Field Work is the record of four years during which Seamus Heaney left the violence of Belfast to settle in a country cottage with his family in Glanmore, County Wicklow. Heeding "an early warning system to get back inside my own head," Heaney wrote poems with a new strength and maturity, moving from the political concerns of his landmark volume North to a more personal, contemplative approach to the world and to his own writing. In Field Work he "brings a meditative music to bear upon fundamental themes of person and place, the mutuality of ourselves and the world" (Denis Donoghue, The New York Times Book Review).

FIELD & STREAM, America’s largest outdoor sports magazine, celebrates the outdoor experience with great stories, compelling photography, and sound advice while honoring the traditions hunters and fishermen have passed down for generations.

The Soul Exceeds its Circumstances brings together sixteen of the most prominent scholars who have written on Seamus Heaney to examine the Nobel Prize winner’s later poetry from a variety of critical and theoretical perspectives. While a great deal of attention has been devoted to Heaney’s early and middle poems—the Bog Poems in particular—this book focuses on the poetry collected in Heaney's Seeing Things (1991), The Spirit Level (1996), Electric Light (2001), District and Circle (2006), and Human Chain (2010) as a thematically connected set of writings. The starting point of the essays in this collection is that these later poems can be grouped in terms of style, theme, approach, and intertextuality. They develop themes that were apparent in Heaney’s earlier work, but they also break with these themes and address issues that are radically different from those of the earlier collections. The essays are divided into five sections, focusing on ideas of death, the later style, translation and transnational poetics, luminous things and gifts, and usual and unusual spaces. A number of the contributors see Heaney as stressing the literary over the actual and as always looking at the interstices and positions of liminality and complexity. His use of literary references in his later poetry exemplifies his search for literary avatars against whom he can test his own ideas and with whom he can enter into an aesthetic and ethical dialogue. The essayists cover a great deal of Heaney’s debts to classical and modern literature—in the original languages and in translations—and demonstrate the degree to which the streets on which Heaney walked and wrote were two-way: he was influenced by Virgil, Petrarch, Milosz, Wordsworth, Keats, Rilke, and others and, in turn, had an impact on contemporary poets. This remarkable collection will appeal to scholars and literary critics, undergraduates as well as graduate students, and to the many general readers of Heaney's poetry.

Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.

What if society looked at addiction without judgement? Unstitched shares the powerful story of one librarian’s quest to understand the impact of addiction fed by stigma and inevitable secrecy. The opioid epidemic has hit people in communities large and small and across all socio-economic classes. What should each of us know about it, and do about it? Unstitched moves readers from feelings of helplessness and blame into empathy, ultimately helping friends, family, and community members separate the disease of addiction from the person underneath. A stranger, rumored to be a heroin addict, repeatedly breaks into the small-town library Brett Ann Stanciu runs. After she tries to get law enforcement to take meaningful action against him—elementary school children and young parents with babies frequent the place after all—he dies by suicide. When she realizes how little she knows about opioid misuse, she sets out on a mission, seeking insight from others, such as people in recovery, treatment providers, the town police chief, and Vermont's US attorney. Stanciu’s journey leads to compassionate generosity, renewed faith, and ultimately a measure of personal redemption as she realizes she has a role to play in helping the people of her community stitch themselves back together.