Belated Revenge

The half-blood—half Indian, half white—is a frequent figure in the popular fiction of nineteenth-century America, for he (or sometimes she) served to symbolize many of the conflicting cultural values with which American society was then wrestling. In literature, as in real life the half-blood was a product of the frontier, embodying the conflict between wilderness and civilization that haunted and stirred the American imagination. What was his identity? Was he indeed "half Indian, half white, and half devil"—or a bright link between the races from which would emerge a new American prototype? In this important first study of the fictional half-blood, William J. Scheick examines works ranging from the enormously popular "dime novels" and the short fiction of such writers as Bret Harte to the more sophisticated works of Irving, Cooper, Poe, Hawthorne, and others. He discovers that ambivalence characterized nearly all who wrote of the half-blood. Some writers found racial mixing abhorrent, while others saw more benign possibilities. The use of a "half-blood in spirit"—a character of untainted blood who joined the virtues of the two races in his manner of life—was one ingenious literary strategy adopted by a number of writers, Scheick also compares the literary portrayal of the half-blood with the nineteenth-century view of the mulatto. This pioneering examination of an important symbol in popular literature of the last century opens up a previously unexplored repository of attitudes toward American civilization. An important book for all those concerned with the course of American culture and literature.

'A writer who provokes, almost as much as he entertains' Daily Mail 'Engaging and smartly plotted' Observer ___ With old friends like these, who needs enemies? It's a question mild mannered detective Edward Newson is forced to ask himself when, in romantic desperation, he logs on to the Friends Reunited website in search of the girlfriends of his youth. Newson is not the only member of the Class of '88 who has been raking over the ashes of the past. As his old class begins to reassemble in cyberspace, the years slip away and old feuds and passions burn hot once more. Meanwhile, back in the present, Newson's life is no less complicated. He is secretly in love with Natasha, his lovely but very attached sergeant, and failing comprehensively to solve a series of baffling and peculiarly gruesome murders. A school reunion is planned and as history begins to repeat itself, the past crashes headlong into the present. Neither will ever be the same again. ___ What readers are saying: ***** 'Fun, frightful and relentlessly gripping.' ***** 'Clever and original . . . a great read' ***** 'Darkly comic, intriguing . . . and with a real twist in the tail.'

Riding the wave of the very popular Regency genre, The Gentleman Spy Mysteries series mixes mystery with happily ever after romances to capture the hearts of readers. The fourth and final book in the darkly romantic Gentleman Spy Mysteries. Emily March, the illegitimate daughter of Sir Henry March, has all she needs: bountiful wealth, ample beauty, and abundant talent. But will this be enough to secure the one thing she truly wants: a loving marriage and her own family? However, it’s not her illegitimacy that stands in her way, but a mystery her father—an agent of the crown—has never been able to solve. Max Warthon has twice rescued Emily from the machinations of his sinister grandfather, the Earl of Warthon, enemy of Sir Henry. Max knows that getting too close to his daughter will lead to certain peril, but he cannot resist her. Played out in front of London’s high society, their whirlwind romance attracts everyone's attention — and raises the ire of the Earl. With old secrets standing in their way, will Emily and Max be able to unravel the mystery of an ancient hatred and unmask the true enemy? Their happiness and their lives depend on it.

From Sylvia Plath’s depictions of the Holocaust as a group of noncohering “bits” to AIDS elegies’ assertions that the dead posthumously persist in ghostly form and Susan Howe’s insistence that the past can be conveyed only through juxtaposed “scraps,” the condition of being too late is one that haunts post-World War II American poetry. This is a poetry saturated with temporal delay, partial recollection of the past, and the revelation that memory itself is accessible only in obstructed and manipulated ways. These postwar poems do not merely describe the condition of lateness: they enact it literally and figuratively by distorting chronology, boundary, and syntax, by referring to events indirectly, and by binding the condition of lateness to the impossibility of verifying the past. The speakers of these poems often indicate that they are too late by repetitively chronicling distorted events, refusing closure or resolution, and forging ghosts out of what once was tangible. Ghostly Figures contends that this poetics of belatedness, along with the way it is bound to questions of poetic making, is a central, if critically neglected, force in postwar American poetry. Discussing works by Sylvia Plath, Adrienne Rich, Jorie Graham, Susan Howe, and a group of poets responding to the AIDS epidemic, Ann Keniston draws on and critically assesses trauma theory and psychoanalysis, as well as earlier discussions of witness, elegy, lyric trope and figure, postmodernism, allusion, and performance, to define the ghosts that clearly dramatize poetics of belatedness throughout the diverse poetry of post–World War II America.

This book presents a new account of the complex relationship between psychoanalytic theory and the key tragic dramas by Sophocles and Shakespeare in which it has often sought exemplars and prototypes. Examining the close historical and theoretical connections between Freud's interpretative appeal to tragic drama and his professed abandonment of the 'seduction' hypothesis in 1897, the author explores the ways in which otherness has subsequently been simplified out of both psychoanalytic theory and the dramatic texts it endeavours to comprehend. Drawing on Jean Laplanche's critical reformulation of the seduction theory, the book offers close rereadings of Oedipus Tyrannus, Julius Caesar and Hamlet in order to outline an approach to tragedy which takes account of the constitutive priority of the other in the itinerary of the tragic subject. By reopening the theme of seduction in relation to these key literary dramas, the book aims to generate a better understanding both of the function which psychoanalysis has called upon tragedy to perform, and the radical modes of otherness within tragedy for which psychoanalysis has hitherto remained unable to account.

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