Jennifer Wallace grew up in London and Edinburgh and studied Classics and English Literature at Cambridge University. She wrote a PhD on the poet Percy Bysshe Shelley and Romantic Hellenism and won a Junior Research Fellowship to Clare College, Cambridge, in 1992. She took up her current academic position, as Lecturer and Director of Studies in English, at Peterhouse, University of Cambridge, in 1995.
Jennifer has published four non-fiction books and one work of fiction. In addition, she has co-edited two multi-author volumes of essays. She is interested in the Romantic poets, in ancient Greece, in archaeology, in the poetics of depth and what is missing, in tragedy and tragic drama, in photography, memoir and contemporary fiction, in women’s writing, in the ethics of literary criticism, in literary relics and good stories.
As well as academic writing on Romanticism, Classical reception and tragic drama, Jennifer has written for newspapers and magazines in the UK, USA and Japan. She wrote numerous feature articles for the Times Higher Education Supplement between 1995 and 2004, including interviews with Edward Said, Andre Brink, Slavoj Zizek, David Mamet and Judith Butler. Since then, she has reported, among other things, on biblical archaeology in Israel for Smithsonian Magazine, on the threat to tribal India from mining for a major photographic exhibition at the Brunei Gallery, SOAS (and related publications), and on environmental issues in Rajasthan for magazines in France and Japan. She also writes travel articles and has reviewed fiction and non-fiction for the Times Literary Supplement, the Times Higher Education Supplement and the LA Review of Books. She works frequently with her husband, the photographer Robert Wallis, on joint projects involving words and images.
Jennifer has a long-term interest in Greece, ancient and modern. For the last six years she has served on the jury of the annual Criticos Prize (now renamed the London Hellenic Prize) which is awarded to an outstanding book in English related to, or inspired by, some aspect of Greece and she is a member of the Cambridge Greek Play committee which produces a play, performed in the original ancient Greek, every three years.
She has also played double bass in a jazz quartet. She lives in London with Robert.
London, 1790: John Milton, one of Britain’s greatest poets, has been dead for over a century. Lizzie Grant, gravedigger, wife and entrepreneur, is very much alive.
When Milton’s bones surface at St Giles’ Church in London’s Cripplegare, illiterate yet enterprising Lizzie seizes the opportunity to make her mark on history. But Lizzie hasn’t accounted for Milton’s power – as a hero, a revolutionary, and literary genius. Amongst circulating body parts and surrounded by hypocrisy, Lizzie’s dreams start to unravel.
In 1790 it seems a lot of people want a piece of Milton.
This darkly humorous novel vividly captures the boisterous, bawdy life of the 18th century London streets in a tale of greed, guild and a paradise lost.
Cambridge University Press
Tragedy is the art-form created to confront the most difficult experiences we face: death, loss, injustice, thwarted passion, despair. From ancient Greece theatre up to the most recent plays, playwrights have found, in tragic drama, a means to seek explanation for disaster. But tragedy is also a word we continually encounter in the media, to denote an event which is simply devastating in its emotional power. This engaging introduction provides an overview of the tragic theatre canon – including chapters on the Greeks, Shakespeare, Ibsen and Chekhov, American tragedy and post-colonial drama – and brings a wide spectrum of examples, from both literature and life, into the discussion of this emotional and frequently controversial subject
When Jennifer Wallace travelled round Greece as a student, hiking through olive groves to hunt out the stones of old temples and lost cities, she became fascinated by archaeology. It was magical. It was absurd. Give an archaeologist a few rocks and, like a master storyteller, he could bring another world to life. From the plain of Troy to the Titanic, from Stonehenge to Ground Zero, Digging the Dirt explores the sites that have exerted the strongest pull on the public imagination. Some, where bones are indistinguishable from dust, have driven archaeologists to despair. Others haunt poets with memories of loss and romance. All reveal the relevance of archaeology to our deepest cultural anxieties.
Passionate and intelligent, Digging the Dirt engages with the work of philosophers and writers who have been stirred by the life below the ground, while never losing sight of the pressing demands of archaeologists today. In a world of postmodern spin, Wallace calls for a renewed sense of the poetics of depth and shows how excavation can play a vital role in bringing powerful political forces to account
Oxford University Press
The Oxford History of Classical Reception in English Literature is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have been responded to and refashioned by English writers. It conceives of ‘reception’ as complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. The volume covering the years 1790-1880 explores Romantic and Victorian receptions of the classics. Noting the changing fortunes of particular classical authors and the influence of developments in archaeology, aesthetics and education, it traces the interplay between classical and nineteenth-century perceptions of gender, class, religion, and the politics of republic and empire in chapters engaging with many writers of this period
Shelley and Greece: Rethinking Romantic Hellenism
Traditionally Hellenism is seen as the uncontroversial and beneficial influence of Greece upon later culture. Drawing upon new ideas from culture and gender theory, Jennifer Wallace rethinks the nature of classical influence and finds that the relationship between the modern west and Greece is one of anxiety, fascination and resistance. Shelley’s protean and radical writing questions and illuminates the contemporary Romantic understanding of Greece. This book will appeal to students of Romantic Literature, as well as to those interested in the classical tradition.
Lives of the Great Romantics: Keats
Pickering & Chatto
co-edited with Sian Griffith
Mandolin/Manchester University Press
Descartes is to blame. For centuries his tag “I think therefore I am” has dominated our notion of ourselves and the world; that the mind is what counts seems to be the message of Cartesianism, the body could fend for itself.
What people thought has been central to academic study, what they ate was considered marginal and insignificant. But the picture is changing. Food, after all is fundamental. Critics in English literature are beginning to theorize about the significance of food in texts, “edible ecriture” as Terry Eagleton calls it. Historians chart the relationship between what we eat and how we live. Sociologists deconstruct the family meal. Psychiatrists ponder the inexorable rise of eating disorders. Philosophers construct the moral frameworks for ethical eating; and scientists work with social scientists as killer diseases, food borne, sweep the country. This book unites scientists, social scientists and those working in the humanities in a call for food to be studied more in universities across disciplines–and for those involved in its study no longer to be marginalised.