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Frank O’Hara
David Herd

, ‘had gone out of our lives’ (H, 43). At O’Hara’s funeral Larry Rivers told the congregation, ‘Frank O’Hara was my best friend. There are at least sixty people in New York who thought Frank O’Hara was their best friend’ (H, 138). To gauge the significance of this, in In Memory of my Feelings: Frank O’Hara and American Art, Russell Ferguson passes on the received wisdom that the New York avant-garde of the 1950s and early 1960s consisted of no more than 300 people. The premature death of any significant artist is always mythologized, as the composer Morton Feldman

in Enthusiast!
The lump-child and its parents in The King of Tars
Jane Gilbert

the lump in order to show how its treatment throws into relief the different configurations of paternity and maternity, of gender roles and of religious politics put forward in a range of re-tellings. Three kinds of critical analysis are put forward, progressively narrowing the focus of study. Building on Lillian Herlands Hornstein’s impressive scholarship, I begin by studying analogues of KT drawn from medieval chronicles; these analogues allow an appreciation of features shared by the different narratives. The second section turns to the Auchinleck text of KT

in Pulp fictions of medieval England
Nicola McDonald

anthropomorphic head, is instructive. The Turk’s Head no longer serves an active commemorative function (few will identify the allusion to the Crusades or the Siege of Vienna), but it is no less key to an understanding of the complex racial and religious bigotry that underlies dominant Western ideology. Stigmatised as an object of both fear and fascination, the Muslim, reduced to a symbolic turban or a grinning face,13 can be eaten. His supremacy in the medieval Holy Land, his incursion into the heart of Renaissance Europe, his threat to American hegemony is contained

in Pulp fictions of medieval England
Enigmas, agency and assemblage
James Paz

identifies purpose and ownership from the outset, before the analysis of each side. He is keen to point out that the casket ‘was not meant to be a religious piece of art’ and that, as none of the carvings apart from the Magi scene would have suited religious purposes, it is ‘very likely’ that the casket ‘had been meant for some noble layman, for a king, an æðeling or a thane’. Becker acknowledges that such statements must remain ‘hypothetical’ but still wants us to ‘assume’ that the casket ‘once used to contain the hoard of some noble warrior, king or thane’ and that the

in Nonhuman voices in Anglo-Saxon literature and material culture
Fragility, brokenness and failure
James Paz

in any congregation or meshwork there is a ‘friction and violence between parts’ so that assemblages are ‘living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within’.1 As such, when looking at how things are assembled in a poem like The Dream, we need to attend not only to the way in which the bits 176 176 Nonhuman voices in Anglo-Saxon literature and material culture and pieces come together but to how they suffer wounding, damage, breakage, but then seek new encounters to creatively

in Nonhuman voices in Anglo-Saxon literature and material culture
Sukanta Chaudhuri

] combining the senses of modern ‘human’ and ‘humane’. 27 Astraea] goddess of justice. Left the world on its decline at the end of the Golden Age. 29-30 first desire . . . inferior wheels] Image of the primum mobile (first mover), the outermost sphere in the Ptolemaic scheme of the universe, which imparts motion to all the other spheres. The image, and the note of religious mystery in 32-4, added by the translator. 36 changing ... bound] The moon is the outer limit of the sublunary world, subject to change; beyond it is the eternal celestial world. 40 Varieties . . . chance

in Pastoral poetry of the English Renaissance