Best Selling Books by Andrew Hodgson

The only book that shows readers how to ask the questions which will make poems to speak to them.

'Here is a larva, lost in a midsummer night's Babel; one of Robbe-Grillet's detective cyphers is wearing a Pnin suit; its name is Andrew; lost in a jaunty text without a contraption; waiting like a background process.' --John Trefry'With masterful choreography, Hodgson makes interior complexity dance in Mnemic Symbols. Experience, memory, and narrative are caught in the act of synergism. If you ache for solidity, for a static truth to cleave to, for access to meanings buried deep within then--pinch yourself, baby--you're alive. This book tells it like it is.' --Rosie Snajdr

This book attends to four poets – John Clare, Gerard Manley Hopkins, Edward Thomas, and Ivor Gurney – whose poems are remarkable for their personal directness and distinctiveness. It shows how their writing conveys a potently individual quality of feeling, perception, and experience: each poet responds with unusual commitment to the Romantic idea of art as personal expression. The book looks closely at the vitality and intricacy of the poets’ language, the personal candour of their subject matter, and their sense, obdurate but persuasive, of their own strangeness. As it traces the tact and imagination with which each of the four writers realises the possibilities of individualism in lyric, it affirms the vibrancy of their contributions to nineteenth and twentieth-century poetry.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies' perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader's will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink. Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

"The ladies and gentlemen in this book are lost in translation. Some of them are recognized outranspians (since I recognized them). If oulipians are 'les rats qui construisent le labyrinthe dont ils se proposent de sortir, ' the works that comprise this book, the writers that generated them 'sont perdus dans Babel sans idée d'en sortir.' A decisive and entertaining way of tilting at the windmills of a number of different languages." - Paul Fournel DW does Paris. This collection approaches the theme of interacting/interactions with language(s) that, across the contributors who are French speakers, English speakers, English/French speakers, has developed in myriad diverging ways. Impossible translation, engine translation, dictionary work, 'resistant reading'; text as physical medium. Also artistic discourse on language itself, what it's for, what it does; how it forms us, how it perhaps constrains us. As too interactions with it in life and everyday settings, how it might get in the way, or fall apart, help or hinder. With, among the contributors, writers of prose, essay, poetry alongside conceptual artists, as too members of the Oulipo and Outranspo, DW Paris is a diverse showcase of Paris-centred experimental and innovative literature in 2019. Parisis edited by Andrew Hodgson, and contains contributions by: Camille Bloomfield, Amalie Brandt, Chris Clarke, Gaia Di Lorenzo, Craig Dworkin, Lauren Elkin, Andrew Gallix, Eric Giraudet de Boudemange, Stewart Home, Ian Monk, Yelena Moskovich, Olivier Salon, Philipp Timischl. "Paris est tout à fait excitant et original: il explore des voies et fait entendre des voix nouvelles et inattendues." - Marcel Bénabou

The official Journal of the John Clare Society, published annually to reflect the interest in, and approaches to, the life and work of the poet John Clare.

The work presented in this thesis details the structural and chemical flexibility of water layers on a selection of plane and templated metallic surfaces. The water layers are found to adapt their structure to achieve a compromise between optimising its surface and intermolecular interactions differently in each system investigated. This compromise often results in water layers which do not stay in strict registry with the substrate, instead forming complex structures. Modifying the substrate by introducing a secondary metal affects the adsorption of water, the structure and species formed, indicating the sensitivity of water to the exact geometric and electronic structure of the substrate. Initially focussing on plane (non-templated) surfaces, we find an intact water layer on Pd(111), with a (root3 x root3)R30 LEED pattern but a disordered helium atom scattering signal. Using a combination of techniques we propose that the water layer comprises of regions of flat lying water, tightly bound atop Pd(111), separated by anti-phase domain boundaries. Water in the domain boundaries forms from H-bonded rings of water, oriented mostly H-down, interacting weakly with the surface. The disorder in the layer is likely to be in the H-down network and hampers attempts to achieve a complete picture of the detailed water structure. On Ni(110), a preliminary STM study into the structure and dissociation of water reveals that water forms a mixture of diffuse and more rigidly held hexagonal structures at low temperature. We assign the diffuse structures to chains of intact water which are labile under the influence of the tip, with the more rigidly held structures being a mixture of OH/H2O. The proportion of dissociated water increases with dose temperature, and is associated with loss of the labile structure associated with intact water by 200 K. Further study is required in order to establish if water adsorbs intact to Ni(110) at temperatures below 100 K. Creating a Pt skin alloy on a Ni(111) substrate allows us to investigate how a change in the Pt environment perturbs water adsorption. Water dissociates spontaneously on this surface, in a marked departure from its behaviour on the pure Ni or Pt surfaces. Pre-dosing the Pt/Ni(111) surface with oxygen has a negligible effect on the water desorption behaviour, confirming that the mixed OH/H2O phase is less stable on the Pt/Ni(111) surface than on Pt(111). We suggest that the reduced stability of OH(ads) groups on the Pt/Ni surface leads to the improved oxygen reduction reaction efficiency reported for this alloy, making OH less likely to act as a poison, as it is believed to on Pt(111). Based on our understanding of the optimum water adsorption site, we created a r3 Sn/Pt(111) alloy, designed to stabilise a traditional "ice-like" bilayer water structure. The water layer was investigated using HAS, LEED-IV and DFT modelling, which confirm that the water structure is indeed a simple commensurate root3 bilayer. Based on LEED-IV measurements we report the first quantitative structural study of monolayer water adsorbed at a metal surface and compare this to DFT predictions. Maintaining the (root3 x root3)R30 symmetry and altering the host metal from Pt to root3 Sn/M (M = Rh, Cu and Ni) resulted in no stable wetting structures. Alloying Sn with these metals appears to reduce the ability of Sn to accept electron density from the O of water, reducing the water-Sn interaction and leading to water forming clusters.

"Background: Sensory bias models of the evolution of sexually selected traits predict that trait preferences evolve in a nonsexual context such as prey selection. Indicator models predict that sexually selected traits indicate mate condition. I investigated the potential for sensory exploitation and condition indication models to explain the evolution of what appears to be a recently evolved sexually selected trait. Question: Did red pelvic spine coloration in male Turnbull National Wildlife Refuge (TNWR) brook stickleback (Cu!aea inconstans) evolve to exploit a preexisting sensory bias for red prey, thus helping males draw females to the nest? Or, did it evolve as an intersexual signal indicating male condition to females? Methods: I recorded the frequency of red pelvic spine coloration in males versus females and breeding versus non-breeding males. I measured the condition factor of males with and without red coloration on their pelvic spines. I presented fish with a paired choice between a red versus an orange, yellow, green, blue, or purple bead, and recorded the proportion of bites at each color. I tested for sexual dimorphism in pelvic spines and made observations on their use by territorial males in comparison to dorsal spines. Results: Red coloration is significantly more common in males than females and in breeding than nonbreeding males. TNWR brook stickleback prefer red to other colors in a predation context. Males with strongly red pelvic spines have a significantly higher mean condition factor than those with plain spines. Pelvic spine size is similar in males and females. Males tend to extend their dorsal spines more often than their pelvic spines during agonistic encounters. Conclusions: Red pelvic spine coloration of TNWR brook stickleback is a secondary sexual character which may exploit a preexisting sensory bias for red prey while also indicating condition to females"--Document.