This collection includes essays that consider how Bloomfield's poetry contributes to an understanding of the predominant issues, forms, and themes of literary Romanticism.

Opening in 1969 in New England, I KNOW WHERE I AM WHEN I'M FALLING is as rich in relationships as the colours and textures of the time. Ruby Lambert, is the eldest daughter in the eccentric Lambert family who get caught up in the life of Angus Aleshire, a charming, smart and athletic boy who they try to help and who shares Ruby's unconventional bent and love of the piano. Ruby and Angus fall in love but Angus has a dark side. His boyish charms start to wear thin losing him family and friends along the way and when his clever schemes and misbehavior get him in trouble, culminating with an art heist, he tries even Ruby’s love for him. The story spans thirteen years, and poses uncomfortable questions about the blindness of love, nurture versus nature and life through rose tinted glasses. Ruby struggles to square her vision of Angus’s potential with the unsettling and mounting reality.

Robert Bloomfield, whom John Clare described as 'the most original poet of the age,' was a widely read and critically acclaimed poet throughout the first decade of the nineteenth century, and remained popular until the beginning of the twentieth century. Yet until now, no modern critic has undertaken a full-length study of his poetry and its contexts. Simon J. White considers the relationship between Bloomfield's poetry and that of other Romantic poets. For example, her argues that Wordsworth's poetics of rural life was in some respects a response to Bloomfield's The Farmer's Boy. White considers Bloomfield's emphasis on the importance of local tradition and community in the lives of labouring people. In challenging the idea that the formal and rhetorical innovation of Wordsworth and Coleridge was principally responsible for the emergence of a new kind of poetry at the turn of the eighteenth century, he also shows that it is impossible to understand how the lyric and the literary ballad evolved during the Romantic period without considering Bloomfield's poetry. White's authoritative study demonstrates that, on the contrary, Bloomfield's poetry was pivotal in the development of Romanticism.

In the US, there is a wide-ranging network of at least 370 food banks, and more than 60,000 hunger-relief organizations such as food pantries and meal programs. These groups provide billions of meals a year to people in need. And yet hunger still affects one in nine Americans. What are we doing wrong? In Reinventing Food Banks and Pantries, Katie Martin argues that if handing out more and more food was the answer, we would have solved the problem of hunger decades ago. Martin instead presents a new model for charitable food, one where success is measured not by pounds of food distributed but by lives changed. The key is to focus on the root causes of hunger. When we shift our attention to strategies that build empathy, equity, and political will, we can implement real solutions. Martin shares those solutions in a warm, engaging style, with simple steps that anyone working or volunteering at a food bank or pantry can take today. Some are short-term strategies to create a more dignified experience for food pantry clients: providing client choice, where individuals select their own food, or redesigning a waiting room with better seating and a designated greeter. Some are longer-term: increasing the supply of healthy food, offering job training programs, or connecting clients to other social services. And some are big picture: joining the fight for living wages and a stronger social safety net. These strategies are illustrated through inspiring success stories and backed up by scientific research. Throughout, readers will find a wealth of proven ideas to make their charitable food organizations more empathetic and more effective. As Martin writes, it takes more than food to end hunger. Picking up this insightful, lively book is a great first step.

In this second edition of William Wordsworth: A Life, Stephen Gill draws on knowledge of the poet's creative practices and his reputation and influence in his life-time and beyond. Refusing to treat the poet's later years as of little interest, this biography presents a narrative of the whole of Wordsworth's long life--1770 to 1850--tracing the development from the adventurous youth who alone of the great Romantic poets saw life in revolutionary France to the old man who became Queen Victoria's Poet Laureate. The various phases of Wordsworth's life are explored with a not uncritical sympathy; the narrative brings out the courage he and his wife and family were called upon to show as they crafted the life they wanted to lead. While the emphasis is on Wordsworth the writer, the personal relationships that nourished his creativity are fully treated, as are the historical circumstances that affected the production of his poetry. Wordsworth, it is widely believed, valued poetic spontaneity. He did, but he also took pains over every detail of the process of publication. The foundation of this second edition of the biography remains, as it was of the first, a conviction that Wordsworth's poetry, which has given pleasure and comfort to generations of readers in the past, will continue to do so in the years to come.