Religion & Literature 146 Wordsworth’s, all part of a single edifice, all of it founded on the Wesleyan revival in one way or another. Brantley’s greatest stretch is in a brief section that originally appeared as an article in Studies in Romanticism, “Keats’s Method” (1983). Here Brantley examines “how far Keats’s allegiance to induction combines with his Methodist-like, and hence equally experiential, allegiance to the ‘holiness of the Heart’s affections’” (267). Some of the claims for Keats as a thinker inspired by Wesleyan theology go farther than most critics would allow, such as a section where lines from Endymion are read as “evangelical in tone” (270). But Brantley is careful not to make a claim for Keats as a believer, or a poet engaged in any extended engagement with Christian doctrine or ideas. Rather, he sees him as a man of his time responding to the influence of Wesley in the intellectual air and points to places in his poetry where this becomes manifest. Transatlantic Trio is divided into four series of essays that provide context and that cover British and American authors. The most attention is given to Emily Dickinson, her skepticism, and her “quarrel with God.” Four series of reviews put Brantley into dialogue with other scholars who have published on the same questions. What emerges is a rich, convincing argument , simultaneously accretive and dialectical in method. Brantley shows the dialectics between writers of the Romantic period, between those writers and Locke and Wesley, and finally between himself and his contemporaries. It is a virtuoso performance, as much an act of curating as writing. The new writing in the prologue and epilogue ties the text together and makes clear that Transatlantic Trio is not a series of disconnected essays, but a sustained argument, and one that is at least as relevant for studies of Romanticism now as it was when Brantley began working on it four decades ago. Christopher Flynn St Edward’s University Coleridge and Contemplation Edited by Peter Cheyne Oxford University Press, 2017. xxii + 332 pp. $90 hardcover. The editor of this excellent contribution to Romantic studies, Peter Cheyne, characterizes Samuel Taylor Coleridge as “something of an omnimath , a Renaissance man of the Romantic era” (7). Indeed, many of the BOOK REVIEWS 147 authors in this robust collection of insightful essays contend that Coleridge scholarship has a place, or many places, outside of the English department. What emerges from these pages also strengthens the case for the literary value of Coleridge’s religious and philosophical writings, which are only infrequently assessed prior to his poetry in literary studies, thereby underscoring the necessity of multidisciplinary treatments of his thought. As the title makes clear, this book’s organizing claim is that contemplation is an essential term in Coleridge’s theory of mind. Not only does contemplation crown Coleridge’s order of the mental powers found in his marginalia, it also challenges the assumption that “Imagination” is the kernel and starting point for scholarly discussions of Coleridge. The eighteen chapters of Coleridge and Contemplation are organized into four principal sections. Part I (“Poetics and Aesthetics”) sets the precedent for the rest of the essays in book: contemplation for Coleridge transcends mere passive receptivity or meditation, nor can it be severed from the active life. Part II treats the importance of contemplation to Coleridge’s worldviews on science, ethics, and politics. Part III is devoted to Coleridge’s metaphysical investigations and multilayered theories of contemplation and metaphysical knowledge. Rounding out the collection, the essays on Coleridge’s philosophy of religion in Part IV drives home the claim, made by Mary Warnock in the book’s preface and reiterated at several junctures throughout the volume, that through contemplation rooted in “Will,” “Reason,” and faith—the “threefold I” of Coleridge’s theory of personal identity discussed in Suzanne Webster’s chapter—Coleridge strives to move beyond the limitations of dualistic contradictions in the philosophy of his peers (vii; 304). Operating from this assumption embraces a holistic approach to Coleridge’s life and thought by uniting the phases of Coleridge’s early intellectual life—gifted but directionless Cambridge profligate, Pantisocratic radical, tortured poetic genius—with his influential...