In 1901 Edwin Gulliver Clarke left behind his comfortable, English middle-class life as the son of a bank manager to become a mounted trooper in the British South Africa Police in Rhodesia - now Zimbabwe. When he died in 1955, Clarke left behind a unique handwritten diary of his service. For the first time, read his account of horseback safari across miles of unspoiled African landscape in rural Matabeleland, stalking and hunting big game. Vivid diary entries bring to life a cast of characters: legendary gold prospectors, farmers and settlers telling yarns around a camp fire at night; friendly African chiefs; and Clarke's fellow police officers.

Historian Nora Titone takes a fresh look at the strange and startling history of the Booth brothers, answering the question of why one became the nineteenth-century’s brightest, most beloved star, and the other became the most notorious assassin in American history. The scene of John Wilkes Booth shooting Abraham Lincoln in Ford’s Theatre is among the most vivid and indelible images in American history. The literal story of what happened on April 14, 1865, is familiar: Lincoln was killed by John Wilkes Booth, a lunatic enraged by the Union victory and the prospect of black citizenship. Yet who Booth really was—besides a killer—is less well known. The magnitude of his crime has obscured for generations a startling personal story that was integral to his motivation. My Thoughts Be Bloody, a sweeping family saga, revives an extraordinary figure whose name has been missing, until now, from the story of President Lincoln’s death. Edwin Booth, John Wilkes’s older brother by four years, was in his day the biggest star of the American stage. Without an account of Edwin Booth, author Nora Titone argues, the real story of Lincoln’s assassin has never been told. Using an array of private letters, diaries, and reminiscences of the Booth family, Titone has uncovered a hidden history that reveals the reasons why John Wilkes Booth became this country’s most notorious assassin. The details of the conspiracy to kill Lincoln have been well documented elsewhere. My Thoughts Be Bloody tells a new story, one that explains for the first time why Lincoln’s assassin decided to conspire against the president in the first place, and sets that decision in the context of a bitterly divided family—and nation. By the end of this riveting journey, readers will see Abraham Lincoln’s death less as the result of the war between the North and South and more as the climax of a dark struggle between two brothers who never wore the uniform of soldiers, except on stage.

"In The Realms of Apollo, literary scholar Raymond A. Anselment examines how seventeenth-century English authors confronted the physical and psychological realities of death." "Focusing on the dangers of childbirth and the terrors of bubonic plague, venereal disease, and smallpox, the book reveals in the discourse of literary and medical texts the meanings of sickness and death in both the daily life and culture of seventeenth-century England. These perspectives show each realm anew as the domain of Apollo, the deity widely celebrated in myth as the god of poetry and the god of medicine. Authors of both formal elegies and simple broadsides saw themselves as healers who tried to find in language the solace physicians could not find in medicine. Within the context of the suffering so unmistakable in the medical treatises and in the personal diaries, memoirs, and letters, the poets' struggles illuminate a new cultural consciousness of sickness and death."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Female Sexuality in Modernist Fiction: Literary Techniques for Making Women Artists provides a chronological investigation of the innovative writing styles of canonical modernist writers to reveal a shift in gendered representations of sexual subjectivity. Positioned at the nexus of studies on the body and sexuality in modernist literature, this book addresses the complex ways that constructions of female sexuality are understood culturally, politically, and epistemologically. Using close reading strategies to identify how modernist authors challenge representations of female positionality as passive, case studies consider how canonical modernist authors – Virginia Woolf, W.B. Yeats, James Joyce, and Samuel Beckett – found new ways to represent women as embodied, sexual, desired, and desiring subjects through prose, poetry, and drama. This book addresses Woolf’s Orlando: A Biography (1928), Yeats’ The Winding Stair and Other Poems (1933), Joyce’s Finnegans Wake (1939), Beckett’s Not I (1972), and other dramatic works. By rendering sexuality more obviously as a component of female character, these works of modernist literature shape our understanding of the artistic body as a structure for thinking about "woman" as a linguistic construct and material reality. This study is will be of great interest to scholars in English literature, women and gender studies, and sexuality studies.

Experience postwar Europe through the diary of a fascinating and witty twentieth-century writer and artist. Recording his travels in France and Switzerland, Curzio Malaparte encounters famous figures such as Cocteau and Camus and captures the fraught, restless spirit of Paris after the trauma of war. In 1947 Curzio Malaparte returned to Paris for the first time in fourteen years. In between, he had been condemned by Mussolini to five years in exile and, on release, repeatedly imprisoned. In his intervals of freedom, he had been dispatched as a journalist to the Eastern Front, and though many of his reports from the bloodlands of Poland and Ukraine were censored, his experiences there became the basis for his unclassifiable postwar masterpiece and international bestseller, Kaputt. Now, returning to the one country that had always treated him well, the one country he had always loved, he was something of a star, albeit one that shines with a dusky and disturbing light. The journal he kept while in Paris records a range of meetings with remarkable people—Jean Cocteau and a dourly unwelcoming Albert Camus among them—and is full of Malaparte’s characteristically barbed reflections on the temper of the time. It is a perfect model of ambiguous reserve as well as humorous self-exposure. There is, for example, Malaparte’s curious custom of sitting out at night and barking along with the neighborhood dogs—dogs, after all, were his only friends when in exile. The French find it puzzling, to say the least; when it comes to Switzerland, it is grounds for prosecution!

A frank, graphic, autobiographical account of white colonial rule in Africa, first published in an English translation nearly eighty years after it was written. "I wish that I could have seen this book when I was conducting my research in the early 1990s" - Professor Dr Jan-Bart Gewald, Leiden University "A vivid and detailed experience... one gets goose-bumps just reading it" - Dr Martha Akawa, University of Namibia In 1942, in a Cape Town boarding house, Eugen Mansfeld painstakingly typed out his life story, in German, on 179 pages of lined paper. He was entirely alone: one son killed during the Nazi invasion of Normandy; two other sons interned in South Africa; his wife trapped while holidaying in Germany at the outbreak of the Second World War. Mansfeld's autobiography spanned seventy years. Buying ostrich feathers and antelope pelts in the Eastern Cape in the 1890s; managing farms and trading in the remote canyons and deserts of German South-West Africa (now Namibia); fighting to preserve German colonial rule in a bloody, genocidal war against the Herero people in 1904-5; robbing Bushman graves to add to his grotesque collection of skulls; picking up gemstones from the desert sands during the diamond rush in the 1900s; and taking arms in a desert campaign against the British Empire during the First World War. Grave-robber; soldier; diamond-dealer; executioner; horse-trader... Mansfeld's personal history of the "scramble for Africa" is gritty, shocking and unashamed; a scarce autobiographical account of the brutality and inhumanity of the colonisation process published for the first time nearly eighty years after its creation.