Michael Simpson

Crossroads in the Black Aegean is a compendious, timely, and fascinating study of African rewritings of Greek tragedy. It consists of detailed readings of six dramas and one epic poem, from different locations across the African diaspora. Barbara Goff and Michael Simpson ask why the plays of Sophocles' Theban Cycle figure so prominently among the tragedies adapted by dramatists of African descent, and how plays that dilate on the power of the past, in the inexorable curse of Oedipus and the regressive obsession of Antigone, can articulate the postcolonial moment. Capitalizing on classical reception studies, postcolonial studies, and comparative literature, Crossroads in the Black Aegean co-ordinates theory and theatre. It crucially investigates how the plays engage with the 'Western canon', and shows how they use their self-consciously literary status to assert, ironize, and challenge their own place, and that of the Greek originals, in relation to that tradition. Beyond these oedipal reflexes, the adaptations offer alternative African models of cultural transmission.

This book presents an account of the life of naval commander Andrew Cunningham, the best-known and most celebrated British admiral of the Second World War. It supplements Cunningham's papers by Cabinet and Admiralty records, papers of his service contemporaries and of Churchill.

Cunningham was the best-known and most celebrated British admiral of the Second World War. He held one of the two major fleet commands between 1939 and 1942, and in 1942-43, he was Allied naval commander for the great amphibious operations in the Mediterranean. From 1943 to 1946, he was the First Sea Lord and a participant in the wartime conferences with Churchill, Stalin, Roosevelt and the US Chiefs of Staff, deliberating the global strategy for Allied victory. He also led a very active public life for almost twenty years after his retirement in 1946. Cunningham's papers are abundant for the period 1939-63 and are supplemented here by Cabinet and Admiralty records, papers of his service contemporaries and of Churchill, and by memories of his family and friends, as well as extensive US archives and private papers.

Displaced to Italy by their politics and morals, Byron and Shelley wrote, between 1816 and 1823, a series of closet dramas that the author reveals as being deeply embedded in contemporary radical culture. Why did they write dramas in Italy that were to be published in England but not to be produced theatrically? Why do these dramas invoke and apparently oppose textual and theatrical versions of themselves? In answering these questions, this book addresses other questions about the historical invention of English literature, the relation between literature and drama, and the relation between literature and political culture. The plays are shown to acquiesce in, and yet also resist, subvert, and ironize by means of a parodic self-censorship, the political, theatrical, and ecclesiastical censorship of the post-Waterloo period. The author argues that they not only explore questions of political action in their plots but also reconstruct, by reconvening, a radical audience that had been virtually eliminated in England during the period of the counterrevolutionary and Napoleonic wars. Like the radical culture of the 1790's, Byron and Shelley's plays are informed by a "new" politics of language. Focusing on the discursive conditions of radical culture and the plays, and bringing the procedures of cultural materialism into contact with those of deconstruction, the author highlights the political and literary operation of the plays' language. In the process, he shows how the plays contributed to the recrudescence of a polite radicalism that sought to align itself with and establish control over its plebeian counterpart. Detailed discussion of individual plays—Manfred, Sardanapalus, Prometheus Unbound, Marino Faliero, Hellas, Cain, Heaven and Earth, The Two Foscari, and The Cenci—is supported by investigations into Romantic criticism of the drama, the dynamics of the reviewing journals, and the philosophical construct of the "closet" of reasoning and reading.

The immortal characters of Greek mythology enact their dramas, conflicts, and passions in the "Library of Apollodorus." Probably composed in the first century A.D., it is the only Greek handbook of mythology to survive antiquity, and is a major source of our knowledge of Greek myths. Beginning with the birth of the gods and ending with the death of Odysseus, the 'Library' traces the destinies of such great mythic figures as Prometheus, Oedipus, Heracles, Daedalus, and the heroes of the Trojan War. Michael Simpson's new translation captures the fine simplicity and straightforwardness of the original. Leonard Baskin's drawings throw a unique contemporary light on this ancient world.