The romantic saga of the Becket family concludes with this brand-new novel by USA TODAY bestselling author Kasey Michaels

Virginia Woolf identified the influence on her work of 'the Cambridge Apostles', the philosophical society which counted G. E. Moore, Bertrand Russell and much of male Bloomsbury among its members, as one more 'capable of description' than 'the influence of my mother'. In this major study of Woolf's relationship to Bloomsbury and the aesthetic and philosophical developments of her time, Ann Banfield subjects that influence to a full treatment. The theory of knowledge Moore and Russell formulated, Banfield argues, profoundly affected Woolf's conception of reality, as it did Roger Fry's theory of Post-Impressionism, one source for Woolf's transformations of philosophical principles into aesthetic ones. The Phantom Table is a magisterial account of Woolf's engagement with this remarkable trinity of thinkers: Moore, Russell, Fry. It revises the epistemology of modernism, reconceiving the relation between realism and formalism to account for Woolf's dual reality of sense impressions and logical forms.

To many writers of the early twentieth century, modernism meant not only the reshaping or abandonment of tradition but also an interest in psychology and in new concepts of space, time, art, and language. Randall Stevenson's important new analysis of the genre presents a lucid, comprehensive introduction to modernist fiction, covering a wide range of writers and works. Drawing on narrative theory and cultural history, Stevenson offers fresh insights into the work of such important modernists as Henry James, Joseph Conrad, Ford Madox Ford, D.H. Lawrence, Wyndham Lewis, Dorothy Richardson, May Sinclair, Virginia Woolf, and James Joyce. In addition he discusses the work of Marcel Proust, an important figure in the development of modernism in Europe. This illuminating book places the new imagination of the modernist age in its historical context and looks at how and why the pressures of early twentieth century life led to the development of this distinctive and influential literary form. This accessible account of modernism, modernity, and the novel will be welcomed by students, scholars, and general readers alike.

The Idea of Spatial Form contains the classic essay that introduced the concept of "spatial form" into literary discussion in 1945, and has since been accepted as one of the foundations for a theory of modern literature. It is here reprinted along with two later reconsiderations, one of which answers its major critics, while the second places the theory in relation to Russian Formalism and French Structuralism. Originally conceived to clarify the formal experiments of avant-garde literature, the idea of spatial form, when placed in this wider context, also contributes importantly to the foundations of a general poetics of the literary text. Also included are related discussions of André Malraux, Heinrich Wölfflin, Herbert Read, and E. H. Gombrich. New material has been added to the essays in the form of footnotes and postscripts to two of them. These either illustrate the continuing relevance of the questions raised, or offer Frank's more recent opinions on the topic.

Marianna Torgovnick maintains that it is worthwhile to think about novels in terms of the visual arts--in part because major novelists like James, Lawrence, and Woolf did so, and did so fruitfully, as they were influenced by their perceptions of artistic movements. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The novels of Wyndham Lewis have generally been associated with the work of the great modernists-Joyce, Pound, Eliot, Yeats-who were his sometime friends and collaborators. Lewis's originality, however, can only be fully grasped when it is understood that, unlike those writers, he was essentially a political novelist. In this now classic study, Fredric Jameson proposes a framework in which Lewis's explosive language practice-utterly unlike any other English or American modernism-can be grasped as a political and symbolic act. He does not, however, ask us to admire the energy of Lewis's style without confronting the inescapable and often scandalous ideological content of Lewis's works: the aggressivity and sexism, the predilection for racial and national categories, the brief flirtation with fascism, and the inveterate and cranky oppositionalism that informs his powerful polemics against virtually all the political and countercultural tendencies of his time. Fables of Aggression draws on the methods of narrative analysis and semiotics, psychoanalysis, and ideological analysis to construct a dynamic model of the contradictions from which Lewis's incomparable narrative corpus is generated, and of which it offers so many varying symbolic resolutions.

Describes the history, community, and daily life of the early American furniture maker, the types of wood he chose, his shop, tools, techniques, and business affairs.