Delaware Books

An army is only as good as the ability of its commander to supply it in the field. Sick or starving soldiers make poor fighters. Guns can not fire without ammunition and maintanence.

This delightful book covers the subjects of the American revolutionary war armies' supply systems quite well.

Highly informative. Well organized. Well written. Easy to rad and understand.

Should be required reading for anyone interested in militery history and I am not just talking the American revolution.

With the recent interest in genealogy research, I feel this book is an excellent source for all researchers looking for cemeteries within the Delaware County boundries.

I just recently found this book and recommend it to everyone doing genealogy work. The draw back is that it is out of print.

I feel that a reprint would definitely be in order. I understand the first time around was a huge success and see it doing the same again. Who ever would make this decision would be well advised to give it very serious consideration.

A superb book on the location of many old and forgotten cemeteries as well as a great source of lost historical information on old villages and their peoples and lives.

This is a wonderful book, cataloging an amazing exhibit. The writing is clear, informative and interesting and the images are beautifully photographed. Anyone interested in porcelain or even decorative arts more generally should certainly buy this book, written by an up and coming curator and the leading expert in the field. This book would make a great gift.

A completely new way of looking at the poetry of Rochester--one that does not ignore his politicality. Using the theories of Foucault and others, the author analyzes Rochester's writings--poems, drama, prose, and letters--within their contemporary civil and cultural context. The book also makes relevent Rochester's problematic stance as a libertine to our own condition in the late 20th century. A gem.

James Milton Hanna provides great stories and history of the Delaware Bay, the fishing industires and the folks who made history in the early 1900's along the Delaware Bay.
As with all of his books, they are educational and just plain fun to read.

Willard Bohn presents the whole range of visual poetry from the Futurists to Concrete and Lettrist poets. He speculates on the origins of vispo (advertising art of the 19th c., Mallarme, and especially Chinese ideograms) and leaves us with possible vispoetries of the future in the form of the Holopoems of Eduardo Kac and the melding of arts taking place on the world wide web. In between these poles Bohn gives us sensitive readings of Apollinaire, Severini, and the remarkable Mexican poet (and pioneer of Western Haiku) Jose Juan Tablada. The Campos brothers, Emmet Williams, Dick Higgins, and a host of well-known writers are discussed, but it is the lesser-knowns and the samplings of work from rare publications that fascinate me most. Names like Vicenc Sole de Sojo, and the Catalan vispoet J.V. Foix and his dazzling work are totally new to me. Bohn includes close to the text translations of each poem as he explains it, so English readers can follow along without trouble. Visual poetry is a vital current in both the art and literature of the 20th century. Bohn gives thought-provoking definitions of the permutations of this compelling fusion of genres. In short, I cannot recommend this book highly enough. Get it from the University of Delaware Press.

This book is the best for the money--I compared it to the Frommer's guide in the bookstore, and this one has twice as much information, and covers both states from top to bottom, including some pretty unusual attractions. Great for day trips from Baltimore, too.

James Milton Hanna follows up his earlier writings on the Delaware Bay, the fishing industry and the great people that fished and lived after the turn of the century along the Delaware Bay.

I have read and enjoyed reading all of Mr. Hanna's books pertaining to the Delaware Bay. The stories are well written and each selection is written so that they can be read while you have a few minutes here or there. The stories are informative and good advice is given by a writer that has proven to me to be experienced on the water. I have enjoyed recreational fishing on the bay and have really enjoyed reading the stories that Mr. Hanna has preserved in print for all of us about Delaware's coastal areas.
-Tom Smith-
P.S. I took a swim in the Delaware 10/26/79 when the vessel I was aboard struck something and went to Davy Jones locker. All crew were picked up safely by a yacht named "Audacity", bound for winter in Florida.

Bartolomeo argues that the most significant contribution critics make to the early English novel is their inability to agree on a consistent aesthetic platform. Novelists themselves are just as generously inconsistent in their own prefaces. The diversity and dialogism of the critical debate reflects and supports the heteroglossia of discourse so crucial to the development of the early are novel. "Dialogue, within and among novelists and critics, favored options over absolutes, heterogeneity over consensus--thus enabling the genre that we twentieth-century readers think of as having risen in the eighteenth century to continue rising and to remain a genre in the making," Bartolomeo concludes (161).

The canonical authors seem to respond most imaginatively to the pressures of a genre that was alternately inventing rules and breaking them. Defoe's inconsistency, from the range of genres woven into his fictions to his conflicting truth claims for Robinson Crusoe, are "the inevitable consequences of combining, refining, and expanding the insights of his contemporaries. . . . Defoe necessarily tangled himself in contradictions which, in turn, foreground the combination of pressures on a serious and talented practitioner of a new and unstable genre" (45). Richardson has three conflicting authorial personas, each with a slightly different angle on the moral means and ends of literature, and Fielding also licenses inconsistency behind the mask of a complex narrative persona that reaches out of the prefaces and deep into the novels themselves. Building on his useful observation from Notes and Queries 33 (1986) that Johnson at different points identifies the readers of novels as "the busy, the aged, and the studious" and also the "young, ignorant, and idle" (qtd. 83-87), Bartolomeo paints Johnson as a cautious critic torn between "absolutely candid responses" and "a superimposed, moralistic self-discipline" (87). All three writers "strove mightily to mask a dialogic tendency that today's readers would wish to celebrate" (87).

The reviewers seem to flaunt rather than mask their dialogic tendencies in a dazzling array of motives, methods, and meanings. The only standard the reviewers share is a "stubborn refusal to evaluate all writers or all novels by a single standard. . . . The victory of diversity over consistency may strike the theoretical purist as contributing to a hopelessly compromised poetics, but it more than compensates for that in its support of a genre forever in the process of re-imagining itself" (160). The closest thing to a shared motive is the pernicious tendency to "stratify the genre and its audience, in order to establish and maintain authority over an elite class of readers" (114). Much like today's critics who assume the audience of popular culture to be passive and uneducated yet write for an audience of specialists, eighteenth-century reviewers assume the audience for fiction to be young, middle-class, and female, yet write for discriminating male readers who have no intention of cultivating the unhealthy habit of reading novels. The elitism of the assumed audience "shaded every negative comment on novels, novelists, and novel readers. Even when the critics explicitly addressed the clientele of circulating libraries and the authors who stocked their shelves, they were actually speaking to their own readers. . . " (118-19). Critics were especially cruel to female novelists: "As readers or writers, most women were noticed to remind men that they were beneath notice" (121).

Would that all modern critics could receive the obsequious respect Thomas Amory offers in the preface to John Buncle (1756): "I have only to add, that I wish you all happiness; that your heads may lack no ointment, and your garments be always white and odiferous: but especially, may you press on, like true critics, towards perfection; and may bliss, glory, and honour be your reward and your Portion" (qtd. 109-10). Until that happy day, let us rejoice with Bartolomeo that such sweet flowers are fertilized by the manure of so many well-meaning reviews.