By Rick Honings, Gaston Franssen
This ebook maps the heritage of literary famous person from the early 19th century to the current, paying distinctive consciousness to the authors’ crafting in their writerly self in addition to the afterlife in their public picture. Case reviews are John Keats, Edgar Allan Poe, Eliza cook dinner, Herman Melville, Oscar Wilde, Gertrude Stein, J.D. Salinger and Zadie Smith.
Literary megastar is a component and parcel of recent literary tradition, but it maintains to elevate exciting questions about the character of authorship, writerly reputation and the strain among authorial self-fashioning and public appropriation. This quantity offers particular insights into the phenomenon.
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Extra info for Celebrity Authorship and Afterlives in English and American Literature
25. 58. 26. 3. 18 G. FRANSSEN AND R. HONINGS 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 649. 643. 650–651. Donoghue 1996; Heinich 1995 (also see Danko 2008); Mole 2007. 44–54. 3. 2. 43. McDayter 2009; Eisner 2009. Mole 2007, p. xii. Huyssen 1986; Glass 2004. 47. 134–135. 643. Rainey 1998; Moran 2000; Jaffe 2005; Conroy 2004; Rosenquist 2009. 142–148; Burke 1998. 58. 51. 9. 11. 4. 3–4.
2001). Introduction. ), The complete poems and selected letters of John Keats (pp. xv–xxxviii). New York: Random House. Isle of Wight Family Historical Society. (2015). Newport: Church Litten. html. Date Accessed 1 Nov 2015. Jackson, V. (2008). Thinking Dickinson thinking poetry. In M. N. Smith & M. ), A companion to Emily Dickinson (pp. 205–221). Malden: Blackwell . Keats, J. (1970). In R. ), Letters of John Keats. New York: Oxford University Press. Keats, J. (1978). In J. ), Complete poems. Cambridge/London: Belknap Press of Harvard University Press.
73 If in one sense reading or writing absorb us inward, away from friends or family, in other sense reading or writing involve the same engagement with alterity Keats finds in friendship. Shakespeare recurs in these passages because he figures the imaginative capacity Keats draws on as a reader, a writer and a friend, the ‘dramatic exercise of Mind’ required of all three identities. 74 In an important way, then, Keats’s letters might be understood to comment on the shape of his own reception. In reading as in friendship, sorting out what is ‘self’ and what is ‘other’ becomes tricky because those entities at once differ, potentially ‘interassimulate’, and refuse to stay still.