A revisionary account of the 900-year-long history of a major poetic tradition, explored through metrics and literary history.

Most students of American literature probably can recall the playful French nom de plume--Monsieur de l'Aubépine--that Nathaniel Hawthorne occasionally employed to disguise some of his early attempts at authorship. But very few will know that Monsieur de l'Aubépine enjoyed a surprisingly intelligent critical reception in France during his lifetime. No fewer than six--often startling--essays about the American author appeared in leading French periodicals from 1852 to 1864. The French Face of Nathaniel Hawthorne, edited by Michael Anesko and N. Christine Brookes, recuperates these lost (or forgotten) critical assessments, making available to English readers for the first time the full texts of these extraordinary contemporaneous French critical essays. Besides offering elegantly rendered (and helpfully annotated) translations of the essays, Anesko and Brookes analyze them in relation to their immediate historical context and examine their unexpected relevance to later critical trends and arguments. Literary scholarship in our own time calls more and more for the enlargement of perspective and the adaptation of our reading practices to dismantle the narrower limits of nationalist traditions. The French Face of Nathaniel Hawthorne is a remarkable body of work that can help scholars better understand the complexity of transatlantic cultural exchange in the nineteenth century.

Alliterative Revivals is the first full-length study of the sophisticated historical consciousness of late medieval alliterative romance. Drawing from historicism, feminism, performance studies, and postcolonial theory, Christine Chism argues that these poems animate British history by reviving and acknowledging potentially threatening figures from the medieval past—pagan judges, primeval giants, Greek knights, Jewish forefathers, Egyptian sorcerers, and dead ancestors. In addressing the ways alliterative poems centralize history—the dangerous but profitable commerce of the present with the past—Chism's book shifts the emphasis from the philological questions that have preoccupied studies of alliterative romance and offers a new argument about the uses of alliterative poetry, how it appealed to its original producers and audiences, and why it deserves attention now. Alliterative Revivals examines eight poems: St. Erkenwald, Sir Gawain and the Green Knight, The Wars of Alexander, The Siege of Jerusalem, the alliterative Morte Arthure, De Tribus Regibus Mortuis, The Awntyrs off Arthure, and Somer Sunday. Chism both historicizes these texts and argues that they are themselves obsessed with history, dramatizing encounters between the ancient past and the medieval present as a way for fourteenth-century contemporaries to examine and rethink a range of ideologies. These poems project contemporary conflicts into vivid, vast, and spectacular historical theaters in order to reimagine the complex relations between monarchy and nobility, ecclesiastical authority and lay piety, courtly and provincial culture, western Christendom and its easterly others, and the living and their dead progenitors. In this, alliterative romance joins hands with other late fourteenth-century literary texts that make trouble at the borders of aristocratic culture.

One of the earliest great stories of English literature after ?Beowulf?, ?Sir Gawain? is the strange tale of a green knight on a green horse, who rudely interrupts King Arthur's Round Table festivities one Yuletide, challenging the knights to a wager. Simon Armitrage, one of Britain's leading poets, has produced an inventive and groundbreaking translation that " helps] liberate ?Gawain ?from academia" (?Sunday Telegraph?).

Chrysanthemum loves her name, until she starts going to school and the other children make fun of it.