The K-SAA Blog

Welcome to a new series of posts on the K-SAA Blog.  Frankenreads is an international celebration of the 200th anniversary of Mary Shelley’s Frankenstein for Halloween 2018 organized by the Keats-Shelley Association of America. The Communications Team will be presenting short interviews with Frankenreads partners – we want to ask why those involved in the project think that Mary Shelley’s masterpiec . . .

This post is the sixth in a series presenting blog publications from the authors featured in the latest volume of the Keats-Shelley Journal, Volume LXV. In these short pieces, authors reflect on their recent work and dialogue with other scholars in the discipline. Below is a summary/response submitted by Ann Wierda Rowland and Nicholas Roe addressing Rowland’s article ‘John Keats, English Poet (Made in Am . . .

On 18 May 2018, Keats scholar Carly Stevenson (University of Sheffield) presented a talk on ‘Keats and Gothic botany’ at a special late-night opening of Keats House museum in Hampstead, London. For those unable to attend the evening (which also included guided tours, live music, and readings of the poems Keats wrote in 1818), we present here a short Q&A with Carly about the contents of her talk and he . . .

This post is the fifth in a series presenting blog publications from the authors featured in the latest volume of the Keats-Shelley Journal, Volume LXV. In these short pieces, authors reflect on their recent work and dialogue with other scholars in the discipline. Below is a summary/response submitted by Yasmin Solomonescu and Andrew Burkett addressing Solomonescu’s article article ‘Four Letters by Annabe . . .

A week or so ago, the K-SAA heard of a call for a new plaque to Percy Bysshe Shelley in Oxford. A public commemoration of Shelley’s time in Oxford should be placed, writer John Webster suggests, on the Lloyds Bank building at the junction of Cornmarket Street and High Street. We got in touch with John to find out more about his new campaign, and his love for Shelley’s writings. Percy Bysshe Shelley was fa . . .

The K-SAA is inviting applications for two part-time Communications Fellows for a period of one year, beginning June 2018. Fellows will assist the Director of Communications and the K-SAA Secretary in engaging with, and creating content for, academic and non-academic communities interested in the Romantic period – especially those interested in the second generation of Romantic authors. Applicants should have a . . .

At the beginning of the year, the K-SAA-sponsored panel ‘Romantics at 200: 2018 Reads 1818’ took place at the MLA Convention in New York City, where three exciting papers were delivered by Professors Frances Ferguson, William Galperin, and Susan Wolfson. The K-SAA have asked each speaker to reflect upon their papers in three short written interviews. Ferguson discusses her talk ‘Hazlitt’s people: 18 . . .

This post is the fourth in a series presenting blog publications from the authors featured in the latest volume of the Keats-Shelley Journal, Volume LXV. In these short pieces, authors reflect on their recent work and dialogue with other scholars in the discipline. Below is a Q&A with Suzanne Barnett addressing her article “Epipsychidion as a Posthumous Fragment”. This series is curated by Lindsey Seatter, for th . . .

Reading through Keats’s letters again has inspired Susan Wolfson to put together the following post on Keats and Cats. Wolfson considered that Keats was a cat person – unlike Byron and Wordsworth, for example, who were dog lovers. Did you know that the Non-Catholic Cemetery in Rome where Keats and Shelley are buried is also a haven for cats? Read about the history of the cat colony here.     Why . . .

Frankenstein by Mary Shelley: in a new adaptation by April De Angelis. Directed by Matthew Xia. The Royal Exchange Theatre, Manchester, UK. A review by Tristan Burke In the bicentennial year of Mary Shelley’s Frankenstein, the Royal Exchange Theatre in Manchester has mounted a remarkably faithful adaptation of the novel as it was originally published. April De Angelis’s script, directed by Matthew Xia, captures both . . .