By Elizabeth Allen
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Margaret Russett makes use of the instance of Thomas De Quincey, the nineteenth-century essayist most sensible remembered for his Confessions of an English Opium-Eater and his memoirs of Wordsworth and Coleridge, to envision the belief of the 'minor' writer, and the way it's relating to what we now name the Romantic canon. The case of De Quincey, neither a canonical determine nor a disenfranchised marginal writer, bargains some degree of entry to in particular Romantic difficulties of literary transmission and periodization.
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