Containing more than three hundred poems, including nearly a hundred previously unpublished works, this unique collection showcases the intellectual range of Claude McKay (1889-1948), the Jamaican-born poet and novelist whose life and work were marked by restless travel and steadfast social protest. McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the English sonnet and helped spark the Harlem Renaissance with poems such as "If We Must Die." After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine "violent sonnets" were giving way to confessional lyrics informed by his newfound Catholicism. McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.

The impact of the Irish famine of 1845-1852 was unparalleled in both political and psychological terms. The effects of famine-related mortality and emigration were devastating, in the field of literature no less than in other areas. In this incisive new study, Melissa Fegan explores the famine's legacy to literature, tracing it in the work of contemporary writers and their successors, down to 1919. Dr Fegan examines both fiction and non-fiction, including journalism, travel-narratives and the Irish novels of Anthony Trollope. She argues that an examination of famine literature that simply categorizes it as 'minor' or views it only as a silence or an absence misses the very real contribution that it makes to our understanding of the period. This is an important contribution to the study of Irish history and literature, sharply illuminating contemporary Irish mentalities.

As the daughter of a modest minister, Agnes Grey has low prospects in life. After her father loses most of the family’s savings, Agnes is determined to help out and takes a position as governess for a wealthy family. Being a governess turns out to be more challenging than she could have predicted as she has to manage spoiled children and petty parents, while dependent on their approval for her livelihood. Agnes Grey is the first novel by Anne Brontë, published in 1847, and today considered an everlasting classic. Like the famous Jane Eyre, by Anne’s sister Emily Brontë, it deals with the precarious position of the governess and how the young women taking on that role were treated. It is a poignant and insightful novel that explores rigid class structures and the challenges it poses to women. ANNE BRONTË [1820-1849] was an English poet and novelist. She was the youngest of the three Brontë authors, her older sisters being Emily and Charlotte. Anne died young, probably from tuberculosis, having published the novels Agnes Grey and The Tenant of Wildfell Hall, the latter hailed today as one of the first feminist novels.

Tamerlane and Other Poems is the first published work by American writer Edgar Allan Poe. The short collection of poems was first published in 1827. Today, it is believed only 12 of approximately 50 copies of the collection still exist. The poems were largely inspired by Lord Byron, including the long title poem "Tamerlane", which depicts a historical conqueror who laments the loss of his first romance. Like much of Poe's future work, the poems in Tamerlane and Other Poems include themes of love, death, and pride.

The Ordnance Survey and Modern Irish Literature offers a fresh new look at the origins of literary modernism in Ireland, tracing a history of Irish writing through James Clarence Mangan, J.M. Synge, W.B. Yeats, James Joyce, and Samuel Beckett. Beginning with the archives of the Ordnance Survey, which mapped Ireland between 1824 and 1846, the book argues that one of the sources of Irish modernism lies in the attempt by the Survey to produce a comprehensive archive of a land emerging rapidly into modernity. The Ordnance Survey instituted a practice of depicting the country as modern, fragmented, alienated, and troubled, both diagnosing and representing a landscape burdened with the paradoxes of colonial modernity. Subsequent literature returns in varying ways, both imitative and combative, to the complex representational challenge that the Survey confronts and seeks to surmount. From a colonial mapping project to an engine of nationalist imagining, and finally a framework by which to evade the claims of the postcolonial nation, the Ordnance Survey was a central imaginative source of what makes Irish modernist writing both formally innovative and politically challenging. Drawing on literary theory, studies of space, the history of cartography, postcolonial theory, archive theory, and the field Irish Studies, The Ordnance Survey and Modern Irish Literature paints a picture of Irish writing deeply engaged in the representation of a multi-layered landscape.