Most Popular Books by Stephen Gill

In this second edition of William Wordsworth: A Life, Stephen Gill draws on knowledge of the poet''s creative practices and his reputation and influence in his life-time and beyond. Refusing to treat the poet''s later years as of little interest, this biography presents a narrative of the whole of Wordsworth''s long life--1770 to 1850--tracing the development from the adventurous youth who alone of the great Romantic poets saw life in revolutionary France to the old man who became Queen Victoria''s Poet Laureate. The various phases of Wordsworth''s life are explored with a not uncritical sympathy; the narrative brings out the courage he and his wife and family were called upon to show as they crafted the life they wanted to lead. While the emphasis is on Wordsworth the writer, the personal relationships that nourished his creativity are fully treated, as are the historical circumstances that affected the production of his poetry. Wordsworth, it is widely believed, valued poetic spontaneity. He did, but he also took pains over every detail of the process of publication. The foundation of this second edition of the biography remains, as it was of the first, a conviction that Wordsworth''s poetry, which has given pleasure and comfort to generations of readers in the past, will continue to do so in the years to come.

UK photographer Stephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. "Hackney Flowers" evolved from Gill''s longstanding interest in Hackney, East London. For this volume, Gill collected flowers, seeds, berries and objects from Hackney, then pressed them in his studio and rephotographed them alongside his own photographs and other found ephemera, thus building up multi-layered images built from the area. Some of the base photographs were also buried in Hackney Wick, allowing the subsequent decay to imprint upon the images, stressing this collaboration with place. A parallel series also runs within this finely produced book, showing members of the Hackney public with floral details on their persons. This is a warm, poetic and visually exciting book containing images that leave an overwhelming sense of color, emotion and rhythm extracted from a single borough of London.

Dr Stephen Gill examines the extent and nature of Americas as a hegemonic state.

Nothing was more important to Wordsworth than tracing the evidence that affinities had been preserved between all the stages of the life of man. In this beautifully written and thoughtful book Wordsworth''s biographer and editor Stephen Gill explores the ways in which the poet attempted as an artist to maintain such continuities and shows how revisitings of various kinds are at the heart of his creativity. Habitually reviewing all of his work, both published and that still in manuscript, Wordsworth painstakingly revised at the level of verbal detail or recast it more largely. New poems frequently emerged from re-engagement with old, often serving as a sequel to or commentary from the maturer poet on his own earlier creation, and acts of self-borrowing and self-reference are plentiful. These linkings provide insights into the powerful vision the poet maintained that his imaginative creation was one evolving unity and reveal much about the obsessions and drives of the great poet. Combining textual analysis, critical commentary, and biographical narrative, Gill explores what binds Wordsworth''s later, less well-known poems to his earlier work. At the centre of the book is an account of the evolution of The Prelude from 1804 to 1839, in which it is argued that Wordsworth''s masterpiece must be followed through all its versions, seen as a poem growing old alongside its creator.

This challenging work develops a radical theory of the new world order to argue that as the globalisation of power intensifies, so too do globalised forms of resistance.

Wordsworth and the Victorians tells the story of the flowering of Wordsworth''s reputation and influence. As well as showing how poets and novelists such as Matthew Arnold and George Eliot transmitted the Wordsworthian spirit, Stephen Gill uses a mass of anecdotal and biographical material - the personal testimony of critics, scholars, publishers, and ordinary readers - to illustrate just what Wordsworth''s poetry meant to his Victorian readers.

Since 1996 Stephen Gill has been making serial,studies of mundane British scenes and objects -,including cash points, lost people, the back of,advertising billboards and people travelling on,the London to Southend train. His visual approach,is unique, combining conceptual rigour with,enormous sympathy for his human subjects, and has,already been widely appreciated in Granta and the,New York Times Magazine, among others. His first,book confirms his status as a key young vision in,contemporary photography. With an introductory,essay by humorist and TV filmmaker Jon Ronson.

"As an introductory text, The Global Political Economy has much to offer. It presents theoretical material clearly and concisely, offers an up-to-date review of the academic literature, and reviews a wide range of issues current in policy circles."--Thomas Ilgen, Pitzer College, Perspective.

Gill places The Prelude in the context of Wordsworth''s life, and discusses the various states in which it survives.

Just as a collection of a musician''s B-side cuts and outtakes, or the scenes that didn''t quite make it into a movie, speak volumes about the project as a whole, and offer their own kind of magic by their very excision, so too does B Sides, the companion volume to British photographer Stephen Gill''s latest book of photos Coming Up for Air, likewise illuminate the fringes of his latest project. In B Sides, Gill records minute effects of texture and trace. Please note that only a limited number of copies are available.

Stephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored out of experience; alert, watchful, not overeager, wary of that mendacious conceit, "closure." There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession... What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones... --Iain Sinclair Continuing to photograph where his award-winning book Hackney Wick left off, Stephen Gill also made Archaeology in Reverse in this personally cherished area of East London. Still making pictures with the camera he bought at Hackney Wick market for 50 pence, for this volume Gill focuses on things that do not yet exist. This magnificently produced book features traces and clues of things to come in a poetic, sometimes eerie and quiet photographic study of a place in a state of limbo prior to the rapid transformation that the area faces during the build-up to the Olympics in 2012.

Features photographs of betting slips discarded in and around the betting shops in Hackney in north-east London.

For this new commission for the Brighton Photo Biennial 2010, New Documents, curated by Martin Parr, Hackney based photographer Stephen Gill has created Outside In, a series steered and guided by the physical place itself, literally scooping up bits of Brighton and dropping parts of it into his camera. Gill employs finds such as seaweed, local plant life, a false eyelash, a jelly bear, fish tails, etc discovered on his travels or near where his photographs are made. Insects crawl across the film emulsion like creatures caught in amber. The objects introduced to the camera chamber are integral to the photographs rather than superimposed, their place in the composition occurring entirely at random and establishing both harmony and conflict.