This edited collection of letters by William Empson (1906-1984), one of the foremost writers and literary critics of the twentieth century, ranges across the entirety of his career. Parts of the correspondence record the development of ideas that were to come to fruition in seminal texts including Seven Types of Ambiguity, The Structure of Complex Words, and Milton's God. The topics of other letters range from Shakespeare's Dark Lady to Marvell's marriage and Byron's bisexuality. Empson relished correspondence that was combative, if not downright aggressive. As a result, parts of this edition take the form of a serial disputation with other critics of the period, including Frank Kermode, Helen Gardner, Philip Hobsbaum, and I. A. Richards. Other notable correspondents include A. Alvarez, Bonamy Dobrée, Leslie Fiedler, Graham Hough, C. K. Ogden, George Orwell, Kathleen Raine, John Crowe Ransom, Christopher Ricks, Laura Riding, A. L. Rowse, Stephen Spender, E. M. W. Tillyard, Rosemond Tuve, John Wain, and G. Wilson Knight. All readers of literary history and criticism will stand to benefit from this edition. Empson is universally credited as the man who 'invented' modern literary criticism, so that all of his writings make a signal addition to the canon of his works. This selection provides a context for the evaluation of Empson's total literary output; and in many letters Empson seeks to defend his ideas against both published and personal attacks. This volume not only fills in all the missing links, it adds up to a completely new volume of critical writings by Empson.

All readers of literary history and criticism will benefit from this edition of letters by William Empson, one of the foremost writers and critics of the twentieth century. This correspondence shows him working out his ideas for all of his major books as well as complementary studies in writers including Shakespeare, Marlowe, Donne, Marvell, Coleridge, and Joyce. The edition also gives the fullest possible picture of his robust interactions with many other prominent writers,including the likes of F. R. Leavis, Helen Gardner, Frank Kermode, Christopher Norris, and I. A. Richards.

Radical Empiricists presents a new history of criticism in the first half of the twentieth-century, against the backdrop of the modernist crisis of meaning. Our received idea of modernist criticism is that its novelty lay in being very empirical: critics believed in looking closely at words on the page. Such close reading has since been easy to ridicule, but this book seeks to consider whether this is fair: have we, in the rush either to dismiss, or even to defend, the idea of close reading, often failed to look closely at what it involves in practice? Against this oversight, Radical Empiricists turns close reading back on itself, proposing some innovative readings of the prose of five major modernist poet-critics: I.A. Richards, T.S. Eliot, William Empson, R.P. Blackmur, and Marianne Moore. The book is divided into two parts, preceded by an introduction that explores what these five writers share: a radical self-consciousness about the key critical concept, "meaning." Part I, "How to read," considers the prose techniques of Eliot, Richards, and Empson as they push at the boundaries of verbal analysis in other disciplines: experimental psychology and anthropology, classical commentary, and textual criticism. Part II introduces Blackmur and Moore, alongside Empson, and takes a more polemical look at how their critical styles defy various modernist orthodoxies about "how not to read" (for example, that paraphrase always destroys poetic meaning). Many of these orthodoxies remain current: re-visiting their history, and attending to the rich detail of critical prose styles, can allow us to lift some old, unreflective constraints on our ways of knowing about poems.

Examines seven types of ambiguity, providing examples of it in the writings of Shakespeare, Wordsworth, and T.S. Eliot.

T. S. Eliot's career as a successful stage dramatist gathers pace throughout the fascinating letters of this volume. Following his early experimentation with the dark comedy Sweeney Agonistes (1932), Eliot is invited to write the words of an ambitious scenario sketched out by the producer-director E. Martin Browne (who was to direct all of Eliot's plays) for a grand pageant called The Rock (1934). The ensuing applause leads to a commission from the Bishop of Chichester to write a play for the Canterbury Festival, resulting in the quasi-liturgical masterpiece of dramatic writing, Murder in the Cathedral (1935). A huge commercial success, it remains in repertoire after eighty years.Even while absorbed in time-consuming theatre work, Eliot remains untiring in promoting the writers on Faber's ever broadening lists - George Barker, Marianne Moore and Louis MacNeice among them. In addition, Eliot works hard for the Christian Church he has espoused in recent years, serving on committees for the Church Union and the Church Literature Association, and creating at Faber & Faber a book list that embraces works on church history, theology and liturgy. Having separated from his wife Vivien in 1933, he is anxious to avoid running into her; but she refuses to comprehend that her husband has chosen to leave her and stalks him across literary society, leading to his place of work at the offices of Faber & Faber. The correspondence draws in detail upon Vivien's letters and diaries to provide a picture of her mental state and way of life - and to help the reader to appreciate her thoughts and feelings.

This biography examines the life and career of scholar-journalist Elizabeth Wiskemann (1899-1971) from her youth and student years at Cambridge to her death by suicide. Disappointed in her hopes for an academic career, she reinvented herself as a journalist in Berlin, covering the overthrow of the Weimar Republic and the rise of Nazism for The New Statesman, Nation, and numerous other newspapers and periodicals. Expelled from Germany, she settled in Prague and funded by Chatham House wrote the most important account of the Czech-German conflict and the Sudeten crisis, still a classic, followed by a detailed analysis of Nazi political and economic destabilization of the countries of eastern Europe. Her journalistic skills served her well in the war years when she worked as a secret agent in Switzerland, gathering intelligence, running agents into Axis-controlled Europe, and working closely with Allen Dulles, the O.S.S. chief in Bern. Postwar, Wiskemann returned to freelance journalism, focusing especially on Italy and Germany, while also writing several books, including the first scholarly study of the Hitler-Mussolini relationship and the first major account of the expulsion of 12 million ethnic Germans from Eastern Europe. Although a prolific writer and highly regarded as a commentator on international affairs, she remained on the fringes of academia until 1958 when she was appointed Professor of International Relations at Edinburgh (the first woman to receive a Chair there in any discipline); she later became one of the first faculty recruited by the new Sussex University. In her later years she published several works of contemporary history, including Europe of the Dictators, 1919-45, widely used in schools and universities. Blinded in one eye by a botched surgery and increasingly anxious as her other eye deteriorated, she became terrified of going completely blind and ended her life. Aside from its intrinsic interest, Wiskemann's biography is illustrative of a whole cohort of women - graduates in the 1920s and 30s - who found ways to pursue their interests in international affairs and contemporary history. In this sense the book foregrounds the gendered experience of these pioneers whose professional lives often intersected through journalism, Chatham House, and service in the propaganda and intelligence agencies of the wartime state.