From Up River and For One Night Only

Viewed as fierce, menacing or mysterious, badgers have been both admired and reviled throughout human history. Their global reputation for ferocious self-defence has led to brutalization by hunters and sport-seekers; their association with the mythic underworld has made them symbols of earth-based wisdom and steadfast tradition; their burrowing and predation habits have resulted in widespread persecution as pests or public nuisances. Whether as living animals, abstract symbols or commercial resources, badgers have fascinated humans for thousands of years – though often to the animals’ detriment.

From the iconic European badger to the African honey badger, the hog badger of Southeast Asia and the North American badger, this book is the first truly global cultural history of the animal in over 30 years. Profusely illustrated with images spanning centuries, cultures, continents and species, Badger considers badgers’ lives and lore, from their evolution and widespread distribution to their current and often imperilled status throughout the world. It travels from natural history and life in the wild to the myths, legends and spiritual beliefs badgers continue to inspire, as well as their representation and exploitation in industry, religion and the arts. Appealing to anyone interested in a deeper understanding of these much misunderstood and often maligned creatures, Badger traces the complex and often contradictory ways in which this fascinating animal endures.

At the turn of the twentieth century, London was a breeding ground for the avant-garde. Modernist writers like T.S. Eliot, W.B. Yeats and Ezra Pound became infatuated with the Orient. Pound in particular was inspired by the clarity and precision of Eastern poetry to rethink the nature of an English poem. Published in 1915, Cathay, Pound’s collection of fourteen experimental translations of classic Chinese poems, was a groundbreaking work that set the stage for a new-found East in the West.

For most people, the U.S. suffrage campaign is encapsulated by images of iconic nineteenth-century orators like the tightly coifed Susan B. Anthony or the wimpled Elizabeth Cady Stanton. However, as Mary Chapman shows, the campaign to secure the vote for U.S. women was also a modern and print-cultural phenomenon, waged with humor, creativity, and style.

Making Noise, Making News also understands modern suffragist print culture as a demonstrable link between the Progressive Era’s political campaign for a voice in the public sphere and Modernism’s aesthetic efforts to re-imagine literary voice. Chapman charts a relationship between modern suffragist print cultural “noise” and what literary modernists understood by “making it new,” asserting that the experimental tactics of U.S. suffrage print culture contributed to, and even anticipated, the formal innovations of U.S. literary modernism. Drawing on little-known archives and featuring over twenty illustrations, Making Noise, Making News provides startling documentation of Marianne Moore’s closeted career as a suffrage propagandist, the persuasive effects of Alice Duer Miller’s popular poetry column, Asian-American author Sui Sin Far’s challenge to the racism and classism of modern suffragism, and Gertrude Stein’s midcentury acknowledgement of intersections between suffrage discourse and literary modernism.

It is often said that the past is a foreign country where they do things differently, and perhaps no type of “doing” is more fascinating than sexual desires and behaviours. Our modern view of medieval sexuality is characterised by a polarising dichotomy between the swooning love-struck knights and ladies of romance on one hand, and the darkly imagined and misogyny of an unenlightened “medieval” sexuality on the other. British medieval sexual culture also exhibits such dualities through the influential paradigms of sinner or saint, virgin or whore, and protector or defiler of women. However, such sexual identities are rarely coherent or stable, and it is in the grey areas, the interstices between normative modes of sexuality, that we find the most compelling instances of erotic frisson and sexual expression.

This collection of essays brings together a wide-ranging discussion of the sexual possibilities and fantasies of medieval Britain as they manifest themselves in the literature of the period. Taking as their matter texts and authors as diverse as Chaucer, Gower, Dunbar, Malory, alchemical treatises, and romances, the contributions reveal a surprising variety of attitudes, strategies and sexual subject positions.