Elisabeth Tonnard's In This Dark Wood is a study of urban alienation in America. In a haunting, modern-gothic style, it pairs images of people walking alone in nighttime city streets with 90 different English translations, collected by Tonnard, of the famous first lines of Dante's Inferno: "Nel mezzo del cammin di nostra vita / mi ritrovai per una selva oscura / ché la diritta via era smarrita." ("In the middle of the journey of our life / I found myself in a dark wood / for the straight way was lost"). The images were selected from the Joseph Selle collection at the Visual Studies Workshop in Rochester, New York, which contains over a million negatives from a company of street photographers who worked in San Francisco from the 1940s to the 70s. This edition is a reprint of a work originally self-published in 2008.

This is the first account of Dante's reception in English to address full chronological span of that process. Individual authors and periods have been studied before, but Dante's British Public takes a wider and longer view, using a selection of vivid and detailed case studies to record and place in context some of the wider conversations about and appropriations of Dante that developed in Britain across more than six centuries, as access to his work extended and diversified. Much of the evidence is based on previously unpublished material in (for example) letters, journals, annotations and inventories and is drawn from archives in the UK and across the world, from Milan to Mumbai and from Berlin to Cape Town. Throughout, the role of Anglo-Italian cultural contacts and intermediaries in shaping the public understanding of Dante in Britain is given prominence - from clerics and merchants around Chaucer's time, through itinerant scholars, collectors and tourists in the early modern period, to the exiles and expatriates of the nineteenth and twentieth centuries. The final chapter brings the story up to the present, showing how the poet's work has been seen (from the fourteenth century onwards) as accessible to 'the many', and demonstrating some of the means by which Dante has reached a yet wider British public over the past century, particularly through translation, illustration, and various forms of performance.

Dante's Wood: A Wood Called K'Nosis, takes John Blue on a journey into time, place, and ultimately into himself. He enters "Dante's Woods, guided by a mysterious Middle Eastern cabbie named "Moe." As Virgil was to Dante in The Inferno, so is Moe to John Blue. John Blue explores the three realms of Dante's Woods where he meets three strangely familiar characters, each of whom has his own "issues." John learns from these issues and in a splashing climax, sums it all up for a government official named "Col. D" who has sent John Blue to investigate Moe for "terrorism." John is not a spy, a wealthy man, a preacher, or a cowboy. But it seems that through his friendship with Moe, all of these personae merge in his to make John the man he is supposed to be.

In Speech of the Grail, storyteller and ceremonialist Linda Sussman explores a new way to speak, one that heals and transforms. She takes for her guide Wolfram von Eschenbach's epic tale of the Grail, showing how it depicts a path of initiation toward healing speech--to "doing the truth" in word and action. "The Grail! The word stirs a deep response in the Western imagination. Joseph Campbell called the medieval stories where it is first mentioned 'the founding myth of Western civilization,' because 'according to this mythology, there is no fixed law, no established knowledge of god, set up by prophets or priests, that can stand against the revelation of a life lived with integrity in the spirit of its own brave truth.' Campbell and many other scholars, artists, and seekers have seen the Western wisdom path disclosed in the image of each knight entering the forest where no one else has made a path. The quest is to recover the elusive Grail, thereby returning its sustenance to the world. The presence of the Grail nurtures an invisible web of relationships that connect individual destiny to service of others and to the earth, thereby granting meaning" (Linda Sussman, from her introduction). Sussman begins with a beautiful retelling of the story, allowing readers to inwardly reproduce the potent inner images of the text. Then she shows that it is not so much a path toward perfection as a recovery of the proper relationship with our own imperfections. She shows, too, that it is a path in which male and female aspects work together to overcome evil.

Dante Alighieri was early in recognizing that our age has a problem. His hometown, Florence, was at the epicenter of the move from the medieval world to the modern. He realized that awareness of divine reality was shifting, and that if it were lost, dire consequences would follow. The Divine Comedy was born in a time of troubling transition, which is why it still speaks today. Dante's masterpiece presents a cosmic vision of reality, which he invites his readers to traverse with him. In this narrative retelling and guide, from the gates of hell, up the mountain of purgatory, to the empyrean of paradise, Mark Vernon offers a vivid introduction and interpretation of a book that, 700 years on, continues to open minds and change lives.

Beckett's Dantes: Intertextuality in the Fiction and Criticism is the first study in English on the literary relation between Beckett and Dante. It is an innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. It is an informative intertextual reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. The volume interprets Dante in the original Italian (as it appears in Beckett), translating into English all Italian quotations. It benefits from a multilingual approach based on Beckett's published works in English and French, and on manuscripts (which use English, French, German and Italian). Through a close reading of Beckett's fiction and criticism, the book will argue that Dante is both assumed as an external source of literary and cultural authority in Beckett's work, and also participates in Beckett's texts' sceptical undermining of authority. Moreover, the book demonstrates that the many references to various 'Dantes' produce 'Mr Beckett' as the figure of the author responsible for such a remarkably interconnected oeuvre. The book is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies. Its jargon-free style will also attract third-year or advanced undergraduate students, and postgraduate students, as well as those readers interested in the unusual relationship between one of the greatest writers of the twentieth century and the medieval author who stands for the very idea of the Western canon.