Waterstone’s Classics: A Chance to Dip into Literature on your Lunch Hour

Waterstone’s Liverpool One organizes a series of free talks by academics from the University of Liverpool, Liverpool John Moores University and Edge Hill University on Wednesdays from 1-2 pm. It’s a great chance to dip into a work you’ve always been curious about or to learn more about a novel or book you’ve always enjoyed (and to meet a few of the Continuing Education Lecturers who are participating).Waterstones

Wednesday 15th May: Dr Greg Lynall (University of Liverpool) on Jonathan Swift’s Gulliver’s Travels.

Tuesday 21st May: Lee Rooney (University of Liverpool) on Cormac McCarthy’s The Road.

Wednesday 29th May: Dr Danny O’Connor (University of Liverpool) on T.S. Eliot’s The Wasteland.

Thursday 6th June: Dr Ben Brabon (Edge Hill University) on Bram Stoker’s Dracula.

Tuesday 11th June: Maria Shmygol (University of Liverpool) on Solzhenitsyn’s One Day in the Life of Ivan Denisovich.

Wednesday 19th June: Dr Matthew Bradley (University of Liverpool) on Oscar Wilde’s The Picture of Dorian Gray.

Wednesday 26th June: Dr Chris Pak (University of Liverpool) on Stanislaw Lem.

Wednesday 3rd July: Steve Powell (University of Liverpool) on John Le Carre’s Smiley Trilogy.

Wednesday 10th July: Dr Diana Powell (University of Liverpool) on Walter Scott’s The Bride of Lammermoor.

Tuesday 16th July: Andy Sawyer (University of Liverpool) on the work of Saki (H.H. Monroe).

Monday 22nd July: Dr David Hering (University of Liverpool) on David Foster Wallace’s The Pale King. 

The talks are given in the Illy Cafe on the first floor.

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Seeing Liverpool through Herman Melville’s Eyes: Google Earth Map of Victorian Liverpool

Salthouse Docks, by Atkinson Grimshaw

Salthouse Docks, by Atkinson Grimshaw

Most people have experienced entering a foreign city for the first time– it’s those first moments when your senses are most perceptive. Struck by the new sights and smells, the architecture and the customs, the strange and extraordinary aspects of the city emerge.

The project ‘Mapping Melville’s Liverpool’ offers just this experience, whether you’re a native Liverpudlian or have never visited the city, by showing Liverpool through the eyes of the American author, Herman Melville, culled from his visits to the city in 1839 and 1856.

Even though I’ve lived on three continents and in several big cities, helping make the map was an exciting experience. Buildings or places I have walked by almost without noticing, like the Lyceum on Bold Street, suddenly took on new meaning, and unusual discoveries, such as the Institute for the Restoration of Drowned Persons, which was once located on Chapel Street, completely altered my view of the now-business district of the city (if you’re a fan of Our Mutual Friend you’ll find the rather gruesome description of pulling bodies out of the Mersey in exchange for a few bob similar to Dickens’ description of London).

Uncover the gems and curiosities Melville found in Victorian Liverpool and experience the raw excitement of discovering a ‘new’ city.

http://mobydickonthemersey.org/melvilles-liverpool

Places of interest include: St George’s Hall, St John’s Market, the docks, Paradise and Lord Street and sailor-friendly hotels and pubs in Victorian Liverpool

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The Chester Mystery Plays

ChesterMysteryPlay_300dpiDr. Andrea Young is running a new course to coincide with the 2013 Chester Mystery PlaysThe Chester Mystery Plays course will be led by Dr. Andrea Young, an expert in medieval drama from the University of Liverpool’s Continuing Education Programme. The course will consist of four weekly meetings beginning on Thursday May 30th (6.30pm-8pm), and will take place at Bishop Lloyds Palace, 51-53 Watergate Row South.  No knowledge of Middle English is required as modern spelling versions will be used.

Though primarily biblical, the Chester Mystery Plays contain a lot of social realism and deal directly with issues that are common to us today – corrupt authority, sexual politics, the stresses of work, family issues and more. You will be amazed how easy it is to relate to the original scripts and to appreciate the ingenuity of the staging. I hope that learning about the plays in the same city – on one of the same streets, in fact – where the words were first spoken and music played, will add a very important dimension, and whet the audience’s appetite for the live performances.

Two sessions will be devoted to Old Testament episodes and two to the New Testament. Dr. Young consulted Stephanie Dale, writer of the 2013 Chester plays, to choose which plays will be studied. The course will look at the Noah Play and the Antichrist play, and potential students can tweet @HumanumGenus to make suggestions for the other two. Each session will include a short presentation and the chance to read and analyse the original texts, looking for clues as to the staging and key themes. There will also be lots of cross references to historical records and plenty of time for discussion.

Follow Andrea Young on Twitter @HumanumGenus

For more information visit the University of Liverpool’s Continuing Education website www.liv.ac.uk/conted/ or email: conted@liverpool.ac.uk  0151 794 6900

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Talks on Scrimshaw and Herman Melville in Liverpool

Free talks on scrimshaw and on Herman Melville’s time in Liverpool are featured on the Moby Dick on the Mersey website. These are part of the marathon reading weekend May 4th-6th.

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Book Launch: The Drowning of Arthur Braxton

The Drowning of Arthur Braxton is the fifth novel by Wirral-based writer Caroline Smailes. The Liverpool launch of the novel will take place at 126 Mount Pleasant, Liverpool, on Tuesday April 9th, beginning at 6.30. Caroline will read from the novel and discuss it with filmmaker David Richardson. If you would like to come along (there will be cake), please contact conted@liv.ac.uk or launch@carolinesmailes.co.uk

Drowning of Arthur Braxton Launch

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What’s in a Name? The Age of Innocence by Edith Wharton

This blog post is from a student on my Star-Crossed Lovers Continuing Education course:
The Age of InnocenceI find myself fascinated by the way the names given to the characters in The Age of Innocence mirror their natures and their roles within the themes of the novel.

May Welland, who represents the epitome of what New York society could create at this time, believes that all is ‘well’ in her ‘land’. She has no desire to change anything about herself or about her world. She is ‘lacking in imagination’ and ‘incapable of growth.‘ As Newland, husband, soon discovers,

There was no use in trying to emaciate a wife who had not the dimmest notion that she was not free.

Her first name, to me, conjures up a bright summer’s day, flowers, blossom, life bursting into bloom. She is the Queen of the May, virginal, worshipped. May could also be understood in its verb form, as in ‘she may’. This represents the possibilities that Newland believes may come to fruition in their relationship. He will teach her about art, literature, travel, passion – ‘We’ll read Faust together… by the Italian lakes.’

When she becomes an Archer, she takes up her bow to aim at what she wants, and what she wants to keep – Newland. She outmanoeuvres him at every turn, while on the surface seeming naive and innocent, and removes Ellen, the woman she knows he really loves, from their lives. She is even given a scene as an actual archer winning a competition against the other young ladies. She is Diana the hunter goddess, pure but strong and determined and icy.

Newland Archer, on the other hand, feels that he has encountered a ‘new land’. While initially comfortable in the stifling society of New York, his eyes are opened to exciting new possibilities when he meets Countess Olenska and falls in love with her. He then sees the futility of the life he had loved and

His whole future seemed suddenly to be unrolled before him; and passing down its endless emptiness he saw the dwindling figure of a man to whom nothing was ever to happen.

He desperately desires to escape with Ellen –

‘I want to somehow get away with you to a world where words like that [wife, mistress] won’t exist.’

But he cannot escape his duty –

Conformity to the discipline of a small society had become almost his second nature.

Even twenty-six years later, as a widower, he realises that his conventional life has the comforting feel of the place where he belongs, and he chooses not to see Ellen again when he has the chance. He wants to keep her as a dream of what might have been. I feel that his character is used to show the conflict between the old and the new ways of looking at life.

The name Countess Ellen Olenska has an air of mystery and of being from foreign parts. Ellen is a conventional name, she is, after all originally from this society, being May’s cousin. But she now has an aristocratic title, an abandoned husband in Europe and is surrounded by rumours of adultery and abuse. She oozes sexuality. Everything about her is different – the way she dresses, her cluttered home and bohemian friends, and the way she ignores social etiquette to show compassion to others shunned by society, for example Regina Beaufort after her husband becomes bankrupt. She is too passionate and unorthodox for New York’s highly organised society, but to Newland, she is truly alive and causes him to question his suffocating environment. While he dreams of his ‘new land’, Ellen, a realist, knows it does not exist – ‘Oh, my dear, where is that country?‘ Because she has been outside society she appreciates its standards, its defined roles and customs, and reminds Newland that a secret affair would hurt the people they love. She represents the changes in society that are coming, as increased personal freedom changed the world forever.

The name of the book itself is highly significant. The so called age of innocence has no innocence at all. It is all part of an act to hide the ugly side of human nature under a glossy veneer of respectability.

The picture painted of this ‘age of innocence’ is exquisite in its irony, its attention to detail (in both its settings and relationships) and above all its humanity. It has immediately been placed in my list of favourite novels.

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Women in Film Noir: A four week course

Pick up on South Street, which has a shockingly realistic fight scene between a man and a woman

Pick up on South Street, which has a shockingly realistic fight scene between a man and a woman

Reading quite a bit of hard-boiled detective fiction this semester has raised questions about its translation to film, in particular, classic film noir.

In response to this, I will be running a short course: Women in Film Noir on Thursdays from May 2nd-23rd  from 4 to 6:30 pm. We’ll be watching classic films, Double Indemnity, Out of the Past, Pick up on South Street and Touch of Evil, and discussing aspects of film noir including, but not limited to, issues of gender.

If you’d like to take part, sign up at Continuing Education.

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Moby Dick on the Mersey 4th-6th May 2013: Volunteer to Read

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Moby Dick on the Mersey is the first ever marathon reading of Moby-Dick in Liverpool and takes place over the weekend of May 4th-6th 2013 at the Merseyside Maritime Museum in Liverpool. There are still places available for readers who want to take part in this great event. There’s no need to have read the whole novel, so if you want to sign up, just click here and follow the instructions.

If you don’t fancy reading there is a great programme of whale-related events for children and adults at the Maritime Museum over the bank holiday weekend.

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Book review: One for the Money

Here’s another great post by one of my students on the course The Female Dick: Women in Crime Fiction:

Grandma Mazur in action

Grandma Mazur in action

One for the Money by Janet Evanovich is the first novel in the Stephanie Plum series. Evanovich had previously written several books in various genres initially, but did not achieve success until her first crime novel starring the tenacious bounty hunter Stephanie Plum. The series currently runs to 19 books, and if the first installment is anything to go by, I want to read the rest!

Stephanie is, at the beginning of the book, down on her luck financially. Losing her job and running out of money fast, she falls into working for a bail bond company. Attracted by the potentially high earnings, she soon realises she may be unprepared:

Not that I’ve ever let a little embarrassment stop me from forging blindly ahead on any number of dumb projects.

Stephanie begins to learn from her mistakes and arms herself with training and hardware:

…tried hard not to panic over the fact that I had tear gas under 125 pounds of pressure per square inch, which in my mind spelled nerve bomb, dangling between my knees.

Her tenacious nature helps as she gains confidence whilst trying to apprehend Joe Morelli, the outlaw whose capture will net her $10,000.

Whilst sparring with Morelli (his apprehension is complicated by their obvious attraction to one another), Stephanie crosses paths with Benito Ramirez the boxer and suspected rapist. Ramirez represents the real danger and violence in the book, and at times is incredibly menacing. The character is terrifying, and Stephanie is very brave to cope as well as she does. At one point he attacks a woman then calls Stephanie to make sure she knows she is next:

“I’m going to get you when you’re alone and not expecting me. I’m going to make sure we have lots of time together.”

With a threat like that, I think I’d take up residence at the police station, but not Stephanie. Scared though she is, she finds a way to take back control and fight on to make sure that he gets exactly what he deserves.

The use of humour throughout the book balances the violence perfectly, and I think it is a very funny book. Stephanie has a self depreciating sense of humour:

I had an alarm, I had nerve gas, I had a yoghurt. What more could anyone want?

Aside from Stephanie, much of the humour comes from Grandma Mazur, Stephanie’s maternal grandmother. She has a real streak of naughtiness about her, anything from playing with Stephanie’s gun and shooting the evening meal,“I shot that sucker right in the gumpy”, to her choice of clothing. Sartorial elegance is not Grandma Mazur’s strong point:

…wearing a pink and orange print blouse […] bright blue spandex shorts, white tennis, and stockings rolled just above the knee.

Stephanie’s parents have quite a handful with Grandma Mazur living with them.

One of my favourite moments in the book is a family encounter after an altercation with Joe Morelli.  Morelli outsmarts Stephanie by throwing her car keys in a rubbish bin, and Stephanie has to climb into to retrieve them. After cleaning herself up, she visits her family for tea:

Grandma Mazur came out of the kitchen. “I smell throw-up.”

“It’s Stephanie” my mother said. “She was in a dumpster.” 

This is a really entertaining read, well-paced and exciting throughout. The characters are well developed, and the balance of humour and action make it a book I would recommend. Stephanie is a modern day Nancy Drew, ready to use her new found investigative skills at a moment’s notice and win the day!

By Vikki Marshall

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Book Review: The Bride of Lammermoor: Hard to define, even harder to forget

Another thought-provoking post from one of my students, this time from my Star-crossed Lovers course in Southport:

bride of lammermoorThe Bride of Lammermoor by Sir Walter Scott is hard to define;  the opening chapter is a story in itself, with Peter Pattieson retelling Dick Tinto’s story which he claims came from an old lady who lived at Lammermoor.  The narrator claims it is based on a true story, probably because Scott felt that the tale was too fantastical to be judged by its readers as based on actual events. Today, in the world of ever more convoluted plotting, such an explanation would be at the end of the book.

The main narrative tells of a love affair between Lucy Ashton and Edgar Ravenswood. Lucy is the daughter of Ravenswood’s enemy, Sir William Ashton. The affair turns tragic because of the manoeuvring of Lady Ashton (Lucy’s mother), who orchestrates the annulling of the couple’s engagement and then attempts to arrange a speedy marriage between Lucy and the Laird of Bucklaw, whom she considers a more worthy husband. Although it appears that Lady Ashton’s plans have worked, in the end there is a tragic conclusion.

The novel is very well written in a Gothic style, full of foreboding, where the buildings and countryside almost become characters in their own right. After the introduction, the main story itself starts in Chapter 2 with an opening line:

In the gorge of a pass or mountain glen, ascending from the fertile plains of East Lothian, stood in former times an extensive castle of which only the ruins were now visible.

Later in the same chapter Scott writes,

The last proprietor of Ravenswood Castle [...]was compelled to part with the family seat and to remove himself to a lonely and sea beaten tower [...]looked out on the lonely and boisterous German Ocean. A black domain of wild pasture-land surrounded their new residence.

Thus Scott introduces the surroundings before he introduces his characters, but they are equally well described and well rounded. Edgar Ravenswood is portrayed as an almost Byronic hero, none more so, than when, later in the story, he confronts the Ashtons:

He planted himself full in the middle of the apartment[...] He bent his eyes with a mingled expression of deep grief and deliberate indignation. His dark coloured riding cloak displaced from one shoulder[...] he had a sword by his side and pistols in his belt.

Lucy, who is only seventeen, is described as

exquisitely beautiful yet somewhat girlish features were formed to express peace of mind, serenity, and indifference to the tinsel of worldly pleasure…[her] expression was… gentle, soft, timid and feminine.

Unlike the Jane Austen novel Persuasion (the first novel on this course), the book feels based on reality and is not set just in a middle class cocoon in which world events seldom intrude. The story, which takes place in a turbulent time in Scottish history just prior to the union with England, involves aristocrats, the moneyed middle class, the not-so-rich middle class and the working class/peasantry. Scott distinguishes between the working class and the others by using Scottish vernacular. A good example is a conversation between Ravenswood and his faithful retainer Caleb, when Caleb mistakes Ravenswood for a ghost:

“But is iy you in very blood and body? For I would sooner face fifty devils as my masters ghaist, or even his wrath; wherefore, aroint ye, if ye were ten times by master, unless ye come in bodily shape, lith and limb.”

“It is I you old fool,” answered Ravenswood.

The story has echoes of Shakespeare: the two main characters both meet a tragic end as in Romeo and Juliet; there is a foretelling of a foreboding event which comes true, as in Macbeth, and the similarity to that play continues with three old crones who are not dissimilar to the three witches. In addition, the character of Lady Ashton has the Machiavellian ways of Lady Macbeth.  One final similarity is that Shakespeare often based his plays on folk tales.

LuciadiLammermoor

Lucia di Lammermoor, Met production

The novel, an overlooked masterpiece, has such an interesting story that it is a wonder that no film or television adaptations have been made. This is especially annoying when TV dramas have been made of far inferior material. It would appear ideal for a BBC mini series. The story does, however, form the basis for Donizetti‘s 1835 opera Lucia di Lammermoor, although this adaptation sacrifices the subtlety of the book for pure melodrama.

The question of how to sum up the book is a difficult one, is it a Gothic Romance? Is it a tale of ill fated love? is it a historical romance? Is it a parable about how the old ways and the old hierarchies are breaking down? or is it a character study of star crossed lovers? Well the answer is that the book is all of them. However it is greater than the sum of its parts and the reader feels sad when it comes to an end. Not only is it hard to define, it’s a story that is hard to forget, in fact, I wanted to read it again, and that, to me, is a sign of a good book.

By John Ross

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