Böcker av William Logan

This book tells the stories of the brave men and women who worked to bring about the temperance movement in the early 19th century. These pioneers fought against strong opposition but ultimately succeeded in bringing about lasting change. William Logan's book serves as an important reminder of the power of collective action to bring about positive social change. Highly recommended for anyone interested in the history of social movements.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In the vast tapestry of human existence, certain individuals stand out as beacons of wisdom and enlightenment. Among them, there is a remarkable woman whose life story and teachings have left an indelible mark on generations. "She Inspires Wisdom" by William Logan is a poignant tribute to this extraordinary figure, a testament to her enduring influence, and a celebration of her remarkable journey.Through meticulous research and heartfelt prose, Logan unveils the life of a woman whose wisdom transcended time and boundaries. Her words and actions resonate with profound insights, guiding countless souls towards a better understanding of themselves and the world around them.As the pages of the book unfold, readers are taken on a transformative journey, inspired by the wisdom and grace of this exceptional woman. Through her story, Logan illustrates the power of compassion, resilience, and a steadfast commitment to truth. "She Inspires Wisdom" serves as a timeless reminder of the enduring impact one person can have on the course of history and the collective human spirit.William Logan's eloquent portrayal of this inspiring figure leaves readers enriched with a deeper appreciation for the wisdom that exists within us all. "She Inspires Wisdom" is not just a biography; it is a testament to the potential for greatness that lies within each of us when we choose to live a life of purpose and enlightenment.

Alexander Logan migrated from Canada to Australia around 1855. He married Eliza Collins in Sydney in 1858. Eliza arrived from England in 1856. They initially lived in a rugged sawmilling town north of Sydney where most of their children were born. They then made the 800km journey further north to the Tweed River. Travel was by sailing boat and horseback over mountains. They built the Junction Inn and Eliza Logan Store at Tumbulgum. Alexander was known as Captain Logan and he ferried goods along the river. Eliza's nephew built the first Masonic hall in the district. Descendants lived along the river as sailors, farmers, publicans and shipbuilders. One died while mining in Africa. Another was a successful businessman in Brisbane. William had a cordial factory in Armidale and was a noted photographer. His twin, Lightly Thomas, sailed the Pacific, and had a range of businesses. Joseph Alexander was a shipbuilder. Maggie, a family favourite, and Paul, the youngest, inherited the bulk of Alexander's wealth.

In Broken Ground, William Logan explores the works of canonical and contemporary poets, rediscovering the lushness of imagination and depth of feeling that distinguish poetry as a literary art. The book includes long essays on Emily Dickinson's envelopes, Ezra Pound's wrestling with Chinese, Robert Frost's letters, Philip Larkin's train station, and Mrs. Custer's volume of Tennyson, each teasing out the depths beneath the surface of the page.Broken Ground also presents the latest run of Logan's infamous poetry chronicles and reviews, which for twenty-five years have bedeviled American verse. Logan believes that poetry criticism must be both adventurous and forthright-and that no reader should settle for being told that every poet is a genius. Among the poets under review by the "e;preeminent poet-critic of his generation"e; and "e;most hated man in American poetry"e; are Anne Carson, Jorie Graham, Paul Muldoon, John Ashbery, Geoffrey Hill, Louise Gluck, John Berryman, Marianne Moore, Frederick Seidel, Les Murray, Yusef Komunyakaa, Sharon Olds, Johnny Cash, James Franco, and the former archbishop of Canterbury.Logan's criticism stands on the broken ground of poetry, soaked in history and soiled by it. These essays and reviews work in the deep undercurrents of our poetry, judging the weak and the strong but finding in weakness and strength what endures.

William Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney. In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made.

Providing insights into this Southeast Asian city, this book interprets Vientiane's landscape, as a reflection of key aspects of Lao geo-political history, the nature of Lao urbanism, and its critical relation to constructions of Lao identity in the contemporary period.

William Logan has been a thorn in the side of American poetry for more than three decades. Though he has been called the "e;most hated man in American poetry,"e; his witty and articulate reviews have reminded us how muscular good reviewing can be. These new essays and reviews take poetry at its word, often finding in its hardest cases the greatest reasons for hope. Logan begins with a devastating polemic against the wish to have critics announce their aesthetics every time they begin a review. "e;The Unbearable Rightness of Criticism"e; is a plea to read those critics who got it wrong when they reviewed Lyrical Ballads or Leaves of Grass or The Waste Land. Sometimes, he argues, such critics saw exactly what these books were-they saw the poems plain yet often did not see that they were poems. In such wrongheaded criticism, readers can recover the ground broken by such groundbreaking books.Logan looks again at the poetry of Wallace Stevens, Frank O'Hara, and Philip Larkin; at the letters of T. S. Eliot, Elizabeth Bishop, and Robert Lowell; and at new books by Louise Gluck and Seamus Heaney. Always eager to overturn settled judgments, Logan argues that World War II poets were in the end better than the much-lauded poets of World War I. He revisits the secretly revised edition of Robert Frost's notebooks, showing that the terrible errors ruining the first edition still exist. The most remarkable essay is "e;Elizabeth Bishop at Summer Camp,"e; which prints for the first time her early adolescent verse along with the intimate letters written to the first girl she loved.

The most notorious poet-critic of his generation, William Logan has defined our view of poets good and bad, interesting and banal, for more than three decades. Featured in the New York Times Book Review, the Times Literary Supplement, and the New Criterion, among other journals, Logan's eloquent, passionate prose never fails to provoke readers and poets, reminding us of the value and vitality of the critic's savage art.Like The Undiscovered Country: Poetry in the Age of Tin, which won the National Book Critics Circle Award in Criticism, Our Savage Art features the corrosive wit and darkly discriminating critiques that have become the trademarks of Logan's style. Opening with a defense of the critical eye, this collection features essays on Robert Lowell's correspondence, Elizabeth Bishop's unfinished poems, the inflated reputation of Hart Crane, the loss of the New Critics, and a damning-and already highly controversial-indictment of an edition of Robert Frost's notebooks. Logan also includes essays on Derek Walcott and Geoffrey Hill, two crucial figures in the divided world of contemporary poetry, and an attempt to rescue the reputation of the nineteenth-century poet John Townsend Trowbridge. Short reviews consider John Ashbery, Anne Carson, Billy Collins, Rita Dove, Louise Gluck, Jorie Graham, Robert Hass, Seamus Heaney, and dozens of others. Though he might be called a cobra with manners, Logan is a fervent advocate for poetry, and Our Savage Art continues to raise the standard of what the critic can do.

William Logan has been called both the "e;preeminent poet-critic of his generation"e; and the "e;most hated man in American poetry."e; For more than a quarter century, in the keen-witted and bare-knuckled reviews that have graced the New York Times Book Review, the Times Literary Supplement (London), and other journals, William Logan has delivered razor-sharp assessments of poets present and past. Logan, whom James Wolcott of Vanity Fair has praised as being "e;the best poetry critic in America,"e; vividly assays the most memorable and most damning features of a poet's work. While his occasionally harsh judgments have raised some eyebrows and caused their share of controversy (a number of poets have offered to do him bodily harm), his readings offer the fresh and provocative perspectives of a passionate and uncompromising critic, unafraid to separate the tin from the gold.The longer essays in The Undiscovered Country explore a variety of poets who have shaped and shadowed contemporary verse, measuring the critical and textual traditions of Shakespeare's sonnets, Whitman's use of the American vernacular, the mystery of Marianne Moore, and Milton's invention of personality, as well as offering a thorough reconsideration of Robert Lowell and a groundbreaking analysis of Sylvia Plath's relationship to her father.Logan's unsparing "e;verse chronicles"e; present a survey of the successes and failures of contemporary verse. Neither a poet's tepid use of language nor lackadaisical ideas nor indulgence in grotesque sentimentality escapes this critic's eye. While railing against the blandness of much of today's poetry (and the critics who trumpet mediocre work), Logan also celebrates Paul Muldoon's high comedy, Anne Carson's quirky originality, Seamus Heaney's backward glances, Czeslaw Milosz's indictment of Polish poetry, and much more.Praise for Logan's previous works:Desperate Measures (2002)"e;When it comes to separating the serious from the fraudulent, the ambitious from the complacent, Logan has consistently shown us what is wheat and what is chaff.... The criticism we remember is neither savage nor mandarin.... There is no one in his generation more likely to write it than William Logan."e;-Adam Kirsch, Oxford AmericanReputations of the Tongue (1999)"e;Is there today a more stringent, caring reader of American poetry than William Logan? Reputations of the Tongue may, at moments, read harshly. But this edge is one of deeply considered and concerned authority. A poet-critic engages closely with his masters, with his peers, with those whom he regards as falling short. This collection is an adventure of sensibility."e;-George Steiner"e;William Logan's critical bedevilments-as well as his celebrations-are indispensable."e;-Bill Marx, Boston GlobeAll the Rage (1998)"e;William Logan's reviews are malpractice suits."e;-Dennis O'Driscoll, Verse"e;William Logan is the best practical critic around."e;-Christian Wiman, Poetry

A Collection of Treaties - Engagements and other papers of importance relating to British affairs in Malabar is an unchanged, high-quality reprint of the original edition of 1879.Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

William Logan's poetry has been called elegant, difficult, cranky, formidable, dazzling, intoxicating, and ominous. For almost forty years, he has published poems that do not fit comfortably with the work of most of his contemporaries, and perhaps do not want to fit at all.