Matthew Beaumont – författare

'art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake'In Studies in the History of the Renaissance (1873), a diffident Oxford don produced an audacious and incalculably influential defence of aestheticism. Through his highly idiosyncratic readings of some of the finest paintings, sculptures, and poems of the French and Italian Renaissance, Pater redefined the practice of criticism as an impressionistic, almost erotic exploration of the critic's aesthetic responses. At the same time, reclaiming the Hellenism that he saw as the most characteristic aspect of the Renaissance, he implicitly celebrated homoerotic friendship.Pater's infamous 'Conclusion', which forever linked him with the decadent movement, scandalized many with its insistence on making pleasure the sole motive of life, even as it charmed fellow aesthetes such as Oscar Wilde. This edition of Studies reproduces the text of the first edition, recapturing its initial impact, and the Introduction celebrates its doomed attempt to stand out against the processes of industrialization. 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.

G.K. Chesterton's The Man Who Was Thursday is a thrilling novel of deception, subterfuge, double-crossing and secret identities, and this Penguin Classics edition is edited with an introduction by Matthew Beaumont.The Central Anarchist Council is a secret society sworn to destroy the world. The council is governed by seven men, who hide their identities behind the names of the days of the week. Yet one of their number - Thursday - is not the revolutionary he claims to be, but a Scotland Yard detective named Gabriel Syme, sworn to infiltrate the organisation and bring the architects of chaos to justice. But when he discovers another undercover policeman on the Council, Syme begins to question his role in their operations. And as a desperate chase across Europe begins, his confusion grows, as well as his confidence in his ability to outwit his enemies, unravelling the mysteries of human behaviour and belief in a thrilling contest of wits. But he has still to face the greatest terror that the Council has: a man named Sunday, whose true nature is worse than Syme could ever have imagined ...In his introduction, Matthew Beaumont examines the book's themes of identity and confrontation, and explores its intriguing title. This edition also contains a chronology, notes and suggested further reading.G.K. Chesterton (1874-1938) attended the Slade School of Art, where he appears to have suffered a nervous breakdown, before turning his hand to journalism. A prolific writer throughout his life, his best-known books include The Napoleon of Notting Hill (1904), The Man Who Knew Too Much (1922) and the Father Brown stories. Chesterton converted to Roman Catholicism in 1922 and died in 1938. If you enjoyed The Man Who Was Thursday, you might enjoy Joseph Conrad's The Secret Agent, also available in Penguin Classics.'The most thrilling book I have ever read'Kingsley Amis, author of Lucky Jim

''The man''s become inhuman ... He has cut himself off from his kind. His blood be upon his own head.''One night in the depths of winter, a bizarre and sinister stranger wrapped in bandages and eccentric clothing arrives in a remote English village. His peculiar, secretive activities in the room he rents spook the locals. Speculation about his identity becomes horror and disbelief when the villagers discover that, beneath his disguise, he is invisible. Griffin, as the man is called, is an embittered scientist who is determined to exploit his extraordinary gifts, developed in the course of brutal self-experimentation, in order to conduct a Reign of Terror on the sleepy inhabitants of England. As the police close in on him, he becomes ever more desperate and violent.In this pioneering novella, subtitled ''A Grotesque Romance'', Wells combines comedy, both farcical and satirical, and tragedy - to superbly unsettling effect. Since its publication in 1897, The Invisible Man has haunted not only popular culture (in particular cinema) but also the greatest and most experimental novels of the twentieth century.

''The man''s become inhuman ... He has cut himself off from his kind. His blood be upon his own head.''One night in the depths of winter, a bizarre and sinister stranger wrapped in bandages and eccentric clothing arrives in a remote English village. His peculiar, secretive activities in the room he rents spook the locals. Speculation about his identity becomes horror and disbelief when the villagers discover that, beneath his disguise, he is invisible. Griffin, as the man is called, is an embittered scientist who is determined to exploit his extraordinary gifts, developed in the course of brutal self-experimentation, in order to conduct a Reign of Terror on the sleepy inhabitants of England. As the police close in on him, he becomes ever more desperate and violent.In this pioneering novella, subtitled ''A Grotesque Romance'', Wells combines comedy, both farcical and satirical, and tragedy - to superbly unsettling effect. Since its publication in 1897, The Invisible Man has haunted not only popular culture (in particular cinema) but also the greatest and most experimental novels of the twentieth century.

''No person can be blamed for refusing to read another word of what promises to be a mere imposition upon his credulity.''Julian West, a feckless aristocrat living in fin-de-siècle Boston, plunges into a deep hypnotic sleep in 1887 and wakes up in the year 2000. America has been turned into a rigorously centralized democratic society in which everything is controlled by a humane and efficient state. In little more than a hundred years the horrors of nineteenth-century capitalism have been all but forgotten. The squalid slums of Boston have been replaced by broad streets, and technologicalinventions have transformed people''s everyday lives. Exiled from the past, West excitedly settles into the ideal society of the future, while still fearing that he has dreamt up his experiences as a time traveller.Edward Bellamy''s Looking Backward (1888) is a thunderous indictment of industrial capitalism and a resplendent vision of life in a socialist utopia. Matthew Beaumont''s lively edition explores the political and psychological peculiarities of this celebrated utopian fiction.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.

''No person can be blamed for refusing to read another word of what promises to be a mere imposition upon his credulity.''Julian West, a feckless aristocrat living in fin-de-siècle Boston, plunges into a deep hypnotic sleep in 1887 and wakes up in the year 2000. America has been turned into a rigorously centralized democratic society in which everything is controlled by a humane and efficient state. In little more than a hundred years the horrors of nineteenth-century capitalism have been all but forgotten. The squalid slums of Boston have been replaced by broad streets, and technologicalinventions have transformed people''s everyday lives. Exiled from the past, West excitedly settles into the ideal society of the future, while still fearing that he has dreamt up his experiences as a time traveller.Edward Bellamy''s Looking Backward (1888) is a thunderous indictment of industrial capitalism and a resplendent vision of life in a socialist utopia. Matthew Beaumont''s lively edition explores the political and psychological peculiarities of this celebrated utopian fiction.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.

''art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments'' sake''In Studies in the History of the Renaissance (1873), a diffident Oxford don produced an audacious and incalculably influential defence of aestheticism. Through his highly idiosyncratic readings of some of the finest paintings, sculptures, and poems of the French and Italian Renaissance, Pater redefined the practice of criticism as an impressionistic, almost erotic exploration of the critic''s aesthetic responses. At the same time, reclaiming the Hellenism that he saw as the mostcharacteristic aspect of the Renaissance, he implicitly celebrated homoerotic friendship.Pater''s infamous ''Conclusion'', which forever linked him with the decadent movement, scandalized many with its insistence on making pleasure the sole motive of life, even as it charmed fellow aesthetes such as Oscar Wilde. This edition of Studies reproduces the text of the first edition, recapturing its initial impact, and the Introduction celebrates its doomed attempt to stand out against the processes of industrialization.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.

'The man's become inhuman ... He has cut himself off from his kind. His blood be upon his own head.'One night in the depths of winter, a bizarre and sinister stranger wrapped in bandages and eccentric clothing arrives in a remote English village. His peculiar, secretive activities in the room he rents spook the locals. Speculation about his identity becomes horror and disbelief when the villagers discover that, beneath his disguise, he is invisible. Griffin, as the man is called, is an embittered scientist who is determined to exploit his extraordinary gifts, developed in the course of brutal self-experimentation, in order to conduct a Reign of Terror on the sleepy inhabitants of England. As the police close in on him, he becomes ever more desperate and violent.In this pioneering novella, subtitled 'A Grotesque Romance', Wells combines comedy, both farcical and satirical, and tragedy - to superbly unsettling effect. Since its publication in 1897, The Invisible Man has haunted not only popular culture (in particular cinema) but also the greatest and most experimental novels of the twentieth century.

'No person can be blamed for refusing to read another word of what promises to be a mere imposition upon his credulity.'Julian West, a feckless aristocrat living in fin-de-siècle Boston, plunges into a deep hypnotic sleep in 1887 and wakes up in the year 2000. America has been turned into a rigorously centralized democratic society in which everything is controlled by a humane and efficient state. In little more than a hundred years the horrors of nineteenth-century capitalism have been all but forgotten. The squalid slums of Boston have been replaced by broad streets, and technological inventions have transformed people's everyday lives. Exiled from the past, West excitedly settles into the ideal society of the future, while still fearing that he has dreamt up his experiences as a time traveller.Edward Bellamy's Looking Backward (1888) is a thunderous indictment of industrial capitalism and a resplendent vision of life in a socialist utopia. Matthew Beaumont's lively edition explores the political and psychological peculiarities of this celebrated utopian fiction. 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.

Adventures in Realism offers an accessible introduction to realism as it has evolved since the 19th century. Though focused on literature and literary theory, the significance of technology and the visual arts is also addressed.

Comprises 16 newly-commissioned essays written by a distinguished group of contributors, including Slavoj Zizek and Frederic Jameson Provides the historical, cultural, intellectual, and literary contexts necessary to understand developments in realism Addresses the artistic mediums and technologies such as painting and film that have helped shape the way we perceive reality Explores literary and pictorial sub-genres, such as naturalism and socialist realism Includes a brief bibliography and suggestions for further reading at the end of each section

A 2021 Choice Outstanding Academic TitleThe Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness.In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov’s thought and asserting its continued relevance, the book’s central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov’s engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

A 2021 Choice Outstanding Academic TitleThe Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness. In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov''s thought and asserting its continued relevance, the book''s central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov''s engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

A 2021 Choice Outstanding Academic TitleThe Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness. In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov''s thought and asserting its continued relevance, the book''s central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov''s engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

A 2021 Choice Outstanding Academic TitleThe Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness.In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov’s thought and asserting its continued relevance, the book’s central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov’s engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

Adventures in Realism offers an accessible introduction to realism as it has evolved since the 19th century. Though focused on literature and literary theory, the significance of technology and the visual arts is also addressed. Comprises 16 newly-commissioned essays written by a distinguished group of contributors, including Slavoj Zizek and Frederic JamesonProvides the historical, cultural, intellectual, and literary contexts necessary to understand developments in realismAddresses the artistic mediums and technologies such as painting and film that have helped shape the way we perceive realityExplores literary and pictorial sub-genres, such as naturalism and socialist realismIncludes a brief bibliography and suggestions for further reading at the end of each section

A Concise Companion to Realism offers an accessible introduction to realism as it has evolved since the 19th century. Though focused on literature and literary theory, the significance of technology and the visual arts is also addressed. Comprises 17 newly-commissioned essays written by a distinguished group of contributors, including Slavoj Zizek, Frederic Jameson and Terry EagletonProvides the historical, cultural, intellectual, and literary contexts necessary to understand developments in realismAddresses the artistic mediums and technologies such as painting and film that have helped shape the way we perceive realityExplores literary and pictorial sub-genres, such as naturalism and socialist realismIncludes a brief bibliography and suggestions for further reading at the end of each section

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

This book uncovers the historical preconditions for the explosive revival of utopian literature at the nineteenth-century fin de siècle, and excavates its ideological content. It marks a contribution not only to the literary and cultural history of the late-Victorian period, and to the expanding field of utopian studies, but to the development of a Marxist critique of utopianism. The book is particularly concerned with three kinds of political utopia or anti-utopia, those of 'state socialism', feminism, and anti-communism (the characteristic expression of this last example being the cacotopia). After an extensive contextual account of the politics of utopia in late-nineteenth century England, it devotes a chapter to each of these topics before developing an original reinterpretation of William Morris's seminal Marxist utopia, News from Nowhere.About the AuthorMatthew Beaumont, D. Phil. (2000) in English Literature at the University of Oxford, is Lecturer in Nineteenth-Century Literature at University College London'ReviewsUtopia Ltd. is remarkable for its detailed historical grasp of the late-nineteenth century. Beaumont operates at a high conceptual level, demonstrating a sophisitcated understanding of Marxist cultural theory, which is most effectively put to use as an explanatory framework. There is much impressvely original work here, both in terms of ideas and in the bringing to light of hitherto little-discussed texts. There is also a good balance between original research on the one hand, and, on the other, a fresh approach to more canonical works such as Morris's News from Nowhere. The book is full of illuminating insights, lucidly and coherently argued.' Terry Eagleton, Professor of Cultural Theory and John Rylands Fellow, University of Manchester.'This is a very convincing, often original, and lucidly written reading of late-nineteenth century utopian literature that makes a fine contribution to the ever-growing field of fin-de-siècle studies.' Sally Ledger, Professor of Nineteenth-Century Literature, Birkbeck College, University of London.'Utopia Ltd. presents us with a new constellation of the field under inquiry, or — as one of Beaumont's masters of thought, Benjamin, would say — with a dialectical image which on the one hand makes some common features of late-nineteenth century utopian literature stand out, and on the other does not neglect the single stars. I recommend it warmly.' Darko Suvin, Emeritus Professor of English and Comparitive Literature, McGill University.'What I find particularly valuable about this book is the way in which it provides a new framework for understanding well-known texts such as Bellamy's Looking Backward, and especially Morris's News from Nowhere, by situating them in relation to the large output of utopian and "cacatopian" literature produced in the late nineteenth century. This phenomenon is an ideological episode worthy of attention in its own right, as a symptom of the widely-perceived crisis of bourgeois culture around the fin de siècle, and Beaumont does a convincing job of explaining it, thereby making it interesting to the reader. But I suspect that many on the left will be drawn to this study by the way it helps us towards a fuller understanding of Morris's News from Nowhere and issues around Marxist utopianism.' Andrew Hemingway, Professor of Art History, University College, London

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton''s writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton''s work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton''s writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton''s work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

"Cities, like cats, will reveal themselves at night," wrote the poet Rupert Brooke. Before the age of electricity, the nighttime city was a very different place to the one we know today - home to the lost, the vagrant and the noctambulant. Matthew Beaumont recounts an alternative history of London by focusing on those of its denizens who surface on the streets when the sun''s down. If nightwalking is a matter of "going astray" in the streets of the metropolis after dark, then nightwalkers represent some of the most suggestive and revealing guides to the neglected and forgotten aspects of the city.In this brilliant work of literary investigation, Beaumont shines a light on the shadowy perambulations of poets, novelists and thinkers: Chaucer and Shakespeare; William Blake and his ecstatic peregrinations and the feverish ramblings of opium addict Thomas De Quincey; and, among the lamp-lit literary throng, the supreme nightwalker Charles Dickens. We discover how the nocturnal city has inspired some and served as a balm or narcotic to others. In each case, the city is revealed as a place divided between work and pleasure, the affluent and the indigent, where the entitled and the desperate jostle in the streets.With a foreword and afterword by Will Self, Nightwalking is a captivating literary portrait of the writers who explore the city at night and the people they meet.

Can you get lost in a crowd? It is polite to stare at people walking past on the street? What differentiates the city of daylight and the nocturnal metropolis? What connects walking, philosophy and the big toe? Can we save the city - or ourselves - by taking the pavement?There is no such thing as the wrong step; every time we walk we are going somewhere. In a series of riveting intellectual rambles, Matthew Beaumont retraces a history of the walker from Charles Dicken's insomniac night rambles to wandering through the faceless, windswept monuments of the neoliberal city including Edgar Allen Poe, Andrew Breton, H G Wells, Virginia Woolf, Jean Rhys and Ray Bradbury. As the author shows, the act of walking is one of escape, self-discovery, disappearances and potential revolution, and explores the relationship between the metropolis and its pedestrian life.

Can you get lost in a crowd? It is polite to stare at people walking past on the street? What differentiates the city of daylight and the nocturnal metropolis? What connects walking, philosophy and the big toe? Can we save the city - or ourselves - by taking the pavement?There is no such thing as the wrong step; every time we walk we are going somewhere. In a series of riveting intellectual rambles, Matthew Beaumont retraces a history of the walker from Charles Dicken''s insomniac night rambles to wandering through the faceless, windswept monuments of the neoliberal city including Edgar Allen Poe, Andrew Breton, H G Wells, Virginia Woolf, Jean Rhys and Ray Bradbury. As the author shows, the act of walking is one of escape, self-discovery, disappearances and potential revolution, and explores the relationship between the metropolis and its pedestrian life.

The metropolis is a site of endless making and unmaking. From the attempt to imagine a ''city-symphony'' to the cinematic tradition that runs from Walter Ruttmann to Terence Davies, Restless Cities traces the idiosyncratic character of the metropolitan city from the nineteenth century to the twenty-first-century megalopolis. With explorations of phenomena including nightwalking, urbicide, property, commuting and recycling, this wide-ranging new book identifies and traces the patterns that have defined everyday life in the modern city and its effect on us as individuals. Bringing together some of the most significant cultural writers of our time, Restless Cities is an illuminating, revelatory journey to the heart of our metropolitan world.

Terry Eagleton occupies a unique position in the English-speaking world today. He is not only a productive literary theorist, but also a novelist and playwright. He remains a committed socialist deeply hostile to the zeitgeist. Over the last forty years his public interventions have enlivened an otherwise bland and conformist culture. His pen, as many colleagues in the academy-including Harold Bloom, Gayatri Spivak and Homi Bhabha-have learned, is merciless and unsparing. As a critic Eagleton has not shied away from confronting the high priests of native conformity as highlighted by his coruscating polemic against Martin Amis on the issue of civil liberties and religion.This comprehensive volume of interviews covers both his life and the development of his thought and politics. Lively and insightful, they will appeal not only to those with an interest in Eagleton himself, but to all those interested in the evolution of radical politics, modernism, cultural theory, the history of ideas, sociology, semantic inquiry and the state of Marxist theory.

You can tell a lot about people by how they walk. Matthew Beaumont argues that our standing, walking body holds the social traumas of history and its racialized inequalities. Our posture and gait reflect our social and political experiences as we navigate the city under capitalism. Through a series of dialogues with thinkers and walkers, his book explores the relationship between freedom and the human bodyHow We Walk foregrounds the work of Frantz Fanon, psychiatrist and leading thinker of liberation, who was one of the first people to think about the politics of 'walking while black'. It also introduces us to the renegade psychoanalyst Wilhelm Reich, who wrote that one could discern the truth about a person through their posture and gait. For Marxist philosopher Ernst Bloch, the ability to walk upright and with ease is a sign of personal and social freedom.Through these excursions, Beaumont reimagines the canonical literature on walking and presents a new interpretation of the impact of class and race on our physical and political mobility, raising important questions about the politics of the body.

You can tell a lot about people by how they walk. Matthew Beaumont argues that our standing, walking body holds the social traumas of history and its racialized inequalities. Our posture and gait reflect our social and political experiences as we navigate the city under capitalism. Through a series of dialogues with thinkers and walkers, his book explores the relationship between freedom and the human bodyHow We Walk foregrounds the work of Frantz Fanon, psychiatrist and leading thinker of liberation, who was one of the first people to think about the politics of ''walking while black''. It also introduces us to the renegade psychoanalyst Wilhelm Reich, who wrote that one could discern the truth about a person through their posture and gait. For Marxist philosopher Ernst Bloch, the ability to walk upright and with ease is a sign of personal and social freedom.Through these excursions, Beaumont reimagines the canonical literature on walking and presents a new interpretation of the impact of class and race on our physical and political mobility, raising important questions about the politics of the body.

In this brilliant work of literary investigation, Matthew Beaumont shines a light on the shadowy perambulations of poets, novelists and thinkers: the fetid, treacherous streets known to Chaucer and Shakespeare; William Blake and his ecstatic peregrinations; the feverish ramblings of opium addict Thomas De Quincey; and, among the lamp-lit literary throng, the supreme nightwalker Charles Dickens. We discover how the nocturnal city has inspired some and served as a balm or narcotic to others. In each case, the city is revealed as a place divided between work and pleasure, the affluent and the indigent, where the entitled and the desperate rub shoulders.