Gareth Wood

Eric Jamieson

Canadian Gareth Wood along with two Englishmen successfully walked across Antarctica to the South Pole. Each man hauled a sledge loaded with 350 pounds of survival gear 900 miles through the unimaginable cold of the empty, hostile continent. Unlike Robert F Scott's 1911-12 Antarctica expedition, this trek to the bottom of the world ended with success and survival. Roger Mear, Robert Swan, and Gareth Wood overcame 9,000 feet of altitude and 900 miles of frozen barriers en route to the South Pole without dogs, radios, mechanical support, or caches of food. In tribute to their American predecessor, they used Scott's log. Their epic struggle tested these self-assured individuals and taught them the value of co-operation and teamwork in the face of disaster. For Gareth Wood, the day they finally reached the Pole was more the beginning of a new journey than the end of his quest. The ship that was to have collected the team was crushed in the ice. Not only did Wood survive another year in the Antarctic, but he also lived to describe the horrific attack by a savage leopard seal.

900 Miles on Foot

South Pole

Aaron M. Kahn

Ambra Moroncini

Mark Thornton Burnett

Olivia Santovetti

Luca FIorentini

Eleonora Lima

Kristina M. Olson

Davide Dalmas

Yujia Jin

Carlotta Moro

Alena Gašparovičová

Victoria Ríos Castaño

The “intangible power” of literature, which, in Umberto Eco’s words, “allows us to travel through a textual labyrinth (be it an entire encyclopaedia or the complete works of William Shakespeare) without necessarily ‘unravelling’ all the information it contains”, may be clearly identifiable in our contemporary age of intertextuality and, most importantly, of interdisciplinarity. It suffices to think of the countless film adaptations of Shakespeare’s works, or of the popular appeal of Dan Brown’s global bestsellers, the so-called Robert Langdon book series, which has made original (and contentious) use of literary and artistic masterpieces such as Dante’s Divine Comedy and Leonardo da Vinci’s The Last Supper. What is more, the investigation of literature’s verbality through the lenses of cinematic and media perspectives has greatly benefitted from scholarly insights into dialogism, heteroglossia, polyphony, and historiophoty, opening new aural and visual windows of interpretation and knowledge. With these considerations in mind, this book explores the enduring presence of some of the most revolutionary early modern voices and works in our contemporary time. It embraces a rich diversity of literary genres (from poetry to storytelling, novels, fairy tales, and historical colonial chronicles, while also considering musical theatre compositions), and broadens the scope of research to the world of media, with cutting edge insights into contemporary films, TV series, and videogames. It presents innovative scholarly perspectives on how early modern works and themes are explored, remediated and refashioned today to address cultural, political, and social issues germane to our global moment.

Early Modern Voices in Contemporary Literature and on Screen

A year and a half has passed since the dead rose, and the citizens of Cold Lake are running out of hope. Food and weapons are nearly impossible to find, and the dead are everywhere. In desperation, Cold Lake sends Brian Williams to lead a salvage team into the Rocky Mountains. But outside the small safe zones the world is a foreign place filled with new hardships. Williams and his team must use all of their skills to survive in the wilderness ruled by the dead. What the team finds in the zombie-haunted mountains will lead them on a desperate adventure through the ice and snow of winter, in search of a possible cure to the mysterious undead contagion.

Age of the Dead

The people of the Mission Safe Zone have a problem. Nine years have passed since the dead rose and civilisation crumbled. The Mission Safe Zone, established in the first year of the outbreak, has managed to keep thousands of living humans safe from the undead hordes. But now people are going missing, vanishing without trace, and Sheriff Jim Reilly suspects a new threat exists inside the Wall that surrounds the Safe Zone. Reilly believes that a serial killer lives among the survivors. For salvagers Robyn Cartwright and Amanda Martin, a serial killer is the least they have to worry about. Something is going on with the undead outside the Wall, something that could have deadly repercussions for the Safe Zone, and every living thing within it.

Dead Inside

This is a book that shows how Spain's most important contemporary writer, Javier Marías, has engaged with literature in English during his career. Marías has won multiple national and international awards, and is considered among the best writers working today. He has explained many times that working as a translator of literary works from English into Spanish helped shape the writer he became and this study explores those claims by analysing twothings: firstly, his translations themselves, scrutinized closely to determine their accuracy and flair; and secondly, seeing how those translations have left discernible traces in his own fiction, either through therecurrence of particular phraseology or evidence of a more largescale aesthetic debt; an example of the latter explored in this study would be Marías's decision to write a pseudo-autobiographical novel in much the same digressive and chaotic vein as Laurence Sterne's Tristram Shandy.

Sterne, Browne, Nabokov

Javier Marías's Debt to Translation

Gareth Wood

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