Reproduction of the original: The Diary of an Ennuyée by Mrs. Jameson

Between 1919 and his death by suicide in 1963, Arthur Crew Inman wrote what is surely one of the fullest diaries ever kept by any American. Convinced that his bid for immortality required complete candor, he held nothing back. This abridgment of the original 155 volumes is at once autobiography, social chronicle, and an apologia addressed to unborn readers. Into this fascinating record Inman poured memories of a privileged Atlanta childhood, disastrous prep-school years, a nervous collapse in college followed by a bizarre life of self-diagnosed invalidism. Confined to a darkened room in his Boston apartment, he lived vicariously: through newspaper advertisements he hired "talkers" to tell him the stories of their lives, and he wove their strange histories into the diary. Young women in particular fascinated him. He studied their moods, bought them clothes, fondled them, and counseled them on their love affairs. His marriage in 1923 to Evelyn Yates, the heroine of the diary, survived a series of melodramatic episodes. While reflecting on national politics, waifs and revolutions, Inman speaks directly about his fears, compulsions, fantasies, and nightmares, coaxing the reader into intimacy with him. Despite his shocking self-disclosures he emerges as an oddly impressive figure. This compelling work is many things: a case history of a deeply troubled man; the story of a transplanted and self-conscious southerner; a historical overview of Boston illuminated with striking cityscapes; an odd sort of American social history. But chiefly it is, as Inman himself came to see, a gigantic nonfiction novel, a new literary form. As it moves inexorably toward a powerful denouement, The Inman Diary is an addictive narrative.

This biography of Joseph Severn (1793-1879), the best known but most controversial of Keats's friends, is based on a mass of newly discovered information, much of it still in private hands. Severn accompanied the dying Keats to Italy, nursed him in Rome and reported on his last weeks there in a famous series of moving letters. After Keats's death in relative obscurity, Severn pressed hard for an early biography and a more fitting memorial in the Protestant Cemetery in Rome. In the nineteenth century Severn's friendship with Keats was seen as a model of devoted masculine companionship and he was reburied by popular acclaim next to Keats in 1882. In the twentieth century, by contrast, he was denigrated as an unreliable, self-promoting witness. Sue Brown's book fills a major gap in studies of Keats and his circle. It reassesses Severn's character, friendship with Keats, and influence on the posthumous development of the poet's fame and provides new information on Keats's death. The significance of Severn's artistic career has previously been downplayed. This book offers the first full assessment of his work and of his turbulent spell as British Consul in Rome from 1860 to 1871. Keats was not Severn's only famous friend. For most of his adult life Severn was at the heart of the large, lively British community in Rome welcoming amongst others Gladstone, who became his most important patron, Ruskin, Walter Scott, Wordsworth, Turner, Samuel Palmer, David Wilkie, and many more. He maintained long friendships with Leigh Hunt, Mary Shelley, Charles Eastlake, Richard Monckton Milnes, amongst others, and enjoyed a rich family life.