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Our Home by the Adriatic (1886) by Margaret Collier is a travel book which provides historical, social and cultural knowledge about the people, spaces and places of the Italian region of the Marche. Collier’s marriage to a former Garibaldian officer was the occasion for her move to Italy, where her need to write developed as something different from that of a tourist. Indeed, her topographical writing was spurred by her desire to prove that women were capable of traveling and writing (Mangani), and to undermine the stereotype of the woman who “[…] could not write so well; [if she did] it was her brother’s, no doubt” (Battestin 380-381). Beyond the gender dimension, the essay will survey how Collier’s travel writing depicts through its anthropological approach both the lights and the shadows of the Marche, and how the portrayal of the region itself proves to be crucial to her understanding of place and perception of space.

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Is anyone listening out there? The artists who write and produce radio dramas believe that a limitless imaginative world is possible. Radio drama is the most flexible of forms, allowing a freedom to experiment usually inhibited by considerations of space, time, and money in live theatre. It is no coincidence that the experimental nature of Caryl Phillips's radio plays fits perfectly into Brater's idea of "performative voice" (Brater 1994). Caryl Phillips's Crossing the River (1985), in particular, illustrates the necessity of filling silence with something, anything at all, by telling the Africans' trade story and trauma created by way of soundscaping sounds, pauses and silences.

The allure of the connection between literature, journey and the sister arts interlaces with the endeavours of human beings and with the act of writing about it, of transforming it into a story and sharing it with others (Pantini 1999). The poems included in the collection Sight and Song (1892) by Michael Field, male pseudonym of authoresses Katherine Harris Bradley and her niece Edith Emma Cooper, not only manage to celebrate the affiliation between literature and the figurative arts, but they also become a verbal representation of the visual art, namely of that ékphrasis deemed to be as an exchange between visual and textual cultures. In this analysis, the revolutionary ekphrastic inspiration of the two authoresses will validate the possibility of observing art and reality in a different way and translating it into poetic texts so as to allow the rise of that political capability of subverting Victorian identities and social hierarchies.