The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

Spencer's World of Glass: A Reading of *The Faerie Queene presents Kathleen Williams’s luminous reappraisal of Spenser as not merely a painter of sumptuous scenes but a rigorous maker of worlds. Refusing the tired cliché that Spenser’s epic is “a poem that nobody reads,” Williams shows how its apparent luxuriance serves a profoundly architectonic purpose: the poem generates its own coherent universe, where romance wandering and moral design interlock. Knights such as Red Crosse, Guyon, and Britomart are not walking abstractions but experiential agents whose quests model the mind’s labor to wrest meaning from a resistant world.At the center of Williams’s argument is Spenser’s fusion of romance narrative with an allegorical method that orders rather than flattens lived experience. Allegory here is no pageant of personifications; it is a structural principle that binds episodes, images, and “virtues” into an intelligible cosmos—what Williams, following Spenser, evokes as a “world of glass,” round, reflective, and exacting. The poem’s “mighty maze” is “not without a plan”: its digressions are dramatizations of human perplexity; its resolutions disclose a lawfulness felt before it is understood.Williams traces how Spenser’s epic “makes” nature by compressing and clarifying significances across psychological, ethical, political, and cosmic registers. The virtues organize books as points of view rather than labels, converging toward magnificence, Gloriana’s court, and Nature’s ordinance. Throughout, Williams’s readings are alert to texture and structure alike, revealing how Spenser’s ease is the mark of controlled power and how the poem’s generosity of detail is the condition of its truth.A model of analytic poise and critical tact, this study restores The Faerie Queene as a living, intelligible whole—an artful imitation of life in which order emerges from bewilderment and the glassy world clarifies the one we inhabit.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1966.

Spencer's World of Glass: A Reading of *The Faerie Queene presents Kathleen Williams’s luminous reappraisal of Spenser as not merely a painter of sumptuous scenes but a rigorous maker of worlds. Refusing the tired cliché that Spenser’s epic is “a poem that nobody reads,” Williams shows how its apparent luxuriance serves a profoundly architectonic purpose: the poem generates its own coherent universe, where romance wandering and moral design interlock. Knights such as Red Crosse, Guyon, and Britomart are not walking abstractions but experiential agents whose quests model the mind’s labor to wrest meaning from a resistant world.At the center of Williams’s argument is Spenser’s fusion of romance narrative with an allegorical method that orders rather than flattens lived experience. Allegory here is no pageant of personifications; it is a structural principle that binds episodes, images, and “virtues” into an intelligible cosmos—what Williams, following Spenser, evokes as a “world of glass,” round, reflective, and exacting. The poem’s “mighty maze” is “not without a plan”: its digressions are dramatizations of human perplexity; its resolutions disclose a lawfulness felt before it is understood.Williams traces how Spenser’s epic “makes” nature by compressing and clarifying significances across psychological, ethical, political, and cosmic registers. The virtues organize books as points of view rather than labels, converging toward magnificence, Gloriana’s court, and Nature’s ordinance. Throughout, Williams’s readings are alert to texture and structure alike, revealing how Spenser’s ease is the mark of controlled power and how the poem’s generosity of detail is the condition of its truth.A model of analytic poise and critical tact, this study restores The Faerie Queene as a living, intelligible whole—an artful imitation of life in which order emerges from bewilderment and the glassy world clarifies the one we inhabit.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1966.

Come and experience changing times, a gathering at a table, flying kites, a special place to picnic, four leaf clovers, end of the garden relish, a brownie camera, the old oak tree, the cloth napkin, farmer's market, holidays and many more. These poem's hold memories, experiences, love, faith, laughter, tears, and an amazing gift given to me from God ---- my poetry written for all.

When grace Hooper retired as a rear admiral from the U.S. Navy in 1986, she was the first woman restricted line officer to reach flag rank and, at the age of seventy-nine, the oldest serving officer in the Navy. A mathematician by training who became a computer scientist, the eccentric and outspoken Hoper helped propel the Navy into the computer age. She also was a superb publicist for the Navy, appearing frequently on radio and television and quoted regularly in newspapers and magazines. Yet in spite of all the attention she received, until now "Amazing Grace," as she was called, has never been the subject of a full biography. Kathleen Broome Williams looks at Hooper''s entire naval career, from the time she joined the Waves and was sent in 1943 to work on the Mark 1 computer at Harvard, where she became one of the country''s first computer programmers. Thanks to this early Navy introduction to computing, the author explains, Hooper had a distinguished civilian career in commercial computing after the war, gaining fame for her part in the creation of COBOL. The admiral''s Navy days were far from over, however, and Williams tells how Hopper--already past retirement age--was recalled to active duty at the Pentagon in 1967 to standardize computer-programming languages for Navy computers. Her temporary appointment lasted for nineteen years while she standardized COBOL for the entire department of defense. Based on extensive interviews with colleague and family and on archival material never before examined, this biography not only illuminates Hopper''s pioneering accomplishments in a field that came to be dominated by men, but provides a fascinating overview of computing from its beginnings inWorld War II to the late 1980s.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

Spencer's World of Glass: A Reading of *The Faerie Queene presents Kathleen Williams’s luminous reappraisal of Spenser as not merely a painter of sumptuous scenes but a rigorous maker of worlds. Refusing the tired cliché that Spenser’s epic is “a poem that nobody reads,” Williams shows how its apparent luxuriance serves a profoundly architectonic purpose: the poem generates its own coherent universe, where romance wandering and moral design interlock. Knights such as Red Crosse, Guyon, and Britomart are not walking abstractions but experiential agents whose quests model the mind’s labor to wrest meaning from a resistant world.At the center of Williams’s argument is Spenser’s fusion of romance narrative with an allegorical method that orders rather than flattens lived experience. Allegory here is no pageant of personifications; it is a structural principle that binds episodes, images, and “virtues” into an intelligible cosmos—what Williams, following Spenser, evokes as a “world of glass,” round, reflective, and exacting. The poem’s “mighty maze” is “not without a plan”: its digressions are dramatizations of human perplexity; its resolutions disclose a lawfulness felt before it is understood.Williams traces how Spenser’s epic “makes” nature by compressing and clarifying significances across psychological, ethical, political, and cosmic registers. The virtues organize books as points of view rather than labels, converging toward magnificence, Gloriana’s court, and Nature’s ordinance. Throughout, Williams’s readings are alert to texture and structure alike, revealing how Spenser’s ease is the mark of controlled power and how the poem’s generosity of detail is the condition of its truth.A model of analytic poise and critical tact, this study restores The Faerie Queene as a living, intelligible whole—an artful imitation of life in which order emerges from bewilderment and the glassy world clarifies the one we inhabit.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1966.

Spencer's World of Glass: A Reading of *The Faerie Queene presents Kathleen Williams’s luminous reappraisal of Spenser as not merely a painter of sumptuous scenes but a rigorous maker of worlds. Refusing the tired cliché that Spenser’s epic is “a poem that nobody reads,” Williams shows how its apparent luxuriance serves a profoundly architectonic purpose: the poem generates its own coherent universe, where romance wandering and moral design interlock. Knights such as Red Crosse, Guyon, and Britomart are not walking abstractions but experiential agents whose quests model the mind’s labor to wrest meaning from a resistant world.At the center of Williams’s argument is Spenser’s fusion of romance narrative with an allegorical method that orders rather than flattens lived experience. Allegory here is no pageant of personifications; it is a structural principle that binds episodes, images, and “virtues” into an intelligible cosmos—what Williams, following Spenser, evokes as a “world of glass,” round, reflective, and exacting. The poem’s “mighty maze” is “not without a plan”: its digressions are dramatizations of human perplexity; its resolutions disclose a lawfulness felt before it is understood.Williams traces how Spenser’s epic “makes” nature by compressing and clarifying significances across psychological, ethical, political, and cosmic registers. The virtues organize books as points of view rather than labels, converging toward magnificence, Gloriana’s court, and Nature’s ordinance. Throughout, Williams’s readings are alert to texture and structure alike, revealing how Spenser’s ease is the mark of controlled power and how the poem’s generosity of detail is the condition of its truth.A model of analytic poise and critical tact, this study restores The Faerie Queene as a living, intelligible whole—an artful imitation of life in which order emerges from bewilderment and the glassy world clarifies the one we inhabit.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1966.

Come and experience changing times, a gathering at a table, flying kites, a special place to picnic, four leaf clovers, end of the garden relish, a brownie camera, the old oak tree, the cloth napkin, farmer's market, holidays and many more. These poem's hold memories, experiences, love, faith, laughter, tears, and an amazing gift given to me from God ---- my poetry written for all.

When grace Hooper retired as a rear admiral from the U.S. Navy in 1986, she was the first woman restricted line officer to reach flag rank and, at the age of seventy-nine, the oldest serving officer in the Navy. A mathematician by training who became a computer scientist, the eccentric and outspoken Hoper helped propel the Navy into the computer age. She also was a superb publicist for the Navy, appearing frequently on radio and television and quoted regularly in newspapers and magazines. Yet in spite of all the attention she received, until now "Amazing Grace," as she was called, has never been the subject of a full biography. Kathleen Broome Williams looks at Hooper''s entire naval career, from the time she joined the Waves and was sent in 1943 to work on the Mark 1 computer at Harvard, where she became one of the country''s first computer programmers. Thanks to this early Navy introduction to computing, the author explains, Hooper had a distinguished civilian career in commercial computing after the war, gaining fame for her part in the creation of COBOL. The admiral''s Navy days were far from over, however, and Williams tells how Hopper--already past retirement age--was recalled to active duty at the Pentagon in 1967 to standardize computer-programming languages for Navy computers. Her temporary appointment lasted for nineteen years while she standardized COBOL for the entire department of defense. Based on extensive interviews with colleague and family and on archival material never before examined, this biography not only illuminates Hopper''s pioneering accomplishments in a field that came to be dominated by men, but provides a fascinating overview of computing from its beginnings inWorld War II to the late 1980s.