Literary studies: c 1800 to c 1900 Books

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Book SynopsisTracks the genesis and evolution of Twain's reputation as a writer, revealing how and why the writer has been "under fire" since the advent of his career. Threatened by a rival editor brandishing a double-barreled shotgun, young Samuel Clemens had his first taste of literary criticism. Clemens began his long writing career penning satirical articles for his brother's newspaper in Hannibal, Missouri. His humor delighted everyone except his targets, and it would not be the last time his writing provoked threats of "dissection, tomahawking, libel, and getting his head shot off." Clemens adopted the name Mark Twain while living in the Nevada Territory, where his caustic comedy led to angry confrontations, a challenge to a duel, and a subsequent flight. Nursing his wounded ego in California, Twain vowed to develop a reputation that would"stand fire" and in the process became the classic American writer. Mark Twain under Fire tracks the genesis and evolution of Twain's reputation as a writer: his reception as a humorist, his "return fire" on genteel critics, and the development of academic criticism. As a history of Twain criticism, the book draws on English and foreign-language scholarship. Fulton discusses the forces and ideas that have influenced criticism, revealinghow and why Mark Twain has been "under fire" from the advent of his career to the present day, when his masterpiece Huckleberry Finn remains one of America's most frequently banned books. Joe B. Fulton is Professor of English at Baylor University in Waco, Texas. He has published four previous books on Mark Twain.Trade ReviewFulton gives an excellent account of the difficulties faced by nineteenth-century American scholars . . . who wanted both to establish American literature on strong 'native' ground yet struggled to recognize that ground in Calaveras County, or a Colorado silver mine, or on the banks of the Mississippi. * TLS *Table of ContentsIntroduction "A Reputation That Can Stand Fire": Mark Twain's Early Reception through 1910 "All Right, Then, I'll Go to Hell": Mark Twain's Disputed Legacy, 1910-1950 "Only One Right Form for a Story": Mark Twain and Cold War Criticism, 1950-1970 "Everyone Is a Moon, and Has a Dark Side": New Phases of Mark Twain Criticism from the 1970s through the 1980s "It Is Difference of Opinion That Makes Horse-Races": Mark Twain as a Partisan in the Culture Wars, 1990s to 2015 Conclusion Notes Works Cited Index

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Book SynopsisAn accessible and highly readable guide to the story of Melville criticism as it has developed over the past century and a half. Herman Melville is among the most thoroughly canonized authors in American literature, and the body of criticism dealing with his writing is immense. Until now, however, there has been no standard volume on the history of Melvillecriticism. That a volume on this subject is timely and important is shown by the number of introductions and companions to Melville's work that have been published during the last few years (none of which focuses on the criticalreception of Melville's works), as well as the steady stream of critical monographs and scholarly biographies that have been published on Melville since the 1920s. Melville's Mirrors provides Melville scholars and graduateand undergraduate students with an accessible guide to the story of Melville criticism as it has developed over the years. It is a valuable reference for research libraries and for the personal libraries of scholars of Melville and of nineteenth-century American literature in general, and it is also a potential textbook for major-author courses on Melville, which are offered at many universities. BRIAN YOTHERS is the Frances Spatz Leighton Endowed Distinguished Professor of English at the University of Texas at El Paso and associate editor of Leviathan: A Journal of Melville Studies. He is the author of Reading Abolition: The Critical Reception of Harriet Beecher Stowe and Frederick Douglass (Camden House, 2016).Trade ReviewYothers conducts [the] rather daunting task . . . of synthesizing the history of Melville criticism . . . with aplomb and successfully carries out his intention of creating a 'meaningful taxonomy of the various critical mirrors used to understand Melville's work.'. . . [T]his engaging and meticulously researched volume dedicated to the extensive field of Melville studies will be a useful text for scholars and reference libraries alike. * THE YEAR'S WORK IN ENGLISH STUDIES *Provides a useful guide to the overwhelming quantity of Melville studies produced in the last century and helps to demonstrate the utility of literary criticism for understanding and enriching the author's oeuvre. * AMERICAN LITERATURE *Of value to anyone wishing to get a purchase on critical approaches to Melville's work, the study is intriguing for its narrative form; Yothers becomes a disinterested Ishmael following scholars in their quest for Melville. The title and subtitle are appropriate because, as the author makes clear, Melville's work allows for a variety of critical perspectives and yet remains slightly beyond the critical moment. In an epilogue, Yothers highlights how Melville has moved from a figure of literary study to a cultural figure, making way for yet another future for Melville studies. * CHOICE *Melville, I think, would have appreciated the scope of Brian Yothers's recent book. With rigor and grace, Melville's Mirrors examines a topic as vast and seemingly ungraspable as Ishmael's snowy phantom: the history of Melville criticism from 1920 to 2010. . . . [This book is] the most comprehensive and judicious study of Melville scholarship to date. . . . Yothers weaves together a compelling guide to the major critical texts and trends. Yet the book's foremost contribution likely inheres in the deep history that it provides for contemporary scholarship. . . . [The] evolution [of interpretation] is slow and accumulative, but it is what makes possible the splendid critical resources we have today-to which this book is an invaluable contribution. * LEVIATHAN: A JOURNAL OF MELVILLE STUDIES *Table of ContentsAcknowledgments Preface to the Paperback Edition: Melville's Critical Reception at His Bicentennial References to Herman Melville's Works Introduction: Seeking Melville Defining Melville: The Melville Revival andBiographical and Textual Criticism Literary Aesthetics and the Visual Arts Melville's Beard I: Religion, Ethics, and Epistemology Melville's Beard II: Gender, Sexuality, and the Body Aspects of America: Democracy, Nationalism, and War "An Anacharsis Clootz Deputation": Race, Ethnicity,Empire, and Cosmopolitanism Epilogue: Encountering Melville Works Cited Index

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Book SynopsisTraces the career of the widely read cultural historian Johannes Scherr and his development of a new kind of historical writing for the increasingly globalized 19th-century world. The German nineteenth century saw a boom in publishing and reading that created opportunities not only for Dichter, creators of great literature, but also for Schriftsteller, authors of the second rank. Among the latter were cultural mediators who helped readers negotiate the ever-expanding galaxy of print. Few achieved greater prominence than Johannes Scherr, whose remarkable career as a critic, anthologist, and historian of German and world literature began in the turbulent Vormärz era and continued during years of exile in the unlikely setting of the Zurich Polytechnic. He wrote from the vantage point of Switzerland, but his books were published in Germany, where his polemical style found favor. Andrew Cusack's study traces the process of Scherr's literary socialization as mediator in the "contact zone" formed by the Kingdom of Württemberg and Switzerland, whose liberal project of Volksbildung inspired him. It considers how his liminal position between nations and between the humanities and the sciences led him to develop a form of historical authorship for the increasingly globalized nineteenth century. The book considers Scherr's engagement with the totalizing paradigms of cultural history and world literature and sets his pessimistic worldview in the context of the materialism and violent political agitation that threatened democratic values in Switzerland and elsewhere.Trade ReviewThis is a convincing study that - without any transfiguration - treats Scherr's accomplishments and weaknesses and also asks about his relevance for the present. It reads the cultural historian Scherr in terms of cultural history, for Cusack rejects a literary and scholarly writing that only follows the high crest of canonical authors and concepts and thereby passes over one-time bestselling authors like Scherr. It represents therefore, commendably, a scholarly-political concern, and positions itself against scholarship, as a form of high culture, itself only dealing with what was and is defined by it as high culture. -- Olaf Briese * ZEITSCHRIFT FÜR GERMANISTIK *Table of ContentsAcknowledgments Note on Translations and the Use of German Texts Introduction: The Success and Failure of Johannes Scherr Scherr's Liminality: Between Nations and Academic Cultures The Cultural Historian as Mediator Worlding German Literature Weltschmerz and Pessimism-Scherr's Old-Age Style Conclusion: Where Next for Scherr? Appendix: Overview of Essays in the Menschliche Tragikomödie Bibliography

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Book SynopsisThis book is a history of the nineteenth-century poetry of slavery and freedom framed as an argument about the nature of poetry itself: why we write it, why we read it, how it interacts with history. The poetry of the transatlantic abolitionist movement represented a powerful alliance across racial and religious boundaries; today it challenges the demarcation in literary studies between cultural and aesthetic approaches. Now is a particularly apt moment for its study. This book is a history of the nineteenth-century poetry of slavery and freedom framed as an argument about the nature of poetry itself: why we write it, why we read it, how it interacts with history. Poetry that speaks to a broad cross-section of society with moral authority, intellectual ambition, and artistic complexity mattered in the fraught years of the mid nineteenth century; Brian Yothers argues that it can and must matter today. Yothers examines antislavery poetry in light of recent work by historians, scholars in literary, cultural, and rhetorical studies, African-Americanists, scholars of race and gender studies, and theorists of poetics. That interdisciplinary sweep is mirrored by the range of writers he considers: from the canonical - Whitman, Barrett Browning, Beecher Stowe, DuBois, Melville - to those whose influence has faded - Longfellow, Lydia Huntley Sigourney, John Pierpont, John Greenleaf Whittier, James Russell Lowell - to African American writers whose work has been recovered in recent decades - James M. Whitfield, William Wells Brown, George Moses Horton, Frances E. W. Harper.Table of ContentsAcknowledgments List of Illustrations Introduction: Present Valor 1: Anglo-American Poetry, the Transatlantic Slave Trade, and the Haitian Revolution in United States Poetry 2: Antislavery Poetry in Public: George Moses Horton, John Pierpont, and Henry Wadsworth Longfellow 3: Witness against Slavery: John Greenleaf Whittier, William Wells Brown, and Lydia Huntley Sigourney 4: Present Valor and the Trauma of Slavery: James Russell Lowell and Elizabeth Barrett Browning 5: Frances E. W. Harper and Harriet Beecher Stowe: Preaching, Poetry, and Pedagogy 6: Aspects of America: James M. Whitfield, Herman Melville, and Walt Whitman Epilogue: W. E. B. DuBois and the Legacy of Antislavery Poetry Index

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Book SynopsisVolume 29 features articles on Anton Reiser; the legacies of German romanticism; Goethe's morphology and computational analysis; Goethe commemorations in Argentina; and Goethe's Weltliteratur in the context of trade with China, along with two special sections and the book review. Volume 29 features articles on Anton Reiser; the legacies and myths of German romanticism; Goethe's morphology as antecedent to computational analysis; on Goethe commemorations in Argentina; and a reconsideration of Goethe's Weltliteratur in the context of Handelsverkehr (trade) with China. Additionally, volume 29 features two special sections. The first commemorates an anniversary, Hölderlin's 250th birthday, with work devoted to "Reading and Exhibiting," compiled by Meike Werner. The other special section, on movement and edited by Heidi Schlipphacke, further explores research featured at MLA 2021 and revisits many questions of sentimentalism, visuality, and narration that are at the core of canon formation and eighteenth-century thresholds of modernity. As always, the book review section, edited by Sean Franzel, concludes the volume.Table of ContentsEditors' Preface Patricia Anne Simpson and Birgit Tautz "Hypochondria, Sentimental Friendship, and Same-Sex Desire in Anton Reiser" Edward Potter "The Witch in His Head: Rupturing the Patriarchal Discourse in Eichendorff's Ballad 'Waldgespräch'" Birgit A. Jensen "The Contemporary Legacy of Goethean Morphology: From Anschauende Urteilskraft to Algorithmic Pattern Recognition, Generation, and Exploration" Oriane Petteni "The Worldliness of Weltliteratur: Goethe's 'Handelsverkehr' between China and Weimar" Barry Murnane "Fleeting Hope in Foreboding Times: The 1932 Goethe Year in Argentina" Robert Kelz Special Section I: Hölderlin 2020 "Introduction Hölderlin 2020: Reading and Exhibiting" Meike Werner "Wie man Hölderlin in einer Ausstellung lesen kann" Heike Gfrereis "Die Saitenspiele ergossen sich über mein Innres": Hölderlin's Auditory Atmospheres Rolf Goebel "Eine andere Klarheit: Hölderlin, Philology, and the Idea of Rigor in Literary Study" James McFarland "Hölderlin's Hyperion as Eros: Between Symposiast and Hermit" Eleanor ter Horst "Articulate Precision and Ineffable Meaning in Hölderlin: A Commentary" Mark W. Roche Special Section II: "Movement" "Introduction: Movement and the Modern" Heidi Schlipphacke "Medien- und Emotionspolitik der Rührung: Rührung im Brief und auf der Bühne bei Christian Fürchtegott Gellert" Yulia Mevissen Discipline and Theatricality: Tableaux Vivants and the Vicissitudes of Movement in Goethe's Die Wahlverwandtschaften" Matthew Feminella "The Discovery of Self and Others Through Movement in Goethe's Lehrjahre and Wanderjahre" Susan Gustafson "'Was bedeutet die Bewegung?': Authorship as Movement in Goethe's West-östlicher Divan" Eleanor ter Horst Book Reviews Translations and Editions Monographs and Edited Volumes

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Book SynopsisThe Goethe Yearbook is a publication of the Goethe Society of North America, showcasing North American and international scholarship on Goethe and other authors and aspects of the late eighteenth and early nineteenth centuries. Volume 30 seeks to prompt discussion of new directions in eighteenth-century scholarship with special sections on Enlightenment legacies of race and on the robust scholarship that rethinks the eighteenth-century body beyond the human organism. Beyond the two special sections there are articles on Wieland's Alceste, several essays on sex and gender (e.g., on Goethe's Werther; on gender, genre, and authorship in La Roche and Goethe; and on continued gender bias in scholarship on the German eighteenth century), a co-authored article on Goethe's Roman elegies, and an article on performativity and gestures in Kleist. The customary book review section rounds out the volume.Table of ContentsEditors' Preface Patricia Anne Simpson and Birgit Tautz ESSAYS Wielands Singspiel Alceste, ein Stein des Anstoßes für Goethe? Hans Hahn Lotte's Bird, Female Desire, and the Language of 'Sexuality' in Leiden des jungen Werthers Carl Niekerk La Roche and Goethe: Gender, Genre, and Authorship Maryann Piel The Persistence of Bias in Eighteenth-Century Studies Margaretmary Daley Things of Art and Amor: Mediation in Goethe's Römische Elegien Sebastian Meixner and Carolin Rocks Reading Performatively: Disruptive Gestures in Heinrich von Kleist Katherine Pollock NEW DIRECTIONS Re-Examining (White) Enlightenment Legacies Through a German Lens Birgit Tautz and Patricia Anne Simpson Fractured Visions, New Horizons: Debates in Eighteenth-Century Studies Beyond German Studies Birgit Tautz Black Actors: Eighteenth-Century Cultures and Decolonial Fantasies Patricia Anne Simpson Interior Whiteness: Race and the "Rise of the Novel" Sarah V. Eldridge Racial Classification, Slavery, and Human Rights: The Impacts of the Transatlantic Order in Eighteenth-Century Germany Sigrid Köhler and Claudia Nitzschke FORUM Unexpected Bodies in the Eighteenth Century Introduction and Select Bibliography Patricia Anne Simpson and Birgit Tautz Mind over Body? Stigma, Staring, and the Self Anna C. Spafford Unexpected Bodies of Water: On the "Blue" Goethezeit Benjamin D. Schluter Queering Material Nature: Bewitched Bodies and the Limits of the Enlightenment Melissa Sheedy Plants as Unexpected Bodies Heather Sullivan Euphorion as an Aesthetic Body Heidi Grek Book Reviews

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Book SynopsisIn writing about Adventures of Huckleberry Finn on the 100th anniversary of its 1885 publication, Henry Nash Smith remarked that the novel ""made vernacular language, with its new sources of pleasure and new energy, available for American prose and poetry in the twentieth century."" This volume of essays examines what made this vernacular so groundbreaking, as well as the controversy that still surrounds one of the first Great American novels.Each essay is 2,500 to 5,000 words in length, and all essays conclude with a list of ""Works Cited,"" along with endnotes. Finally, the volume's appendixes offer a section of useful reference resources: About This Volume Critical Context: Original Introductory Essays Critical Readings: Original In-Depth Essays Further Readings Detailed Bibliography Detailed Bio of the Editor General Subject Index

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Book SynopsisJada Ach's scholarship in Sand, Water, Salt: Managing the Elements in Literature of the American West, 1880–1925 seeks to reevaluate the Progressive Era's environmental legacy. Taking an ecocritical approach to turn-of-the-century literature set in the American West, Ach interrogates texts by asking what kinds of environmental, national, and cultural stories the elements have to tell about land and oceanic management. Sand, Water, Salt investigates managerial engagements with dynamic ecologies in three particular Western environments: the arid deserts, the semiarid high plains, and the Pacific Ocean.At different times, and to varying degrees, Americans have deemed these environments economically unproductive, incompatible with Anglo-American settlement, and/or highly unmanageable. Despite these varied complaints, the United States has also intensely desired these "wasteland" spaces, perceiving them as sources of both national wealth and elite pleasure. Sand, Water, Salt moves through a variety of novels, memoirs, and cultural artifacts from the 1880s to the 1920s, including L. Frank Baum's The Wonderful Wizard of Oz, Frank Norris's McTeague, Mary Hunter Austin's The Land of Little Rain, The Virginian by Owen Wister, Life among the Piutes by Sarah Winnemucca, as well as Jack London's The Sea-Wolf and Yone Noguchi's The American Diary of a Japanese Girl. Ach ultimately asks what we gain by looking back at fin-de-siècle American literature with a queer, ecological justice-oriented eye, a particularly invigorating conversation that uniquely uses the elements as foci.

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Book SynopsisThe Global Wordsworth charts the travels of William Wordsworth’s poetry around the English-speaking world. But, as Katherine Bergren shows, Wordsworth’s afterlives reveal more than his influence on other writers; his appearances in novels and essays from the antebellum U.S. to post-Apartheid South Africa change how we understand a poet we think we know. Bergren analyzes writers like Jamaica Kincaid, J. M. Coetzee, and Lydia Maria Child who plant Wordsworth in their own writing and bring him to life in places and times far from his own—and then record what happens. By working beyond narratives of British influence, Bergren highlights a more complex dynamic of international response, in which later writers engage Wordsworth in conversations about slavery and gardening, education and daffodils, landscapes and national belonging. His global reception—critical, appreciative, and ambivalent—inspires us to see that Wordsworth was concerned not just with local, English landscapes and people, but also with their changing place in a rapidly globalizing world. This study demonstrates that Wordsworth is not tangential but rather crucial to our understanding of Global Romanticism. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"One aspect of Wordsworth’s poetry that has survived generations of revisionary scholarship is its sense of place. Katherine Bergren’s mildly shocking case for Wordsworth 'sense of planet' operates through patient and innovative readings of three writers 'repurposing' Wordsworth’s writings—a repurposing that in its turn reveals an entirely more worldly and global Wordsworth. Meticulously situating these intertextual encounters in the context of discussions of postcoloniality, transatlantic mobility, and ecocritical belonging, The Global Wordsworth updates a romantic worldliness we have only just begun to read." -- Pieter Vermeulen * author of Romanticism after the Holocaust *"A model of academic excellence, this literary study of William Wordsworth upon various cultures around the world is an extraordinarily informative and thought-provoking read." * Midwest Book Review *"Recommended." * Choice *"Beautifully written, equally attentive to Romanticism and its afterlives, this book is essential reading for anyone interested in Romanticism and its legacies, whether scholarly or general readers. It offers a genuinely original perspective on Wordsworth and his works, without insisting on the privilege of canonicity." * Review 19 *"The methodology of the Global Wordsworth is exciting and innovative and will have much to offer readers interested in understanding better the ways in which Romanticism might be deployed in a colonial or settler context....[T]he vision of Romanticism, and of Wordsworth, that emerges in Bergren’s book is more nuanced and indeed more 'worldly' than the one to which we have become accustomed." * European Romantic Review *"One aspect of Wordsworth’s poetry that has survived generations of revisionary scholarship is its sense of place. Katherine Bergren’s mildly shocking case for Wordsworth 'sense of planet' operates through patient and innovative readings of three writers 'repurposing' Wordsworth’s writings—a repurposing that in its turn reveals an entirely more worldly and global Wordsworth. Meticulously situating these intertextual encounters in the context of discussions of postcoloniality, transatlantic mobility, and ecocritical belonging, The Global Wordsworth updates a romantic worldliness we have only just begun to read." -- Pieter Vermeulen * author of Romanticism after the Holocaust *"A model of academic excellence, this literary study of William Wordsworth upon various cultures around the world is an extraordinarily informative and thought-provoking read." * Midwest Book Review *"Recommended." * Choice *"Beautifully written, equally attentive to Romanticism and its afterlives, this book is essential reading for anyone interested in Romanticism and its legacies, whether scholarly or general readers. It offers a genuinely original perspective on Wordsworth and his works, without insisting on the privilege of canonicity." * Review 19 *"The methodology of the Global Wordsworth is exciting and innovative and will have much to offer readers interested in understanding better the ways in which Romanticism might be deployed in a colonial or settler context....[T]he vision of Romanticism, and of Wordsworth, that emerges in Bergren’s book is more nuanced and indeed more 'worldly' than the one to which we have become accustomed." * European Romantic Review *Table of ContentsIllustrations ... ivAbbreviations ... vii Introduction ... 1 One The Global Routes of Daffodils ... 37 Two Landscape Pedagogy in J. M. Coetzee, The Prelude, and the Lucy Poems ... 74 Three Globalizing England: Lydia Maria Child and The Excursion ... 147 Four Localism Unrooted: Jamaica Kincaid and the Guide to the Lakes ... 221 Conclusion ... 282Acknowledgments ... 291Bibliography ... 293Index ... 321About the Author ... 322

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Book SynopsisLenora Warren tells a new story about the troubled history of abolition and slave violence by examining representations of shipboard mutiny and insurrection in late eighteenth- and early nineteenth-century Anglo-American and American literature. Fire on the Water centers on five black sailors, whose experiences of slavery and insurrection either inspired or found resonance within fiction: Olaudah Equiano, Denmark Vesey, Joseph Cinqué, Madison Washington, and Washington Goode. These stories of sailors, both real and fictional, reveal how the history of mutiny and insurrection is both shaped by, and resistant to, the prevailing abolitionist rhetoric surrounding the efficacy of armed rebellion as a response to slavery. Pairing well-known texts with lesser-known figures (Billy Budd and Washington Goode) and well-known figures with lesser-known texts (Denmark Vesey and the work of John Howison), this book reveals the richness of literary engagement with the politics of slave violence. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"This book shows Lenora Warren working fluidly across US literary studies, African American studies and the literature of the African diaspora, Atlantic history, oceanic studies, and colonial and Early Republic literature. The book's topic is superb: the role of black sailors, particularly enslaved or emancipated black sailors, has been woefully understudied (other than the historiographic work of Jeffrey Bolster in Black Jacks or the articles of Charles Foy). In locating both revolutionary potential and abolitionist inspiration in the insurrectionary activity of black sailors, Warren provides a fresh, exciting new unit of analysis for scholars and students of American literary history. I cannot stress enough how vital and necessary the topic is, and how overlooked it has been." -- Hester Blum * Pennsylvania State University and President of the Society of Nineteenth-Century Americanists *"New Books Network - New Books in History" podcast interview with Lenora Warren https://newbooksnetwork.com/lenora-warren-fire-on-the-water-sailors-slaves-and-insurrection-in-early-american-literature-1789-1886-rutgers-up-2019/ * New Books Network *"Recommended." * Choice *"Readers will find Fire on the Water an important contribution to the study of slavery and abolitionism. Moreover, this book also makes major contributions to Black Atlantic studies and to maritime and oceanic studies at large. Scholars working in these fields will find Warren’s book essential reading. They will also find the book’s clarity and concision impressive. Fire on the Water will teach well in both the undergraduate and graduate classrooms." * ALH Online Review *"An enjoyable, thought-provoking, and very rich book, which succeeds in the remarkable feat of adding an original voice to the study of several already well-rehearsed topics. Aimed primarily at literary scholars, it can also be of value for cultural and intellectual historians." * H-Net *"This work can help scholars have more complicated conversations about abolitionist rhetoric’s role in silencing enslaved people and what impact that silencing continues to have on our understanding of Black experiences." * Early American Literature *"This book shows Lenora Warren working fluidly across US literary studies, African American studies and the literature of the African diaspora, Atlantic history, oceanic studies, and colonial and Early Republic literature. The book's topic is superb: the role of black sailors, particularly enslaved or emancipated black sailors, has been woefully understudied (other than the historiographic work of Jeffrey Bolster in Black Jacks or the articles of Charles Foy). In locating both revolutionary potential and abolitionist inspiration in the insurrectionary activity of black sailors, Warren provides a fresh, exciting new unit of analysis for scholars and students of American literary history. I cannot stress enough how vital and necessary the topic is, and how overlooked it has been." -- Hester Blum * Pennsylvania State University and President of the Society of Nineteenth-Century Americanists *"New Books Network - New Books in History" podcast interview with Lenora Warren https://newbooksnetwork.com/lenora-warren-fire-on-the-water-sailors-slaves-and-insurrection-in-early-american-literature-1789-1886-rutgers-up-2019/ * New Books Network *"Recommended." * Choice *"Readers will find Fire on the Water an important contribution to the study of slavery and abolitionism. Moreover, this book also makes major contributions to Black Atlantic studies and to maritime and oceanic studies at large. Scholars working in these fields will find Warren’s book essential reading. They will also find the book’s clarity and concision impressive. Fire on the Water will teach well in both the undergraduate and graduate classrooms." * ALH Online Review *"An enjoyable, thought-provoking, and very rich book, which succeeds in the remarkable feat of adding an original voice to the study of several already well-rehearsed topics. Aimed primarily at literary scholars, it can also be of value for cultural and intellectual historians." * H-Net *"This work can help scholars have more complicated conversations about abolitionist rhetoric’s role in silencing enslaved people and what impact that silencing continues to have on our understanding of Black experiences." * Early American Literature *Table of Contents Illustrations Introduction 1 Witness to the Atrocities: Olaudah Equiano, Thomas Clarkson, and the Abolition of the Slave Trade 2 Denmark Vesey, John Howison, and Revolutionary Possibility 3 Joseph Cinqué, The Amistad Mutiny and Revolutionary Whitewashing 4 The Black and White Sailor: Melville’s Billy Budd, Sailor and the Case of Washington Goode Coda Acknowledgments Bibliography Index About the Author

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Book SynopsisAround 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of Dichter und Denker. Goethe, Jean Paul, and Hegel (among many others) used the preface in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving in authors from Antiquity to Agamben, Williams shows how European–and, above all, German–Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"a study of tremendous academic rigor with original insights. it shows deep knowledge of both eighteenth- and nineteenth-century German literature and philosophy and the many conversations in contemporary literary studies pertaining to them.it is an achievement in scholarship pertaining to the age of Goethe, romanticism, and literary studies at large."— The German Quarterly "Recommended."— Choice "Pretexts for Writing discusses the history of the literary and philosophical self-authored preface in the German speaking world around 1800 with an intensity and analytical depth previously unachieved in scholarship."— Till Dembeck, University of Luxembourg "This debut book, in short, contains much that is scintillant and surely announces the arrival of an important new scholarly voice in Germanistik."— Modern Language Review "Pretexts for Writing is an insightful, original, and persuasive work—compelling pretexts for reading." — Goethe Yearbook "This book is perceptive, timely, and ambitious: perceptive in that it zeroes in on serious gaps in research, the exploration of which may alter our views of eighteenth-century German literature."— Lessing Yearbook/Jahrbuch XLVIIITable of Contents Abbreviations ... v A Note on Translations... vi Introduction: What Prefaces Are Not: Pedantic Notes ... 1 Historical Context and Precedent Paratextual Theory and Textual Autonomy Rhetorical Caesura: Comprehending Romanticism Writing to Write 1 Goethe: A Playful and Resistive Set of Preface Strategies ... 66 Zero Prefaces Ambiguous Prefaces Poetic Prefaces Embedded Prefaces Belated Prefaces A Hypertrophic Preface 2 Jean Paul: Autoprefacing ... 144 Baroque Beginnings: The Preface as Brow, Morsel, and Porch Reviewers and Readers Writers and Preface-Writers Prefatory Procrastination and Textual Foreplay The Logic of Length; Or, Digressive Fragmentation Countering Captatio Benevolentiae? Beyond Eloquence Conclusion: Preface to Prefatorial Philosophy (and Theory) 3 Hegel: Prefatorial Polemic Becomes Philosophy ... 237 Starting with Sterne? Literature and Philosophy around 1800 Descriptive Induction versus Performative Prefacing A New Style of Preface Sublation of Conventional Prefatory Content A Superior Preface Philosophical and Rhetorical Preface Paradigms Post-Structuralist Postscript Conclusion... 311 Acknowledgements ... 328 Bibliography ... 330 Index ... 371 About the Author ... 372

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Book SynopsisIn the Andes, indigenous knowledge systems based on the relationships between different beings, both earthly and heavenly, animal and plant, have been central to the organization of knowledge since precolonial times. The legacies of colonialism and the continuance of indigenous cultures make the Andes a unique place from which to think about art and social change as ongoing, and as encompassing more than an exclusively human perspective. Beyond Human revises established readings of the avant-gardes in Peru and Bolivia as humanizing and historical. By presenting fresh readings of canonical authors like César Vallejo, José María Arguedas, and Magda Portal, and through analysis of newer artist-activists like Julieta Paredes, Mujeres Creando Comunidad, and Alejandra Dorado, Daly argues instead that avant-gardes complicate questions of agency and contribute to theoretical discussions on vital materialisms: the idea that life happens between animate and inanimate beings—human and non-human—and is made sensible through art. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"From the pedagogical perspective, Beyond Human is teachable in its entirety in a course on Latin-American Vanguards or on the cultural production in the Andean region. The chapters can also be used as stand-alone material on the five intellectuals discussed in the book."— Bulletin of Spanish Studies "In recent years, a critical reevaluation of the avant-garde movements and their legacy has been taking place in Latin American literary and cultural studies. Beyond Human offers an innovative contribution to the understanding of the avant-garde and its legacy in the Andean region. With an approach that combines political philosophy and ecocriticism with current debates about the “'new materialism,” Tara Daly proposes a pluralistic view of avant-garde Andean arts, and argues that their uniqueness within the broad panorama of twentieth-century Vanguardisms centers on their reorientations of the multiple relationships among humans and the natural world, partly inspired by the indigenous cultures of the Americas. Cutting through the mainly sociopolitical readings that have traditionally been applied to the Andean avant-garde, Daly argues compellingly that these artistic movements are best understood in terms of a 'vitalistic materialism' that sought to establish a uniquely Andean middle way between capitalist commodification and Marxist utopianism."— Aníbal González, Yale University "Recommended."— Choice "Beyond Human offers an important reading that adds to ongoing discussions of new materialism....[A] very interesting book that proposes a fresh reading of materiality in the Andes."— Hispanic ReviewTable of Contents Illustrations ... vi A Note on Translations... vii Introduction: Revitalizing the Andean Avant-Gardes ... 1 1 César Vallejo’s Lithic Poetry: Stones as Material Guides ... 53 2 Alejandra Dorado’s Installation Art: Material Transmutations in Contemporary Cochabamba ... 111 3 José María Arguedas’s 1960s: The Air as Space of Material Encounters ... 157 4 Mujeres Creando Comunidad: Communitarian Feminisms from the Bolivian Soil ... 199 5 Magda Portal’s Bare Life in the Sea ... 245 Conclusion: New Material Orientations in the Andes and Beyond ... 300 Acknowledgments ... 311 Bibliography ... 314 Index ... 342 About the Author ... 343

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Book SynopsisIn the Andes, indigenous knowledge systems based on the relationships between different beings, both earthly and heavenly, animal and plant, have been central to the organization of knowledge since precolonial times. The legacies of colonialism and the continuance of indigenous cultures make the Andes a unique place from which to think about art and social change as ongoing, and as encompassing more than an exclusively human perspective. Beyond Human revises established readings of the avant-gardes in Peru and Bolivia as humanizing and historical. By presenting fresh readings of canonical authors like César Vallejo, José María Arguedas, and Magda Portal, and through analysis of newer artist-activists like Julieta Paredes, Mujeres Creando Comunidad, and Alejandra Dorado, Daly argues instead that avant-gardes complicate questions of agency and contribute to theoretical discussions on vital materialisms: the idea that life happens between animate and inanimate beings—human and non-human—and is made sensible through art. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"In recent years, a critical reevaluation of the avant-garde movements and their legacy has been taking place in Latin American literary and cultural studies. Beyond Human offers an innovative contribution to the understanding of the avant-garde and its legacy in the Andean region. With an approach that combines political philosophy and ecocriticism with current debates about the “'new materialism,” Tara Daly proposes a pluralistic view of avant-garde Andean arts, and argues that their uniqueness within the broad panorama of twentieth-century Vanguardisms centers on their reorientations of the multiple relationships among humans and the natural world, partly inspired by the indigenous cultures of the Americas. Cutting through the mainly sociopolitical readings that have traditionally been applied to the Andean avant-garde, Daly argues compellingly that these artistic movements are best understood in terms of a 'vitalistic materialism' that sought to establish a uniquely Andean middle way between capitalist commodification and Marxist utopianism." -- Aníbal González * Yale University *"Recommended." * Choice *"From the pedagogical perspective, Beyond Human is teachable in its entirety in a course on Latin-American Vanguards or on the cultural production in the Andean region. The chapters can also be used as stand-alone material on the five intellectuals discussed in the book." * Bulletin of Spanish Studies *"Beyond Human offers an important reading that adds to ongoing discussions of new materialism....[A] very interesting book that proposes a fresh reading of materiality in the Andes." * Hispanic Review *"In recent years, a critical reevaluation of the avant-garde movements and their legacy has been taking place in Latin American literary and cultural studies. Beyond Human offers an innovative contribution to the understanding of the avant-garde and its legacy in the Andean region. With an approach that combines political philosophy and ecocriticism with current debates about the “'new materialism,” Tara Daly proposes a pluralistic view of avant-garde Andean arts, and argues that their uniqueness within the broad panorama of twentieth-century Vanguardisms centers on their reorientations of the multiple relationships among humans and the natural world, partly inspired by the indigenous cultures of the Americas. Cutting through the mainly sociopolitical readings that have traditionally been applied to the Andean avant-garde, Daly argues compellingly that these artistic movements are best understood in terms of a 'vitalistic materialism' that sought to establish a uniquely Andean middle way between capitalist commodification and Marxist utopianism." -- Aníbal González * Yale University *"Recommended." * Choice *"From the pedagogical perspective, Beyond Human is teachable in its entirety in a course on Latin-American Vanguards or on the cultural production in the Andean region. The chapters can also be used as stand-alone material on the five intellectuals discussed in the book." * Bulletin of Spanish Studies *"Beyond Human offers an important reading that adds to ongoing discussions of new materialism....[A] very interesting book that proposes a fresh reading of materiality in the Andes." * Hispanic Review *Table of Contents Illustrations ... viA Note on Translations... vii Introduction: Revitalizing the Andean Avant-Gardes ... 1 1 César Vallejo’s Lithic Poetry: Stones as Material Guides ... 53 2 Alejandra Dorado’s Installation Art: Material Transmutations in Contemporary Cochabamba ... 111 3 José María Arguedas’s 1960s: The Air as Space of Material Encounters ... 157 4 Mujeres Creando Comunidad: Communitarian Feminisms from the Bolivian Soil ... 199 5 Magda Portal’s Bare Life in the Sea ... 245 Conclusion: New Material Orientations in the Andes and Beyond ... 300Acknowledgments ... 311Bibliography ... 314Index ... 342About the Author ... 343

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Book SynopsisNovel Bodies examines how disability shapes the British literary history of sexuality. Jason Farr shows that various eighteenth-century novelists represent disability and sexuality in flexible ways to reconfigure the political and social landscapes of eighteenth-century Britain. In imagining the lived experience of disability as analogous to—and as informed by—queer genders and sexualities, the authors featured in Novel Bodies expose emerging ideas of able-bodiedness and heterosexuality as interconnected systems that sustain dominant models of courtship, reproduction, and degeneracy. Further, Farr argues that they use intersections of disability and queerness to stage an array of contemporaneous debates covering topics as wide-ranging as education, feminism, domesticity, medicine, and plantation life. In his close attention to the fiction of Eliza Haywood, Samuel Richardson, Sarah Scott, Maria Edgeworth, and Frances Burney, Farr demonstrates that disabled and queer characters inhabit strict social orders in unconventional ways, and thus opened up new avenues of expression for readers from the eighteenth century forward. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"While eighteenth-century scholars are familiar with most of these works, Farr reorients our understanding of how disability and sexuality are inextricably linked and how these intersecting categories shape the novel’s form and content....[B]y expanding the definition of disability beyond impairment, Farr deftly makes concrete and comprehensible the degree to which the early novel engages with variably-embodied subjectivity and non-normative desire in inextricable ways that anticipate its own futurity into the present time."— Eighteenth-Century Fiction (2021 issue) "Novel Bodies: Disability and Sexuality in Eighteenth-Century British Literature inhabits the fascinating messiness of Georgian-era literary imaginings of corporeal and sexual difference in order to better historicize disability’s formative role in the development of the modern self and its queer relationship to able-bodiedness."— Journal of Literary and Cultural Disability Studies “Jason Farr’s Novel Bodies is a rigorously argued and elegantly written account of how eighteenth-century fiction represented the interrelations of sexuality and disability. As Farr persuasively demonstrates, within the pages of both canonical and noncanonical works, queer disability emerges as a narrative force that troubles our understanding of what it means to be ‘normal’ and ‘able-bodied.’ Novel Bodies is an important contribution to disability studies, queer studies, and, more generally, the history of the novel.”— Paul Kelleher, Emory University "This is an important first book that will establish Farr as a major voice in queer and disability studies. Across the manuscript, each chapter is firmly connected to those that precede and follow it. In Novel Bodies, Farr illustrates the centrality of queerness, disease, illness, and impairment to the history of the British novel, the gothic novel, and the long eighteenth century more generally; beyond that, he advances queer studies in significant and compelling ways by advocating inclusive, intersectional analysis."— Aphra Behn Online "This sensitive studies convincingly demonstrates just how ubiquitous is the eighteenth-century novel's engagement with the queer implications of disability, showing how disabled characters mark out alternative possibilities." — Eighteenth-Century Fiction "Farr’s framework, which further upholds form, content, and eighteenth-century social justice assuredly feels like one trajectory forward. In short, for those looking for a model in how to do intersectional work well in the eighteenth century, Novel Bodies fits the bill."— Studies in the Novel "Farr shows such sanctified realms to be under constant disturbance by figures who do not, will not, cannot conform, and whose resistance signals alternate realities to the ones novels try to sustain."— Digital Defoe " Novel Bodies makes a thrilling foray into a number of critical conversations. Its readability reflects Farr's careful articulation of the relation of each chapter to the others and to his primary argument. Scholars of British literature will benefit from Novel Bodies' new perspective on several canonical authors, while scholars of American literature might turn to it to consider how the representations of, and responses to, disability and queerness on which it focuses might have crossed the Atlantic, where many of these works were being read and discussed."— Eighteenth Century Studies “In this extremely lucid, well-researched, and well argued book, Farr uncovers a vast representational landscape of queer disability in which the heteronormative narratives of eighteenth-century fiction are profoundly imbricated and to which they are indebted.”— Helen Deutsch, UCLA "Novel Bodies raises an important intersection that clearly needs more careful attention from our scholarly community: race, sexuality, and disability....Novel Bodies succeeds in the story it wants to tell....By attending to representations of corporealities and sexualities that seem liberating, oppressive, recuperative, and resistant, Farr renders the genealogy of sex and disability in a way that challenges those consequences of the Enlightenment that we are still wrestling with today."— Eighteenth-Century FictionTable of ContentsList of Illustrations Introduction: Disability and the Literary History of Sexuality 1 Deaf Education and Queerness in the Duncan Campbell Compendium (1720-1732) 2 The Reforming Bodies of Samuel Richardson’s Pamela (1740) and Sarah Scott’s Fiction (1754-66) 3 Chronic Illness, Medicine, and the Healthy Marriages of Tobias Smollett’s The Expedition of Humphry Clinker (1771) 4 Gendered Disfigurement and Queer Ocular Relations in Frances Burney’s Camilla (1796) and Maria Edgeworth’s Belinda (1801) Coda: Hypochondria and the Implausibility of Heterosexual Romance in Jane Austen’s Sanditon (1817) Acknowledgments Bibliography Index

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Book SynopsisThis book makes the argument that Machado de Assis, hailed as one of Latin American literature’s greatest writers, was also a major theoretician of the modern novel form. Steeped in the works of Western literature and an imaginative reader of French Symbolist poetry, Machado creates, between 1880 and 1908, a “new narrative,” one that will presage the groundbreaking theories of Swiss linguist Ferdinand de Saussure by showing how even the language of narrative cannot escape being elusive and ambiguous in terms of meaning. It is from this discovery about the nature of language as a self-referential semiotic system that Machado crafts his “new narrative.” Long celebrated in Brazil as a dazzlingly original writer, Machado has struggled to gain respect and attention outside the Luso-Brazilian ken. He is the epitome of the “outsider” or “marginal,” the iconoclastic and wildly innovative genius who hails from a culture rarely studied in the Western literary hierarchy and so consigned to the status of “eccentric.” Had the Brazilian master written not in Portuguese but English, French, or German, he would today be regarded as one of the true exemplars of the modern novel, in expression as well as in theory. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"Earl E. Fitz advances the question of language as key to innovation and modernity in the mature works of Machado de Assis. Fitz attributes his departure from realism to a new awareness of the mutability, instability, self-referentiality and inescapable ambiguity of language in relation to meaning. What the novels are really about is not what they seem." -- K. David Jackson * Yale University *Is Machado de Assis a theoretician of the novel? Earl Fitz’s book is a fascinating response to such a question. In this exciting journey through the writer’s late novels, we learn that Machado didn’t tell us what he was thinking; differently, he showed us the very act of thinking through language. It’s worth reading: Fitz’s passion for Machado is contagious. -- Pedro Meira Monteiro, Arthur W. Marks ’19 Professor of Spanish and Portuguese * Princeton University *"A masterwork of original and seminal scholarship that rescues a critically important Latin American writer from an undeserved obscurity." * Midwest Book Review *"Earl Fitz’s book should be appreciated as a complement to the many other excellent studies of Machado’s relation to a plentiful external landscape. Lest we become overly confident about our ability to know these realities, we should pause and, considering perspectives like those of this book, clean our glasses." * Journal of Lusophone Studies *"Fitz’s study provides a strong argument for why scholars interested in narrative theory and form should give, if not renewed, then new attention to the work of Machado de Assis." * Bulletin of Spanish Studies *"[A] passionate and convincingly argued monograph...Fitz’s study makes a vital contribution to Machadoan criticism in that it highlights, perhaps more clearly, more forcefully, and in more detail than previously offered, the holistic view Machado came to embrace of narrative as a dynamic confluence of unstable signs capable of creating seemingly stable realities." * Hispania *"Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, otherwise, remain regrettably off the radar even among many in academia." * Hispanic Review *"Earl E. Fitz advances the question of language as key to innovation and modernity in the mature works of Machado de Assis. Fitz attributes his departure from realism to a new awareness of the mutability, instability, self-referentiality and inescapable ambiguity of language in relation to meaning. What the novels are really about is not what they seem." -- K. David Jackson * Yale University *Is Machado de Assis a theoretician of the novel? Earl Fitz’s book is a fascinating response to such a question. In this exciting journey through the writer’s late novels, we learn that Machado didn’t tell us what he was thinking; differently, he showed us the very act of thinking through language. It’s worth reading: Fitz’s passion for Machado is contagious. -- Pedro Meira Monteiro, Arthur W. Marks ’19 Professor of Spanish and Portuguese * Princeton University *"A masterwork of original and seminal scholarship that rescues a critically important Latin American writer from an undeserved obscurity." * Midwest Book Review *"Earl Fitz’s book should be appreciated as a complement to the many other excellent studies of Machado’s relation to a plentiful external landscape. Lest we become overly confident about our ability to know these realities, we should pause and, considering perspectives like those of this book, clean our glasses." * Journal of Lusophone Studies *"Fitz’s study provides a strong argument for why scholars interested in narrative theory and form should give, if not renewed, then new attention to the work of Machado de Assis." * Bulletin of Spanish Studies *"[A] passionate and convincingly argued monograph...Fitz’s study makes a vital contribution to Machadoan criticism in that it highlights, perhaps more clearly, more forcefully, and in more detail than previously offered, the holistic view Machado came to embrace of narrative as a dynamic confluence of unstable signs capable of creating seemingly stable realities." * Hispania *"Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, otherwise, remain regrettably off the radar even among many in academia." * Hispanic Review *Table of ContentsAbbreviations .. ivA Note on Translations... v Introduction ... 1 One - The Posthumous Memoirs of Brás Cubas ... 95 Two - The Psychiatrist ... 132 Three - Quincas Borba ... 169 Four - Dom Casmurro ... 196 Five - Esau and Jacob ... 235 Six - Counselor Ayres Memorial ... 260 Conclusion ... 283Acknowledgements ... 310Bibliography ... 311Index ... 324About the Author ... 325

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Book SynopsisThis book makes the argument that Machado de Assis, hailed as one of Latin American literature’s greatest writers, was also a major theoretician of the modern novel form. Steeped in the works of Western literature and an imaginative reader of French Symbolist poetry, Machado creates, between 1880 and 1908, a “new narrative,” one that will presage the groundbreaking theories of Swiss linguist Ferdinand de Saussure by showing how even the language of narrative cannot escape being elusive and ambiguous in terms of meaning. It is from this discovery about the nature of language as a self-referential semiotic system that Machado crafts his “new narrative.” Long celebrated in Brazil as a dazzlingly original writer, Machado has struggled to gain respect and attention outside the Luso-Brazilian ken. He is the epitome of the “outsider” or “marginal,” the iconoclastic and wildly innovative genius who hails from a culture rarely studied in the Western literary hierarchy and so consigned to the status of “eccentric.” Had the Brazilian master written not in Portuguese but English, French, or German, he would today be regarded as one of the true exemplars of the modern novel, in expression as well as in theory. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"Earl E. Fitz advances the question of language as key to innovation and modernity in the mature works of Machado de Assis. Fitz attributes his departure from realism to a new awareness of the mutability, instability, self-referentiality and inescapable ambiguity of language in relation to meaning. What the novels are really about is not what they seem." -- K. David Jackson * Yale University *Is Machado de Assis a theoretician of the novel? Earl Fitz’s book is a fascinating response to such a question. In this exciting journey through the writer’s late novels, we learn that Machado didn’t tell us what he was thinking; differently, he showed us the very act of thinking through language. It’s worth reading: Fitz’s passion for Machado is contagious. -- Pedro Meira Monteiro, Arthur W. Marks ’19 Professor of Spanish and Portuguese * Princeton University *"A masterwork of original and seminal scholarship that rescues a critically important Latin American writer from an undeserved obscurity." * Midwest Book Review *"Earl Fitz’s book should be appreciated as a complement to the many other excellent studies of Machado’s relation to a plentiful external landscape. Lest we become overly confident about our ability to know these realities, we should pause and, considering perspectives like those of this book, clean our glasses." * Journal of Lusophone Studies *"Fitz’s study provides a strong argument for why scholars interested in narrative theory and form should give, if not renewed, then new attention to the work of Machado de Assis." * Bulletin of Spanish Studies *"[A] passionate and convincingly argued monograph...Fitz’s study makes a vital contribution to Machadoan criticism in that it highlights, perhaps more clearly, more forcefully, and in more detail than previously offered, the holistic view Machado came to embrace of narrative as a dynamic confluence of unstable signs capable of creating seemingly stable realities." * Hispania *"Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, otherwise, remain regrettably off the radar even among many in academia." * Hispanic Review *"Earl E. Fitz advances the question of language as key to innovation and modernity in the mature works of Machado de Assis. Fitz attributes his departure from realism to a new awareness of the mutability, instability, self-referentiality and inescapable ambiguity of language in relation to meaning. What the novels are really about is not what they seem." -- K. David Jackson * Yale University *Is Machado de Assis a theoretician of the novel? Earl Fitz’s book is a fascinating response to such a question. In this exciting journey through the writer’s late novels, we learn that Machado didn’t tell us what he was thinking; differently, he showed us the very act of thinking through language. It’s worth reading: Fitz’s passion for Machado is contagious. -- Pedro Meira Monteiro, Arthur W. Marks ’19 Professor of Spanish and Portuguese * Princeton University *"A masterwork of original and seminal scholarship that rescues a critically important Latin American writer from an undeserved obscurity." * Midwest Book Review *"Earl Fitz’s book should be appreciated as a complement to the many other excellent studies of Machado’s relation to a plentiful external landscape. Lest we become overly confident about our ability to know these realities, we should pause and, considering perspectives like those of this book, clean our glasses." * Journal of Lusophone Studies *"Fitz’s study provides a strong argument for why scholars interested in narrative theory and form should give, if not renewed, then new attention to the work of Machado de Assis." * Bulletin of Spanish Studies *"[A] passionate and convincingly argued monograph...Fitz’s study makes a vital contribution to Machadoan criticism in that it highlights, perhaps more clearly, more forcefully, and in more detail than previously offered, the holistic view Machado came to embrace of narrative as a dynamic confluence of unstable signs capable of creating seemingly stable realities." * Hispania *"Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, otherwise, remain regrettably off the radar even among many in academia." * Hispanic Review *Table of ContentsAbbreviations .. ivA Note on Translations... v Introduction ... 1 One - The Posthumous Memoirs of Brás Cubas ... 95 Two - The Psychiatrist ... 132 Three - Quincas Borba ... 169 Four - Dom Casmurro ... 196 Five - Esau and Jacob ... 235 Six - Counselor Ayres Memorial ... 260 Conclusion ... 283Acknowledgements ... 310Bibliography ... 311Index ... 324About the Author ... 325

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Book SynopsisPublished in 1719, Defoe’s Robinson Crusoe is one of those extraordinary literary works whose importance lies not only in the text itself but in its persistently lively afterlife. German author Johann Gottfried Schnabel—who in 1731 penned his own island narrative—coined the term “Robinsonade” to characterize the genre bred by this classic, and today hundreds of examples can be identified worldwide. This celebratory collection of tercentenary essays testifies to the Robinsonade’s endurance, analyzing its various literary, aesthetic, philosophical, and cultural implications in historical context. Contributors trace the Robinsonade’s roots from the eighteenth century to generic affinities in later traditions, including juvenile fiction, science fiction, and apocalyptic fiction, and finally to contemporary adaptations in film, television, theater, and popular culture. Taken together, these essays convince us that the genre’s adapt- ability to changing social and cultural circumstances explains its relevance to this day. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"An impressively ambitious and comprehensive collection of essays on Robinsonades." -- John Richetti * editor of the Cambridge Companion to Robinson Crusoe *“Rewriting Crusoe collects a wide range of international scholars to look at the Robinsonade tradition in various media across three centuries. The collection exhibits the range of responses to Robinson Crusoe and considers how they reflect various cultural and literary concerns.” -- Leah Orr * author of Novel Ventures: Fiction and Print Culture in England, 1690-1730 *"Rewriting Crusoe offers invigorating re-examinations of a timeless and timely genre. The broad scope of texts examined and the international profile of its authors makes this book an important contribution to studies of the Robinsonade and testament that this genre still holds power." -- Rebecca Weaver-Hightower * author of Empire Islands: Castaways, Cannibals, and Fantasies of Conquest in Post/Colonial Island N *"Rewriting Crusoe: The Robinsonade across Languages, Cultures, and Media assembles an international group of scholars who present exciting new approaches to the cultural afterlives of Daniel Defoe’s 1719 novel. Robinson Crusoe is one of the most successful books of all time, ubiquitous first in Europe and then around the world. Novel historians credit it with transforming prose fiction with psychological realism. It has been translated into dozens of languages and it has directly and indirectly inspired a plenitude of adaptations and appropriations in that time. The essays in Rewriting Crusoe follow the Robinsonades themselves across genres and media—fiction, film, plays, and TV—and they respond to a range of works, from immediate, direct responses in Britain to more distant and looser echoes across the globe. What is original and distinctive about the volume is its demonstration of how Robinsonades not only challenge key aspects of the archetypal castaway narrative—masculine individualism, literary realism, and ecological and colonial domination—but that these ideologies have always been in a process of contestation. Together the essays illuminate what editor Jakub Lipski calls 'the potential of the Robinsonade to adapt to changing circumstances, in terms of content and genre, and … its continuous relevance in new contexts.' The book provides a model for the potential of collaborative approaches to diffuse literary afterlives, and it is essential reading for those interested in the impact of eighteenth-century ideas through the ages." -- Nicholas Seager * Co-editor of The Afterlives of Eighteenth-Century Fiction *"An impressively ambitious and comprehensive collection of essays on Robinsonades." -- John Richetti * editor of the Cambridge Companion to Robinson Crusoe *“Rewriting Crusoe collects a wide range of international scholars to look at the Robinsonade tradition in various media across three centuries. The collection exhibits the range of responses to Robinson Crusoe and considers how they reflect various cultural and literary concerns.” -- Leah Orr * author of Novel Ventures: Fiction and Print Culture in England, 1690-1730 *"Rewriting Crusoe offers invigorating re-examinations of a timeless and timely genre. The broad scope of texts examined and the international profile of its authors makes this book an important contribution to studies of the Robinsonade and testament that this genre still holds power." -- Rebecca Weaver-Hightower * author of Empire Islands: Castaways, Cannibals, and Fantasies of Conquest in Post/Colonial Island N *"Rewriting Crusoe: The Robinsonade across Languages, Cultures, and Media assembles an international group of scholars who present exciting new approaches to the cultural afterlives of Daniel Defoe’s 1719 novel. Robinson Crusoe is one of the most successful books of all time, ubiquitous first in Europe and then around the world. Novel historians credit it with transforming prose fiction with psychological realism. It has been translated into dozens of languages and it has directly and indirectly inspired a plenitude of adaptations and appropriations in that time. The essays in Rewriting Crusoe follow the Robinsonades themselves across genres and media—fiction, film, plays, and TV—and they respond to a range of works, from immediate, direct responses in Britain to more distant and looser echoes across the globe. What is original and distinctive about the volume is its demonstration of how Robinsonades not only challenge key aspects of the archetypal castaway narrative—masculine individualism, literary realism, and ecological and colonial domination—but that these ideologies have always been in a process of contestation. Together the essays illuminate what editor Jakub Lipski calls 'the potential of the Robinsonade to adapt to changing circumstances, in terms of content and genre, and … its continuous relevance in new contexts.' The book provides a model for the potential of collaborative approaches to diffuse literary afterlives, and it is essential reading for those interested in the impact of eighteenth-century ideas through the ages." -- Nicholas Seager * Co-editor of The Afterlives of Eighteenth-Century Fiction *Table of ContentsNote on the Edition Used Foreword by Robert Mayer IntroductionJakub Lipski Part I: Exploring and Transcending the Genre Mushrooms, Capers, and other sorts of Pickles”: Remaking Genre in Peter Longueville’s The Hermit (1727)Rivka Swenson“If I had …”: Counterfactuals, Imaginary Realities and the Poetics of the Postmodern RobinsonadePatrick Gill Part II: National Contexts Castaways and Colonialism: Dislocating Cultural Encounter in The Female American (1767)Przemysław UścińskiSetting the Scene for the Polish Robinsonade: The Adventures of Mr. Nicholas Wisdom (1776) by Ignacy Krasicki and the Early Reception of Robinson Crusoe in Poland, 1769-1775Jakub LipskiThe Rise and Fall of Robinson Crusoe on the London StageFrederick BurwickIslands in Robert Louis Stevenson’s Kidnapped (1886): A Counter-RobinsonadeMárta Pellérdi Part III: Ecocritical Readings Stormy Weather and the Gentle Isle: Apprehending the Environment of Three RobinsonadesLora E. GeriguisRobinson’s Becoming-Earth in Michel Tournier’s Vendredi ou les Limbes du Pacifique (1967)Krzysztof Skonieczny Part IV: The Robinsonade and the Present Condition “The True State of Our Condition”: The Twenty-First-Century Worker as CastawayJennifer Preston Wilson Gilligan’s Wake, Gilligan’s Island, and Historiographizing American Popular CultureIan Kinane Coda: Rewriting the RobinsonadeDaniel Cook Acknowledgements Bibliography About the Contributors Index

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Book SynopsisWinner of the 2021 Best International Book Award from the Mormon History Association In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent “others,” however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth’s Twelve Wives (1890), and Stephana’s Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"Mormons in Paris is as erudite as it is enchanting. In their introduction, Corry Cropper and Christopher Flood show exceptional depth and breadth of knowledge about French theater, opera, and light opera and their place in late nineteenth-century French culture. The language of the translations is natural and readable, and the little songs in verse are especially delightful." -- Susan McCready * author of Staging France between the World Wars *"This well-introduced collection of little-known musical comedies featuring French characterizations of Mormonism is a welcome contribution to nineteenth-century French cultural studies. The translations themselves are excellent . . . the authors’ choices of idiomatic expressions capture just the right tone, neither anachronistically modern nor too archaic to retain their impact." -- Andrea Goulet * co-editor of Orphan Black: Performance, Gender, Biopolitics *Table of Contents List of Illustrations Introduction Chapter 1: Mormons in Paris Louis Leroy and Alfred Delacour Chapter 2: Berthelier Meets the Mormons Chapter 3: Japheth’s Twelve Wives Antony Mars and Maurice Desvallières Chapter 4: Stephana’s Jewel Arthur Bernède and Albert Dubarry Acknowledgements Bibliography Notes on Contributors Index

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Book SynopsisEngland’s famed Lake District—best known as the place of inspiration for the Wordsworths, Samuel Taylor Coleridge, and other Romantic-era writers—is the locus of this pioneering study, which implements and critiques a new approach to literary analysis in the digital age. Deploying innovative methods from literary studies, corpus linguistics, historical geography, and geographical information science, Deep Mapping the Literary Lake District combines close readings of a body of writing about the region from 1622-1900 with distant approaches to textual analysis. This path-breaking volume exemplifies interdisciplinarity, demonstrating how digital humanities methodologies and geospatial tools can enhance our appreciation of a region whose topography has been long recognized as fundamental to the shape of the poetry and prose produced within it.Trade Review"It is rare that one book can influence several disciplines. Deep Mapping the Literary Lake District is such a title. Taylor and Gregory offer a compelling case for the spatial humanities, and in the process, make valuable contributions to literary studies, geography, history, and cultural studies. A truly innovative work."— David Bodenhamer, co-editor of Deep Maps and Spatial Narratives “Deep Mapping the Literary Lake District will quickly become a new standard in the field of literary geography. Its spatial synthesis of aesthetics, Romanticism, sociology, history, literature, and cartography will excite scholars from across the digital-analog divide. I highly recommend the book to every scholar working in these fields, as well as any reader interested in the Lake District and its rich, layered literature and culture."— Ryan Heuser, King's College, Cambridge University "Taylor and Gregory brilliantly demonstrate how digital techniques developed for work at a wide scale can be employed for the full depth of deep mapping. The result is one of the most exciting demonstrations of the value of computational technologies in literary analysis that I’ve read in a long time."— James Loxley, co-editor of Ben Jonson's Walk to Scotland: An Annotated Edition of the 'Foot Voyage'Table of ContentsFigures Tables Note on the Data 1 Deep Mapping and the Corpus of Lake District Writing The Distant Reader and the Close: Toward Multiscalar Analysis The Corpus of Lake District Writing Corpus Linguistics and Geographic Information Science Geographical Text Analysis Deep Mapping as Literary Practice 2 Picturesque Technologies and the Digital Humanities Specifying in General: Deep Mapping and the Gilpinian Picturesque The Picturesque in the CLDW Protest against the Wrong: The Problem with Picturesque Data Virtual Playgrounds in Text and on Screen 3 Tourists, Travelers, Inhabitants: Variant Digital Literary Geographies The “Discovery” of the Lake District Keep Moving: Tourism in the Lakes Proceeding at Leisure: Traveling in the Lake District Away from the Show Place: The Inhabitants’ Lakeland 4 Walking in the Literary Lakes Types of Lake District Walking Walking along a Good Road: Taking a Lakeland Excursion “Linger There a Breathing While”: Being a Pedestrian in the Lakes 5 Seeing Sound: Mapping the Lake District’s Soundscape The Power of Sound, Noise, and Silence Wordsworthian Listening How the Water Comes Down: Listening to Waterfalls The “Most Expensive Luxuries”: Cannon-Fire and English Echoes 6 Digital Cartographies and Personal Geographies: (Re-)Mapping Scafell Mapping Scafell Climbing Scafell The View from the Top Conclusion: The Future of Deep Mapping Appendix: The Corpus of Lake District Writing Acknowledgments Notes Bibliography Index

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Book SynopsisAround the turn of the nineteenth century, no task seemed more urgent to German Romantics than the creation of a new mythology. It would unite modern poets and grant them common ground, and bring philosophers and the Volk closer together. But what would a new mythology look like? Only one model sufficed, according to Friedrich Schlegel: Dante’s Divine Comedy. Through reading and juxtaposing canonical and obscure texts, Dante in Deutschland shows how Dante’s work shaped the development of German Romanticism; it argues, all the while, that the weight of Dante’s influence induced a Romantic preoccupation with authority: Who was authorized to create a mythology? This question—traced across texts by Schelling, Novalis, and Goethe—begets a Neo-Romantic fixation with Dantean authority in the mythic ventures of Gerhart Hauptmann, Rudolf Borchardt, and Stefan George. Only in Thomas Mann’s novels, DiMassa asserts, is the Romantics’ Dantean project ultimately demythologized.Trade Review“Daniel DiMassa’s masterful book traces the fate of Dante in Germany, but in doing so tells a story of Romanticism and its many afterlives in Germany. From the Brothers Schlegel to the circle around Stefan George, DiMassa traces nothing less than the persistence of myth in German letters.”— Adrian Daub, author of What Tech Calls Thinking: An Inquiry into the Intellectual Bedrock of Silicon Valley “DiMassa has brought together the long and complex history of Dante’s fascination for German writers in a lucid and stylish study. It is exhaustive in the documentation of every phase—Romanticism, the age of Goethe, on down to the political uncertainties and initiatives that followed World War I. Dante is shown to have been central to the quest for literary authority, the search for a new mythology, the potential of allegory, the need for a model of autobiographical self-presentation. It emerges convincingly that there is more Dante in the deep history of German culture than might have been expected. The large conceptions are supported by a fine grasp of the labyrinthine thinking of the Romantics and by close reading of key texts—Novalis’s ‘Hymnen an die Nacht’, Goethe’s ‘Ilmenau’, Schelling’s rarely analyzed poetry. Complexity nowhere generates obscurity. DiMassa’s text remains unpretentious and readable. He has drawn to good effect on his intimacy with two cultures.” — T.J. Reed, author of Genesis: The Making of Literary Works from Homer to Christa Wolf “An illuminating lens through which to reread the multi-faceted, discursive formation known as ‘German Romanticism.’ DiMassa shows how Dante, unlike Shakespeare and Cervantes, was not only rediscovered by the Early Romantics but crucially informed their understanding of modern literary authorship as a visionary task of myth-making. In a range of cases starting with Schelling, Novalis, and Goethe, DiMassa traces the spirit of Dante to the birth of the modern (German) literary author.” — Kirk Wetters, author of Demonic History: From Goethe to the Present “DiMassa’s erudite, intelligent, and elegantly written book offers an excellent overview of Dante’s reception in Germany in the context of Romanticism around 1800 and Neo-Romanticism in the early 20th century. He is not only very familiar with both German poetry and German literary criticism of the time; he also knows Dante’s text well.”— Vittorio Hösle, author of Dante’s "Commedia" und Goethe’s "Faust": Ein Vergleich der beiden wichtigsten philosophisc “It is still widely assumed that The Divine Comedy, given Goethe’s distaste for Dante, played little part in forming German modernity, and in shaping myths of a German return to medieval national and imperial glory. By leading us from a 1799 Jena reading circle to Stefan George and Thomas Mann, DiMassa fills in missing tranches of literary history to revise this potent, and ultimately tragic, narrative. Warmly recommended.”— David Wallace, editor of Europe: A Literary History, 1348-1418 “The German Romantics made Dante the ideal of modern poets. He became a mythical authority, with an absolute claim to the roles of truth-teller and guide. Dante in Deutschland traces this dream from its creative power to its megalomaniac tendency—a unique case of one name becoming the measure of all things.” — Stefan Matuschek, author of Der gedichtete Himmel. Eine Geschichte der RomantikTable of ContentsList of Figures List of Abbreviations A Note on Translation Introduction: Orienting Romanticism Part I: Romanticism 1. Discovering Dante and Theorizing Myth: The Schlegel Brothers and the Origins of the Romantic Project 2. Schelling, Novalis, and the Legitimation of a Dantean Mythology 3. Goethe’s Dantean Mythologies of the Self and of the World Part II: Neo-Romanticism 4. Trespassing the Sign: The Mad Flight of Gerhart Hauptmann 5. Abolishing History: New Dantean Germanies in Rudolf Borchardt and Stefan George 6. Thomas Mann and the Demythologization of Dante Conclusion Acknowledgments Notes Bibliography Index

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Book SynopsisRigorously inventive and revelatory in its adventurousness, 1650–1850 opens a forum for the discussion, investigation, and analysis of the full range of long-eighteenth-century writing, thinking, and artistry. Combining fresh considerations of prominent authors and artists with searches for overlooked or offbeat elements of the Enlightenment legacy, 1650–1850 delivers a comprehensive but richly detailed rendering of the first days, the first principles, and the first efforts of modern culture. Its pages open to the works of all nations and language traditions, providing a truly global picture of a period that routinely shattered boundaries. Volume 28 of this long-running journal is no exception to this tradition of focused inclusivity. Readers will experience two blockbuster multi-author special features that explore both the deep traditions and the new frontiers of early modern studies: one that views adaptation and digitization through the lens of “Sterneana,” the vast literary and cultural legacy following on the writings of Laurence Sterne, a legacy that sweeps from Hungarian renditions of the puckish novelist through the Bloomsbury circle and on into cybernetics, and one that pays tribute to legendary scholar Irwin Primer by probing the always popular but also always challenging writings of that enigmatic poet-philosopher, Bernard Mandeville. All that, plus the usual cavalcade of full-length book reviews. ISSN: 1065-3112 Published by Bucknell University Press, distributed worldwide by Rutgers University Press.Trade Review“Once again, 1650-1850 offers readers exciting perspectives, not only on literature of the long eighteenth century but also—especially—on innovative ways of doing research. By expanding and modeling new methods, the authors featured in this double special issue stand to expand the ways we think about and do eighteenth-century studies.” -- Ashley Bender * assistant professor of English, Texas Woman’s University *Table of ContentsSpecial Feature Adaptation and Digitization in the Long Eighteenth Century: Sterneana and BeyondEdited by M-C. Newbould and Helen Williams Introduction to the Special Feature: Fitting Things? Adaptation, Eighteenth-Century Afterlives, and Digital CulturesM-C. Newbould and Helen Williams Linking Austen’s and Sterne’s Reception JourneysDevoney Looser Laurence Sterne and Women’s Writing: Elizabeth Bonhôte, Jane Harvey, Jane Timbury, and Miss StreetHelen Williams “Ye Gods Annihilate Both Space and Time”: Excerpt Culture and the Digital Editing of Eighteenth-Century CorrespondenceJack Orchard Taking Tea with Joseph Addison: Virginia Woolf and the Eighteenth Century in Orlando (1928)Adam James Smith “Gabriel Shandy Looks Me Deeply in the Eye”: Early Sterne Adaptations and the Formation of the Novel in HungaryGabriella Hartvig Three Mid-Eighteenth-Century Mash-Ups: Hybridity and Conflicted Discourse in Robert Paltock’s Peter Wilkins and Its Early ImitationsJakub Lipski A Distributional Analysis of the Language of Sensibility in the Sterne Corpus and ECCOJohn Regan “[It] Were Wisdome It Selfe, to Read All Authors, asAnonymo’s”: Anonymity, Virtual Communities, and SterneanaM-C. Newbould Authorial Authority and the Mapping of An -AnaPaul GoringSpecial Feature Irwin Primer and Bernard MandevilleEdited by Sir Malcolm Jack Introduction to the Special Feature: Irwin Primer and Bernard MandevilleSir Malcolm Jack “What Strange Contradictions Man Is Made Of!”Rui Romao “Self Still Is at the Bottom”: Mandeville and French MoralistsBéatrice Guion The “System of Nature” and the French Reception ofThe Fable of the Bees in the Eighteenth CenturyEdmundo Balsemão-Pires Mandeville on Happiness, Self-Esteem, and HypochondriaMauro SimonazziBook ReviewsEdited by Samara Anne Cahill Cedric D. Reverand II, ed., Queen Anne and the Arts Reviewed by John Knapp Kimiyo Ogawa and Mika Suzuki, eds., Johnson in Japan Reviewed by John Stone Kevin L. Cope, ed., Hemispheres and Stratospheres: The Idea and Experience of Distance in the International EnlightenmentReviewed by Christopher D. Johnson A. Joan Saab, Objects of Vision: Making Sense of What We See Reviewed by Christopher D. Johnson Eve Tavor Bannet and Roxann Wheeler, eds., Studies in Eighteenth-Century Culture, vol. 48Reviewed by Christopher D. Johnson Margaret Schabas and Carl Wennerlind, A Philosopher’s Economist: Hume and the Rise of Capitalism Reviewed by Sir Malcolm Jack Rory Muir, Gentlemen of Uncertain Fortune: How Younger Sons Made Their Way in Jane Austen’s England Reviewed by Paul J. de Gategno About the Contributors

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Book SynopsisWhat, exactly, did tea, sugar, and opium mean in eighteenth- and nineteenth-century Britain? Alimentary Orientalism reassesses the politics of Orientalist representation by examining the contentious debates surrounding these exotic, recently popularized, and literally consumable things. It suggests that the interwoven discourses sparked by these commodities transformed the period’s literary Orientalism and created surprisingly self-reflexive ways through which British writers encountered and imagined cultural otherness. Tracing exotic ingestion as a motif across a range of authors and genres, this book considers how, why, and whither writers used scenes of eating, drinking, and smoking to diagnose and interrogate their own solipsistic constructions of the Orient. As national and cultural boundaries became increasingly porous, such self-reflexive inquiries into the nature and role of otherness provided an unexpected avenue for British imperial subjectivity to emerge and coalesce.Trade Review"A bold and powerfully generative take on the literary shockwaves produced by the massive influx—at once unsettling and inspiring—of Eastern products in eighteenth- and nineteenth-century Britain. By centering eating and drinking as the paradigmatic forms of exotic consumption, Yin Yuan surfaces previously unrecognized currents of ironic self-reflexivity with respect to bodily and cultural boundaries set in motion by the period’s insatiable appetites for the Orient. Rarely has such a theoretically astute treatment of the cultural politics of eating made for such devilishly delicious fare."— David Porter, author of The Chinese Taste in Eighteenth-Century England "Focusing on early British Orientalism as a distinctly literary effort to negotiate the new material realities of imperial commerce, Alimentary Orientalism locates in eighteenth- and nineteenth-century writing about exotic comestibles an emergent form of semiotic theory. Imperial self-making, it shows, not only rehearsed mythologies of encounter, but did so as a way of orienting British selfhood in the liminal space where sign meets substance—the space where empire unfolds."— Eugenia Zuroski Jenkins, author of A Taste for China: English Subjectivity and the Prehistory of Orientalism “Eating, drinking, smoking—the bodies in nineteenth-century British writing took in Chinese influence both cavalierly and copiously. Yin Yuan’s book helps us understand this consumption by explaining, with erudition and grace, how such exotic ingestants navigated Britain’s symbolic and material Oriental encounters on their way to the heart of the empire.”— Elizabeth Hope Chang, author of Britain’s Chinese Eye: Literature, Empire, and Aesthetics in Nineteenth-Century Britain "Bracingly original, Alimentary Orientalism moves beyond predictable ‘self/other’ binaries to delineate new complexities in British ‘Orientalist’ literary discourse. Focusing on such ‘psychoactive groceries’ as tea and opium, Yuan details how various texts represent the literal incorporation of otherness, even as they self-critically investigate the nature of Orientalist representation itself."— Alan Richardson, author of The Neural Sublime: Cognitive Theories and Romantic TextsTable of ContentsIntroduction: Exotic Ingestion and Self-Reflexive Orientalism in Long-Eighteenth-Century Britain 1 Virtuous Leaf, “Intoxicating Liquor”: England’s Tea Talk (A Prelude on Tea) 2 “Eating Only What I Knew”: Exotic Consumerism and the Boundaries of Selfhood in The Citizen of the World and Vathek 3 Cups, Cures, and Curses: The Elusiveness of Cultural Identity in Lalla Rookh and The Talisman 4 The Exotic Self: De Quincey’s Opium Texts and Lamb’s Chinese Essays 5 “Barbarian Eye”: The Opium Wars as a Visual Project (An Interlude on Opium) 6 “Not the Track of the Time”: Antiquated Orientalismin Villette and Little Dorrit Afterword: The Inadequate Language of Contagion Acknowledgments Notes Bibliography Index

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Book SynopsisWhat, exactly, did tea, sugar, and opium mean in eighteenth- and nineteenth-century Britain? Alimentary Orientalism reassesses the politics of Orientalist representation by examining the contentious debates surrounding these exotic, recently popularized, and literally consumable things. It suggests that the interwoven discourses sparked by these commodities transformed the period’s literary Orientalism and created surprisingly self-reflexive ways through which British writers encountered and imagined cultural otherness. Tracing exotic ingestion as a motif across a range of authors and genres, this book considers how, why, and whither writers used scenes of eating, drinking, and smoking to diagnose and interrogate their own solipsistic constructions of the Orient. As national and cultural boundaries became increasingly porous, such self-reflexive inquiries into the nature and role of otherness provided an unexpected avenue for British imperial subjectivity to emerge and coalesce.Trade Review"A bold and powerfully generative take on the literary shockwaves produced by the massive influx—at once unsettling and inspiring—of Eastern products in eighteenth- and nineteenth-century Britain. By centering eating and drinking as the paradigmatic forms of exotic consumption, Yin Yuan surfaces previously unrecognized currents of ironic self-reflexivity with respect to bodily and cultural boundaries set in motion by the period’s insatiable appetites for the Orient. Rarely has such a theoretically astute treatment of the cultural politics of eating made for such devilishly delicious fare." -- David Porter * author of The Chinese Taste in Eighteenth-Century England *“Eating, drinking, smoking—the bodies in nineteenth-century British writing took in Chinese influence both cavalierly and copiously. Yin Yuan’s book helps us understand this consumption by explaining, with erudition and grace, how such exotic ingestants navigated Britain’s symbolic and material Oriental encounters on their way to the heart of the empire.” -- Elizabeth Hope Chang * author of Britain’s Chinese Eye: Literature, Empire, and Aesthetics in Nineteenth-Century Britain *"Bracingly original, Alimentary Orientalism moves beyond predictable ‘self/other’ binaries to delineate new complexities in British ‘Orientalist’ literary discourse. Focusing on such ‘psychoactive groceries’ as tea and opium, Yuan details how various texts represent the literal incorporation of otherness, even as they self-critically investigate the nature of Orientalist representation itself." -- Alan Richardson * author of The Neural Sublime: Cognitive Theories and Romantic Texts *"Focusing on early British Orientalism as a distinctly literary effort to negotiate the new material realities of imperial commerce, Alimentary Orientalism locates in eighteenth- and nineteenth-century writing about exotic comestibles an emergent form of semiotic theory. Imperial self-making, it shows, not only rehearsed mythologies of encounter, but did so as a way of orienting British selfhood in the liminal space where sign meets substance—the space where empire unfolds." -- Eugenia Zuroski Jenkins * author of A Taste for China: English Subjectivity and the Prehistory of Orientalism *Table of Contents Introduction: Exotic Ingestion and Self-Reflexive Orientalism in Long-Eighteenth-Century Britain 1 Virtuous Leaf, “Intoxicating Liquor”: England’s Tea Talk (A Prelude on Tea) 2 “Eating Only What I Knew”:Exotic Consumerism and the Boundaries of Selfhood in The Citizen of the World and Vathek 3 Cups, Cures, and Curses: The Elusiveness of Cultural Identity in Lalla Rookh and The Talisman 4 The Exotic Self: De Quincey’s Opium Texts and Lamb’s Chinese Essays 5 “Barbarian Eye”: The Opium Wars as a Visual Project (An Interlude on Opium) 6 “Not the Track of the Time”: Antiquated Orientalismin Villette and Little Dorrit Afterword: The Inadequate Language of Contagion Acknowledgments Notes Bibliography Index

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Book SynopsisWomen and Music in the Age of Austen highlights the central role women played in musical performance, composition, reception, and representation, and analyzes its formative and lasting effect on Georgian culture. This interdisciplinary collection of essays from musicology, literary studies, and gender studies challenges the conventional historical categories that marginalize women’s experience from Austen’s time. Contesting the distinctions between professional and amateur musicians, public and domestic sites of musical production, and performers and composers of music, the contributors reveal how women’s widespread involvement in the Georgian musical scene allowed for self-expression, artistic influence, and access to communities that transcended the boundaries of gender, class, and nationality. This volume’s breadth of focus advances our understanding of a period that witnessed a musical flourishing, much of it animated by female hands and voices. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades.” -- Angela Esterhammer * author of Print and Performance in the 1820s: Improvisation, Speculation, Identity *“Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane.” -- Maribeth Clark * coeditor of Musicology and Dance: Historical and Critical Perspectives *“Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen’s fiction and her age in many original and surprising ways.” -- Peter Sabor * coeditor of Jane Austen's Manuscript Works *Table of ContentsIllustrations Table Acknowledgements Abbreviations Introduction: “It was all in harmony”: Musical Women in Austen’s Culture Linda Zionkowski with Miriam F. Hart Part I: Representing the Female Performer Chapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen’s Novels Pierre Dubois Chapter 2: “Prima la musica”: Gentry Daughters at Play in Town, Country, and Continent, 1815-1825 Kelly M. McDonald Chapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse’s The School for Fashion and Burney’s The Wanderer Danielle Grover Part II: Women and the Market in Music Chapter 4: Women on the Title Page: Celebrity Endorsement of Musical Scores Penelope Cave Chapter 5: The Lady’s Choice: Women and the Purchase of Music through Subscription Simon D. I. Fleming Chapter 6: Female Musical Entrepreneurship in the Eighteenth Century Alison C. DeSimone Part III: Women as Critics and Fans Chapter 7: Women as Quiet Critics Jane Girdham Chapter 8: Femininity and Foreignness in George Colman’s Farce, The Musical Lady Leslie Ritchie Chapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century London Jeffrey A. Nigro Part IV: Women and the Bardic Tradition Chapter 10: Anna Gordon and the Ballad Collectors Ruth Perry Chapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic Tradition Devon R. Nelson Part V: Revisiting the Age of Austen Chapter 12: “That Ecstatic Delight”: Gender and Performance in Adaptations of Sense and Sensibility Gayle Magee Chapter 13: “Here’s harmony!”: Music and Gender in Kirke Mechem’s Pride & Prejudice (2019) and Jonathan Dove’s Mansfield Park (2011) Juliette Wells Bibliography Notes on Contributors Index

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Book SynopsisEdward Taylor Fletcher was a nineteenth-century literary figure almost completely forgotten by history. Poet, travel writer, essayist, surveyor, philologist, and translator, Fletcher shared many characteristics with the great literary figures of the time. Yet his writing represents a significant departure from his contemporaries and a close reading of his work reshapes our understanding of the Canadian long poem and the cultural values of Canadian poetry. Fletcher spoke English, French, German, Italian, and other modern languages fluently and he studied or translated literary works in Icelandic, Finnish, Polish, Hebrew, Greek, Latin, and Sanskrit (among several others). His poetry interweaves Canadian landscapes with modern and ancient traditions of the East and West and integrates allusions and innovations from several different literary traditions including the Kalavela, the Mahabharata, and the Poetic Edda. By recuperating Fletcher’s nineteenth century works, James Gifford uncovers a unique Canadian literary voice who explored content, style, and concerns unlike the popular colonial narratives of his time.

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Book SynopsisBefore he had turned 21, Arthur Rimbaud (1854-1891) upended the house of French poetry and left it in shambles. What makes Rimbaud's poetry important, argues Seth Whidden, is part of what makes his life so compelling: rebellion, audacity, creativity and exploration. Almost all of Rimbaud's poems were written between the ages of fifteen and twenty. Against the backdrop of the crumbling Second Empire and the tumultuous Paris Commune, the poet took centuries-old traditions of French versification and picked them apart with an unmatched knowledge of how they fitted together. Combining sensuality with pastoral, parody, political satire, fable, eroticism and mystery, Rimbaud's works range from traditional verse forms to prose-poetry and the two first free-verse poems written in French. By situating Rimbaud's writing in Africa as part of a continuum that spans his entire life, this book offers a corrective to the traditional split between his life as a poet and his life afterwards. Written for general readers and students of literature alike, Arthur Rimbaud presents the original damned poet who continues to captivate readers, artists and writers all over the world.

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Book SynopsisThis book tells the story of an early nineteenth-century London newspaper, the Representative, more important for the people who took part in its inception than for its journalistic merits. The gallery of characters who appear in the narrative includes prominent figures of the age, literary as well as political, such as Sir Walter Scott and his son-in-law, John Gibson Lockhart; Foreign Secretary George Canning; and certainly publisher John Murray II. The pivotal figure is, however, a very young Benjamin Disraeli, whose brilliant mind already displayed great powers of observation, verbal expression and manipulation of his elders and betters. Written in a fluent style, and drawing upon previously untapped original sources at The Bodleian Library and The John Murray Archive at The National Library of Scotland, the book presents documented proof that the events narrated are quite different from what has traditionally been accepted as truth, at the same time it unveils hitherto unknown facets of well-known figures of the age.Trade ReviewReviews ‘A book that will entertain and enlighten literary scholars interested in the history of newspaper publishing as well as in the life and times of the young, brash Benjamin Disraeli.’ Michel Pharand, Director, The Disraeli Project, Queen's University at Kingston'Intended as a rival to The Times, The Representative, established in 1825, only lasted some six months before it failed, costing the publisher, John Samuel Murray, heavy financial loss. Drawing on material held in the Bodleian Library and the National Library of Scotland, the scholarly Chilean author presents, in mellifluous English, a sequence of events that sheds new light on matters that led to estrangement between the Disraeli and Murray families, not least because of the duplicitous behaviour of the young Benjamin Disraeli in his dealings with John Gibson Lockhart and his cruel attack on Murray in Vivian Grey(1826). Indeed, Disraeli comes rather badly out of this fascinating story.'James Stevens Curl, Times Higher EducationTable of ContentsList of IllustrationsForewordDramatis PersonaeChapter I BackdropChapter II A ConspiracyChapter III The Intruder from the NorthChapter IV An Inauspicious StartChapter V Portrait of a NewspaperChapter VI The SequelEpilogueAppendix I The ‘Poisonous Pen’ of John Gibson LockhartAppendix II John Wilson Croker as a Literary CriticAcknowledgementsBibliographyIndex

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Book SynopsisThis study of the poetry and drama of Percy Bysshe Shelley reads the letters and their biographical contexts to shed light on the poetry, tracing the ambiguous and shifting relationship between the poet’s art and life. For Shelley, both life and art are transfigured by their relationship with one another where the ‘poet participates in the eternal, the infinite, and the one’ but is equally bound up with and formed by the society in which he lives and the past that he inherits. Callaghan shows that the distinctiveness of Shelley’s work comes to rest on its wrong-footing of any neat division of life and art. The dazzling intensity of Shelley’s poetry and drama lies in its refusal to separate the twain as Shelley explores and finally explodes the boundaries between what is personal and what is poetic. Arguing that the critic, like the artist, cannot ignore the conditions of the poet’s life, Callaghan reveals how Shelley’s artistry reconfigures and redraws the actual in his poetry. The book shows how Shelley’s poetic daring lies in troubling the distinction between poetry as aesthetic work hermetically sealed against life, and poetry as a record of the emotional life of the poet.Trade ReviewReviews'Callaghan reads Shelley’s letters and their biographical concerns to illuminate his poetry, tracing the shifting relationship between the poet’s poetry and life. She shows that Shelley refused and exploded the boundaries between the personal and poetic by reconfiguring life events within his poetry and drama. The boundary between the poet’s life and art is a difficult one for a critic and often less useful than close textual analysis. Callaghan makes a case for the ways in which Shelley transmutes the personal into transformative poetry with Shelley’s understanding that ‘the poet man are of two different natures’ and that the ‘poem is the very image of life expressed in its eternal truth’, where truth and eternity clash.' Tears in the Fence'Callaghan is a confident judge and writer … an able close reader, whose readings are equally adept at handling the discursive tenor of Shelley’s often philosophically involved poetry and the intricacies of his metrical and stanzaic patterning, and a diligent scholar with an impressive command of the secondary literature on Shelley’s work. She is clearly unafraid of overturning critical commonplaces that have become established in Shelley studies and, moreover, she makes a compelling case for taking the early poetry more seriously on artistic terms than it has been so far. Shelley’s Living Artistry will make study of his correspondence much more central to future accounts of his work. Shelley’s Living Artistry is, then, a notable contribution to contemporary study of Shelley and, in particular, provides a useful reminder of the different genres and modes in which he wrote and the often taut relations between them.' Ross Wilson, Cambridge Quarterly‘A valuable, ranging and deeply informed contribution…to any reader sympathetic to neo-formalism, and indeed any reader sympathetic to Shelley (who can be as frustrating a poet as a brilliantly incandescent one), this study will repay attention.’Christopher Stokes, The BARS Review‘In Shelley’s Living Artistry: Letters, Poems, Plays, Madeleine Callaghan offers a stimulating and absorbing account of the way that Shelley self-consciously stages his artistic development in his poetry and his efforts to "[transmute] the dross of the personal into the gold of art"...In short, Shelley’s Living Artistry makes a convincing case for reading Shelley’s poetry "through the lens of the letters" so as to bring into focus important aspects of his artistry and develop "a fuller consideration of Shelley’s poetic achievement".’Jonathan Quayle, English: Journal of the English Association‘Shelley’s art, in Callaghan’s monograph, is living. It is not something that has been created or recreated, but rather like the statue of Hermione in Shakespeare’s The Winter’s Tale, needs only to be touched to feel its living warmth.’ Dana Van Kooy, European Romantic Review'This is a compellingly argued book, and it represents a serious and substantial addition to Shelley scholarship. What is particularly refreshing, however, is that Callaghan is not simply an expert scholarly reader of Shelley. She quite clearly loves his poetry and is not afraid to say so, or to reach for superlatives when only superlatives will do. It is this passion for the poetry and for understanding the depths of Shelley’s artistry that drives her close reading and animates her account of individual texts. Surely a poet as attuned to the revolutionary potential of reading as was Shelley would be pleased to have found such a reader.' Daisy Hay, Keats-Shelley JournalTable of ContentsAcknowledgementsIntroduction: ‘A poem is the very image of life’Standard Abbreviations and Note on Texts1. ‘Painted fancy’s unsuspected scope’: The Esdaile Notebook, Poetical Essay on the Existing State of Things, and Queen Mab2. ‘These transient meetings’: Alastor and Laon and Cythna3. ‘All that is majestic’: The Scrope Davies Notebook4. ‘That such a man should be such a poet!’: ‘To Wordsworth’, ‘Verses Written on Receiving a Celandine in a Letter from England’, and Julian and Maddalo5. ‘In a style very different’: Prometheus Unbound and The Cenci6. ‘The sacred talisman of language’: The Witch of Atlas and A Defence of Poetry7. ‘One is always in love with something or other’: Epipsychidion and the Jane Poems8. ‘The right road to Paradise’: Adonais and The Triumph of LifeBibliographyIndex

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Book SynopsisThis book considers William Wordsworth’s use of iconography in his long poem The Excursion. Through the iconographical approach, the author steers a middle course between The Excursion’s two very different interpretive traditions, one focusing upon the poem’s philosophical abstraction, the other upon its touristic realism. Fresh readings are also offered of Wordsworth’s other major works, including The Prelude.Yen explores Wordsworth’s iconography in The Excursion by tracing allusions and correspondences in an abundance of post-1789 and earlier verbal and pictorial sources, as well as in Wordsworth’s prose and poetry. He analyses how the iconographical images in The Excursion contribute to, and impose limitations on, the overarching preoccupations of Wordsworth’s writings, particularly the themes of paradise lost and paradise regained in the post-revolutionary context. Shedding light on a vital aspect of Wordsworth’s poetic method, this study reveals the visual etymologies – together with the nuances and rhetorical capacities – of five categories of apparently ‘collateral’ images: envisioning, rooting, dwelling, flowing, and reflecting.Trade Review'Yen’s rich and fascinating study of The Excursion builds on Fiona Stafford’s recent revaluing of the local to focus on “the quiet functioning of local detail” at a linguistic and metaphorical level through mediated images of rural landscape. Yen works sensitively within the form of the long poem, with its extended passages of argument and reflection, to tease out “intratextual and intertextual recurrences” that resonate across the whole. Across five categories of “envisioning”; “rooting”, “dwelling”, “flowing”, and “reflecting” Yen pulls out the threads of allusion that link the language of the text into larger political events of the time, arguing for an iconographic power held in the figurative language of landscape. Methodologically sophisticated, the work both draws on and challenges the tenets of New Historicism so that, rather than displacing history, it seeks to awaken the history inherent within the allusive force of landscape imagery through a process of iconological interpretation. The writing is characterised by a remarkable attention to nuances of meaning, whilst the interpretation of political cartoons and symbols of the French Revolution grounds the argument in visual evidence. Brandon Yen’s study treats The Excursion with the respect it deserves as a major work of the late Revolutionary period.'Sally Bushell, Professor of Romantic and Victorian Literature, Lancaster University.‘It is a crucial book for students of The Excursion, but its positioning of that poem will also revitalize study of Wordsworth more generally… Yen’s impressively researched book should prompt critics to return to The Excursion with fresh eyes.’ David Stewart, European Romantic Review‘An outstanding and persistent feature of the book is Yen’s seamless integration of the poetry into his prose. This creates a hybrid voice, at once presenting the poetry for reconsideration and providing an enlightening interpretation of it. Ultimately, through this hybrid voice, Yen emerges as an advocate for renewed and increased scholarly attention to The Excursion.’ Brandon Wernette, The BARS Review'The most ambitious, learned, wide-ranging, and important book on The Excursion to date, one that firmly establishes the poem as the central text in Wordsworth’s re-imagining of British iconographic tradition and his reconfiguring of the post-revolutionary landscape.' Alison Hickey, The Review of English Studies‘Yen matches the number and complexity of Wordsworth’s local details with his own. I found the iconographical lens most productive in chapter 4, where Yen explicates a political tension within the iconography of rural cottages.’ Lawrence Evalyn, Eighteenth-Century Fiction'Yen takes a risk in downplaying the literal in Wordsworth and in locating a “new direction” not in new materials but in new modes of reading.' Lawrence Evalyn, Northeastern UniversityTable of ContentsAcknowledgementsList of IllustrationsList of AbbreviationsIntroductionPart 1: Themes and IconographyThe Excursion, Paradise Lost, and Paradise RegainedWordsworth's IconographyPart 2: EnvisioningIntroductionCastles in the AirLight and Ascent‘Speculative Height’The Wanderer's RevisitingPart 3: RootingIntroductionOak, Mountain Ash, the Liberty TreeTwo Ironic ImagesA Cosmopolitan VisionPart 4: DwellingIntroductionThe Devon Cottage and the Lakeland CottageThe Cottage of the ‘Wedded Pair’The Widower’s CottageThe ‘Cabinet for Sages Built’Part 5: Flowing and ReflectingIntroductionFlowingReflectingBibliographyIndex

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Book SynopsisThis volume of essays explores the multiple forms and functions of reading and writing in nineteenth-century Ireland. This century saw a dramatic transition in literacy levels and in the education and language practices of the Irish population, yet the processes and full significance of these transitions remains critically under explored. This book traces how understandings of literacy and language shaped national and transnational discourses of cultural identity, and the different reading communities produced by questions of language, religion, status, education and audience. Essays are gathered under four main areas of analysis: Literacy and Bilingualism; Periodicals and their readers; Translation, transmission and transnational literacies; Visual literacies. Through these sections, the authors offer a range of understandings of the ways in which Irish readers and writers interpreted and communicated their worlds. List of contributors: Rebecca Anne Barr, Sarah-Anne Buckley, Muireann O’Cinneide, Niall Ó Ciosáin, Máire Nic an Bhaird, Liam Mac Mathúna, James Quinn, Nicola Morris, Elizabeth Tilley, Darragh Gannon, Florry O’Driscoll, Michèle Milan, Nessa Cronin and Stephanie Rains.Trade ReviewReviews ‘A cause for celebration and a strong indicator of the maturation of the field… this collection up-ends many assumptions about nineteenth-century Ireland as it grappled with literacies in both English and Irish during a century that witnessed tremendous change.’Karen Steel, Victorian Periodicals Review'The capacious key terms of Literacy, Language, and Reading allow the conceptual nets to be cast far and wide... the real contribution of this volume is the kaleidoscopic view that it both constructs and encourages.'Sean O’Toole, Victorian Studies'In addition to scholars of linguistics and language, this book will be of use to those researching the history of the book and printing in Ireland, journalism, cartography and religion. All reveal something of the social and culture life of nineteenth century Ireland.'Orla Fitzpatrick, Irish Studies ReviewTable of ContentsSection 1 Literacy and Bilingualism1 Varieties of Literacy in Nineteenth-Century Ireland - Niall Ó Ciosáin 2 Douglas Hyde: First Steps in the Creation of a Linguist - Liam Mac Mathúna and Máire Níc BhairdSection 2 Periodicals and their Readers3 The Nation, History and the Making of a National Citizen - James Quinn4 Watchmen to the House of Israel? Irish Methodism and the Religious Press - Nicola Morris5 The Dublin Penny Journal and Alternative Histories - Elizabeth TilleySection 3 Translation, Transmission and Transnational Literacies6 Room With a View: Reading Ireland in the Irish College Old Library, Paris c. 1870-1900 - Darragh Gannon7 “May God bless you and all at home”: Mid-Nineteenth-Century Irish Views on Italy As Seen Through the Letters of Albert Delahoyde, 1860-1870 - Florry O Driscoll8 “Good Translations” or “Mental dram-drinking”? Translation and Literacy in Nineteenth-Century Ireland - Michèle MilanSection 4 Visual Literacies9 From Dublin to Dehar Dun: Language, Translation and Mapping Ireland and India - Nessa Cronin 10 Reading the Hand: Palmistry, Graphology and Alternative Literacies - Stephanie Rains

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Book SynopsisAn enlightening, nuanced, and accessible introduction to the life and work of one of the greatest writers of short fiction in history. Anton Chekhov's stories and plays endure, far beyond the Russian context, as outstanding modern literary models. In a brief, remarkable life, Chekhov rose from lower-class, provincial roots to become a physician, leading writer, and philanthropist, all in the face of a progressive fatal disease. In this new biography, Michael C. Finke analyzes Chekhov's major stories, plays, and nonfiction in the context of his life, both fleshing out the key features of Chekhov's poetics of prose and drama and revealing key continuities across genres, as well as between his lesser-studied early writings and the later works. An excellent resource for readers new to Chekhov, this book also presents much original scholarship and is an accessible, comprehensive overview of one of the greatest modern dramatists and writers of short fiction in history.Trade Review“A crown achievement of his life-time engagement with Chekhov, Finke’s concise biography tells a compelling and comprehensive story of the Russian writer’s life and work. Written with surgical precision and creative sensitivity, this highly readable book pulsates with a multitude of insights into Chekhov as a person and an artist. Freedom from Violence and Lies will be a treasure for anyone interested in Russian literature and this great beloved writer.” -- Radislav Lapushin, Associate Professor of Russian at the University of North Carolina at Chapel Hill“This valuable guide to the last great Russian writer of the nineteenth century achieves an exceptional balance between the life and the work. A wealth of biographical detail is harmoniously intertwined with rich analysis of Chekhov’s literary work, abounding with original and perspicacious interpretations. Chekhov’s life is studied in its two parallel streams—those of a writer’s career and of a medical professional. The latter further reveals competing lines of travail: as a practicing doctor, as a philanthropist, and as a student of the history and sociology of health care. The reader will enjoy a charming image of the writer, but also frequent, delicate reflections on the unique problems a scholar of Chekhov encounters, fascinating excavations into the deeper reaches of Chekhov’s work, and subtle commentaries on his poetics. An intellectual endeavor of considerable complexity, Finke’s book will have a distinguished place amidst the vast literature on Chekhov.” -- Savely Senderovich, Professor Emeritus of Russian Literature and Medieval Studies, Cornell University

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Book SynopsisCriminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre’s full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of ‘genre’, ‘formula’ or ‘popular’; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.Trade ReviewReviews'The three editors of this rich collective volume are driven by the ambitious desire to radically revise crime fiction studies, sweeping away existing prejudices and providing a new conceptual framework to the study of the genre... in a few years, this work will be acknowledged as a turning point in the history of crime scholarship.'Stefano Serafini, Linguæ &'Criminal Moves is an excellent resource for scholars who are reconsidering how they research and teach foundational texts in the crime fiction genre. It can also help readers identify ways to analyse and appreciate transnational works outside of the traditional British-American canon without confining them to a fixed taxonomy.'Jennifer Schnabel, Crime Fiction Studies'Criminal Moves is an exciting venture. [...] It asks provocative questions about the transparency of narrative. [...] It is the reader, as consumer and companion of the detective and author, who is at the core of the experience. Also, the issue of the reader’s gaze and attention are important considerations.'Fred Isaac, CluesTable of ContentsIntroduction: Criminal Moves: Towards a Theory of Crime Fiction MobilityJesper Gulddal, Stewart King and Alistair RollsMobility of Meaning1. Behind the Locked Door: Leblanc, Leroux and the Anxieties of the Belle ÉpoqueJean Fornasiero and John West-Sooby2. Moving Fergus Hume’s The Mystery of a Hansom Cab and Breaking the Frame of Poe’s 'The Murders in the Rue Morgue’Alistair Rolls3. Reading Affects in Raymond Chandler’s The Big SleepHeta Pyrhönen4. Contradicting the Golden Age: Reading Agatha Christie in the Twenty-First CenturyMerja MakinenMobility of Genre5. Criminal Minds: Reassessing the Origins of the Psycho-ThrillerMaurizio Ascari6. Foggy Muddle: Narrative, Contingency and Genre Mobility in Dashiell Hammett’s The Dain CurseJesper Gulddal7. Burma’s Bagnoles: Urban Modernity and the Automotive Saccadism of Léo Malet’s Nouveaux mystères de Paris (1954-1959)Andrea Goulet8. Secrecy and Transparency in Hideo Yokoyama’s Six FourAndrew PepperTransnational Mobility9. The Reader and World Crime Fiction: The (Private) Eye of the BeholderStewart King10. From Vidocq to the Locked Room: International Connections in Nineteenth-Century Crime FictionStephen Knight11. Brain Attics and Mind Weapons: Investigative Spaces, Mobility and Transcultural Adaptations of Detective FictionMichael B. Harris-Peyton 

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Book SynopsisJohn Keats was a trained surgeon who studied at Guy’s Hospital, London while simultaneously making his way as a poet. This book focuses attention on an important but hitherto neglected Keats manuscript: the notebook he maintained during this period. Reconstructing the lively medical world that played a formative role in Keats’ intellectual and imaginative development, it seeks to show the intriguing connections between Keats’ medical knowledge and his greatest poetry. It offers new research on Keats’ medical career – including a new edition of his medical Notebook compiled from the manuscript – and recovers the various ways in which Keats’ creativity found expression in his two careers of medicine and poetry, enriching both. Topics explored include the ‘hospital poems’ Keats wrote at Guy’s; the medical milieu of his daily life; his methods of working as revealed by his medical Notebook and other archival sources; and the medical contexts that informed his composition of Endymion and the collection Lamia, Isabella, The Eve of St Agnes, and Other Poems (1820).John Keats’ Medical Notebook: Text, Context and Poems reveals how Keats’ visceral knowledge of human life, gained during his medical training at Guy’s, transformed him into ‘a mighty poet of the human heart’.Trade ReviewReviews ‘John Keats’s Medical Notebook is an ingenious roadmap to conceptual issues in the teaching of Romantic medicine; its informed annotations and originality of research reveal the depth of Keats’s knowledge and comprehension of what he had learned in theoretical and practical medical science.’Hermione de Almeida, Walter Professor Emerita of English and Comparative Literature at the University of Tulsa 'Readers of Keats--and most assuredly not only those interested in Medicine--will find much of value in Ghosh's book. In clean, precise, and accessible prose that belies the depth of archival research that went into the book's making, Ghosh convincingly makes her case for a new focus on the medical Notebook, adding a fresh and forceful voice to those in the field arguing for renewed attention to the young Keats. If the medical Notebook "was a dynamic repository of evolving knowledge" for Keats, Ghosh's study will be one for us.'James Robert Allard, Review 19'John Keats’ Medical Notebook is well written and well referenced... A scholarly contribution to the literature about Keats, the book provides new insights and analyses of his medical student days and how medical training influenced his brilliant and remarkable poetry.'Arpan K. Banerjee, Hektoen International Journal‘There is a generosity in the care that has been taken in preparing this new edition that reveals an investment in the future work that will undoubtedly be generated by this project, as much as in its own attendant literary analysis.’ Meegan Hasted, European Romantic Review‘Ghosh’s careful explications help guide the reader through the sometimes obscure and complex medical material, while the provision of concise biographical detail and relevant intellectual context of the people mentioned is also helpful. Clear explanations of terminology are not only essential for non-medical literary scholars, the contextualisation of nineteenth-century medical vocabulary will surely be welcomed, too, by those with a knowledge of modern-day medicine.’ Octavia Cox, Romantic TextualitiesTable of ContentsIntroductionJohn Keats' Medical Notebook: An Annotated Edition1. John Keats' Medical Notebook: An Overview2. John Keats' 'Guy's Hospital' Poetry3. Keats' Medical Milieu4. John Keats at Guy's: Scholar and Poet5. Endymion and the Physiology of Passion6. 'The Only State for the Best Sort of Poetry'Conclusion

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Book SynopsisThis book explores Wordsworth’s extraordinary influence on the tourist landscapes of the Lake District throughout the age of railways, motorcars and the First World War. It reveals how Wordsworth’s response to railways was not a straightforward matter of opposition and protest; his ideas were taken up by both advocates and opponents of railways, and through their controversies had a surprising impact on the earliest motorists as they sought a language to describe the liberty and independence of their new mode of transport. Once the age of motoring was underway, the outbreak of the First World War encouraged British people to connect Wordsworth’s patriotic passion with his wish to protect the Lake District as a national heritage – a transition that would have momentous effects in the interwar period, when popular motoring paradoxically brought a vogue for open-air activities and a renewal of romantic pedestrianism. With the arrival of global tourism, preservation of the cultural landscape of the Lake District became an urgent national and international concern. This book explores how patterns of tourist behaviour and environmental awareness changed in the century of popular tourism, examining how Wordsworth’s vision and language shaped modern ideas of travel, self-reliance, landscape and environment, cultural heritage, preservation and accessibility.Trade Review‘For its rigorous research and elucidation of the impact of transport upon the evolving experience of landscape and tourism from the mid-nineteenth century to the early twentieth century, Yoshikawa’s work offers both an insightful and significant contribution to current scholarship.’ Jules Gehrke, Journal of British Studies 'Yoshikawa’s archival work, as ever, is outstanding, and her claims are generally so well grounded as to seem almost obvious once the evidence is presented ... Yoshikawa’s book allowed us to take imaginative journeys while marking advancements in the thriving subdisciplines of Romantic literary geography.' Paul Westover, The Wordsworth Circle‘Saeko Yoshikawa in her new William Wordsworth and Modern Travel: Railways, Motorcars and the Lake District, 1830–1940 includes chapters… with an abundance of fascinating information, anecdotes, and illustrations.’ Eric C. Walker, European Romantic ReviewTable of ContentsIntroduction1. Wordsworth and Railways2. The Railway Controversy in Wordsworth's Lake District3. The Arrival of Motorcars4. Romantic Motorists, Romantic Cyclists5. The First World War and the Lake District6. Post-War Motoring in the Lake District, 1920s-30s7. Wordsworthian Tourism in the Interwar PeriodEpilogue: 'Access for All'

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Book SynopsisMaterial Transgressions reveals how Romantic-era authors think outside of historical and theoretical ideologies that reiterate notions of sexed bodies, embodied subjectivities, isolated things, or stable texts. The essays gathered here examine how Romantic writers rethink materiality, especially the subject-object relationship, in order to challenge the tenets of Enlightenment and the culture of sensibility that privileged the hegemony of the speaking and feeling lyric subject and to undo supposedly invariable matter, and representations of it, that limited their writing, agency, knowledge, and even being. In this volume, the idea of transgression serves as a flexible and capacious discursive and material movement that braids together fluid forms of affect, embodiment, and textuality. The texts explored offer alternative understandings of materiality that move beyond concepts that fix gendered bodies and intellectual capacities, whether human or textual, idea or thing. They enact processes – assemblages, ghost dances, pack mentality, reiterative writing, shapeshifting, multi-voiced choric oralities – that redefine restrictive structures in order to craft alternative modes of being in the world that can help us to reimagine materiality both in the Romantic period and now. Such dynamism not only reveals a new materialist imaginary for Romanticism but also unveils textualities, affects, figurations, and linguistic movements that alter new materialism’s often strictly ontological approach.List of contributors: Kate Singer, Ashley Cross, Suzanne L. Barnett, Harriet Kramer Linkin, Michael Gamer, Katrina O’Loughlin, Emily J. Dolive, Holly Gallagher, Jillian Heydt-Stevenson, Mary Beth Tegan, Mark Lounibos, Sonia Hofkosh, David Sigler, Chris Washington, Donelle Ruwe, Mark Lussier.Table of ContentsIntroduction: Living in a New Material WorldKate Singer, Ashley Cross, and Suzanne L. BarnettI. Textual EmbodimentsDestabilizing Materiality Through Manuscript Culture in Blake, Coleridge, and TigheHarriet Kramer Linkin Affect in the Margins: Marking Readers in the Elegiac SonnetsMichael Gamer and Katrina O’LoughlinRemapping the Printed Page in Women’s Post-Waterloo PoetryEmily DoliveVibrant Art on the Grand Tour in Anna Jameson’s Diary of an EnnuyéeHolly GallagherII. Transgressive ThingsHester Stanhope, 'Un être à part': Material Transgression and Belonging in the EastJillian Heydt-Stevenson‘The Redundancy of Copious Nothings': Fictional Offspring and the Reproductions of Female VanityMary Beth TeganRevolutionary Objects in Elizabeth Inchbald’s Nature and ArtMark LounibosDancing with Ghosts in 'Isabella; or The Pot of Basil'Sonia HofkoshIt’s the End of the World as We Know It and I Feel Queer: Mary Shelley, Affect, and Shapeshifting through The Last ManKate SingerIII. Materialities Sexual & AnimalVoices against the Universe: Material Transgressions in the Blakean MultiverseMark LussierJohn Barnet and the Materiality of Desire in James Hogg’s Justified SinnerDavid SiglerPhantasmion, or the Confessions of a Female Opium EaterDonelle RuweWerewolf Wollstonecraft: homo homini lupus, or Romantic Beast WarsChris Washington

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Book SynopsisHenry Crabb Robinson (1775–1867) earned his place in literary history as a perceptive diarist from 1811 onwards. Drawing substantially on hitherto unpublished manuscript sources, this book discusses his formal and informal engagement with a wide variety of English and European literature prior to this point. Robinson emerges as a pioneering literary critic whose unique philosophical erudition underpinned his activity as a cross-cultural disseminator of literature during the early Romantic period. A Dissenter barred from the English universities, Robinson educated himself thoroughly during his teenage years and began to publish in radical journals. Godwin’s philosophy subsequently inspired his first theory of literature. When in Germany from 1800 to 1805, he became the leading British scholar of Kant, whose philosophy informed his discussions of Goethe, Schiller, Lessing, and August Wilhelm Schlegel. After his return to London, Robinson aided Hazlitt’s understanding of Kant and, thus, Hazlitt’s early career as a writer. His distinctive comparative criticism further enabled him to draw compelling parallels between Wordsworth, Blake, and Herder, and to discern ‘moral excellence’ in Christian Leberecht Heyne’s Amathonte. This also prompted Robinson’s transmission of Friedrich Schlegel and Jean Paul in 1811, as well as a profound exchange of ideas with Coleridge. In this new study, Philipp Hunnekuhl finds that Robinson’s ingenious adaptation of Kantian aesthetic autonomy into a revolutionary theory of literature’s moral relevance anticipated the current ‘ethical turn’ in literary studies.Trade Review'The study of Romantic criticism has gained new dimension with Philipp Hunnekuhl’s stunning exposition of Henry Crabb Robinson’s early reviews, essays, and translations. Robinson wrote with profound insight into Kantian transcendentalism, attended Schelling’s lectures, and even met with Goethe. Hunnekuhl demonstrates how Robinson established himself as the first true comparatist among the Romantic critics.'Frederick Burwick, Emeritus Professor at the University of California Los Angeles'The genre of Hunnekuhl's superbly researched monograph is hard to pin down: it is a historical as well as a biographical work that is simultaneously a study of the development of Romantic philosophy and the study of a genuinely Romantic theory of literature that combines German aesthetic autonomy and English political ethics. What is more, Hunnekuhl unearths archival material – manuscripts such as letters and diaries – and makes it available in an appendix. Thus, this important study provides material for future investigations of early 19th-century literature at the same time that it paints a complex picture of the way that key cultural concepts are generated and disseminated in the period of European Romanticism.'Ralf Haekel, Anglistik'This monograph uses Robinson’s extensive published works to unpick the influence he had on his contemporaries and further into the nineteenth century. Through the study of an author whose interests bridged languages, this is an exceptional case study of comparative literature. This monograph leaves us excitedly awaiting future opportunities to continue exploring the complexities of not just Robinson’s critical role as literary intermediary and disseminator in the Romantic period, but also comparative literature studies.'Charlotte May, The Charles Lamb Bulletin'Henry Crabb Robinson’s diary, 1811–67, is familiar terrain for British and German Romantic scholars. Philipp Hunnekuhl’s goal in Henry Crabb Robinson, Romantic Comparatist is instead to review Robinson’s life and work in the years 1790 to 1811, thereby retracing Robinson’s emergence as a comparatist and his formative impact on British and German Romantic authors. This task covers Robinson’s publications and manuscripts as well as his social interactions.'John Claiborne Isbell, European Romantic ReviewTable of ContentsIntroduction. Henry Crabb Robinson: Romantic Comparatist, 1790–1811 1. Radical Self-Education and First Authorship 2. The Godwinian Critic 3. Kant, Aesthetic Autonomy, and Literary Ethics 4. Moral Discourse in A.W. Schlegel, Schiller, Goethe, and Lessing 5. Hazlitt, Napoleon, and Literary Disinterestedness 6. ‘Matters of Religion & Morality’: Herder, Wordsworth, and Blake 7. Friedrich Schlegel, Coleridge, and the Ethics of Amathonte Conclusion: Or, a New Outlook for Nineteenth-Century Comparatism

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Book SynopsisThe Culture of War explores the unexpected flourishing of literature both high and low during the Siege of Paris at the end of the Franco-Prussian War, 1870-1871. When Prussian forces completely blockaded Paris, isolating the city from the outside world, Parisians turned to literature to resist the enemy, to fill the idle hours under siege, and to articulate their place in history. This cultural boom was a conscious effort on the part of literary institutions like newspapers, publishers, and theaters to ensure the viability of their industries during a period of political uncertainty. To do so, many publishers, editors, and directors sought legitimacy through populism, promoting literature written by anonymous and unknown authors or that spoke to populist ideas. A study of national tragedy on a local scale, The Culture of War goes beyond traditional narratives of communal or individual psychology, and studies institutional responses to financial and political instability, viewing literature as a product of economic and political forces.Trade Review"This book offers an original and intriguing look into the literature of the four-month period of the Siege (introducing some virtually unknown works to readers) as well as a novel exploration of the ways that literary institutions responded to this moment of turmoil.”Anne O'Neil-Henry, Georgetown University'Because the book shows the power of a patriotism which reactivates references to the French Revolution, to the people in arms, the work, although written by a specialist in literature, is also extremely careful to get out of textual analysis stricto sensu to question literature as a social activity, [...] gives new life to printers, publishers, owners of newspapers and theatres, who are the actors of this moment of exceptional creativity. [...] All in all, this stimulating book reinforces the value of a multidisciplinary approach to writing in times of war.'Odile Roynette, Contemporary TerritoriesTable of ContentsAcknowledgementsPart I: On StageChapter 1: The Boulevards Lose Their TheatersChapter 2: HugomaniaPart II: Off PressesChapter 3: The Feuilleton at WarChapter 4: The Dubious Battle of ReichshoffenPart III: At HomeChapter 5: Letters to No OneChapter 6: Historians of the PresentPart IV: In PrintChapter 7: De-Modernizing PublishingChapter 8: To Make the Past PublicCodaThe Siege and State ViolenceBibliography

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Book SynopsisEssays in Romanticism, a peer-reviewed journal edited by Alan Vardy, is the official journal of the International Conference on Romanticism, succeeding Prism(s): Essays in Romanticism. Available to purchase as a single issue, EiR continues the tradition of its predecessor in encouraging contributions within an interdisciplinary and comparative framework. More broadly, it welcomes submissions on any aspect of Romanticism, and especially work using emergent or innovative perspectives and approaches.

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Book SynopsisJohn Hughes explores Hardy's claim that his art sought to intensify the expression of things through three main sections on music, the body, and voice. These offer intersecting and mutually informing discussions of the central drama of inexpression and expressivity in Hardys work, as it affects the various personae of the text, including the reader. Throughout, the book draws on themes in the work of Gilles Deleuze and Stanley Cavell to reveal how Hardys fiction and poetry express and represent the affective and physical conditions of mind, and their conflicts with social fictions of identity. The first main section on music incorporates three chapters that examine how Hardys writing stages musical experience as an expression of human desire and individuality at odds with the constraints of rationality, Victorian fiction form, and social convention. Intricate and extensive readings are linked also to larger contextual and theoretical issues in order to show how music as a theme and motif highlights the kinds of creativity and ethical cruxes that characterise Hardys work throughout his career. The second section on embodiment and sensation shows how close attention to Hardys writing on the topics of facial and bodily expression (and affectivity) reveal much about the sources of his inspiration, and its philosophical conditions and implications. The third section on voice offers three chapters, each of which centrally employs a close metrical reading of an important Hardy poem within its larger biographical and inter-textual contexts. These readings demonstrate how fundamental were Hardys innovations in meter to the power and originality of his work, and to its expressive treatment of his abiding preoccupations with love, grief, childhood, and the loss of faith.

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Book SynopsisDown to the Sunless Sea explores the time Coleridge spent in Gibraltar, Malta, Sicily and mainland Italy, where he had planned to recover his health, escape the clutches of opium and gain inspiration from the landscape; however, the reality would prove very different. After his short sojourn in Gibraltar, Coleridge arrived in Malta, where he became acquainted with the British Governor, Alexander Ball. He settled into Maltese life, initially taking on the role of acting Under-Secretary. Travelling to Sicily, Coleridge embraced the island's landscapes but was shaken to find the opium poppy was an important local crop. The Mediterranean would not prove the solution to his addiction. He visited the Consul, G. F. Leckie, and was invited to stay with him at a house on the site of Timoleon's Greek villa. The poet visited the antiquities of Syracuse and at the opera house encountered the soprano, Anna-Cecilia Bertozzi, nearly succumbing to her charms. Back in Malta, he was offered rooms in the Treasury building (now the Casino Maltese) and took up the post of Public Secretary. Legal pronouncements in Italian bear Coleridge's signature. Leaving behind these matters of state, he drifted through the Italian peninsula, engaging with a coterie of artistic ex-pats when in Rome. His listless, half-hearted, and financially embarrassed attempts at the Grand Tour included a narrow escape from French troops. Coleridge's Mediterranean sojourn impacted on his life and writing, not to mention his health, which saw a marked decline, leading to his final years in Highgate under the roof of a friendly doctor. Down to the Sunless Sea is a literary reflection on the fact that the sun-filled Mediterranean was not the tonic he had first imagined.Table of ContentsThe Illustrations. ONE: Departure on the Speedwell. TWO: Strategising for Nelson in Malta. THREE: Sicily and the Prima Donna. FOUR: A Hand in Maltese Affairs. FIVE: The Grand Tourist Returns Home. SIX: Lectures and Legacy. Notes. Bibliography. Index

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Book SynopsisShortlisted for the British Fantasy Awards (Non-Fiction) 2022Shortlisted for the Locus Science Fiction Foundation Non-Fiction Award 2022SF has long been understood as a literature of radical potential, capable of imagining entirely new worlds and ways of being. Yet SF has been slow to embrace posthumanist ideas about the human subject. The human of the SF tradition is instead a liminal being, caught somewhere between the transcendent ‘Man’ of classical humanism and the subversive ‘cyborg’ of posthumanist thought. This study offers a critical history of the 'human' in SF. By examining a range of SF works from 1818 to the 1970s, it seeks to answer some key questions: What role does technology play in defining what it means to be—or not to be—human? How do these writers understand the relationship between humanity and the rest of nature? And how can we use SF to re-examine our ethical position towards the non-human world and move to more egalitarian understandings of the human subject?Trade Review'This wide-ranging and original study convincingly shows how science fiction has (almost) always been posthuman. Thomas Connolly’s critical and cultural history of “the human” in Anglo-American sf ranges from the nineteenth century through the 1970s, constructing an expansive pre-history of the posthuman before the cyberpunk explosion of the 1980s. This is an exciting new story about the history of science fiction.' Veronica Hollinger, co-editor of Science Fiction Studies"This monograph gives a valuable starting point for considering the developments of human figures in science fiction before posthumanism had been articulated and it contributes productively to current conversations about reading such texts retroactively as engagements with the posthuman and posthumanism."Anna McFarlane, Science Fiction Studies'For those scholars interested to treat posthumanism not as a given of the 21st century, but as a development of the humanism and anti-humanism that came before, Connolly’s book is a valuable resource explaining the lines of thought in sf that have led up to, for example, the cyberpunk multiplication of posthumanism. After Human will help ground current work in contemporary posthumanist criticism by providing a historical perspective.' Lars Schmeink, SFRA ReviewTable of ContentsIntroduction: 'Beyond the common range of men': H.G. Wells, the OncoMouse, and the Human in Anglo-American SF1. Worlds Lost and Gained: Evolution, Primitivism, and the Pre-Human in Arthur Conan Doyle's The Lost World and Jack London's The Iron Heel2. Soma and Skylarks: Technocracy, Agency and the Trans-Human in Aldous Huxley's Brave New World and E.E. 'Doc' Smith's Skylark Series3. Homo Gestalt: Atomics, Empire, and the Supra-Human in Isaac Asimov's Foundation and Arthur C. Clarke's The City and the Stars4. Disaster and Redemption: Utopia, Nature, and the Post-Human in J.G. Ballard's The Crystal World and Ursula K. Le Guin's The DispossessedConclusion: Bio/Techno/Homo: The Future of the Human in SF

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Book SynopsisPerhaps no great poet, in any language, has suffered more than Byron from being merely read about rather than actually read. As Bernard Beatty remarks in his introduction to this important collection of essays, the popular conception of ‘Byron’ still often approximates to ‘Rupert Everett with a limp’.Reading Byron is the product and summation of nearly sixty years devoted to studying and teaching his poetry. It argues that, far from being ‘mad, bad and dangerous to know’, Byron is serious, ethically orientated and rewarding to read. The book is in three parts: Poems – Life – Politics. Five new essays have been written especially for the first and largest section, which provides fresh perspectives on Byron’s major works. The volume continues with three of Beatty's lively lectures on unappreciated aspects of Byron the man, and three pithy essays on Byron as a complex, if not systematic, political thinker.While Beatty does not question the pre-eminent status of the ‘bright’ Don Juan, devoting a chapter to an unconventional reading of its final cantos, he argues powerfully that nineteenth-century readers, who responded on an unprecedented scale to the forceful poetic structures of the ‘dark’ Byron in Childe Harold's Pilgrimage, The Tales, Manfred, and Cain, were right to do so. Introduced by Jerome McGann (editor of the great Clarendon edition of the poet's works) and concluded in dialogue with Gavin Hopps (co-editor of the forthcoming Longman edition), Reading Byron is itself essential reading for any student or lover of Romantic poetry.Trade ReviewReviews 'This essay collection is a treasure trove containing the accumulated riches from a life of teaching and scholarship.' Peter Graham, Professor Emeritus in the Department of English, Virginia Tech‘Bernard Beatty’s Reading Byron: Poems – Life – Politics offers a dazzling series of insights from a venerable Byron scholar… Beatty’s work is most distinguished across these three sections by its wonderfully refined close reading… Beatty thus achieves something close to his subject: a liveliness and a distinctive voice that is eminently readable despite the complexity of his thinking. I can think of few higher compliments.’ Jonathan Sachs, Review of English Studies‘This superb and thought-provoking book asks a lot of but offers a great deal to any reader of Byron. In Beatty's willingness to read Byron carefully, to seek and find in him ideas of depth and significance, while being able to laugh with him, we receive a blueprint for how to work with poets who, perhaps because and not in spite of their fame, have become more talked about than read. Reading Byron should become one of the cornerstones for anyone--student, scholar, or fan--who would go deeper and pay Byron's poetry the same attention that brought Beatty's work into being.’ Madeleine Callaghan, Review 19‘Beatty is intent on tracing in the poems what he calls a “Catholic trajectory”, a learning curve that takes Byron deeper and deeper into the recesses of the human soul. He offers, among other things, compelling accounts of “the darkness of sin” in “Lara” and the unexpected orthodoxy of Byron’s play Cain, usually characterized as a sceptic’s charter... Beatty writes throughout with enviable lucidity and expository grace, while allowing himself a few moments of the senior clubman.’ Seamus Perry, Times Literary SupplementTable of ContentsIntroduction (by Jerome McGann)Author's Preface1. Childe Harold's Pilgrimage: Types of History2. Acts of Will: Byron's Lara3. Understanding Manfred: The Sense of an Ending4. Cain: One Drama, Two Theologies5. Empty Spaces in Don Juan: A Reading of the Norman Abbey Cantos6. 1814: Byron at Albany7. 1816: Byron at Seaham8. 1819: From Venice to Ravenna9. Byron, Liberty and Licence10. Byron and the Paradoxes of Nationalism11. Byron as Political Icon12. Bernard Beatty in Conversation with Gavin Hopps

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Book SynopsisThis volume of essays explores the multiple forms and functions of reading and writing in nineteenth-century Ireland. This century saw a dramatic transition in literacy levels and in the education and language practices of the Irish population, yet the processes and full significance of these transitions remains critically under explored. This book traces how understandings of literacy and language shaped national and transnational discourses of cultural identity, and the different reading communities produced by questions of language, religion, status, education and audience. Essays are gathered under four main areas of analysis: Literacy and Bilingualism; Periodicals and their readers; Translation, transmission and transnational literacies; Visual literacies. Through these sections, the authors offer a range of understandings of the ways in which Irish readers and writers interpreted and communicated their worlds. List of contributors: Rebecca Anne Barr, Sarah-Anne Buckley, Muireann O’Cinneide, Niall Ó Ciosáin, Máire Nic an Bhaird, Liam Mac Mathúna, James Quinn, Nicola Morris, Elizabeth Tilley, Darragh Gannon, Florry O’Driscoll, Michèle Milan, Nessa Cronin and Stephanie Rains.Trade ReviewReviews ‘A cause for celebration and a strong indicator of the maturation of the field… this collection up-ends many assumptions about nineteenth-century Ireland as it grappled with literacies in both English and Irish during a century that witnessed tremendous change.’Karen Steel, Victorian Periodicals Review'The capacious key terms of Literacy, Language, and Reading allow the conceptual nets to be cast far and wide... the real contribution of this volume is the kaleidoscopic view that it both constructs and encourages.'Sean O’Toole, Victorian Studies'In addition to scholars of linguistics and language, this book will be of use to those researching the history of the book and printing in Ireland, journalism, cartography and religion. All reveal something of the social and culture life of nineteenth century Ireland.'Orla Fitzpatrick, Irish Studies ReviewTable of ContentsSection 1 Literacy and Bilingualism1 Varieties of Literacy in Nineteenth-Century Ireland - Niall Ó Ciosáin 2 Douglas Hyde: First Steps in the Creation of a Linguist - Liam Mac Mathúna and Máire Níc BhairdSection 2 Periodicals and their Readers3 The Nation, History and the Making of a National Citizen - James Quinn4 Watchmen to the House of Israel? Irish Methodism and the Religious Press - Nicola Morris5 The Dublin Penny Journal and Alternative Histories - Elizabeth TilleySection 3 Translation, Transmission and Transnational Literacies6 Room With a View: Reading Ireland in the Irish College Old Library, Paris c. 1870-1900 - Darragh Gannon7 “May God bless you and all at home”: Mid-Nineteenth-Century Irish Views on Italy As Seen Through the Letters of Albert Delahoyde, 1860-1870 - Florry O Driscoll8 “Good Translations” or “Mental dram-drinking”? Translation and Literacy in Nineteenth-Century Ireland - Michèle MilanSection 4 Visual Literacies9 From Dublin to Dehar Dun: Language, Translation and Mapping Ireland and India - Nessa Cronin 10 Reading the Hand: Palmistry, Graphology and Alternative Literacies - Stephanie Rains

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Book SynopsisCan literature heal? The Poetics of Palliation argues that our answers to this question have origins in the Romantic period. In the past twenty years, health humanists and scholars of literature and medicine have drawn on Romantic ideas to argue that literature cures by making sufferers whole again. But this model oversimplifies how Romantic writers thought literature addressed suffering. Poetics documents how writers like William Wordsworth and Mary Shelley explored palliative forms of literary medicine: therapies that stressed literature’s manifold relationship to pain and its power to sustain, comfort, and challenge even when cure was not possible. The book charts how Romantic writers developed these palliative poetics in conversation with their medical milieu. British medical ethics was first codified during the Romantic period. Its major writers, John Gregory and Thomas Percival, endorsed a palliative mandate to compensate for doctors’ limited curative powers. Similarly, Romantic writers sought palliative approaches when their work failed to achieve starker curative goals. The startling diversity of their results illustrates how palliation offers a more comprehensive metric for literary therapy than the curative traditions we have inherited from Romanticism.Trade Review'This erudite and beautifully written book stages a dialogue between historicist work on Romanticism and medicine, disability studies, and the emerging field of the health humanities. Starting from the premise that the Romantic period was the first to conceive of literature as the stuff of medical therapy, Pladek shows it was also the first to criticise a naïve version of that view. In five crisp chapters, she shows how writers as diverse as Coleridge, Wordsworth, Keats, Thomas Lovell Beddoes, John Stuart Mill and Mary Shelley thought of literature as a palliative, not a cure, for human suffering. In each of these discussions, she reveals how romantic literature anticipated some of the most controversial ideas in the health humanities today, notably the notion that to be effective medicine must treat the whole person, and she also traces fascinating genealogies of a great many ideas in modern medicine that are assumed to have no romantic pedigree. The result is an interdisciplinary dialogue of the first order and a literary tour de force.'Neil Vickers, University College London‘The Poetics of Palliation offers a serious and expert engagement with the field of the health humanities as a legacy of Romantic literature and criticism. Extensively researched, it will be an invaluable resource for anyone interested the relationship between those two areas, as well as in the intertwined genealogies of therapeutic holism, the New Criticism, and certain strains of liberalism. A reparative reader in the sense proposed by Eve Sedgwick, Pladek maintains her commitment to literature’s ability to give and to model care, but without assuming that it can – or should – cure.’ Kevis Goodman, University of California, Berkeley‘Pladek’s book reaffirms the importance of the Romantic period in its identification of the era as witnessing the origin of New Critical ideas of unity and wholeness in literature and therapeutic holism in the health humanities. It places the literature of the period center stage in debates that are still ongoing now.’ Sharon Ruston, European Romantic ReviewTable of ContentsAcknowledgmentsIntroduction1 Therapeutic Holism: The Persistence of Metaphor2 From John Stuart Mill to the Medical Humanities3 ‘Soothing Thoughts’: William Wordsworth and the Poetry of Relief4 Palliating Humanity in The Last Man5 John Keats’s ‘Sickness Not Ignoble’6 Thomas Lovell Beddoes’s ‘Fictitious Condition’Works CitedIndex

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Book SynopsisShortlisted for the University English Book Prize 2022Shelley’s Broken World is a provocative and profound reassessment of Shelley’s poetic art and thought. Bysshe Inigo Coffey returns to a peculiarity of Shelley’s expressive repertoire first noticed by his Victorian readers and editors: his innovatory use of pauses, which registered as irregularities in ears untuned to his innovations. But his pauses are more than a quirk; various intermittences are at the centre of Shelley’s artistry and his thought. This book aims to transform the philosophical, scientific, and aesthetic contexts in which Shelley is positioned. It offers a ground-breaking analysis of his reading, and is the first study to refer to and include images of the unpublished ‘Marlow List’, a record of the books Shelley left behind him on his departure for Italy in 1818. Shelley’s prosody grew to articulate his sense that actuality is experienced as ruptured and fractured with gaps and limit-points. He shows us the weakness of the actual. As we approach the bicentenary of the poet’s death, Shelley’s Broken World provides an exciting new beginning for the study of a major Romantic poet, the history of materialism, and prosody.Trade Review'Shelley’s Broken World is a considerable achievement: intellectually adventurous, with many unexpected twists and turns in the argument and in the material. Coffey writes with distinctive eloquence. The range of reading is very impressive, but I especially like the confidence with which Coffey draws on the whole of Shelley's output, from the grandest central things to all manner of usually unconsidered texts. The close reading, tremendously insightful on pauses and rhymes, is a constant pleasure.'Kelvin Everest, University of Liverpool'A major contribution to the rich field of current Shelley studies, Shelley's Broken World offers a strongly original reading of the poet’s work and thought as embracing "intermittence" in varied ways. Through illuminating readings of less discussed poems (including "Rosalind and Helen" and "Ginevra") as well as more familiar ones (Alastor, Peter Bell the Third, Epipsychidion), Bysshe Coffey unearths a Shelley whose poetry inhabits gaps, interruptions and pauses. This thoughtful, ambitious monograph, the first critical study to engage with the recently discovered "Marlow list" (a record of his books the poet left behind on departing for Italy in 1818), establishes its voice persuasively, striking out its own path with assurance while engaging generously with criticism since Shelley's death and taking on, impressively, the complex history of his text.'Michael Rossington, Newcastle University'Shelley’s Broken World brilliantly rips up what we thought we knew about the poet, so as to start thinking anew. With wit, erudition and conviction, Coffey probes a series of generative "limit-points" to Shelley’s expression: manifest yet non-palpable sensuous phenomena that resist reductive materialisms; the revisions and deletion of his compositional process; the gaps and omissions in the poet’s personal library. Bringing together the otherwise cloistered fields of prosody, history of the book and manuscript studies, Coffey restores to us to the freshness, vitality and elusiveness that define Shelley’s achievement.'Ewan James Jones, University of Cambridge'Once begun, few readers will wish to pause their reading of Bysshe Inigo Coffey’s dazzling account of the "pauses of matter and life" in Shelley’s poetry. Displaying its subtlety, intelligence, and generosity from the outset, Shelley’s Broken World seeks to do justice to F.R. Leavis’s notorious strictures on Shelley – which, Coffey shows, Leavis in fact revised toward the end of his life – by arguing that "Shelley had a firm grasp upon the weakness of the actual". The book does a superlative job of bearing out this claim. Along the way, it illuminates pretty much the whole of Shelley’s life and work, as well as a host of other figures from Heraclitus to Harold Bloom. I struggle to think of another book on Shelley that combines such breadth of scholarship, subtlety of appreciation, and critical sophistication as are so abundantly in evidence here.'Ross Wilson, University of Cambridge'This richly-documented and engagingly-written – indeed, elegant – book is a highly valuable, even innovative, contribution to the interpretation of Percy Bysshe Shelley's writings, English Romantic poetry in general, and the influence on both of philosophical, scientific, and earlier literary works sometimes overlooked, many of which have never been connected to Shelley or Romanticism as convincingly as they are here. It is, in addition, distinctive in Shelley scholarship in focusing on his openings of spaces, interstices, and silences in his work and their intimations of a fractured world where there are gaps between parts of it, yet where those parts are still turning out towards emerging connections, like words on a page. Coffey shows powerfully how these openings suggest states of between-ness and in-distinction that really lie at the heart of human awareness and its experiences of the material world, even though those levels are usually repressed in everyday consciousness. Such "concealed life in pauses and breaks" (Coffey’s phrase) is here brought forward, first, in older philosophies of both materiality and prosody that now emerge as influential on Shelley in ways we have too long ignored and, second, in his brilliant uses of the performative aspects of poems to call attention to moments of suspended animation caught between the dissolution and the renewal of thought, matter, and their relationships with each other. This process leads throughout to perceptive close readings of selected Shelley poems that are among the most revealing we now have, ones that general readers, students, and their teachers can apply to other works by him – and by some contemporaries and successors – not directly studied in this account. It is a pleasure to recommend an academic study that is at once a stylish "good read" and a provocative challenge for us all to examine Shelley the poet more carefully while, at the same time, learning how he expanded the possibilities of poetry in ways we have not understood until now.'Jerrold E. Hogle, University of Arizona'Shelley’s Broken World is an exhilarating, original contribution to the study of Shelley’s poetry and poetics. It reads a series of passages from such seemingly disparate poems as Alastor, Epipsychidion, and the Triumph of Life with remarkable assurance and deft sensitivity to how the poetry is performed by and in the reader. Its goal is not so much to provide a reading of a particular poem as a whole, as to demonstrate how "various intermittences" – "poetic, cognitive, spiritual, bodily" – are a hallmark of Shelley’s poetic practice, and constitute a subject deeply in need of further understanding. These intermittences appear in both Shelley’s prosody itself and the thematics involving sleep, trance, madness, and death that the verse embodies and explores. Along the way, there are some eye-opening close readings. The splendid discussion of the title and opening two lines of Epipsychidion is in itself a revelation.'Neil Fraistat, University of Maryland'A fine study of Shelley’s airy arts of breath and pause, as diverting as it is scholarly. Bysshe Inigo Coffey has many new things to say about the poet’s extensive reading and the way it helped shape many of his greatest writings, and he traces the rich philosophical, religious, and scientific resonances of the poetry with great critical grace. Sympathetic and sharp-eyed, in Shelley’s Broken World Coffey offers a deeply informed and stylishly written account of the many ways that Shelley’s complex genius sought, in his own words "something beyond the present & tangible object".'Seamus Perry, University of Oxford'Percy Bysshe Shelley has long been known by poetry cognoscenti as the Marmite of poets. Carlyle (whom I hate) called him "Weak in genius, weak in character (for these two always go together); a poor thin, spasmodic, hectic, shrill and pallid being" and Charles Kingsley, a founder of Muscular Christianity, compared "the increase of Shelley-reading in Britain in the 1850s to another growing female addiction, the secret sipping of eau-de-cologne". Bysshe Inigo Coffey is without doubt an admirer, who sees Shelley’s poetic intelligence and sensuous experience in harmony like no other with an especially endearing "grasp upon the weakness of the actual". Through new research in the "Marlow List" Coffey meticulously places Shelley in his philosophical and scientific milieux, tracing Shelley’s reading in Kant and Rousseau as well as in medicine, geophysics, astronomy, anatomy and the life sciences. This is a work of scholarly elegance as well as depth on matters of pointing and crux, of "great, last fragments", through the full range of Shelley’s poetry but especially Alastor, Peter Bell the Third, and Epipsychidion.' Regenia Gagnier, University of Exeter'This book explores inter alia how the dissolution of the boundary between mind and matter is expressed by Shelley in his dissolution of the boundary between philosophy and poetry. In this he resembles Lucretius, one of numerous poetic, scientific, and philosophical influences on Shelley presented by Coffey with rigorous scholarship. The eloquent passion of his book leaves us with the sense that Shelley was grappling with fundamental problems, and their solutions through poetic imagination, that - even if they no longer concern us - certainly should do.'Richard Seaford, University of Exeter'Shelley’s Broken World is a piercingly insightful and gracefully written book that both widens and sharpens our understanding of the poet’s intellectual and poetic engagement with the world. Bysshe Coffey has that rare talent: an ability to combine rigorous historical research with a sensitive, finely tuned ear for poetry. In this sophisticated study, Coffey shows how the pauses, fractures, absences, and breaks in Shelley’s canon are momentous. These textual spaces reflect and express the poet's thinking about politics, society, and human life in general. This book sets new standards in Shelley studies and indeed, Romantic studies.'Corinna Wagner, University of Exeter'Shelley was a polymath, and in Shelley’s Broken World Coffey provides one of the best attempts to comprehend the range, sophistication, and meaning of the poet’s mind. Coffey’s mastery of Shelley’s poetry and its contexts is remarkable, and, more importantly, he provides brilliant readings of how the two interact. The European literature and thought that inform poems such as Alastor and Epipsychidion are thoroughly explored, but Coffey is also adept at close readings which tease out Shelley’s sense of absence and vacancy enacted by form and metre. It is refreshing that Coffey manages to take the philosophical implications for any study of materiality seriously without succumbing to jargon or theoretical wandering. Furthermore, his book is part of a tradition, and he engages on every page with Shelley’s best critics and editors, while maintaining a confident and unique critical voice.'Will Bowers, Queen Mary University of London'This study should transform our understanding of Shelley’s work. Coffey writes like an angel, and he has an ear for the detailed nuances of metre and rhythm that is rare indeed; better still, he combines this gift with a painstaking archival scholarship and a deeply learned appreciation of the intellectual milieu in which Shelley worked.'Tim Kendall, University of Exeter'Not only is [this] a work of remarkable scholarship, demonstrating meticulous research and close reading and containing numerous archival revelations that will transform our understanding of Shelley, it is also an intense labour of love that realises the continuing vitality of Shelley’s poetry and philosophy for the activity of thinking and living. [...] It is an excellent conclusion to an excellent book. Characterized by an intensity and clarity of argument, a sensitivity for both the historical and the poetical, and perhaps above all a principled defence of the simultaneous weakness and power of thought, Shelley’s Broken World brings to life anew ‘the frail pauses of this simple strain’ (Shelley, Alastor).Robert Scott, The Review of English Studies'Bysshe Coffey’s Shelley’s Broken World is a broad-ranging study: one part old-fashioned history of ideas; one part monograph on Shelley’s heretofore underappreciated practice of bringing much of his verse to life within the pauses and “limit-points” of sensory perception, cognition, and prosody. [...] Coffey’s book will influence and enrich our understanding of Shelley’s achievement for a long time.'Michael J. Neth, Romantic Circles'This work is done with assurance by Coffey, in terms of Shelley’s relation to contemporaneous, and earlier, science, philosophy, and poetic repertoires. [...] This convivial aspect holds in a professional and not just thematic sense, as Coffey works closely within the Shelley editorial circle. [...] The provenance of the many insights in Shelley’s Broken World is impressively evidence-based. Coffey has an archival ace in the hole [...] able to pursue surprising investigations, and to shore up the grounds of several internal questions long held in Shelley Studies. At the same time, Coffey is a giftedly creative critic who can leap to his insights straight off. [...] Shelley’s Broken World’s greatest strengths are its professional content and its style, aligning scholarly argument to a temperament that redeems belles lettres through meticulous research.' Eric Lindstrom, The BARS Review‘Shelleyans will find much to enjoy and think over in Shelley’s Broken World. Coffey has a deep knowledge of Shelley’s corpus and the history of its reception and editing, and he shares this knowledge in an engaging prose style. He writes on neglected works, recounts editors’ debates about pointing, and traces obscure lines of thought weaving through the Marlow List with unpretentious delight. His close readings are thoughtful and judicious… gaps are full of possibilities.’ Steve Tedeschi, Wordsworth Circle‘Coffey shows how profoundly Shelley’s work engages with the philosophical, scientific, artistic, and cultural climate of the nineteenth century. Scholarly, thoughtful, and finely researched, Shelley’s Broken World presents fresh and invigorating readings of Shelley’s poems, employing hitherto unseen archive material. Elegantly written, this research monograph is an impressive achievement.’ University English Book Prize 2022Table of ContentsIntroduction1. Matter in the Margins2. Dynamics and Statics3. Their Own Eternity4. Intermitted Song: Alastor5. Kant, Purity, and the Devil: Peter Bell the Third6. Weak Verse: EpipsychidionCoda. The Broken World

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