Wright, William. Advice on the Study and Practice of the Law: With Directions for the Choice of Books. Addressed to Attorneys' Clerks. London: Printed for Charles Hunter, 1824. x, 248 pp. Reprinted 2003 by The Lawbook Exchange, Ltd. LCCN 2003053955. ISBN 1-58477-370-7. Cloth. $95. * Reprint of the third edition, enlarged. This book was written in the spirit of earlier guides by Fulbeck, Doderidge and Philips, but with a particular emphasis on the needs of clerks. It addresses a clerk's duties, the relationship between clerks and attorneys, ways to work more effectively and other practical matters. Wright is also interested in the clerk's intellectual development. To this end he recommends a rich curriculum of jurisprudential, political, historical and literary works and encourages the study of old court hands and Latin. Like his predecessors, Wright dispenses a good deal of moral advice as well. Equally fascinating and charming, this treatise offers a rich perspective on English clerks during the age of Austen, Dickens and Trollope.
A Grammar of the Arabic Language is a detailed Arabic grammar tutorial, originally written in German by Carl Caspari and translated by British Orientalist William Wright. Often referred to today as Wright's Grammar, the second edition was altered and added to by Wright, and this third (and original final) edition was edited by famous Orientalists M.J. de Goeje and W. Robertson Smith. Wright consulted numerous Arabic sources when making additions and corrections to the work, and as such it is still useful today to students of the Arabic language. WILLIAM WRIGHT (1830-1889) was a British Orientalist and professor of Arabic at Cambridge University. His works are still researched and studied today by students of Arabic and Syriac. His most popular works remain A Grammar of the Arabic Language and the Short History of Syriac Literature. His writings are held today by the British Library and Cambridge University.
Daniel Cross Turner and William Wright’s anthology Hard Lines: Rough South Poetry centers on the darker side of southern experience while presenting a remarkable array of poets from diverse backgrounds in the American South. As tough-minded as they are high-minded, the sixty contemporary poets and two hundred poems anthologized in Hard Lines enhance the powerful genre of “Grit Lit.” The volume gathers the work of poets who have for some decades formed the heart of southern poetry as well as that of emerging voices who will soon become significant figures in southern literature. These poems sting our sensesinto awareness of a gritty world down South: hard work, hard love, hard drinking, hard times; but they also explore the importance of the land and rural experience, as well as race- , gender- , and class-based conflicts. Readers will see, hear (for poetry is meant to ring in the ears), and feel (for poetry is meant to beat in the blood); there is plenty of raucousness in this anthology.And yet the cultural conflicts that ignite southern wildness are often depicted in a manner that is lyrical without becoming lugubrious, mournful but not maudlin. Some of these poets are coming to terms with a visibly transforming culture—a “roughness” in and of itself. Indeed many of these poets are helping to change the definition of the South. The anthology also features biographical information on each poet in addition to further reading suggestions and scholarly sources on contemporary poetry. Featured Poets: Betty Adcock, David Bottoms, Kathryn Stripling Byer, James Dickey, Rodney Jones, Yusef Komunyakaa, Ron Rash, Dave Smith , Natasha Trethewey, Charles Wright, Fred Chappell, Kelly Cherry, Allison Adelle Hedge Coke, Kate Daniels, Kwame Dawes, Claudia Emerson, Andrew Hudgins, T. R. Hummer, Robert Morgan, Ellen Bryant Voigt, Dan Albergotti, Tarfia Faizullah, Forrest Gander, Terrance Hayes, Judy Jordan, John Lane, Michael McFee, Paul Ruffin, Steve Scafidi, Jake Adam York
The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as a contemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world.
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