Karen Chase – författare

Middlemarch is the prime example of George Eliot's dictum that "interpretations are illimitable," and in this collection of new essays Middlemarch is re-examined as an open text responsive to gaps and fissures, and as resistant to authority as it is to other fixed notions of identity, idealism, and gender. What does the novel omit, and how do the omissions shape what is there? How shall we understand the materiality of the text? What problems does it pose to adaptation? The novel's plasticity becomes a basis for investigation into the multiple forms of expressiveness, and a consideration of how we might plot the patterns linguistically, ideologically, even cinematically. New spaces emerge within character, place, and narrative; what seemed absent or inaccessible assumes shape and definition; Middlemarch remains "Victorian" but it is a Victorianism understood through the dual perspectives of the 19th and 21st centuries. Scholars of George Eliot and students of Victorianism will be engaged by the wide-ranging scope of these essays, which nonetheless build on each other to form a coherent narrative of critical reflections. If there is something for everyone in Middlemarch, there is also something compelling about each of the essays in this collection.

Middlemarch is the prime example of George Eliot's dictum that "interpretations are illimitable," and in this collection of new essays Middlemarch is re-examined as an open text responsive to gaps and fissures, and as resistant to authority as it is to other fixed notions of identity, idealism, and gender. What does the novel omit, and how do the omissions shape what is there? How shall we understand the materiality of the text? What problems does it pose to adaptation? The novel's plasticity becomes a basis for investigation into the multiple forms of expressiveness, and a consideration of how we might plot the patterns linguistically, ideologically, even cinematically. New spaces emerge within character, place, and narrative; what seemed absent or inaccessible assumes shape and definition; Middlemarch remains "Victorian" but it is a Victorianism understood through the dual perspectives of the 19th and 21st centuries. Scholars of George Eliot and students of Victorianism will be engaged by the wide-ranging scope of these essays, which nonetheless build on each other to form a coherent narrative of critical reflections. If there is something for everyone in Middlemarch, there is also something compelling about each of the essays in this collection.

Karen Chase examines old age as it was constructed in Victorian social and literary cultures. Beginning with the vexed relation between elderly people whose numbers and needs taxed the state which sought to identify, classify, and provide for them, she analyzes illuminating moments in narrative form, social policy, or cultural attitudes. The book considers the centrality of institutions and of the generational divide; it traces the power and powerlessness of age through a range of characters and individuals as distinct from one another as Dickens's inebriated nurse, Sairey Gamp, to the sober Queen Victoria; and it studies specific narrative forms for expressing heightened emotions attached to aging and the complexities of representing age in pictorial and statistical 'portraits'. Chapters are organized around major literary works set alongside episodes and artefacts, diaries and memoirs, images and inscriptions, that produced (and now illuminate) the construction of old age through Victoria's long reign. The Victorians and Old Age shows that if old age became for the Victorians such a conspicuous public topic and problem, it also became an intensely private preoccupation. The social formation of old age created terms, images, and narratives that lone individuals used to fashion the stories of their lives. The book is intent to respect the specificity of aging: not only the wide diversities of circumstance (rich and poor, urban and rural, watched and forgotten, powerful and dispossessed) but also the distinct acts of representation by novelists, painters, journalists, sociologists, and diary-keepers.

A comprehensive introduction to Middlemarch, offering both general information and an original interpretation. It pays considerable attention to the intellectual and social context surrounding Middlemarch, and situates the work within nineteenth-century traditions of the novel in England and Europe. Karen Chase gives particular emphasis to the Woman Question in Middlemarch.

Love of home life, the intimate moments a family peacefully enjoyed in seclusion, had long been considered a hallmark of English character even before the Victorian era. But the Victorians attached unprecedented importance to domesticity, romanticizing the family in every medium from novels to government reports, to the point where actual families felt anxious and the public developed a fierce appetite for scandal. Here Karen Chase and Michael Levenson explore how intimacy became a spectacle and how this paradox energized Victorian culture between 1835 and 1865. They tell a story of a society continually perfecting the forms of private pleasure and yet forever finding its secrets exposed to view. The friction between the two conditions sparks insightful discussions of authority and sentiment, empire and middle-class politics. The book recovers neglected episodes of this mid-century drama: the adultery trial of Caroline Norton and the Prime Minister, Lord Melbourne; the Bedchamber Crisis of the young Queen Victoria; the Bloomer craze of the 1850s; and Robert Kerr's influential treatise, celebrating the ideal of the English Gentleman's House.The literary representation of household life--in Dickens, Tennyson, Ellis, and Oliphant, among others--is placed in relation to such public spectacles as the Deceased Wife's Sister Bill of 1848, the controversy over divorce in the years 1854-1857, and the triumphant return of Florence Nightingale from the Crimea. These colorful incidents create a telling new portrait of Victorian family life, one that demands a fundamental rethinking of the relation between public and private spheres.

For more than a decade, Karen Chase taught poetry writing to severely incapacitated patients at a large psychiatric hospital outside of New York City. During that time, she began working with Ben, a handsome, formerly popular and athletic young man who had given up speaking and had withdrawn from social interaction. Meeting on the locked ward every week for two years, Chase and Ben passed a pad of paper back and forth, taking turns writing one line of poetry each, ultimately producing one hundred and eighty poems that responded to, diverged from, and built on each other's words. "Land of Stone" is Chase's account of writing with Ben, an experience that was deeply transformative for both poet and patient. In Chase's engrossing narrative, readers will find inspiration in the power of writing to change and heal, as well as a compelling firsthand look at the relationship between poet and patient. As she tells of Ben's struggle to come out of silence, Chase also recounts the issues in her own life that she confronts by writing with Ben, including her mother's recent death and a childhood struggle with polio.Also, since poetry writing seems to reach Ben in a way that his clinical therapy cannot, Chase describes and analyzes Ben's writing in detail to investigate the changes that appeared to be taking place in him as their work progressed. A separate section presents twenty-two poems that Chase wrote with Ben, selected to show his linguistic development over time, and a final section offers Chase's thoughtful reflections on the creative process. "Land of Stone" will provide honest and valuable insight to psychologists, psychiatrists, social workers, alternative therapists, and other mental health practitioners, and will also surely be of interest to creative writers, teachers, linguists, and anyone looking to explore the connections between language and healing.

A collection of power and humor in earthy eroticism, invoking both the fever and hope in wakeful dreams. A bold work of the elegiac past and the visceral present converging in provocative imagery. There is often an undercurrent of longing in Chase's poems-the longing of hunger, of sex, of unfinished business with the dead. Central to the collection is the title poem, a spiraling nightmare that explores the messy and terrifying commingling of religion, death and history's unpardonable sins.

How does Victorian fiction represent personality? How does it express emotion and how does it imagine the mind? These questions stand at the centre of Eros and Psyche, first published in 1984. In examining how three authors – Charlotte Brontë, Charles Dickens and George Eliot – depict the mind and organise emotion, Chase approaches their works as expressive structures, and analyses their struggle to accommodate rival imperatives in depicting personality: desire and duty, guilt and innocence, love and autonomy. The title begins with Brontë’s early Angrian tales, which introduce the problem that unifies the book: the attempt of Victorian fiction to escape the constraints of the romance mode, while assimilating its energies. There follow readings of The Pickwick Papers, Jane Eyre, Bleak House, and Middlemarch, in the light of such problems as confinement and exposure in Brontë, tragic doubt in Dickens, and the image of the moral mind in George Eliot.

How does Victorian fiction represent personality? How does it express emotion and how does it imagine the mind? These questions stand at the centre of Eros and Psyche, first published in 1984. In examining how three authors – Charlotte Brontë, Charles Dickens and George Eliot – depict the mind and organise emotion, Chase approaches their works as expressive structures, and analyses their struggle to accommodate rival imperatives in depicting personality: desire and duty, guilt and innocence, love and autonomy. The title begins with Brontë’s early Angrian tales, which introduce the problem that unifies the book: the attempt of Victorian fiction to escape the constraints of the romance mode, while assimilating its energies. There follow readings of The Pickwick Papers, Jane Eyre, Bleak House, and Middlemarch, in the light of such problems as confinement and exposure in Brontë, tragic doubt in Dickens, and the image of the moral mind in George Eliot.