This is a delightfully rambling narrative of White's adventures in western Ireland. We follow White as he hunts and fishes in a vast untenanted estate and learn with fascination the delicate art of falconry. We accompany him in the cold black morning before dawn in search of barnacle geese. Then there is an eerie experience with the Fairy Fire and the revelation of the Godstone, a minor deity which White hoped to prove was pagan in origin, but which turned out to be the pillow of a Christian hermit. And who will be able to forget Mr. James Montgomery-Marjoribanks, the man from Africa who toured the Irish fairs selling patent medicines and succeeded in helping two of White's rheumatic neighbors, much to everyone's relief. There are legends told over turf fires, enhanced with the unique warmth of Irish whiskey, and unexpected random incidents all told spontaneously as they occur to White's lively mind.

A narrative of the author's adventures in western Ireland.

From Oscar Wilde to James Joyce, from Virginia Woolf to Frank McCourt: three centuries of Irish, English, and American writers in search of the real Ireland. From the editor of the outstandingly popular Italy in Mind comes another superb collection: three centuries of fiction, poems, and essays, from both Irish expatriates and non-Irish visitors. From the comic terror of Frank McCourt's First Communion to the raucous pagan festival Muriel Rukeyser attended in County Kerry in the 1930s; from John Betjeman's lyrical evocation of a ruined abbey in the mist to Eric Newby's hilariously disastrous bicycle trip through Ireland; from William Trevor's gentle Irish clergyman encountering the long angry reach of his country's past tragedies to Brian Moore's wistful return from a life spent in exile, this anthology offers a kaleidoscope of this mysterious, elusive country. For travelers of all kinds, for those who have long been fascinated by Ireland and those who are feeling its lure for the first time, Ireland in Mind will provide a rich and rewarding imaginative journey. Contributors also include: Samuel Beckett, Wallace Stevens, Oliver Goldsmith, Jonathan Swift, Edna O'Brien, Paul Theroux, V.S. Pritchett, Anthony Trollope, George Bernard Shaw, T.H. White From the Trade Paperback edition.

Includes Part 1, Number 1: Books and Pamphlets, Including Serials and Contributions to Periodicals (January - June)

This collection of Newfoundland folk narratives, first published in 1996, grew out of extensive fieldwork in folk culture in the province. The intention was to collect as broad a spectrum of traditional material as possible, and Folktales of Newfoundland is notable not only for the number and quality of its narratives, but also for the format in which they are presented. A special transcription system conveys to the reader the accents and rhythms of each performance, and the endnote to each tale features an analysis of the narrator’s language. In addition, Newfoundland has preserved many aspects of English and Irish folk tradition, some of which are no longer active in the countries of their origin. Working from the premise that traditions virtually unknown in England might still survive in active form in Newfoundland, the researchers set out to discover if this was in fact the case.

An analysis of women in The Once and Future King. The contexts for the The Once and Future King are here expertly analysed through the lenses of previously unpublished materials (and drawings) from the Ransom Center, by the late novelist and poet Kurth Sprague. The author concentrates on White's misogyny as a result of his reaction to his difficult mother Constance, but he equally focuses on the charm of White's other queen, Guenevere. Nothing had more impact on White than his mother, his dogs, and his friendships (though his readings in the history of chivalry are very deep), and this book enables us to see the development of White's monumental and symphonic work.

This book grew out of the author's wish to go beyond a formal definition of fantasy to discover a basic urge and interest common to the genre. He finds this urge to be the celebration of identity. Fantasy is ultimately concerned to heighten and praise being, whether that being is God's creation, the world, or the creations of the fantasy writer themselves. This interest can take the form of direct eulogy or of more unconscious fascination. It is seen in fantasy's conservatism and its frequently elegiac mode, and is demonstrated through its formal characteristics such as circular structure and the use of juxtaposition to heighten individuality. It is more overtly present in modern than in pre-1800 fantasy, partly because modern fantasy developed as a Romantic reaction against technology and everything that reduced direct contact between people and the environment. These aspects of fantasy are illustrated from detailed discussion of the tales of Grimm, Walter de la Mare's Told Again, W. M. Thackeray's The Rose and the Ring, Charles Williams's prose fantasies, Ursula le Guin's Earthsea trilogy, E. Nesbit's magic books, George MacDonald's Phantastes and Lilith, T. H. White's The Once and Future King, Mervyn Peake's Gormenghast novels, William Morris's late romances, Lord Dunsany's The King of Elfland's Daughter, E. R. Eddison's The Worm Ouroboros, and Peter Beagle's The Last Unicorn. Together these authors and works provide a cross-section of what is a fundamentally panegyric genre demonstrating its variety, its strengths, and its limitations.