William Butter Yeats, who some critics feel was the greatest English language poet of our century, led a life of many contradictions. He was Ireland's most revered writer and won the Nobel Prize for Literature. But in his private life, Yeats struggled with passionate, if unrequited, relationships with women and was haunted by the spirits of his ancestors. Renowned biographer Brenda Maddox examines the poet's life through the prism of his personal obsession with the supernatural and otherworldly. She considers for the first time the Automatic Script, the trancelike communication with supposed spirits that he and his much younger wife. Georgie, conducted during the early years of their marriage. Writing with edge, wit, and energy, she finds the essential clues to Yeats's life and work in his unusual relationships with women, most particularly Maude and Iseult Gonne, his wife Georgie, and his rarely discussed mother.

Another volume in the distinguished annual

W. B. Yeats meets Gregg Araki at a gay bar. The Tower is a "translation" of W. B. Yeats's The Tower—an homage and reinvention of the poet’s greatest work. Whereas Yeats’s book contended with his mortality as an aging spiritualist Irish Senator, this version contends with a new mortality: ours. The poems in this collection crystallize the transition from Legault’s late twenties to his early thirties, situated in North America during a time of political upheaval. It takes each of Yeats’s poems as a starting point and queers them. It translates Yeats’s modernist urge, on the other side of a long century. In her review of The Tower, Virginia Woolf says Yeats has “never written more exactly and more passionately.” One might imagine she’d conclude the same here. You can’t fault these poems for lacking passion. Yeats used to talk to ghosts. His wife would let ghosts talk through her. They would talk to Yeats, and he would write down what they say. Another way you could put it is that Yeats talked to his wife. Ghosts are much closer than you think. They like to live in books. So Legault spent some time talking to Yeats’s ghost. Or, Yeats’s ghost talked to him. This is him talking back. "Through Legault, the opening of Yeats’ words in the title poem shift and turn from absurdity to one of anxieties around ageing" —rob mclennan's Blog "If you've never cared about poetry, you will after reading these modern-day renderings..." —Maria-Claire

Many know the public Yeats but few have managed to penetrate to the inner man, or to explore the relationship with his much younger wife, George. Here Brenda Maddox brings all her talents to bear on one of the most written about but least understood literary giants of the twentieth century. 'A stylish, less than entirely reverent and often deeply touching account of the strains of living with a scatty, splendid genius . . . An unqualified delight from start to finish' Observer 'What emerges is not simply the best account we have of Yeats's tricky private life, but an extraordinarily illuminating rereading of his poetry. Maddox uses his work with the lightest touch, never falling into unthinking autobiographical interpretation, but always paying due care to its formal properties. The result is a complex, elegant delight' Literary Review

Yeats, Philosophy, and the Occult collects seven new essays on aspects of Yeats's thought and reading, from ancient and modern philosophy and cosmological doctrines, mysticism and esoteric thought.

Ireland is known as the Emerald Isle, a land of history and mystery, beauty and enchantment. But there's much more to this jewel of the North Atlantic than meets the eye. Hans Holzer is a renowned ghost hunter who has traveled the world trailing the elusive spirits of souls anxious to be sent beyond the Veil. Here he recounts his fascinating journey across this island in search of its soul...and its spirits. There is an 18th-century swordsman who defends the hidden treasure of Ballyheigue Castle, a proud house now gutted by fire; Princess Orloff, originally known as Angelica Parrott, who returned home to haunt a jealous sister; Lilith, a young inhabitant of eerie Skryne Castle, who was strangled with foxglove fronds in 1740; Mary Masters, a young girl who refuses to forget her horrible death and continues to haunt Dublin's Shelbourne Hotel; the ghost at Number 118 Summerhill, Dublin who sends workmen into a panic; and many more.

William Butler Yeats (1865-1939) was an Irish poet and one of the foremost figures of 20th century literature. A pillar of both the Irish and British literary establishments, he helped to found the Abbey Theatre, and in his later years served as an Irish Senator for two terms. Awarded the Nobel Prize in Literature in 1923, Yeats—along with Lady Gregory, Edward Martyn and others—was a driving force behind the Irish Literary Revival. “This study is a sequel to my W. B. Yeats And Tradition, and the Yeats scholar may like to take all my work in conjunction; but I have tried to make it possible for the two books to be read independently. “The aim of this book is to interpret what Yeats meant by the symbolism of five of his plays, Four Plays for Dancers and The Cat and the Moon; also by that of a number of related lyrics. I should stress, once and for all, that I am concerned primarily with what the symbols meant for the poet himself; Yeats of course hoped that the ‘words on the page’ would work for him, and he also believed in a collective unconscious which would operate to suggest his archetypal meanings to all readers; but it can of course be maintained that communication fails. I myself doubt whether this ever happens; but I cannot prove this statement in a book not concerned with technique; and this is why I define my field as I have done. What Yeats believed his plays and poems to mean is a valid field for scholarship; and the meaning he attached is certainly the archetypal meaning, which is therefore my main preoccupation.”—F. A. C. Wilson