Wallace Stevens, who died in 1955, was one of the most original, prolific, serious, and rewarding of twentieth-century American poets. This is a detailed critical study of his poetry, identifying its concerns, from the point of view of a convinced admirer. Lucy Beckett presents Sevens as a contemplative poet, engaged on a long enquiry into the nature of the relationship between the creative imagination and the world it illuminates and recreates. Steven's achievement is seen as one of the great monuments in English of the endeavour to find and sustain a connection between poetry and belief.

In this book Lucy Beckett gives a comprehensive account of Wagner's last and strangest opera. The literary sources of this work, its many links with Wagner's life and thought, its libretto, music and stage history, are all thoroughly examined. There is a full commentary, with extensive quotation, on the work's critical history, and finally, a fresh assessment of its place in the Wagner canon and of its unique quality as a music drama that is both modern and Christian. Full references, a bibliography and a discography are provided. A special chapter of musical analysis is contributed by Arnold Whittall.

Wallace Stevens, who died in 1955, was one of the most original, prolific, serious, and rewarding of twentieth-century American poets. This is a detailed critical study of his poetry, identifying its concerns, from the point of view of a convinced admirer. Lucy Beckett presents Sevens as a contemplative poet, engaged on a long enquiry into the nature of the relationship between the creative imagination and the world it illuminates and recreates. Steven's achievement is seen as one of the great monuments in English of the endeavour to find and sustain a connection between poetry and belief.

In this book Lucy Beckett gives a comprehensive account of Wagner's last and strangest opera. The literary sources of this work, its many links with Wagner's life and thought, its libretto, music and stage history, are all thoroughly examined. There is a full commentary, with extensive quotation, on the work's critical history, and finally, a fresh assessment of its place in the Wagner canon and of its unique quality as a music drama that is both modern and Christian. Full references, a bibliography and a discography are provided. A special chapter of musical analysis is contributed by Arnold Whittall.