontë.

''You said I killed you - haunt me, then!''Wuthering Heights is one of the most famous love stories in the English language. It is also one of the most potent revenge narratives. The intense and unbreakable bond between the fiery Catherine Earnshaw and the foundling Heathcliff has startled and fascinated readers since its first publication in 1847. Of uncertain parentage and ethnicity, Heathcliff comes to Wuthering Heights as a child when Catherine''s father finds him wandering alone through the slave-trading port of Liverpool. After Mr Earnshaw''s death, Heathcliff and Catherine find refuge in each other when the household falls into the hands of Catherine''s dissolute older brother. Their bond deepens as they escape together from the violence and stern religion of their home to the Yorkshire moors. But the story of Catherine and Heathcliff''s attachment transforms from intimacy to strife when Catherine marries the refined Edgar Linton. The ensuing story of violence and thwarted passion is one of the most powerful tales of the gothic tradition, a literary mode from which Emily Brontë wrings all of its terrifying potential. A regional novel with a global reach, a work of sensational effects with a startling ethical core, Wuthering Heights is both a romantic melodrama and wrenching study of the difficulty of escaping from the legacies of violence.This edition reproduces the authoritative Clarendon text, with revised and expanded notes and a selection from the poems of Emily Brontë.

''You said I killed you - haunt me, then!''Wuthering Heights is one of the most famous love stories in the English language. It is also one of the most potent revenge narratives. The intense and unbreakable bond between the fiery Catherine Earnshaw and the foundling Heathcliff has startled and fascinated readers since its first publication in 1847. Of uncertain parentage and ethnicity, Heathcliff comes to Wuthering Heights as a child when Catherine''s father finds him wandering alone through the slave-trading port of Liverpool. After Mr Earnshaw''s death, Heathcliff and Catherine find refuge in each other when the household falls into the hands of Catherine''s dissolute older brother. Their bond deepens as they escape together from the violence and stern religion of their home to the Yorkshire moors. But the story of Catherine and Heathcliff''s attachment transforms from intimacy to strife when Catherine marries the refined Edgar Linton. The ensuing story of violence and thwarted passion is one of the most powerful tales of the gothic tradition, a literary mode from which Emily Brontë wrings all of its terrifying potential. A regional novel with a global reach, a work of sensational effects with a startling ethical core, Wuthering Heights is both a romantic melodrama and wrenching study of the difficulty of escaping from the legacies of violence.This edition reproduces the authoritative Clarendon text, with revised and expanded notes and a selection from the poems of Emily Brontë.

This is the first book to bring perspectives from the interdisciplinary field of Peace Studies to bear on the writing of the Romantic period. Particularly significant is that field''s attention not only to the work of anti-war protest, but more purposefully to considerations of how peace can actively be fostered, established, and sustained. Bravely resisting discourses of military propaganda, writers such as Amelia Opie, Helen Maria Williams, William Wordsworth, William Cobbett, John Keats, and Jane Austen embarked on the challenging and urgent rhetorical work of imagining--and inspiring others to imagine--the possibility of peace. The writers formulate a peace imaginary in various registers. Sometimes this means identifying and eschewing traditional militaristic tropes in order to craft alternative images for a patriotism compatible with peace. Other times it means turning away from xenophobic discourse to write about relations with other nations in terms other than those of conflict. If historically informed literary criticism has illustrated the importance of writing about war during the Romantic period, this volume invites readers to redirect critical attention to move beyond discourses of war, and to recognize the era''s complex and vibrant writing about and for peace.

This is the first book to bring perspectives from the interdisciplinary field of Peace Studies to bear on the writing of the Romantic period. Particularly significant is that field''s attention not only to the work of anti-war protest, but more purposefully to considerations of how peace can actively be fostered, established, and sustained. Bravely resisting discourses of military propaganda, writers such as Amelia Opie, Helen Maria Williams, William Wordsworth, William Cobbett, John Keats, and Jane Austen embarked on the challenging and urgent rhetorical work of imagining--and inspiring others to imagine--the possibility of peace. The writers formulate a peace imaginary in various registers. Sometimes this means identifying and eschewing traditional militaristic tropes in order to craft alternative images for a patriotism compatible with peace. Other times it means turning away from xenophobic discourse to write about relations with other nations in terms other than those of conflict. If historically informed literary criticism has illustrated the importance of writing about war during the Romantic period, this volume invites readers to redirect critical attention to move beyond discourses of war, and to recognize the era''s complex and vibrant writing about and for peace.

This is the first book to bring perspectives from the interdisciplinary field of Peace Studies to bear on the writing of the Romantic period. Particularly significant is that field's attention not only to the work of anti-war protest, but more purposefully to considerations of how peace can actively be fostered, established, and sustained. Bravely resisting discourses of military propaganda, writers such as Amelia Opie, Helen Maria Williams, William Wordsworth, William Cobbett, John Keats, and Jane Austen embarked on the challenging and urgent rhetorical work of imagining--and inspiring others to imagine--the possibility of peace. The writers formulate a peace imaginary in various registers. Sometimes this means identifying and eschewing traditional militaristic tropes in order to craft alternative images for a patriotism compatible with peace. Other times it means turning away from xenophobic discourse to write about relations with other nations in terms other than those of conflict. If historically informed literary criticism has illustrated the importance of writing about war during the Romantic period, this volume invites readers to redirect critical attention to move beyond discourses of war, and to recognize the era's complex and vibrant writing about and for peace.

The Joseph Johnson Letterbook is the first scholarly edition of the correspondence of the influential publisher Joseph Johnson (1738-1809). Best known today for his work with politically progressive figures such as Mary Wollstonecraft and Joseph Priestley, over the course of his career Johnson was involved in the publication of thousands of works on a breathtaking range of subjects, from travel narratives to scientific writing to children's books. Johnson was also something of an impresario, and given his active involvement in shaping the books he published, he appears in the longue duree of eighteenth- and nineteenth-century British print culture as a gateway figure in the slow transition from patronage to marketplace. The Joseph Johnson Letterbook brings into print for the first time over two hundred of Johnson's letters from archives around the world.

This book argues that the British government's repression of the 1790s rivals the French Revolution as the most important historical event for our understanding the development of Romantic literature. Romanticism has long been associated with both rebellion and escapism, and much Romantic historicism traces an arc from the outburst of democratic energy in British culture triggered by the French Revolution to a dwindling of enthusiasm later in the 1790s, when things in France turned violent. Writers such as Wordsworth and Coleridge can then be seen as "apostates" who turned from radical politics to a poetics of transcendence. Bugg argues instead for a poetics of silence, and his book is set against the backdrop of the so-called Gagging Acts and other legislation of William Pitt, which in literature manifests itself stylistically as silence, stuttering, fragmentation, and encoding. Mining archives of unpublished documents, including manuscripts, diaries, and letters, where authors were more candid, as well as rereading the work of both major and minor figures, a number of whom were subject to prison sentences, Five Long Winters offers a new way of approaching the literature of the Romantic era.

This book argues that the British government's repression of the 1790s rivals the French Revolution as the most important historical event for our understanding the development of Romantic literature. Romanticism has long been associated with both rebellion and escapism, and much Romantic historicism traces an arc from the outburst of democratic energy in British culture triggered by the French Revolution to a dwindling of enthusiasm later in the 1790s, when things in France turned violent. Writers such as Wordsworth and Coleridge can then be seen as "apostates" who turned from radical politics to a poetics of transcendence. Bugg argues instead for a poetics of silence, and his book is set against the backdrop of the so-called Gagging Acts and other legislation of William Pitt, which in literature manifests itself stylistically as silence, stuttering, fragmentation, and encoding. Mining archives of unpublished documents, including manuscripts, diaries, and letters, where authors were more candid, as well as rereading the work of both major and minor figures, a number of whom were subject to prison sentences, Five Long Winters offers a new way of approaching the literature of the Romantic era.