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Bulletin of the John Rylands Library
John Kinsella

A POLYSITUATED ODE WITH OCCASIONAL, DEMI-BOUSTROPHEDON ‘Odeshock’ Walter Murdoch We’re all in it together, this place, that one too: passing through, born here, born there, overlays and more: tangential butterfly effect out of the flailed hedge, the Romanware they lift from the development site to validate the new-build, historically contextualised, coprolite – dinosaur shit. I am never in once place when I am here. A composite. Hup two hup two hup two three four, the beat tattooed on walkways and paths, squaddies behind the copse, the burgeoning coppiced growth

in Polysituatedness

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 172 John's G5:Users:john:Public:John's Mac: John's Job 10 Tropes of yearning and dissent: the inflection of desire in Yvonne Vera and Tsitsi Dangarembga1 To build something new, you must be prepared to destroy the past. (Yvonne Vera, Butterfly Burning)2 This chapter seeks to bring into juxtaposition two Zimbabwean women writers and a question of same-sex sexuality: its configurations of desire, its vocabularies of aspiration. It thus extends this book’s overall concern with women’s representation into the area of women

in Stories of women
From insular peace to the Anglo-Boer War
Julia F. Saville

synaesthetic coup, the singer-swimmer uses his border-crossing amphibious perspective to yoke together the strange fecundity of the gloomy underwater and the familiar sun-drenched marine scene to produce the unanticipated climactic image of sea-butterflies, hovering between literal and figurative: Like flowers upon flowers In a festival way

in Algernon Charles Swinburne
Ted Hughes and Kay Syrad
William Welstead

many decades by naturalists and the specialist societies that record the occurrence of plants and animals. An example is that the grassland of Huish Farm is sufficiently interesting to attract the attention of the local branch of Butterfly Conservation, which advertised a guided walk on 11 August 2013 ‘through the varied habitat of Huish Farm to the chalk downland hillside of Ridge Hill, looking for second brood Adonis Blue [butterflies]’. This interest goes some way to explain the farm's requirement, as recorded by Syrad, to ‘pay attention to the

in Writing on sheep
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The short stories and The Cement Garden
Dominic Head

and his wife are the ‘exaggerated representatives’ of ‘the highly rational and destructive’ and ‘the loving but self-deluded’. What makes the opposition interesting is McEwan’s ‘intended irony’ that his narrator ‘uses the very system (“the mathematics of the Absolute”) to dispose of her, that Maisie endorses and he has repudiated’ (IG, p. 12). The most problematic story in the collection, perhaps, is ‘Butterflies’, which is bleak in every sense.13 The setting is a desolate part of London, with no parks (‘only car parks’), traversed by a ‘brown canal which goes

in Ian McEwan
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Bruce Woodcock

’s story of the butterfly in Bogotá, an anecdote of anticipation, romance and disappointment, emblematised by a butterfly flying away in the sunlight (29). This enigmatic image recurs for Harry when he is trying to write his note of farewell (45), and in the narrative future at the moment of David’s execution. He determines to die for a futile cause, and although ‘[f]or an instant panic fluttered its wings in his ears’, in doing so becomes himself the centre of a mythic story told as an embodiment of heroism after his death by the commandant in charge of his execution

in Peter Carey
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Swinburne’s A Century of Roundels
Herbert F. Tucker

This chapter begins, somewhat like the form of Swinburne’s devising that is its subject, at the end, which is to say at the ‘Envoi’ concluding A Century of Roundels (1883) on its last and hundredth page: Fly, white butterflies, out to sea, Frail pale wings for the winds to try, Small white

in Algernon Charles Swinburne
Sam Illingworth

collector of butterflies and rocks, the latter of which he chemically analysed in the family bathtub. He seems to have taken particular pride in his butterfly collection, catching them in a green net or raising them from caterpillars before carefully pinning them on limewood panels, then labelling each of the specimens with tiny tags to identify both their name and the circumstances of their capture. In his poem ‘Boy catching butterflies’ he writes: With a wretched net over his shoulder he wanders from tree to

in A sonnet to science