title: The Oxford Anthology of English Literature: The Literature of Renaissance England
author: John Hollander
description: "Wonderful selections! Very thorough. I like this text best of the ones I have seen."--Paul Sheneman, Belhaven College<br /><br />"A rich selection--full of further examples of practically every point I wish to nudge my students toward. I have used the book often since it first appeared."--William P. Keen, Washington and Jefferson College<br /><br />"I have ordered this book as the text for my course [on] the Renaissance World. I don't think it has a viable competition: Norton's 'The Golden Hind' is not as good and costs twice as much in hardback, and it doesn't have Spenser's Mutability Cantos. I realize this has been around for a<br />while, but keep it in print."--Harry Keyishian, Farleigh Dickinson University<br /><br />"Very wide range of coverage."--Joyce G. MacDonald, University of Kentucky<br /><br />"Comprehensive....The best anthology I know of."--Jim Kerbaugh, Illinois College<br /><br />"One of the few remaining comprehensive anthologies of English Rennaissance literature available at a reasonable price. The editorial matter is sound and authoritative; the selections are both wide-ranging and well chosen; and the pictures and illustrations are delightful."--John B. Brooks,<br />University of Wisconsin, Oshkosh<br /><br />"Very fine anthology.... The reprints are wonderful."-- Michael L. Storex, College of Notre Dame, Baltimore<br /><br />"This book amply replaces the old Rollins text for Renaissance classes. It is full enough that it can be used without supplements except for drama."--Richard B. Weir, The King's College
zlib_text: FPT 
  $22. 95 
  The island, of course, is England. Having considered 
  the modern writers of America (A Homemade World) 
  and Ireland (A Colder Eye), Kenner now essays a liter­
  ary tour of the third of the "three provinces" of Interna­
  tional Modernism, and while his findings are mixed (he 
  argues that in the last quarter of the twentieth century 
  "there's no longer an English literature"), his book is a 
  pure delight in its pungent, lively, and thoughtful amal­
  gam of anecdote and critical analysis, detective work 
  and celebration. 
  We begin in 1895-a year when Joseph Conrad and 
  H. G. Wells published their first novels, and Thomas 
  Hardy his last; when The Sorrows of Satan by Marie 
  Corelli (the self-styled "prose Shakespeare") was a 
  best-seller with thiriy-two printings; and when most 
  Englishmen were devoted to a magazine of odd facts, 
  jokes, and stories called Tit-Bit,s that attracted such 
  budding authors as Virginia Stephen (later WoolO, 
  James Joyce, and Conrad (all rejected for 