w i l l i a m k e ac h NOTES Robert Southey (1774–1843), who became Poet Laureate in 1813, wrote a number of long, elaborate narrative poems including Joan of Arc (1796), Thalaba the Destroyer (1801), and The Curse of Kehama (1810) “Thomas Little” was the pseudonym under which the Irish poet Thomas Moore published his earliest lyrics, many of which had a seductively erotic aspect These lyrics were published in duodecimo volumes colloquially called “twelvemos” or “twelves.” See Sarah M Zimmerman, Romanticism, Lyricism, and History (Albany: State University of New York Press, 1999), p xii; James Chandler, England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism (Chicago and London: University of Chicago Press, 1998), especially the opening section of ch 10, “Lyricism and Historicism”; Anne Janowitz, Lyric and Labour in the Romantic Tradition (Cambridge: Cambridge University Press, 1998) Theodor W Adorno, “On Lyric Poetry and Society,” in Notes to Literature, ed Rolf Tiedemann, trans Shierry Weber Nicholsen, vols (New York: Columbia University Press, 1991), vol i, p 37 Subsequent references in the text Subsequent page references are given parenthetically within the text Leon Trotsky, Literature and Revolution, ed William Keach (Chicago: Haymarket Books, 2005), p 144 The “Proletkult” against which Trotsky’s polemic is directed was an organization (and also a journal), founded during the early years of the Russian Revolution, that promoted what its proponents thought of as “proletarian” literature and art Robert Kaufman, “Adorno’s Social Lyric, and Literary Criticism Today: Poetics, Aesthetics, Modernity,” in The Cambridge Companion to Adorno, ed Tom Huhn (Cambridge: Cambridge University Press, 2004), p 355 Kaufman’s other impressive articles rethinking Adorno’s relation to Romantic theory and poetics include “Red Kant, or The Persistence of the Third Critique in Adorno and Jameson,” Critical Inquiry 26 (2000), pp 682–724; “Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde,” Critical Inquiry 27 (2001), pp 354–84; “Aura, Still,” October 99 (2002), pp 45–80; “Sociopolitical (i.e Romantic) Difficulty in Modern Poetry and Aesthetics,” Romantic Circles Praxis Series (2003), www.rc.umd.edu/praxis/poetics.ns/kaufman; “Lyric’s Expression: Musicality, Conceptuality, Critical Agency,” Cultural Critique 60 (2005), pp 197–216 Walter Benjamin, Illuminations, ed Hannah Arendt, trans Harry Zohn (New York: Schocken Books, 1969), p 155 Subsequent references in the text Frank Lentricchia, “Lyric in the Culture of Capital,” in Subject to History: Ideology, Class, Gender, ed David Simpson (Ithaca and London: Cornell University Press, 1991), p 195 Subsequent references in the text ă Michael Lowy and Robert Sayre, Romanticism against the Tide of Modernity (Durham, NC, and London: Duke University Press, 2001) Original French edition 1992 For the specific terms on which women writers entered the realm of commercial literary production during the Romantic period, see Sonia Hofkosh, Sexual Politics and the Romantic Author (Cambridge: Cambridge University Press, 1998) 236 Cambridge Collections Online © Cambridge University Press, 2008