David Bonnell Green
Bulletin of the John Rylands Library
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Author: Brian Baker

This book is a comprehensive critical introduction to one of the most original contemporary British writers, providing an overview of all of Iain Sinclair's major works and an analysis of his vision of modern London. It places Sinclair in a range of contexts, including: the late 1960s counter-culture and the British Poetry Revival; London's underground histories; the rise and fall of Thatcherism; and Sinclair's writing about Britain under New Labour and Sinclair's connection to other writers and artists, such as J.G. Ballard, Michael Moorcock and Marc Atkins. The book contributes to the growing scholarship surrounding Sinclair's work, covering in detail his poetry, fiction, non-fiction (including his book on John Clare, Edge of the Orison), and his film work. Using a generally chronological structure, it traces the on-going themes in Sinclair's writing, such as the uncovering of lost histories of London, the influence of visionary writings, and the importance of walking in the city, and more recent developments in his texts, such as the focus on spaces outside of London and his filmic collaborations with Chris Petit. The book provides a critically informed discussion of Sinclair's work using a variety of approaches.

Customary society and oral culture in rural England, 1700–1900
Bob Bushaway

6 Chapter 9 The spoken word ‘Things said or sung a thousand times’ ‘Things said or sung a thousand times’: customary society and oral culture in rural England, 1700–1900 Bob Bushaway Things cleared away then down she sits And tells her tales by starts and fits Not willing to lose time or toil She knits or sews and talks the while 1 John Clare’s long poem sequence The Shepherd’s Calendar celebrates English rural popular culture or, at least, that part of it represented by the local customs of his own village of Helpston in Northamptonshire in the late

in The spoken word
Open Access (free)
Ecopoetics, enjoyment and ecstatic hospitality
Kate Rigby

to the nest, specifically as it figures in the work of the Romantic poet John Clare and is refigured in the ecopoetic experimentation of the contemporary writer (and erstwhile conservation biologist) David Morley. The interpretive frame that I bring to this discussion is informed by several further lines of theorisation which enrich Plumwood’s proposal for a ‘radical green writing project’: ecophilosopher Freya Mathews’s transpecies ethic of ‘bioproportionality’ (2014), which I relate to Derrida and Dufourmantelle’s notion of ‘radical hospitality’ (2000), and

in Literature and sustainability
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Hood’s tied trope
Sara Lodge

5 Pun and pleasure: Hood’s tied trope Hood mercy on us has he not grown into a jiant with his puns  .  .  .  I sometimes think he has suffered a metamorphosis & become altogether a pun is his I’s & his no’s & his air’s & his here’s about his head as formerly or are they gone into the waggerys of his pen  .  .  . (John Clare, letter to Allan Cunningham, circa 1830)1 Admitting, however, the viciousness, the felonious sinfulness of punning, it is to be apprehended that the liberty of the pun is like the liberty of the press, which, says the patriot, is like the

in Thomas Hood and nineteenth-century poetry
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Sara Lodge

Introduction have seen an opportunity to return a favour to the son of his old employer. Contributors to the London Magazine whom Hood would meet professionally and socially in a period he later recalled with delight included Thomas De Quincey, William Hazlitt, Bryan Waller Procter, Allan Cunningham, John Clare, John Hamilton Reynolds, and Charles Lamb, who became ‘almost a father’ to him. His editorial position at the London Magazine enabled Hood to experiment with writing and publishing anonymously short pieces in a variety of styles. His first book of poetry, Odes and

in Thomas Hood and nineteenth-century poetry
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Peter Barry

never trod; A place where woman never smil’d or wept; There to abide with my creator, God, And sleep as I in childhood sweetly slept: Untroubling and untroubled where I lie; The grass below – above the vaulted sky. John Clare 1 John Clare’s poem is sombre and impressive in tone, and gains extra poignancy when we know that it was written in the 1840s during his long confinement in the Northampton Asylum, where he felt himself long forgotten, indeed, almost buried alive. In reading this and the other poems considered in the present chapter, I will make use of what I see

in Reading poetry
Julia Round

by a series of characters that recall this: the crippled nun Alfgiva dragging herself on her elbows (‘November Saints’), the lame knight Simon de Senlis (‘Limping to Jerusalem’), John Clare’s bad foot (‘The Sun Looks Pale upon the Wall’), the burned-through leg in ‘I Travel in Suspenders’ and, finally, Uncle Chick and Big John Weston (‘Phipps’ Fire Escape’). Similarly, Moore

in Alan Moore and the Gothic Tradition
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Brian Baker

mimesis, a representation of the fractured social, economic and political landscape of modernity. The Romantic poet most alluded to in Sinclair is not P. B. Shelley, however, it is William Blake, particularly Jerusalem , whose apocalyptic imagination of London and Albion (echoed in Sinclair’s own Albion Village Press) recurs in several texts, particularly in lines about ‘the Isle of Leutha’s Dogs’. In Sinclair’s 2005 non-fiction text, Edge of the Orison , he turns from Blake to John Clare, the later Romantic poet, whose own outsider status was assured by his

in Iain Sinclair
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An Ode on a Dishclout
Carolyn Steedman

Century, Harper Collins, London, 1997, pp. 182–183. 37 ‘Proposals for printing by Subscription for the Benefit of the Author’, Jopson’s Coventry Mercury, 24 November 1788, p. 3. 38 Rizzo, ‘Patron as poet maker’; Stott, Hannah More, p. 73; Jonathan Bate, John Clare. A Biography, Pan Macmillan, Basingstoke, 2004, pp. 143–192 and passim. Fergus, ‘Provincial Servants’, pp. 223–224. 39 Carolyn Steedman, ‘Lord Mansfield’s women’, Past and Present, 176 (2002), pp. 105–143. 40 Jopson’s Coventry Mercury, 14 September 1789, p. 3. STEEDMAN 9781526125217 PRINT.indd 36 16

in Poetry for historians