This is the first full-length analysis of A Tour through the Whole Island of Great Britain (1724-26), long recognized as a key book for understanding the eighteenth century and as one of Daniel Defoe's most characteristic works. A principle aim of this book is to describe the elements that went into the making of the Tour. A substantial introduction sets out a conceptual framework for the chapters that follow, putting the Tour into the historical context of travel writing and the development of a literature of tourism. This work also reflects the concerns and methods of Defoe's oeuvre as a whole. Other aspects of the Tour's ideology are reviewed, notably its political bearings and its treatment of the South Sea Bubble of 1720, a national disaster that has strong personal overtones for Defoe. Finally, an attempt is made to illuminate the design of the work and the ways in which its formal structure supports Defoe's intellectual attitudes.
Setting / LocationLondon & UK
Story EraModern Era
Protagonist / CoreThe text of Great Britain Lead Character
"In this innovative study of the Grand Tour, Jeremy Black relies on archival sources to provide an exploration of the real tourist experience rather than, as with the majority of studies of the Grand Tour, an account that is essentially based on travel literature. While sensitive to wider cultural dimensions, the author demonstrates his interest in the experience of tourists, particularly the circumstances they encountered, and the impact of the Grand Tour on British society. Black conjures up a vivid account of the pleasures and predicaments experienced by tourists. He also asks about the impact of tourism on Britain and locates foreign travel in the tension between cosmopolitanism and xenophobia in British culture and society. The book closes with the impact of the French Revolution on tourism."--BOOK JACKET.
The Roads Taken is a big-hearted book, a thoughtful and wryly affectionate rendering of our national character as revealed to Fred Setterberg in his extensive readings and wanderings. At once a travelogue and memoir, a literary history and extended nature piece, The Roads Taken reconnects Americans to each other and to the land they live and work in - and often forsake. From Henry David Thoreau's Maine Woods to Jack London's San Francisco Bay, from Ernest Hemingway's Upper Peninsula to Zora Neale Hurston's French Quarter, Setterberg pilots readers across the well-traveled pages of our national literature and the well-read contours of the American landscape. He acquaints us anew with the books and ideas that, time after time, have pried us from our self-centered moorings and set us into physical and metaphysical motion. The Roads Taken begins, fittingly, with a discussion between Setterberg and his nineteen-year-old vagabond cousin, Wally, about Jack Kerouac, invoking the Beat writer's spirit as they swap stories about hitchhiking and one-night stands, Setterberg praises Kerouac as perhaps the best of our "bad influence" writers - an author whose stories make people quit their jobs and give away their possessions, whose books are among the first to be banned or burned while formulaic and forgettable best-sellers look on with impunity. Spurred on by Wally (whose next stop is Alaska), Setterberg takes to the road. In chapters inspired by and devoted to particular writers and locales, he visits Red Cloud, Nebraska, a prairie hamlet virtually unknown except as Willa Cather's hometown, and tours across Texas, a state known for all the wrong things until Larry McMurtry distilled a century of dimestore cowboy novels into his pure and beautiful literature of loneliness. He travels to Nevada, where the budding fabulist Mark Twain honed his truth-stretching skills as a reporter for the Virginia City Territorial Enterprise, and to New Orleans, where Zora Neale Hurston immersed herself in the voodoo rituals she later alluded to in her study of black folklore, Mules and Men. Exiting the paved roads, Setterberg searches for the solace that Nick Adams, Hemingway's internally scarred World War I veteran, might have found in the forests along Lake Superior. He also trails Thoreau deep into the mountains of central Maine for just one glimpse of the adroitly evasive moose. Setterberg's meandering narrative is fertile in unexpected associations, personal memories, and historical asides; redolent with vegetation, hot coffee, and automobile exhaust; and clamorous with strains of soul and country music, laughter, and argument. In its hints at the racism and apathy in this country, and its images of our adulterated skies and waterways, the book is also disturbing. Its accumulated details only suggest the natural and cultural treasures that Setterberg fears we could lose to the "blanding" of America - the rampaging, wide-scale forces of sameness that seem intent on smoothing out our rough edges and disarming the crankiness that characterizes our country at its most local levels. Caught up in Setterberg's Whitmanesque longing to roam widely and embrace whatever comes his way, readers will skip their lunches, unplug their televisions, and let their lawns grow shaggy while they finish The Roads Taken. Then, turning to a friend, or perhaps the stranger who read the book over their shoulder on a crosstown bus ride, they will delight in passing it on.
"This book is a tale of three cities: the fictional London that lives in the pages of writers from Shakespeare to P. D. James and Martin Amis; the historical metropolis where so many immortal authors have made their homes; and the vibrant capital that today welcomes visitors from all over the world. Anna Quindlen evokes all three as she travels from Sherlock Holmes's digs at 221b Baker Street (as real an imaginary address as there ever was), to Poet's Corner in Westminster Abbey, a memorial to the greatest writers of our language, to Hyde Park Gate, the genteel neighborhood from which Galsworthy's Forsyte Saga unfolds. We stroll through elegant squares that summon the ghosts of characters from Thackeray and Trollope, and pause at a pub whose ornate sign would be familiar to anyone - real or fictional - from Shakespeare's era to today." "At once a tribute to one of the world's greatest cities and a freewheeling celebration of the rich literature it has inspired, this is a writer's vision of a world both imagined and utterly true - all gathered, refracted, and reflected in a magical mirror called London."--BOOK JACKET.
Introduces the genre, outlining competing definitions. Provides a broad historical survey from the medieval period to present day. Explores the autobiographical dimensions of the form. Looks at canonical and more marginal works, including writing by both men and women, and both colonial and postcolonial texts. Uses both British and American travelogues to consider the genre's role in shaping the history of nation.
The text of Great Britain by Pat Rogers | Literally Just Books
