Four years before the publication of the First Folio, a group of London printers and booksellers attempted to produce a "collected works" of William Shakespeare, not in an imposingly large format but as a series of more humble quarto pamphlets. For mysterious reasons, perhaps involving Shakespeare's playing company, the King's Men, the project ran into trouble. In an attempt to salvage it, information on the title pages of some of the playbooks was falsified, making them resemble leftover copies of earlier editions. The deception worked for nearly three hundred years, until it was unmasked by scholars in the early twentieth century. The discovery of these "Pavier Quartos," as they became known, was a landmark success for the New Bibliography and played an important role in establishing the validity and authority of that method of analysis. While more recent scholars have reassessed the traditional narrative that the New Bibliographers wrote, no one has gone back to look at the primary evidence: the quartos themselves. In Ghosts, Holes, Rips and Scrapes Zachary Lesser undertakes a completely fresh study of these playbooks. Through an intensive bibliographical analysis of over three hundred surviving quartos, Lesser reveals evidence that has gone entirely unseen before: "ghosts" (faint, oily impressions produced when one book is bound next to another); "holes" (the tiny remains of the first simple stitching that held pamphlets together); and "rips and scrapes" (post-production alterations of title pages). This new evidence—much of it visible only with the aid of enhanced photographic methods—suggests that the "Pavier Quartos" are far more mysterious, with far more consequential ramifications for book history and Shakespeare scholarship than we have thought.

Four years before the publication of the First Folio, a group of London printers and booksellers attempted to produce a "collected works" of William Shakespeare as a series of quarto pamphlets. Zachary Lesser examines more than three hundred surviving copies of these "Pavier Quartos," revealing they are far more mysterious than we thought.

From the two defining personalities of post-cyberpunk SF, a brilliant collaboration to rival 1987's The Difference Engine by William Gibson and Bruce Sterling

A study of the practices and politics of early modern publishers of plays.

Volcanoes are essential elements in the delicate global balance of elemental forces that govern both the dynamic evolution of the Earth and the nature of Life itself. Without volcanic activity, life as we know it would not exist on our planet. Although beautiful to behold, volcanoes are also potentially destructive, and understanding their nature is critical to prevent major loss of life in the future. Richly illustrated with over 300 original color photographs and diagrams the book is written in an informal manner, with minimum use of jargon, and relies heavily on first-person, eye-witness accounts of eruptive activity at both "red" (effusive) and "grey" (explosive) volcanoes to illustrate the full spectrum of volcanic processes and their products. Decades of teaching in university classrooms and fieldwork on active volcanoes throughout the world have provided the authors with unique experiences that they have distilled into a highly readable textbook of lasting value. Questions for Thought, Study, and Discussion, Suggestions for Further Reading, and a comprehensive list of source references make this work a major resource for further study of volcanology. Volcanoes maintains three core foci: Global perspectives explain volcanoes in terms of their tectonic positions on Earth and their roles in earth history Environmental perspectives describe the essential role of volcanism in the moderation of terrestrial climate and atmosphere Humanitarian perspectives discuss the major influences of volcanoes on human societies. This latter is especially important as resource scarcities and environmental issues loom over our world, and as increasing numbers of people are threatened by volcanic hazards Readership Volcanologists, advanced undergraduate, and graduate students in earth science and related degree courses, and volcano enthusiasts worldwide. A companion website is also available for this title at www.wiley.com/go/lockwood/volcanoes

This book examines how early modern and recently emerging theories of consciousness and cognitive science help us to re-imagine our engagements with Shakespeare in text and performance. Papers investigate the connections between states of mind, emotion, and sensation that constitute consciousness and the conditions of reception in our past and present encounters with Shakespeare’s works. Acknowledging previous work on inwardness, self, self-consciousness, embodied self, emotions, character, and the mind-body problem, contributors consider consciousness from multiple new perspectives—as a phenomenological process, a materially determined product, a neurologically mediated reaction, or an internally synthesized identity—approaching Shakespeare’s plays and associated cultural practices in surprising and innovative ways.

The first book of a trilogy of novels known collectively as "The Rosy Crucifixion." It is autobiographical and tells the story of Miller's first tempestuous marriage and his relentless sexual exploits in New York. The other books are "Plexus" and "Nexus."

Part of the regionalist movement that included Grant Wood, Paul Engle, Hamlin Garland, and Jay G. Sigmund, James Hearst helped create what Iowa novelist Ruth Suckow called a poetry of place. A lifelong Iowa farner, Hearst began writing poetry at age nineteen and eventually wrote thirteen books of poems, a novel, short stories, cantatas, and essays, which gained him a devoted following Many of his poems were published in the regionalist periodicals of the time, including the Midland, and by the great regional presses, including Carroll Coleman's Prairie Press. Drawing on his experiences as a farmer, Hearst wrote with a distinct voice of rural life and its joys and conflicts, of his own battles with physical and emotional pain (he was partially paralyzed in a farm accident), and of his own place in the world. His clear eye offered a vision of the midwestern agrarian life that was sympathetic but not sentimental - a people and an art rooted in place.

In 1823, Sir Henry Bunbury discovered a badly bound volume of twelve Shakespeare plays in a closet of his manor house. Nearly all of the plays were first editions, but one stood out as extraordinary: a previously unknown text of Hamlet that predated all other versions. Suddenly, the world had to grapple with a radically new—or rather, old—Hamlet in which the characters, plot, and poetry of Shakespeare's most famous play were profoundly and strangely transformed. Q1, as the text is known, has been declared a rough draft, a shorthand piracy, a memorial reconstruction, and a pre-Shakespearean "ur-Hamlet," among other things. Flickering between two historical moments—its publication in Shakespeare's early seventeenth century and its rediscovery in Bunbury's early nineteenth—Q1 is both the first and last Hamlet. Because this text became widely known only after the familiar version of the play had reached the pinnacle of English literature, its reception has entirely depended on this uncanny temporal oscillation; so too has its ongoing influence on twentieth- and twenty-first-century ideas of the play. Zachary Lesser examines how the improbable discovery of Q1 has forced readers to reconsider accepted truths about Shakespeare as an author and about the nature of Shakespeare's texts. In telling the story of this mysterious quarto and tracing the debates in newspapers, London theaters, and scholarly journals that followed its discovery, Lesser offers brilliant new insights on what we think we mean when we talk about Hamlet.