Coleridge is such a celebrity that many who have never read "The Rime of the Ancient Mariner" have a fair idea who he was, and yet the common impression of him is not flattering. He is typically seen as a youthful genius transformed by drugs and philosophy into a tedious sage. It is time for a change of image. A Book I Value offers a one-volume sampling of Coleridge's encyclopedic marginalia, revealing a figure more complex but also more humanly attractive--clever, curious, playful, intense--than the one we are used to. This book makes a convenient introduction to Coleridge's life, the intellectual issues and contemporary concerns that held his attention, and the workings of his mind. The marginalia represent an unintimidating sort of writing that Coleridge famously excelled at (often in books borrowed from friends). "A book, I value," he wrote, "I reason & quarrel with as with myself when I am reasoning." Unlike the complete Marginalia in six volumes arranged alphabetically by author, this representative selection is chronological and footnote-free, with a contextualizing introduction and brief headnotes that outline Coleridge's circumstances year by year and provide essential historical information. Our own cultural taboo against writing in books is slackening in light of new interest in the history of the book. It will be weakened further by the extraordinary and now accessible example of Coleridge, who was a remarkably shrewd but at the same time a remarkably charitable reader.

Coleridge was one of the Romantic Age's most enigmatic figures and author of some of the most famous poems in the English language. He confided his thoughts and emotions to his notebooks, a selection of which are presented in this text.

'What Coleridge Thought' presents Coleridge's ideas in a coherent form, carefully organized to demonstrate precisely what his thoughts were and how his writings develop them. Coleridge's objective was to stimulate his readers into thinking for themselves - "to excite the germinal power that craves no knowledge but what it can take up into itself" (S. T. Coleridge). Barfield guides the reader towards this. Here will be found the heart of Coleridge's thinking.

Brimming with poetry, art, and nature writing—Wordsworth and Coleridge as you've never seen them before June 1797 to September 1798 is the most famous year in English poetry. Out of it came Samuel Taylor Coleridge's The Rime of the Ancient Mariner and “Kubla Khan,” as well as his unmatched hymns to friendship and fatherhood, and William Wordsworth’s revolutionary songs in Lyrical Ballads along with “Tintern Abbey,” Wordsworth's paean to the unity of soul and cosmos, love and understanding. In The Making of Poetry, Adam Nicolson embeds himself in the reality of this unique moment, exploring the idea that these poems came from this particular place and time, and that only by experiencing the physical circumstances of the year, in all weathers and all seasons, at night and at dawn, in sunlit reverie and moonlit walks, can the genesis of the poetry start to be understood. The poetry Wordsworth and Coleridge made was not from settled conclusions but from the adventure on which they embarked, thinking of poetry as a challenge to all received ideas, stripping away the dead matter, looking to shed consciousness and so change the world. What emerges is a portrait of these great figures seen not as literary monuments but as young men, troubled, ambitious, dreaming of a vision of wholeness, knowing they had greatness in them but still in urgent search of the paths toward it. The artist Tom Hammick accompanied Nicolson for much of the year, making woodcuts from the fallen timber in the park at Alfoxden where the Wordsworths lived. Interspersed throughout the book, his images bridge the centuries, depicting lives at the source of our modern sensibility: a psychic landscape of doubt and possibility, full of beauty and thick with desire for a kind of connectedness that seems permanently at hand and yet always out of reach.