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In his later years, Morris became an active and respected lecturer and writer on social and cultural themes, the successor to Carlyle and Ruskin. He published two volumes of these writings in his lifetime, "Hopes and Fears for Art" in 1882 and "Signs of Change" in 1888. Since it was in 1883 that he committed himself to Socialism, the two volumes read together show clearly the development of his political-cultural thinking. All the lectures deal, in clear and vigorous English, with issues of work, ecology and society that are still of central concern today.
(source: Nielsen Book Data)

"In essays and lectures, William Morris examines the relation between art and politics, the possibilities for a socialist society, and the crimes of empire, among other subjects. This essential anthology demonstrates Morris's profound commitment to nineteenth-century socialism"-- Provided by publisher.

Born in London in 1834, William Morris was a radical thinker whose democratic vision for society and art has continued to influence designers, artists and writers to this day, long after his death in 1896. He was a gifted poet, architect, painter, writer and textile designer, who also founded the Kelmscott Press, the most famous of the Arts and Crafts private presses. Morris' ideas later came to influence the Garden City movement, as well as numerous artists and craftspeople, who sought to negotiate a viable place within the modern world in the troubled years that followed the First World War. His ideals inspired designers, including those who contributed to the 1951 Festival of Britain, with a direct sense of mission to bring the highest design standards within the reach of everyone. During Morris' lifetime, Oscar Wilde thought him a master of all exquisite design and of all spiritual vision, while forty years after Morris' death George Bernard Shaw observed: He towers greater and greater above the horizon beneath which his best advertised contemporaries have disappeared. This collection of quotations by Morris, his friends, associates and those who came after, reveals and explores his passionately held view that beautiful, functional design should be accessible to all.
(source: Nielsen Book Data)

One of the first examples of modern fantasy literature, this novel takes place in a vividly imagined archaic world. A groundbreaking fantasy novel, "The Wood Beyond the World" tells the story of a young man, Golden Walter, who finds himself in a strange and frightening world after being abandoned by his wife and lost at sea. The novel takes the form of Walter's quest for the visionary Maid that he sees at the beginning of his journey, and takes him from his failed marriage through temptation to emotional fulfillment. Set in Morris's imaginative recreation of a medieval world, the novel is full of painterly imagery and surprising emotional realism. This edition collates for the first time the three early texts of the work. The introduction discusses the place of the book among Morris's other prose romances, the events of his life, and his activities as a visual artist and a socialist. The appendices provide excerpts from Morris' translation of "Beowulf", other medieval texts read by Morris, and writings by his contemporaries on politics and aesthetics.
(source: Nielsen Book Data)

• How we live and how we might live
• Whigs, democrats, and socialists
• Feudal England
• The hopes of civilization
• The aims of art
• Useful work versus useless toil
• Dawn of a new epoch.

'The only English utopia since More's that deserves to be remembered as literature.' News from Nowhere (1890) is the best-known prose work of William Morris. The novel describes the encounter between a visitor from the nineteenth century, William Guest, and a decentralized and humane socialist future. Set over a century after a revolutionary upheaval in 1952, these 'Chapters from a Utopian Romance' recount his journey across London and up the Thames to Kelmscott Manor, Morris's own country house in Oxfordshire. Drawing on the work of John Ruskin and Karl Marx, Morris's book is not only an evocative statement of his egalitarian convictions but also a distinctive contribution to the utopian tradition. Morris's rejection of state socialism and his ambition to transform the relationship between humankind and the natural world, giveNews from Nowhere a particular resonance for modern readers. The text is based on that of 1891, incorporating the extensive revisions made by Morris to the first edition.
(source: Nielsen Book Data)

This annotated critical edition is the first attempt to make Morris's 42,000 word verse sequence accessible to a modern audience. The edition's scholarly apparatus also records the location of extant manuscripts and provides full scholarly collations of changes made in Morris's text during his lifetime. A full introduction to the edition also clarifies the work's publication history and literary and biographical content, its historical antecedents in traditional 'earthly paradise' narratives, and Morris's decision to cast it as a seasonal cycle of monthly 'classical' and 'medieval' tales. Morris's opening prologue records the struggles of 12 Scandanavian seafarers who have fled the Bubonic plague to a landfall in 14th-century Greece, and he arranged the 24 monthly tales to explore the collective memories of these wanderers and their choral audience of Greek elders. The edition's critical headnotes comment on Morris's historicism, reflected in the extended manuscripts many revisions of his classical, medieval, Germanic, Scandanavian, Arabic and Persian sources. A wealth of references relating the work to art, history and politics. Morris's practical knowledge, passion for travel, and radical-democratic convictions also prompted him to explore areas of life not commonly associated with Victorian poetry. The edition's footnotes therefore gloss allusions to bird and animal lore, the practices of ancient and medieval agriculture and the details of Viking ships and medieval seafaring. Morris also wove many new imaginative details into his redactions of these legends, and the headnotes assess whether he followed his sources, drew on roughly analogous characters encountered elsewhere, or completely reinvented familiar characters. They also comment on several of Morris's deeper authorial decisions to portray women more favourably, for example; or focus on particular aspects of the Bubonic Plague; or insert pointed glosses of 'heroic' events by wary peasant bystanders and examine them in the light of Morris's other published views on art, history, politics and human relations. Ample illustrations and original initials, finally, provide a sense of The Earthly Paradise's original appearance and design.
(source: Nielsen Book Data)

• Pages:1 to 10; Pages:11 to 20; Pages:21 to 26.

• *FrontMatter, pg. i*CONTENTS, pg. vii*LIST OF ILLUSTRATIONS, pg. ix*EDITORIAL PRACTICES, pg. xv*ACKNOWLEDGMENTS, pg. xvii*INTRODUCTION, pg. xxvii*MORRIS CHRONOLOGY, pg. xlvii*ABBREVIATIONS OF MANUSCRIPT LOCATIONS, pg. liii*ABBREVIATIONS OF WORKS FREQUENTLY CITED, pg. lvii*LETTER 1566-LETTER 1720, pg. 2*LETTER
• 1721- LETTER 1921, pg. 161*LETTER 1922-LETTER 2081, pg. 335*APPENDIX A. Statement of Principles of the Hammersmith Socialist Society, pg. 489*APPENDIX B. Note by William Morris on His Aims in Founding the Kelmscott Press, pg. 493*APPENDIX C. Addenda, pg. 497*INDEX OF CORRESPONDENTS, pg. 499*SUBJECT INDEX, pg. 502.
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These volumes bring to a close the only comprehensive edition of the surviving correspondence of William Morris (1834-1896), a protean figure who exerted a major influence as poet, craftsman, master printer, and designer. Volumes III and IV, taken together, give in detail the comments and observations that articulate his problematic political and artistic stands and equally problematic position within the aesthetic movement as it developed in the 1890s. Most eloquently voiced also are the complexities of his troubled marriage and his devotion to his epileptic daughter, Jenny, and his other daughter, May. But dominating all these themes, organizing and structuring them, are the Kelmscott Press and the building of Morris's important library of medieval manuscripts and early printed books. The letters record the way in which the Press becomes not only the center of Morris's aesthetic ambitions and achievements but also the site for his closest human relations and for much of his connecting with the makers of early modernism. The letters in Volumes III and IV are thoroughly annotated, and through texts and notes provide a new assessment of Morris's career. Included also, as appendices to Volume IV, are two important documents: the first, never before published, is F. S. Ellis's Valuation List of Morris's library, made after Morris's death, and the second, never before reprinted, is the text of what was to be Morris's final essay on socialism, published in April 1896. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
(source: Nielsen Book Data)

• LIST OF ILLUSTRATIONS ix EDITORIAL PRACTICES xv ACKNOWLEDGMENTS xvii INTRODUCTION XiX MORRIS CHRONOLOGY xxxix ABBREVIATIONS OF MANUSCRIPT LOCATIONS xiv ABBREVIATIONS OF WORKS FREQUENTLY CITED Ii THE LETTERS - 1893-1896 3 APPENDIX A. The Present Outlook of Socialism in England by William Morris 393 APPENDIX B. Valuation of Library of William Morris by Frederick Startridge Ellis 401 APPENDIX c. Froissart's Chronicles, Selected Items 435 INDEX OF CORRESPONDENTS 439 SUBJECT INDEX 441.
• (source: Nielsen Book Data)

These volumes bring to a close the only comprehensive edition of the surviving correspondence of William Morris (1834-1896), a protean figure who exerted a major influence as poet, craftsman, master printer, and designer. Volumes III and IV, taken together, give in detail the comments and observations that articulate his problematic political and artistic stands and equally problematic position within the aesthetic movement as it developed in the 1890s. Most eloquently voiced also are the complexities of his troubled marriage and his devotion to his epileptic daughter, Jenny, and his other daughter, May. But dominating all these themes, organizing and structuring them, are the Kelmscott Press and the building of Morris's important library of medieval manuscripts and early printed books. The letters record the way in which the Press becomes not only the center of Morris's aesthetic ambitions and achievements but also the site for his closest human relations and for much of his connecting with the makers of early modernism. The letters in Volumes III and IV are thoroughly annotated, and through texts and notes provide a new assessment of Morris's career. Included also, as appendices to Volume IV, are two important documents: the first, never before published, is F. S. Ellis's Valuation List of Morris's library, made after Morris's death, and the second, never before reprinted, is the text of what was to be Morris's final essay on socialism, published in April 1896. Originally published in 1996. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
(source: Nielsen Book Data)