In the Preface to this second edition of her first book, Sandra M. Gilbert addresses the inevitable question: "How can you be a feminist and a Lawrentian?" The answer is intellectually satisfying and historically revealing as she traces an array of early twentieth-century women of letters, some of them proto-feminists, who revered Lawrence despite his countless statements that would today be condemned as "sexist." H.D. regarded him as one of her "initiators" whose words "flamed alive, blue serpents on the page." Anais Nin insisted that he "had a complete realization of the feelings of women." By focusing on Lawrence’s own definition of a poem as an "act of attention," Gilbert demonstrates how he developed the mature style of Birds, Beasts and Flowers, his finest collection of poetry. She discusses this volume at length, examines many of his later poems in detail, including the hymns from The Plumed Serpent, Pansies, Nettles, and More Pansies, and ends with a close look at Last Poems. Her detailed examination provides a clearer image of Lawrence as an artist—an artist whose poetry complements his novels and whose fiction enriches but does not outshine his poetry.

Creatures of Attention excavates the early modern prehistory of our late modern crises of attention. At the threshold of modernity, philosophers, scientists, and poets across Europe began to see attention as the key to autonomous agency and knowledge. Recovering the philosophical and literary works from eighteenth-century Germany in which "attention," "subject," and "aesthetics" developed their modern meanings, Johannes Wankhammer examines control over attention as the cultural technique underpinning the ideal of individual autonomy. Aesthetics, founded by Alexander Baumgarten as a science of sense perception, challenged this ideal by reframing art as a catalyst for alternative modes of selfhood and attention. While previous scholarship on the history of attention emphasized the erosion of subjectivity by industrial or technological modernization, Wankhammer asks how attention came to define subjectivity in the first place. When periodically recurring crises of attention threaten the coherence of the subject, the subject comes undone at the very seams that first sutured it together. Creatures of Attention offers the first systematic study of a foundational discourse on attention from 1650 to 1780. Presenting pre-Kantian aesthetics as a critique of the Enlightenment paradigm of strained attention, the book offers a fresh perspective on poetics and aesthetics in eighteenth-century Germany.

Editor Caridad Svich has gathered forty-three essays from admired theater professionals that comprise a volume of inspiring and innovative techniques for creating theater. Inside are words of wisdom and advice from experienced playwrights, directors, performers, teachers, dramaturgs, artistic directors and founders—each sharing the creative challenges and triumphs of developing original works for today's stages, wherever they might be. Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theater, a 2012 Edgerton Foundation New Play Award for her play GUAPA, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on the Isabel Allende novel.

This special issue of Cognition and Emotion is dedicated to the phenomena of emotion-related biases in attention and remembering that are experienced by anxious and depressed people. Andrew Mathews and Colin MacLeod summarize their new research in using experimental methods to train anxiety-like biases in attention and interpretation. Elaine Fox, Riccardo Russo, and Kevin Dutton report new experiments concerning delayed disengagement from threatening events in anxiety. Phil Watkins's article addresses the conditions for obtaining depression-related biases on indirect tests of memory. Depression-consistent biases in false recognition are reported by Rich Wenzlaff, Jo Meier, and Danette Salas; these biases also characterized performance by previously dysphoric students and suggest indirect measures of vulnerability to depression. Prospective evidence that cognitive biases index vulnerability is described by Stephanie Rude and her colleagues. In short, the special issue contains a mixture of new findings with integrative review and suggestions for future directions in investigations of emotionally-disordered cognition.