Bøker i Liverpool English Texts and St-serien

A unique intersection between periodical and literary scholarship, and class and gender history, this book showcases a brand-new approach to surveying a popular domestic magazine. Reading Woman's Weekly alongside titles including Good Housekeeping, My Weekly, Peg's Paper and Woman's Own, and works by authors including Dot Allan, E.M. Delafield, George Orwell and J.B. Priestley, it positions the publication within both the contemporary magazine market and the field of literature more broadly, redrawing the parameters of that field as it approaches the domestic magazine as a literary genre in its own right. Between 1918 and 1958, Woman's Weekly targeted a lower middle-class readership: broadly, housewives and unmarried clerical workers on low incomes, who viewed or aspired to view themselves as middle-class. Examining the magazine's distinctively lower middle-class treatment of issues including the First World War's impact on gender, the status of housewives and working women, women's contribution to the Second World War effort, and Britain's post-war economic and social recovery, this book supplies fresh and challenging insights into lower middle-class culture, during a period in which Britain's lower middle classes were gaining prominence, and middle-class lifestyles were undergoing rapid and radical change.

This book, by the eminent poetry critic Neil Corcoran, examines the ways in which the work of significant modern Irish, British and American poets interacts with or 'negotiates' different contexts - historical, social, political, artistic and aesthetic. In Part 1 important work by David Jones, Robert Graves, Seamus Heaney and Bob Dylan is shown to negotiate poetic methods - both traditional and modernist - and also the work of major earlier writers to produce strikingly original new forms; and Derek Mahon's prose is read in the light of these concerns. The books shows how, by negotiating in this way, their work engages profoundly with complex and sometimes terrible histories, including the First World War and the Northern Irish Troubles. Part 2 discusses the ways in which 'ekphrastic' work - poems which engage with visual art - by Elizabeth Bishop, W. S. Graham, John Ashbery, Sylvia Plath and Ciaran Carson negotiates comparable poetic and historical inheritances while alsoinventively responding to work by significant artists, notably Parmigianino, Poussin, de Chirico, Klee and members of the St Ives School. The book is a signal contribution to current critical debates about these poets, situating them in original or newly clarified contexts, and it offers exemplary close readings of noteworthy poems.