Anita Gilman Sherman responds to the debate on “Close Reading Donne” by situating a poetics of place and “truth-spots” at work in Donne’s reception within commercial and political interests as well as aesthetic and sensory factors.
Faber’s science fiction novel Under the Skin is an extreme example of our willingness to ‘forgive and forget’ even the worst atrocities. This paper explores the literary strategies that influence our responses to the monstrous behaviour of the novel’s extra-terrestrial protagonist, as well as the cognitive mechanisms that may be involved in our momentary acceptance of the inhuman non-human.
Wordsworth & the Sonnet as Epic Prelude: A Response to Stephen Fallon and Henry Weinfield Brian Bates Published in Connotations Vol. 28 (2019) Abstract Brian Bates’s response to Stephen Fallon’s and Henry Weinfield’s debate on authorial influence from Shakespeare to Milton and on to Wordsworth (published in Connotations 26) “builds […]
Self-Imposed Fetters in Four Golden Age Villanelles Frank J. Kearful Published in Connotations Vol. 28 (2019) Abstract The article analyzes four villanelles from what has been called the Golden Age of the villanelle during the 1950s, 1960s, and 1970s: Dylan Thomas’s “Do not go gentle into that good night,” Theodore […]
Wordsworth’s “The Baker’s Cart” Venus Bargouth Published in Connotations Vol. 28 (2019) Abstract This essay offers a historicized reading of William Wordsworth’s “The Baker’s Cart,” a fragment written between late 1796 and early 1797 at a time of rising bread prices but never titled or published by the poet himself. […]
Shifting Perspectives on Law in De Doctrina Christiana: A Response to Filippo Falcone Jason A. Kerr Published in Connotations Vol. 28 (2019) Abstract In his reply to Filippo Falcone’s article on questions concerning Milton’s authorship of De Doctrina Christiana, Jason A. Kerr approaches the argument from a historical perspective: “is […]
Herbert presents the demands and results of poetic form as part of his poetic depiction of human collaboration with the divine, while Vaughan adopts similar formal constraints as an exercise of imitatio, enabling a voice of visionary union between God and the poet.
1943 William Harmon Published in Connotations Vol. 28 (2019) I read the book that says “1943” and am persuaded. Then I read a decapitating review that says “not 1943” and am confused. Then I read a denigrating reply to the review that says “1943” and am dismayed but reassured. A […]
“You Are Black Inside”: Class, Race, and Sexuality in John Gray’s Park Edward Lobb Published in Connotations Vol. 28 (2019) Abstract John Gray (1866-1934) was a fin-de-siècle poet who moved briefly in the Wilde circle and was one of the models for Wilde’s Dorian Gray. Gray cut all ties with […]