When a waiting world learned on April 12, 1955, that Jonas Salk had successfully created a vaccine to prevent poliomyelitis, he became a hero overnight. Born in a New York tenement, humble in manner, Salk had all the makings of a twentieth-century icon--a knight in a white coat. In the wake of his achievement, he received a staggering number of awards and honors; for years his name ranked with Gandhi and Churchill on lists of the most revered people. And yet the one group whose adulation he craved--the scientific community--remained ominously silent. "The worst tragedy that could have befallen me was my success," Salk later said. "I knew right away that I was through--cast out." In the first complete biography of Jonas Salk, Charlotte DeCroes Jacobs unravels Salk's story to reveal an unconventional scientist and a misunderstood and vulnerable man. Despite his incredible success in developing the polio vaccine, Salk was ostracized by his fellow scientists, who accused him of failing to give proper credit to other researchers and scorned his taste for media attention. Even before success catapulted him into the limelight, Salk was an inscrutable man disliked by many of his peers. Driven by an intense desire to aid mankind, he was initially oblivious and eventually resigned to the personal cost--as well as the costs suffered by his family and friends. And yet Salk remained, in the eyes of the public, an adored hero. Based on hundreds of personal interviews and unprecedented access to Salk's sealed archives, Jacobs' biography offers the most complete picture of this complicated figure. Salk's story has never been fully told; until now, his role in preventing polio has overshadowed his part in co-developing the first influenza vaccine, his effort to meld the sciences and humanities in the magnificent Salk Institute, and his pioneering work on AIDS. A vivid and intimate portrait, this will become the standard work on the remarkable life of Jonas Salk.

A wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi. Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.

'At last, we have a study that tackles these questions, and does so with a wealth of learning, a poet's sensibility and a thorough theological literacy...Murray has given us a superb study.' Rowan Williams, Doctrine and Life 'His point of view is always that of someone practised in meditation, and his book is in consequence one of the half-dozen really valuable guides to Eliot's poetry.' Stephen Medcalf, Times Literary Supplement The story of the composition of Four Quartets, in relation to mysticism, constitutes one of the most interesting pages in modern literary history. T.S. Eliot drew his inspiration not only from the literature of orthodox Christian mysticism and from a variety of Hindu and Buddhist sources, but also from the literature of the occult, and from several unexpected and so far unacknowledged sources such as the 'mystical' symbolism of Shakespeare's later plays and the visionary poetry of Rudyard Kipling. But the primary concern of this study is not with sources as such, nor with an area somewhere behind the work, but rather with that point in Four Quartets where Eliot's own mystical attitude and his poetry unite and intersect.

Bertram Brooker won the country's first Governor General's Award for literature in 1936 for his novel Think of the Earth, and his explosive, experimental paintings hang in every major gallery in the country. He was Canada's first multidisciplinary avantgardist, successfully experimenting in literature, visual arts, film, and theatre. Brooker brought all of his experimental ambitions to his short fiction and prose. The Wrong World presents a rich sampling of his prose work, much of it previously unpublished, which adds new insight into his aesthetic ambitions. Working during an incredible period of transition in Canadian society, Brooker's stories document Canada's evolution from a provincial colony into a modern, urban country. His essays participated in that evolution by advocating a passionate awakening of the arts, the end of prudish sentiment and censorship, and a radical rethinking of the nature of war. They capture the limitations and hypocrisies of the Canadian social contract and argue for a more just and spiritual society. His stories humanize his social vision by dramatizing the psychological and emotional cost of Canada's transition into a modern civilization. In turn devastating, penetrating and poignant, Brooker's prose works offer a sharply focussed window into the turbulent interwar years in Canada.

Centred on the relationship between the personal lives of the writers John Middleton Murry, Katherine Mansfield, and D. H. Lawrence and the works they produced this intriguing study develops a portrait of a circle of writers who significantly influenced t