This chapter explores the importance of Ginsberg’s sexuality in the context of his life and work. Aware of his nonnormative sexual desires from an early age, Ginsberg’s lifelong quest for self-understanding was necessarily shaped and informed by poetic explorations into his sexuality, his relationship with which was sometimes fraught. His work bears the imprint of his enduring preoccupation with the variable experiences of queer minds and bodies (often his own) in both straight and queer spaces. The chapter examines selected canonical poems including “A Supermarket in California,” “My Sad Self,” “Howl,” “City Midnight Junk Strains,” and “The Green Automobile,” in order to highlight their generative provocations in the context of a period of prevailing queer invisibility and to emphasize Ginsberg’s legacy as a queer poet in the twenty-first century. The chapter also examines the relationship between Ginsberg’s status as a queer pioneer and some of the more troubling aspects of his in some areas limited and limiting visions and modes of sexuality.

Allen Ginsberg read, reread, and approached the work of Walt Whitman throughout his life. How should we understand the overtly acknowledged relationship between these two poets? This chapter suggests that at the same time as one can trace the references Ginsberg makes to Whitman in his poems, compare and contrast the focus of each, or consider the parallels between the poetics of the two, we can also understand (the sometimes unsavory) Whitman in the (sometimes unsavory) Ginsberg canon as a screen onto which Ginsberg projected his ideas of his own literary ethos and significance.

This chapter speaks of Sancho’s meaning to me as a Black Briton. It is also about his general place in the pantheon of Black British figures. I write about belonging and Sancho because it is at the heart of the reason to study a life such as his. Knowing about this Black Briton and his eighteenth-century world can impact on Black lives lived in the UK today. Sancho’s legacy is his engagement with the world of his time and the mirror of that engagement in ours. Artistic, political, and domestic history is interwoven with personal views on a figure who made his compromises and his accommodations in a world not designed for him or people like him. My chapter seeks to unearth a little talked about and less known subject, which is Britain’s deep and exceptionally involved participation in the human trafficking of millions of Black people from the continent of Africa. I conclude with highlighting the positive, contemporary manifestations of interest in Sancho and his world.

Nicola LeFanu, Maconchy’s younger daughter, discusses her role as curator of her mother’s legacy. The three decades since Maconchy’s death in 1994 are covered. Obituaries are cited and an inevitable fluctuation of reputation. The centenary in 2007 is covered in depth, as since then Maconchy’s reputation has steadily grown. The chapter details the many performances, concerts and other tributes, including BBC ‘Composer of the Week’ and a heritage blue plaque on her former home. New publications (Chester Music) are detailed, from 2007 onward. The successful revivals of the three one -act operas are noted.

Increasing attention is cited, noting journal articles and the advent of key books, notably the publication of correspondence. Bibliography is provided.

Attention is paid to the abundance of new recordings, with details given.

LeFanu notes the ever-increasing interest in Maconchy’s music. She concludes with recollection of her mother’s dauntless personality, and a summary of the rich musical legacy.

This chapter addresses the topic of legacy and its relevance in the work of Pablo Neruda. Thus, starting from the rescue of 2,000 refugees from the Spanish Civil War on the steamship Winnipeg, it explores the relationship of the Spanish language with death in poems from Residencia en la tierra, and its re-emergence in Canto general, exemplified in “Alturas de Macchu Picchu.” The essay argues that the writing of this poem implies the reconciliation of the Spanish language, which is marked by the violence of its imposition in the Americas, with its speakers. It also looks at the relationship between Nerudian poetry and César Vallejo, who, in España, aparte de mí este cáliz, saw in each letter of the imposed language the origin of punishment, thus making reconciliation impossible. Returning to the Winnipeg, the essay concludes that the legacy of Pablo Neruda’s work is immeasurable because it is a debt, that which our time has with his poetry.

Chapter 3 shows how older men, established patriarchs, wrestle with the temptation to sell their land and live lives of ‘fun’, abandoning their obligations to pass on wealth to future generations. Speaking to a rich regional literature on fatherhood and provider masculinity, it unveils a local politics of masculine responsibility, focusing on the question of land sale and fatherly obligation. Adult men from the Ituura neighbourhood who work for wages in the informal economy to support their families are shown to condemn other ‘bad’ men who sell their family land to live ‘comfortable’ lives of short-term consumption. The discourses of self-styled moral men valorise their self-disciplined control of a desire to consume wealth against the grain of immorality they perceive in the neighbourhood and beyond, especially by retaining their ancestral land. Complicating these heroic narratives of economic striving, the chapter explores the life circumstances that force land sale, as well as a growing cynicism amongst working-aged men towards the obligations of patrilineal kinship.

Chapter 6 provides an analysis of the impact of diasporic state-building and its legacy for Iraq, asking what kind of state the diaspora helped to build. Analysing the effects of elite and civil society mobilisation shows how the legacy of diasporic state-building is still felt today and how it has shaped the relationship between state and society in significant ways. This chapter also briefly explores differences in diasporic mobilisation for state-building over time between the United Kingdom and Sweden. With each political period during Iraq’s nascent democracy, opportunities shifted and were reinforced by homeland political dynamics. Charting diasporic state-building over time underscores the patterns and trends that have emerged within the diasporic transnational field to reveal the hegemonic identities, actors, and movements being shaped between Iraq and the diaspora. This two-way transnational flow not only creates attachments, allegiances and loyalties but also has significant implications for the future of the Iraqi state and the Iraqi nation. Finally, the chapter briefly explores the transnationalism of second-generation Iraqis and their commitment to Iraq. It investigates the effects of events in Iraq on their identities and senses of belonging, as well as political transnationalism towards the country.

In this chapter, artists look back on their careers and consider what they will leave behind. Responses vary from pride to regrets. Some rethink career decisions, such as whether they should have—or should not have—gotten advanced education and how their careers might have progressed had accidents not occurred or had they chosen to pursue a different avenue of work. Artists also discuss why they create in the first place, addressing the responses of audiences locally and internationally, how it has made a difference in their own lives and the lives of others, and the notion of creativity as a necessary part of everyday life.

Debussy composed three of his planned Six Sonatas for Various Instruments between 1915 and 1917 before his death in 1918. In 2018, composers from across Europe and North America were invited to write music for the instrumentation of these three incomplete sonatas from Debussy’s grand project, for a concert to be held at the University of Glasgow Memorial Chapel. As a result, several original works were performed by the Chamber Group of the Royal Scottish National Orchestra under the direction of Jon Hargreaves, alongside the completed Debussy sonatas.

This chapter presents the reflections of several of these composers, exploring how they confronted the specific question of Debussy’s influence and legacy, as well as trickier questions that arise from attempts to memorialise canonical precursors through contemporary creative practice. In what ways might Debussy’s music live on through the widely diverse imaginations of twenty-first-century composers?

For contemporaneous writers on Debussy, the First World War presented a persistent problem, with many choosing to omit or minimise these years in their portrayals of the composer, or French music in general. Drawing on work in collective memory by Maurice Halbwachs and successive generations of scholars, I consider the ways in which such portrayals were constructed and speculate on the reasons for why they endured. This chapter presents three narratives and examines them in terms of the types of memory at work, the motivations of the groups sustaining these memories, and the actions undertaken by these groups to promote their visions of the past. Each narrative subscribed to a particular collective remembering of recent French music, while each was consistent in what it overlooked: that is, they all contributed to a general collective forgetting with regards to Debussy’s late works and the war years.

The book’s Conclusion offers reflections on the thematic and stylistic distinctiveness of the selected letter-writing, and its resonance for today’s readers – researchers and wider reading publics. The comparative and thematic connectedness of the correspondence of Mallarmé, Van Gogh, Morisot, Cézanne, and Zola has shone a powerful light on the capacity and the value of letters as life documents, as life-lessons, and, at times, as living letters. The Conclusion traces pathways for future critical work, drawing out some of the theoretical aspects of the book as a flexible form of critical practice for humanities researchers whether in the epistolary study of global elites or of individuals and communities whose everyday lives have yet to be fully valued by scholars and general audiences. The Conclusion reflects speculatively on the critical value and interdisciplinary potential of a comparative and thematic epistolarity studies within the landscape of modernist studies.

Morgan’s legacy was twofold: his development of processes for handling crises and his recruitment of people during crises who would live on long after he died to influence the practice of last resort lending specifically and central banking more generally.

This chapter examines how the friendships, loves, jealousies, anecdotes, and conversations of the Bloomsbury members, recorded in various auto/biographical sources, have been dramatized and novelized in several contemporary bioplays and biographical novels: Bloomsbury: A Play in Two Acts (1974) by Peter Luke; But Nobody Lives in Bloomsbury (2006) by Gillian Freeman; Vanessa and Virginia (2008) by Susan Sellers; and Vanessa and Her Sister (2014) by Priya Parmar. The chapter focuses more particularly on the character of Virginia, who plays a crucial role in the intellectual and emotional dynamics of the group, and analyzes her interactions with her friends, especially Lytton, and her relationships with her family members, especially Vanessa. These posthumous literary representations of the iconic author raise questions about the resurrection and transposition of the historical figure in fiction and drama, as well as about updating and recycling her literary heritage for today’s readers and spectators.

The preface introduces the reader to the enduring fascination with Moshe Dayan, a prominent figure in Israeli history. Dayan’s legacy has been the subject of much debate and controversy among historians, and the purpose of the book is to present both the debates and the author’s own interpretation of Dayan’s life and career. It also highlights the importance of studying Dayan’s legacy, both for understanding Israeli history and for gaining insights into leadership and strategy more broadly. Dayan was a complex figure, with both strengths and weaknesses as a leader and strategist. However, his singular mental abilities, wisdom, experience, and insights continue to make him a compelling figure for study. The chapter also touches on the challenges of studying history, particularly when it comes to interpreting historical events and figures: historical facts are one thing, but interpretation is another. The book attempts to present a comprehensive and accurate historical assessment of Dayan’s life and career.

The final published debate in which Neurath participated was with Horace Kallen, founding member of the New School in New York. This discussion with manifold cultural dimensions was a fitting swansong for Neurath, summarizing key themes of his thought and highlighting essential issues of his complex and contentious legacy. Kallen suspected Neurath’s drive for ‘Unity of Science’ as harbouring the danger of totalitarianism, but Neurath defended the pluralism of his approach while accepting Kallen’s proposed term of ‘orchestration’ instead of ‘unity’ for the sciences. Neurath felt rather neglected for his scholarly achievements at the end of his life, but these now become increasingly more relevant.

The introduction sets out the aims of the book and explains in brief the history of Hopkins’s writing and reception. It begins by discussing Hopkins’s posthumous publication and its distinctive effect upon his early reputation and influence, notably in relation to modernism. The introduction then goes on to relate the more recent historical emphasis in Hopkins scholarship before setting out the approach taken in the book and outlining its contents.