Literary Criticism

In the opening chapter of her 1866 novel 'Felix Holt', George Eliot tells her readers that the 'vibrations that make human agonies are often a mere whisper in the roar of hurrying existence'. 'George Eliot's Grammar of Being' is developed from the idea that George Eliot wanted to produce these vibrations within her novels, not just at the level of story and character, but also at the level of language. She was a novelist who wanted the public to read her sentences almost as carefully as she wrote them—to make her readers find and subconsciously respond to those places in the prose where the syntax itself delivers subtle shocks to the system 'beneath' context. Relying heavily on examination of original manuscripts and page proofs, this book shows how George Eliot’s is a carefully evolved grammar where the vibrations are purposefully created and then enhanced through active revision. Drawing on the influence of Victorian psychological and neuro-physiological theory, as well as study of the manuscripts and writing processes of other Victorian novelists, the book shows how the sentences within a novel can become a kind of nervous system to the narrative, thus highlighting the integral role that language plays in the inspiration of our sympathy as readers.

This exciting addition to Dostoevsky studies deals with the religious dimension of the novelist's life and fiction. Malcolm Jones takes a fresh reading of Dostoevsky's representation of religion in his fictional world, that allows for both mystery and fear. The author argues that the spiritual map of human experience that Dostoevsky offers includes only the occasional small island of serenity in vast, turbulent oceans of doubt, rebellion, rejection, indifference and disbelief. Dostoevsky is also viewed as an artist, revealing glimpses of salvation through subversive narrative techniques and destabilized, vulnerable characters. Dostoevsky's fictional characters experience the dread of a meaningless void as well as a desperate longing for the restorative binding idea that religion offers. 'Dostoevsky and the Dynamics of Religious Experience' offers a balanced and authoritative argument. The book is structured through six clearly defined and self-reliant essays that take into account past and current criticism and offer a close textual analysis of Dostoevsky’s works, including  'The Double', 'Notes from Underground', 'Crime and Punishment', 'The Idiot', 'The Devils' and an in-depth study of 'The Brothers Karamazov'. This work is a major contribution to the study of Dostoevsky and Russian Literature in Europe, the USA, Russia and throughout the world.

The Selling and Self-Regulation of Contemporary Poetry is the first book-length study of the contemporary poetry industry. By documenting radical changes over the past decade in the way poems are published, sold, and consumed, it connects the seemingly small world of poetry with the other, wider creative industries. In reassessing an art form that has been traditionally seen as free from or even resistant to material concerns, the book confronts the real pressures – and real opportunities – faced by poets and publishers in the wake of economic and cultural shifts since 2008. The changing role of anthologies, prizes, and publishers are considered alongside new technologies, new arts policy, and re-conceptions of poetic labour.

The historical frame helps to understand the legacy of increased funding in the UK in the previous decade, which Tony Blair described as a ‘golden age’ for the arts two months before his resignation, and a year before the global financial crisis which succeeding governments used to justify major funding cuts. With this economic emphasis, the book challenges the historical perception of poetry’s market autonomy, for a period in which it has moved beyond Pierre Bourdieu’s view of it as ‘the disinterested activity par excellence’. Drawing on an emerging body of research into the newly defined creative economy, alongside materialist and sociological approaches, the book is structured around a range of case studies – from new publishing formats, new degree programmes and mentorship schemes, plagiarism scandals, to poems going ‘viral’ – emphasizing an underlying shift towards professionalisation and entrepreneurial rhetoric associated with new poetry. Ultimately, it argues that poetry’s continued growth and diversification also leaves individuals with more responsibility than ever for sustaining its communities.

The main focus of 'The Sexual Imperative in the Novels of Sir Henry Rider Haggard' is Haggard's preoccupation in his fiction with the theme of the sexual imperative and the relationship between his fictional representations and his personal emotional geography and experiences. It illuminates and explores aspects of this theme primarily by detailed examination of ten of his novels but it also demonstrates that identically evolving considerations of the theme are apparent in his contemporary romances. The book fills an important gap in Haggard scholarship which has traditionally tended to focus on his early romances and to centre on their political and psychological resonances. It also contributes to wider current debates on Victorian and turn of the century literature.

The book adopts a chronological framework which spans the entirety of Haggard’s writing career and considers the novels and corresponding romances which he wrote at each stage in his literary development. It considers Haggard’s literary representations in the context of contemporary sexual behaviours and attitudes, and of other contemporary literary representations of sexuality. It notes Haggard’s deployment in his novels of contemporary literary genres, notably those of the Sensation Novel, the New Woman, and later Modernism, and it examines what he contributed to these genres and how his interpretation of them compared to that of his literary contemporaries.

This book traces Haggard's emotional investment in his evolving depictions of the destructive potential for the male of female sexuality and demonstrates that his focus develops, as his writing career progresses, from deeply personal renditions of sexual betrayal towards a proposal that the seeds of moral destruction are an integral part of the sexual imperative. It examines his sustained consideration in his novels of the issues of the position of women and of the marriage question and documents his exploration of whether an unsatisfactory marriage legitimises extra-marital sexual relations. It notes, as a measure of Haggard’s moral progressiveness, that despite his formal need to criticise this behaviour, he is in fact clear that it is both natural and morally irreproachable. The book also examines Haggard’s exploration of the merits of a love which is predominantly spiritual rather than sexual and his consideration of the virtues of sexual renunciation. It relates his treatment of these themes to that of contemporary novelists and spiritualist writers. It documents his final fiction which depicts the inescapable imperatives of the human situation and celebrates the overwhelming validity of sexual passion in a committed relationship. It considers the extent of Haggard’s modernity and proposes that although he remains careful and caveated in his moral statements, and conservative by contemporary literary standards, he does unquestionably endorse self-fulfilment over social duty. The book’s conclusion argues that Haggard’s novels and many of his romances represent a consideration of issues which he saw as at the root of being and that the consistency, balance and open-mindedness with which he pursued them suggest a generally uncredited integrity and weight to his fiction.

Defining what one means by the notion of ‘otherness’ is no mean feat. Typing the word into JSTOR results in no fewer than 39,000 citations. One can be overwhelmed with notions of what constitutes ‘otherness’.

To a great extent, the essays in ‘Notions of Otherness’ approach specific texts (e.g., Sarraute’s ‘Tropisms’) and philosophies (e.g., Lawrence’s ‘Ranamin’) as reflective of Simmel’s notion of the Stranger whose membership within the group, described in the Spring 2010 issue of ‘Social Research’, involves both being outside it and confronting it.

The entirety of the literary texts that have been written about (Cahan, Woolf, Schulz, Lawrence, Ionesco, Duras, Wittig and Maraini) have been addressed from the perspective of being ‘outside the group’ and ‘confronting’ the group both from a sociological perspective and an aesthetic one. Challenging male authority is one example of being outside the group; challenging traditional notions of writing fiction is another aspect of being outside the group; challenging one’s own loss of culture or being forced to do so is being outside the group and advocating a fascist form of living within a democracy is yet another aspect of being outside the group. Each of these texts challenges ‘codes of otherness’ and by so doing manifest notions of otherness in a distinctly unique manner.

‘Bakhtin and his Others’ aims to develop an understanding of Mikhail Bakhtin’s ideas through a contextual approach, particularly with a focus on Bakhtin studies from the 1990s onward. The volume offers fresh theoretical insights into Bakhtin’s ideas on (inter)subjectivity and temporality – including his concepts of chronotope and literary polyphony – by reconsidering his ideas in relation to the sources he employs, and taking into account later research on similar topics. The case studies show how Bakhtin's ideas, when seen in light of this approach, can be constructively employed in contemporary literary research.

If Marguerite Blessington (1788–1849) – the “most gorgeous lady” in Dr. Samuel Parr’s words – is ever remembered today, it is mostly for her famous literary salon and for her ‘Conversations of Lord Byron’ (1833 l–34), one of the poet’s early biographies. She is also infamous for the relationship with her step-daughter’s husband, the French dandy Count D’Orsay. Hardly anything, however, has been written on Blessington as a traveller and a travel writer. In 1820 she set off on a series of tours, in the course of which she kept journals which were then published as ‘A Tour in The Isle of Wight, in the Autumn of 1820’ (1822), ‘Journal of a Tour through the Netherlands to Paris in 1821’ (1822), ‘The Idler in Italy’ (1839) and ‘The Idler in France’ (1841).

Convinced that Marguerite Blessington merits scholarly attention as a travel writer, Aneta Lipska’s ‘The Travel Writings of Marguerite Blessington’ offers the first detailed analysis of Blessington’s four travel books. This book reveals that travelling and travel writing offered Blessington endless opportunities to reshape her public personae, demonstrating that her predilection for self-fashioning was related to the various tendencies in tourism and literature as well as the changing aesthetic and social trends in the first half of the nineteenth century. The book argues that the author constructed diverse images of herself, depending on the circumstances in which she found herself. The early travel accounts foreground the personae of a chaperoned woman traveller and a novice writer, allowing her admission to the genre of travel writing. The mature travel writings present her to the public as indeed the “most gorgeous lady” on the tour and a seasoned travel writer solidifying her position as a celebrity.

How are breasts and breastfeeding shown in literature? Why does the depiction of breastfeeding in literature matter? What messages do we get from literature about the feeding of infants and children and about women’s bodies? Is this different in different cultures? What causes cultural and historical differences and what can we learn from them?

This cross-cultural study analyses images and descriptions of breasts and breastfeeding in children’s books and literature for adults, in both English and Swedish. It explores how breastfeeding is depicted in literature in the two languages and discusses why there are differences in the cultures. Literary, feminist, anthropological, sociological, historical, and cultural research is used to support this analysis and to suggest explanations for the differing depictions. For example, the book discusses the concepts of women being nude versus women being naked; nakedness, the book argues, is more acceptable in Swedish literature and society, whereas a naked female is immediately perceived as nude in English-speaking cultures, and nudity is always sexualised. It discusses the male gaze and challenges ways of seeing women’s bodies in literature; a question here is whether women can see their bodies without being influenced by the pervasiveness of the male gaze. Another example of a difference between the two cultures is the rise of formula-feeding and supposedly scientific ways of understanding and managing bodies in many Western countries, including English-speaking ones, and this in turn influences decreasing familiarity and comfort with seeing breasts and breastfeeding in literature, whereas rates of breastfeeding are still high in Scandinavia, which suggests more understanding, acceptance and support of natural bodily functions. In addition, issues such as whether a more feminist political approach might affect how breastfeeding is depicted and how it is treated in society are considered.

While this intercultural exploration of breasts and breastfeeding in literature is academic and relies on extensive research, the book also suggests that this reflects popular culture today. Given the rise of the #MeToo movement and our new awareness of people’s rights to their own bodies and to consent, it is important that we explore depictions in the media of women’s bodies and encourage positive representations. Avoiding naked females in literature or primarily showing them in sexualised contexts suggests a sense of shame and fear about female bodies, or emphasises the idea that women are to be objectified.

In short, this book will focus on a topic not yet seen in any depth in academic research and will raise fresh awareness of the power of literature to influence how readers see their own and other people’s bodies, and will also illuminate cultural and historical differences that affect what writers describe and illustrators depict in literature when it comes to breasts and breastfeeding. The book challenges the currently prevailing ways of depicting female bodies in literature and discusses the way societal norms influence the writing and illustrating of literature.

The 2020 COVID-19 pandemic imposed immobility on large sectors of the world’s population, with confinement becoming for several years an everyday reality. The lives of those who previously enjoyed the privileges of being ‘fast castes’ ground to a halt, while at the same time the displacement of more vulnerable populations along well-established migration corridors has been radically reduced. The result has been a recalibration of the scale of journeying, with travellers slowing down and readjusting their relationship to the proximate and nearby. This situation has provided an opportunity for those who study travel and travel writing to rethink their object of study. This volume explores and historicizes the phenomenon of ‘microtravel’, designating slower journeys within a limited radius which allow, and sometimes necessitate, new forms of experiencing the world.
The contributors reveal how these practices are far from new and are indeed evident across numerous examples of journey narratives from earlier periods. The volume considers a diverse range of forms, including fictional texts. It also includes ficto-critical writing, allowing a fuller exploration of new approaches to microtravel in the twenty-first century. Sometimes deceleration is reduced to immobility, with the traditional horizontal axis of travel replaced by a burrowing down into time, place and space. Contributions engage with the following four intersecting themes:
Confinement and immobility: travel writing is traditionally associated with tropes of expansiveness and openness. The volume disrupts this understanding by claiming that the travelogue is often more accurately understood as a form dependent on tensions between mobility and immobility, between confinement and liberty. Confined travellers may experience a breakdown of the journey as their progress stalls and they are reduced to a state of sessility. This physical restriction can lead, however, to different modes of travelling, an understanding of microtravel associated with slowing down and perceiving the place differently. For some, this sessility is a choice, a restricted frame of reference or scope imposed on their travels. Deceleration and pedestrianism: confinement leads to an inevitable slowing down of the journey, but microtravel encompasses other forms of spatial limitation. Eschewing mechanized transport, for instance, the pedestrian becomes reliant on self-propulsion, reducing the dimensions of the world to those of the travelling self. Walking exemplifies the impact of deceleration on the journey, activating multisensory forms of engagement and ensuring direct, close contact with the field of travel. The return of walking in contemporary travelogues may demonstrate, however, a nostalgia for earlier modes of journeying, and there is a need to recognize the pitfalls of such romanticization. Palimpsestic travel: Kris Lackey coined the term ‘vertical travel’ to describe journeys that disrupt the traditional horizontal axes of travel. Robert Macfarlane has written, in Underground, about itineraries that burrow beneath our feet and explore the hidden and the unseen. This volume focuses also on the notion of palimpsestic journeying as a form of microtravel, an engagement with place that reveals historical layers and allows the travellers to create connections between the past and present. Microspection and microsound: just as deceleration can trigger heightened sensory awareness of the multiple textures of place, on occasion moving beyond the human emphases of the Anthropocene, so our understanding of microtravel is associated with an attention to detail otherwise missed from mechanized journeys or those reliant on acceleration of the body through space.

This exciting addition to Dostoevsky studies deals with the religious dimension of the novelist's life and fiction. Malcolm Jones takes a fresh reading of Dostoevsky's representation of religion in his fictional world, that allows for both mystery and fear. The author argues that the spiritual map of human experience that Dostoevsky offers includes only the occasional small island of serenity in vast, turbulent oceans of doubt, rebellion, rejection, indifference and disbelief. Dostoevsky is also viewed as an artist, revealing glimpses of salvation through subversive narrative techniques and destabilized, vulnerable characters. Dostoevsky's fictional characters experience the dread of a meaningless void as well as a desperate longing for the restorative binding idea that religion offers. 'Dostoevsky and the Dynamics of Religious Experience' offers a balanced and authoritative argument. The book is structured through six clearly defined and self-reliant essays that take into account past and current criticism and offer a close textual analysis of Dostoevsky’s works, including  'The Double', 'Notes from Underground', 'Crime and Punishment', 'The Idiot', 'The Devils' and an in-depth study of 'The Brothers Karamazov'. This work is a major contribution to the study of Dostoevsky and Russian Literature in Europe, the USA, Russia and throughout the world.

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

If Marguerite Blessington (1788–1849) – the “most gorgeous lady” in Dr. Samuel Parr’s words – is ever remembered today, it is mostly for her famous literary salon and for her ‘Conversations of Lord Byron’ (1833 l–34), one of the poet’s early biographies. She is also infamous for the relationship with her step-daughter’s husband, the French dandy Count D’Orsay. Hardly anything, however, has been written on Blessington as a traveller and a travel writer. In 1820 she set off on a series of tours, in the course of which she kept journals which were then published as ‘A Tour in The Isle of Wight, in the Autumn of 1820’ (1822), ‘Journal of a Tour through the Netherlands to Paris in 1821’ (1822), ‘The Idler in Italy’ (1839) and ‘The Idler in France’ (1841).

Convinced that Marguerite Blessington merits scholarly attention as a travel writer, Aneta Lipska’s ‘The Travel Writings of Marguerite Blessington’ offers the first detailed analysis of Blessington’s four travel books. This book reveals that travelling and travel writing offered Blessington endless opportunities to reshape her public personae, demonstrating that her predilection for self-fashioning was related to the various tendencies in tourism and literature as well as the changing aesthetic and social trends in the first half of the nineteenth century. The book argues that the author constructed diverse images of herself, depending on the circumstances in which she found herself. The early travel accounts foreground the personae of a chaperoned woman traveller and a novice writer, allowing her admission to the genre of travel writing. The mature travel writings present her to the public as indeed the “most gorgeous lady” on the tour and a seasoned travel writer solidifying her position as a celebrity.

This book arose from several years of research on Akhmatova. Anna Akhmatova is one of the most acclaimed poets of the twentieth century. Her career falls into two distinct periods, an 'earlier' and a 'later', the dividing line being her period of relative silence between 1925 and 1940.  As is often observed, her return to poetry brings with it a sudden and dramatic shift away from a relatively homogenous body of early lyric miniatures to a more diverse and complex style. One of the major unresolved problems in Akhmatova scholarship is that of how the poetics of the two phases are related. Previous attempts to plot her creative trajectory contain internal inconsistencies and are in conflict with one another, often serving to confuse rather than clarify the debate. This book seeks to explore these themes, bringing reconciliation to seemingly disparate views. This book outlines a fresh and coherent framework for the apprehension of Akhmatova's oeuvre in its totality, seeing her as a poet who moves beyond modernism in her later period. The appeal to postmodernism, which is in itself innovatory with regard to Akhmatova studies, also allows exploration of a second problematic issue: how to account for the shift in self-presentation in the later verse, and the different concept of poetic self which it advances. This new account of Akhmatova's path to maturity challenges the conventional view of the early Akhmatova as poet in the classical Russian tradition, and of the later Akhmatova as paradigmatically modernist.

This dedicated volume proposes to honor the rich, varied, trenchant, and tremendously influential scholarship of Professor Margot Norris in a series of essays amplifying her illumination of Joyce’s literary oeuvre along with several prominent lines she introduced and investigated. Our title is intended to mark the common denominator running, like Ariadne’s thread, throughout Professor Norris’ many-sided explorations of Joyce’s labyrinth. For Professor Norris, the quiddity of Joyce’s work, its elusive whatness, resides in its secretion of multiple what elses, its opening up of alternative ways of regarding the novels themselves, the readers they address, the narrative or generic forms they destabilize, the world to which they refer, and the heritages they tap. These five categories, in fact—textual plurivalence, formal innovations, possible worlds, emergent histories, and variegated readerships—serve as anchoring points of the collection, each corresponding with one of the significant projects delineating Professor Norris’ esteemed career. Prominent Joycean, Modernist, and Irish study scholars of different nations and generations supply the essays under each heading. 

The first critical section, the textual dimension, will engage with Professor Norris’ exemplary vindication of the hermeneutics of suspicion in her monograph, Suspicious Readings of Joyce’s Dubliners. Joseph Valente, Kezia Whiting and Beryl Schlossman will be toiling in this particular vineyard. The second section, the readerly dimension, will take up Professor Norris’ most recent book, Virgin and Veteran Readings of Ulysses, where she elaborates how the stylistic iridescence that Hugh Kenner identified as essential to Joyce’s writing likewise operates with shifts in the experience (in every sense of the term) of the reader, and how Joyce inscribes that shimmer of interpretive possibility directly into the text itself. Michael Groden, Ellen Carol Jones, and Austin Briggs each contribute an essay on this topic. The third section, the narratological dimension, grows out of Professor Norris’ attention to Joyce’s experiments in narrative and, more broadly, symbolic structure, beginning with her first book on Joyce, The Decentered Universe of Finnegans Wake. Derek Attridge and Valerie Benejan are featured in this subdivision. The fourth section, on alternative realities, enters forthrightly into dialogue with Professor Norris’ recent essays that usher the postmodern “possible worlds theory '' into the orbit of Joyce studies. Gregory Castle, Marilyn Reizbaum and Paul Saint-Amour extend the application of this paradigm to Ulysses and Finnegans Wake respectively. Whereas the first section of the volume deals with the importance of subtext in Professor Norris’ exegetical achievements, the final grouping deals with sub-context, with moments of buried history of the sort Professor Norris addresses in her book, Joyce’s Web. The essayists developing this approach include Maud Ellmann, Ann Fogarty, Michael Gillespie, and Margot Backus.

The volume culminates with an essay by Vicki Mahaffey focusing on the envisioning of and commitment to gender equality that pervades all of Professor Norris’ scholarship and rivets the excavation of a buried past to the imagination of a better future, possibilities missed and possibilities still to be seized.

Hopefully, this roster denotes how the concept of possibility will give the collection, as it has Professor Norris’ research, and as it did Joyce’s literary monuments, a kind of floating foundation (what seismic architects call base isolation), that ensures consistency in and through flexibility. The essays, to shift metaphorical register, speak to one another but in different idioms, each of which Professor Norris herself has helped to make legible and compelling in the several fields where Joyce looms centrally important. Due to the reverence in which Professor Norris is held in the Joyce community, the distinguished reputation of the contributors in Joyce studies and related fields, and the currency of the approaches they take in following her lead, this volume is certain to attract a substantial academic readership. 

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

Archipelagothic: Studies in the Philippine Gothic is a volume that brings together essays that examine the place of the gothic in Philippine culture, which include Philippine literature in English, Tagalog literature, regional literature, cinema, TV, and comics and graphic novels. These essays collectively suggest that the Philippines’ longue durée of multiple colonialisms, archipelagic configuration, uneven effects and experiences of globalization, and various regional cultures have variously and uniquely transformed the idea of the gothic. The volume thus also serves as diverse theoretical elaborations of the concept of archipelagothic, designating a descriptive term that refers to the gothic multiplicity in Philippine culture as well as an approach to reading gothic texts that emphasize relationality, decoloniality, and multiplicity.

In the collection, Jeremy De Chavez’s introductory essay offers a brief synoptic history of the gothic in the Philippines and a theoretical elaboration of the archipelagothic. Thomas Leonard Shaw’s essay examines the gothic in Philippine Anglophone writing by looking at three thematic categories—the tropical gothic, and the urban gothic—across a selection of texts spanning from the 1940s to the more contemporary 2010s. Edgar Calabia Samar’s essay examines contemporary Tagalog literature’s engagement with the gothic. Genevieve Asenjo’s essay examines literary texts from the Visayan region of the Philippines that perform the archipelagic tropes of the Philippine gothic, which she argues is rooted in its enduring shamanistic tradition and verbal arts of epic chanting and storytelling. 

Louie Jon Sanchez’s essay examines how in the past 70 years of Philippine TV broadcasting gothic tendencies may be observed in two popular televisual formats: the documentary gothic in episodes of news and current affairs formats and the melodramatic gothic in representational drama formats like the occasional drama anthology/movies for TV and the soap opera, locally called the “teleserye” (television series). Rose Arong examines the formal elements of the komiks and graphic novel genre as a way to discuss the thematic variations of the gothic, which are products of the artistic negotiation of foreign influence and local adaptation. The volume includes a helpful glossary of terms prepared by Michael Justine Sales. 

The books collects Daniel T. O’Hara’s half century of essays and review-essays on Yeats and his major poetry an drama and how leading critics and theorists have sought to revise their reception for their periods of time and indeed for the future. Its aim is to trace a critical history of the last fifty years, even as it opens the prospects for the future of critical reading of Yeats and modern poetry.

Reading as a Philosophical Practice asks why reading—everyday reading for pleasure—matters so profoundly to so many people. Its answer is that reading is an implicitly philosophical activity. To passionate readers, it is a way of working through, and taking a stand on, certain fundamental questions about who and what we are, how we should live, and how we relate to other things. The book examines the lessons that the activity of reading seems to teach about selfhood, morality, and ontology, and it tries to clarify the sometimes paradoxical claims that serious readers have made about it. To do so, it proposes an original theoretical framework based on Virginia Woolf’s notion of the common reader and Alasdair MacIntyre’s conception of practice. It also asks whether reading can continue to play this role as paper is replaced by electronic screens.

Despite the obvious overlap between the concerns of avid readers and the perennial questions of philosophy, most professional philosophers pay little attention to the kinds of reading that are most familiar to most people. They have had almost nothing to say about the activity of reading for pleasure, considered in itself and as such, or about the ways it matters to ordinary readers. For many serious readers, reading offers a way of working through philosophical matters—a way of posing, and sometimes taking a stand on, certain fundamental questions about what we are, how we should live, and how we relate to other things. This questioning is usually not as explicit or as self-aware as the debates that go on in philosophy journals and seminar rooms. But it has much the same goal and addresses many of the same concerns. Moreover, Reading as a Philosophical Practice argues that it is the “experience” of reading that performs these functions. Reading is not just philosophical on those occasions when we happen to read the works of philosophers or philosophically minded novelists. There is something philosophical about the activity of reading, in itself and as such, and about the experiences people have while engaged in it. The book’s goal is to clarify what this is. 

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Three main areas of its focus are women’s representation as writers and consumers of Gothic literature, the Puritans’ fear of the wilderness and treatment of the native peoples, and the legacy of slavery and enduring racism. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; Stephen King and the horror boom of the twentieth century; and writers of the current generation who respond to the racial and gender issues in the work of H. P. Lovecraft, the Providence writer whose stories once defined New England’s Gothic heritage. 

The Gothic Literature and History of New England brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture—tourism, films, television, games, the visual arts and more.

This is a high-interest work designed for scholars of the Gothic mode who may not be familiar with more recent developments in fiction and film as well as for advanced undergraduate and graduate students searching for a compact introduction to this area of the American Gothic. It will provide an overview of criticism, a timeline of historical events and literary texts, and suggestions for further reading. The approach relies on open-ended questions that may help instructors “teach the conflicts” around race, gender, class and the aesthetics of the Gothic. 

In late eighteenth- and early nineteenth-century British literature, Scandinavia emerged as a setting for Gothic terror. This book explores the extensive use of Nordic superstition as it provided a vocabulary for Gothic texts, examining the cultural significance these references held for writers exploring Britain’s northern heritage. In Gothic publications, Nordic superstition sometimes parallels the representations of Catholicism, allowing writers to gloat at its phantasms and delusions. Thus, runic spells, incantations, and necromantic communications (of which Norse tradition afforded many examples) could replace practices usually assigned to Catholic superstition. Yet Nordic lore did more than merely supplant hackneyed Gothic formulas; it presented readers with an alternative conception of ‘Otherness’. Nordic texts—chiefly based on the Edda and the supernatural Scandinavian ballad tradition—were seen as pre-Christian beliefs of the Gothic (i.e., Germanic) peoples, including the Anglo-Saxons. The book traces the development of this Nordic Gothic, situating it within wider literary, historical, political, and cultural contexts.

A significant context explored in the book is the conflict between the respective supporters of Celtic and Germanic heritage in the British Isles. The critical interventions of the Hugh Blair, John Pinkerton, Thomas Percy and others are important for understanding the role Norse tradition came to play. Among supporters of the Gothic/Germanic past, the Norse ancestors’ undaunted confrontation with fear was hailed as a testament to the bravery and boldness of the race. In turn, the terror discovered in Norse tradition was made to do cultural work as an ethno-political intervention in favour of Anglo-Saxon heritage in Britain. 

Another context for the Nordic imaginary is the commercial book market. British writers often teetered between approaching Nordic superstition with genuine antiquarian interest and exploiting it for the shock effects it afforded. With respect to the dual investment in Nordic material, a central focus is the Danish ballad material included in Matthew Gregory Lewis’ The Monk and his Tales of Wonder. Other writers who are discussed include Thomas Gray, Thomas James Mathias, William Wordsworth, Anna Seward, Walter Scott, and Ann Radcliffe. The book will also introduce readers to lesser-known authors.

Gothic Appalachian Literature examines the ways contemporary Appalachian authors utilize gothic tropes to explore the complex history and contemporary problems of the region, particularly in terms of their representation of economic, environmental, and political concerns. It argues that across Appalachian fiction, the plight of characters to save their homes, land and way of life from the destructive forces of extractive industries brings sharply to bare the histories of colonization and slavery that problematize questions of belonging, ownership and possession.
• Robertson extensively considers contemporary manifestations of the gothic in Appalachian literature, arguing that gothic tropes abound in fiction that focuses on the impacts of extractive industries and the climate crisis that connect this micro-region with other parts of the Global North and Global South where the devastating impacts of extractive industries are also experienced socially, economically and environmentally. Across contemporary Appalachian writing the everyday is haunted by the specter of climate change. As a result, while Appalachian fiction contains an array of horror-fueled texts rife with the regional stereotypes common in the popular imagination, the monstrous in contemporary Appalachian fiction is commonly found in overflowing slurry pits, the nightmarish sight of fracking towers, floods, droughts and forest fires. Gothic Appalachian Literature proposes that Appalachian texts that expose readers to the sites and processes of fossil fuel extraction, and their contribution to the climate crisis, are inherently gothic.
• As Robertson explores both historic and contemporary forms of the gothic she covers a diverse range of voices and perspectives that reflect a complex micro-region where individuals and communities are more richly complex than the reductive stereotypes of Appalachia ever allow. To that end, Robertson engages with contemporary debates about race and LGBTQ+ rights in what she terms a post-Trump moment in Appalachian literature.

The Selling and Self-Regulation of Contemporary Poetry is the first book-length study of the contemporary poetry industry. By documenting radical changes over the past decade in the way poems are published, sold, and consumed, it connects the seemingly small world of poetry with the other, wider creative industries. In reassessing an art form that has been traditionally seen as free from or even resistant to material concerns, the book confronts the real pressures – and real opportunities – faced by poets and publishers in the wake of economic and cultural shifts since 2008. The changing role of anthologies, prizes, and publishers are considered alongside new technologies, new arts policy, and re-conceptions of poetic labour.

The historical frame helps to understand the legacy of increased funding in the UK in the previous decade, which Tony Blair described as a ‘golden age’ for the arts two months before his resignation, and a year before the global financial crisis which succeeding governments used to justify major funding cuts. With this economic emphasis, the book challenges the historical perception of poetry’s market autonomy, for a period in which it has moved beyond Pierre Bourdieu’s view of it as ‘the disinterested activity par excellence’. Drawing on an emerging body of research into the newly defined creative economy, alongside materialist and sociological approaches, the book is structured around a range of case studies – from new publishing formats, new degree programmes and mentorship schemes, plagiarism scandals, to poems going ‘viral’ – emphasizing an underlying shift towards professionalisation and entrepreneurial rhetoric associated with new poetry. Ultimately, it argues that poetry’s continued growth and diversification also leaves individuals with more responsibility than ever for sustaining its communities.

William Congreve wrote his plays and his novella, Incognita¸ during a time of immense social and political upheaval. The revolution of 1688 brought with it a rash of new ideas. William and Mary were monarchs chosen by a Convention of Englishmen, not rulers chosen by divine right. And new ideas in philosophy and politics, most notably expressed in the writings of John Locke, gave a new shape to the way the world was perceived. Congreve, an ardent supporter of the dual monarchy and later of William III, was depicted by Charles Lamb and many later critics as writing comedies that had no connection with the real world. To the contrary, his writings reflect a strong engagement with the changes occurring in the social milieu of the time. The new sense of political liberty brought with it greater social equality; the lapse in the Licensing Act brought greater freedom in publishing. And while the attack upon the stage by Jeremy Collier in 1698 was to rein in some of the explorative nature of comedy during the 1690s, Congreve took advantage of the new freedoms from the events of 1688 to write sophisticated comedies that both exploited this liberation and criticised it.

This book attempts to examine Congreve’s major writings in the light of these changes by beginning with what appears to have been the questions raised by what may be seen as skepticism about the family, the collapse of concepts of marriage and the debates over divorce that dominated the decade. The book demonstrates how Congreve’s plays were very much a part of this; however, in his comedies, he always managed to achieve a light surface affect. This is perhaps never truer than in his first publication, his novella Incognita. Yet what appears to be an amusing series of mistaken identities resembling what was called a “Spanish plot” turns out to contain some serious questions about identity and some doubts about the way we understand our world. After demonstrating the political ambiguities of The Old Batchelor, the book shows how the betrayal of the family to which the lovers, Mellefont and Cynthia, are attached, by the sinister Maskall, is a fairly blatant attack on the politics of Jacobitism. Congreve followed this with the lighter Love for Love, which, beneath its odd Egyptian imagery, contains an attack upon the patriarchal concept of government still accepted by the followers of the deposed king, James II. In his tragi-comedy, The Mourning Bride, Congreve allowed his plot to carry the weight of the Whig rebellion, giving his lovers the epistemology of perception that belonged to the new world of the 1690s, compared to the uncontrolled passions of the past. In his final play, The Way of the World, he demonstrates how his lovers of 1700 reveal a combination of sensibility and canniness that make them capable of facing the complexities of the new century.

Reading as a Philosophical Practice asks why reading—everyday reading for pleasure—matters so profoundly to so many people. Its answer is that reading is an implicitly philosophical activity. To passionate readers, it is a way of working through, and taking a stand on, certain fundamental questions about who and what we are, how we should live, and how we relate to other things. The book examines the lessons that the activity of reading seems to teach about selfhood, morality, and ontology, and it tries to clarify the sometimes paradoxical claims that serious readers have made about it. To do so, it proposes an original theoretical framework based on Virginia Woolf’s notion of the common reader and Alasdair MacIntyre’s conception of practice. It also asks whether reading can continue to play this role as paper is replaced by electronic screens.

Despite the obvious overlap between the concerns of avid readers and the perennial questions of philosophy, most professional philosophers pay little attention to the kinds of reading that are most familiar to most people. They have had almost nothing to say about the activity of reading for pleasure, considered in itself and as such, or about the ways it matters to ordinary readers. For many serious readers, reading offers a way of working through philosophical matters—a way of posing, and sometimes taking a stand on, certain fundamental questions about what we are, how we should live, and how we relate to other things. This questioning is usually not as explicit or as self-aware as the debates that go on in philosophy journals and seminar rooms. But it has much the same goal and addresses many of the same concerns. Moreover, Reading as a Philosophical Practice argues that it is the “experience” of reading that performs these functions. Reading is not just philosophical on those occasions when we happen to read the works of philosophers or philosophically minded novelists. There is something philosophical about the activity of reading, in itself and as such, and about the experiences people have while engaged in it. The book’s goal is to clarify what this is. 

‘Philosophical Meta-Reflections on Literary Studies: Why Do Things with Texts, and What to Do with Them?’ takes up key meta-questions in the humanities, with focus on contemporary literary studies, philosophically examines the nature of knowledge therein as well as the implications of certain popular critical approaches, and addresses the effervescent question of ‘relevance’. In contrast to usual works on literary theory, or on philosophy of literature for that matter, this book presents an integrated meta-reasoning on the foundational questions of literary studies from an interdisciplinary perspective – in a manner of intertextual informality. It endeavours to articulate a rationale for the humanities in general and literary studies in particular. It philosophically examines the implications of, and assumptions behind, three popular tendencies in contemporary literary criticism – textual deconstruction, ideological criticism and constructivism. It also introduces the reader to possibilities of non-reductive reasoning with regard to the relation between the aesthetic and the political. With his multidisciplinary background, doctoral degree on an encyclopedic author who extended the frontiers of fiction with his highly experimental writings (James Joyce) and past engagements with vital issues in the humanities/literature, Jibu George is in a position to deal with foundational questions therein. The book endeavours to fill the gap between theory and practice; its metacritical reflections redefine the way critics interpret texts, teachers teach them, students study them and researchers grapple with their research problems. It also proposes an array of new concepts for the understanding of literature which have a significance beyond traditional disciplinary boundaries.

William Congreve wrote his plays and his novella, Incognita¸ during a time of immense social and political upheaval. The revolution of 1688 brought with it a rash of new ideas. William and Mary were monarchs chosen by a Convention of Englishmen, not rulers chosen by divine right. And new ideas in philosophy and politics, most notably expressed in the writings of John Locke, gave a new shape to the way the world was perceived. Congreve, an ardent supporter of the dual monarchy and later of William III, was depicted by Charles Lamb and many later critics as writing comedies that had no connection with the real world. To the contrary, his writings reflect a strong engagement with the changes occurring in the social milieu of the time. The new sense of political liberty brought with it greater social equality; the lapse in the Licensing Act brought greater freedom in publishing. And while the attack upon the stage by Jeremy Collier in 1698 was to rein in some of the explorative nature of comedy during the 1690s, Congreve took advantage of the new freedoms from the events of 1688 to write sophisticated comedies that both exploited this liberation and criticised it.

This book attempts to examine Congreve’s major writings in the light of these changes by beginning with what appears to have been the questions raised by what may be seen as skepticism about the family, the collapse of concepts of marriage and the debates over divorce that dominated the decade. The book demonstrates how Congreve’s plays were very much a part of this; however, in his comedies, he always managed to achieve a light surface affect. This is perhaps never truer than in his first publication, his novella Incognita. Yet what appears to be an amusing series of mistaken identities resembling what was called a “Spanish plot” turns out to contain some serious questions about identity and some doubts about the way we understand our world. After demonstrating the political ambiguities of The Old Batchelor, the book shows how the betrayal of the family to which the lovers, Mellefont and Cynthia, are attached, by the sinister Maskall, is a fairly blatant attack on the politics of Jacobitism. Congreve followed this with the lighter Love for Love, which, beneath its odd Egyptian imagery, contains an attack upon the patriarchal concept of government still accepted by the followers of the deposed king, James II. In his tragi-comedy, The Mourning Bride, Congreve allowed his plot to carry the weight of the Whig rebellion, giving his lovers the epistemology of perception that belonged to the new world of the 1690s, compared to the uncontrolled passions of the past. In his final play, The Way of the World, he demonstrates how his lovers of 1700 reveal a combination of sensibility and canniness that make them capable of facing the complexities of the new century.

In considering Dostoevsky's 'The Idiot', a novel less easily defined in terms of plot and ideas than his other major fictional works, Sarah Young addresses problems in the novel unresolved by previous interpretations, and in doing so fills a significant gap in Dostoevsky studies. 'Dostoevsky's The Idiot and the Ethical Foundations of Narrative' provides an innovative theoretical framework for an analysis that integrates structural and narratological considerations with thematic (religious and ethical) aspects, by focusing on the characters' interactivity as the most fundamental level on which the ethical systems of the novel are enacted. It examines the questions of what ethical bases are put forward by the novel, what faith-issues and philosophical world-views they derive from, and how, in terms of structuring and narration rather than simply thematically, they are presented in the novel. For the first time, through the concept of scripting, the author shows how the ethical becomes the foundation for the narratological in The Idiot. No other book on Dostoevsky has addressed the question of ethics, which is so important to the study of Dostoevsky, particularly in the light of recent work on the religious dimension of his novels, within the context of narrative and Bakhtinian dialogue. This substantial new work will appeal to academics, postgraduates and undergraduates working on Dostoevsky and the nineteenth- and twentieth-century Russian novel in general; as well as scholars in the fields of literary theory, including Bakhtin studies, narratology, literature and ethics.

‘The Constitution of Shelley’s Poetry’ is a close philosophical reading of ‘Prometheus Unbound’ from the perspective of the argument or drama of language played out in its pages. At its heart a four-chapter reading of ‘Prometheus Unbound’, the book is punctuated with readings of other Shelley works and prefaced with two earlier chapters: one on 'Mont Blanc' and 'Hymn to Intellectual Beauty', the companion poems inaugurating Shelley’s poetic maturity; the other on 'Ode to the West Wind' originally published with ‘Prometheus Unbound’ and here represented as 'signature' Shelley. The book’s one most distinguishing feature, from which several others derive, is its bringing the power and pertinence of Stanley Cavell’s thought to Shelley’s poetry and to his explicitly articulated philosophical interest in language.

The book urges and practises close reading, but it provides philosophical grounds for this ostensibly old-fashioned approach, and it implicitly proposes an understanding of language very different from those now most generally assumed in literary studies. The book’s bringing of Cavell’s thought to Shelley’s poetry would make two related but distinguishable contributions. There is, first of all, the reading of Shelley’s poetry, which is new and persuasive both in many of its local moments and in its overall thrust. Second, there is the practical demonstration of the relevance and yield of Cavell’s thought for literary studies.

‘Stephen Wall, “Trollope and Character” (1988) and Other Essays on Victorian Literature’, with an introduction by Nicholas Shrimpton, gathers together the principal publications of the distinguished scholar-critic Stephen Wall. Wall was widely regarded for his writings on the Victorian novel, and this book contains all his major writings about Anthony Trollope and Charles Dickens, including the full text of his book-length study ‘Trollope and Character’ (1988) and a history of Dickens's reception. Alongside these texts are included Wall's reflections on Jane Austen and George Eliot and on other aspects of nineteenth-century fiction, as well as his influential essay on the ways in which English novels should be edited. Together, the essays communicate the mixture of learning, human sympathy, critical intelligence and dry wit that made Wall's voice so distinctive and trusted.

‘Suburban Space, the Novel and Australian Modernity’ focuses on the dynamic interaction between suburbs and suburbia as this emerges in a century-long series of Australian novels – in works by Christina Stead, George Johnston, Elizabeth Harrower, Patrick White, Christos Tsiolkas and many other twentieth-century and contemporary writers. It puts the often trenchantly anti-suburban rhetoric found in these novels in dialogue with their evocative rendering of suburban place and time.

In the process, ‘Suburban Space, the Novel and Australian Modernity’ rethinks perennial literary and cultural debates about suburbia – in Australia and elsewhere. It does so by putting fictional ‘suburbs’ (their multitude of imagined interiors, homes, streets, forms and lives over time) into dialogue with cosmopolitan resistance towards the very idea of ‘suburbia’ as an amnesic and conformist cultural wasteland. ‘Suburban space, the novel and Australian modernity’ explores the generative collision produced in novels between the sensory remembered terrain of the primal suburb and wider cultural critiques of suburbia. It is through such contradictions that novels create resonant mental maps of suburban place and time. Australian novels, in other words, serve as a prism through which suburbs – real and imagined, remembered and utterly transformed – can be glimpsed sidelong.

‘Suburban Space, the Novel and Australian Modernity’ is a coinage that highlights both the persistence and the renovation of literary forms by means of the suburb. The suburbs prompt writers to experiment with the forms of the novel. The very scale of the suburb is productive, enabling narratives to slide readily from microcosm to macrocosm, from the domestic interior to the globe. Like suburbia, the novel is a form that is both generic and specific, circulating transnationally yet taking root locally. 'Suburban Space, the Novel and Australian Modernity’ enacts a retrospective of Australian literary suburbia that reorients understanding of the political, cultural and literary significance of the suburbs. Novels about suburbs often play with time, looking into the past in order to summon what is lost. ‘Suburban Space, the Novel and Australian Modernity’ enacts a retrospective of Australian literary suburbia that reorients understanding of the political, cultural and literary significance of the suburbs.

Written by a practising poet and novelist who has close experience of the subject matter and has published creative work in the areas being examined, Sexual Violence and Literary Art is a wide-ranging study, covering carefully selected works from Ovid through Shakespeare, to Pope, Richardson, Shelley, Hardy, T.S. Eliot, Nabokov and beyond. It addresses the necessary complicity of any representation in what is represented, by examining ways in which canonical male writers have attempted to evoke and address representations of sexual violence in poetry, prose fiction, and poetic drama. Representation has to involve itself with what is represented, and, in this sense, it is not possible to address in literature sexual violence without taking on the complicity of the representation with what is represented. The chosen works of literary art are understood not only as locations in which the showing of pain and cruelty inflicted through sexually acts occurs, but also as occasions to activate means at these writings’ disposal to work upon those representations of pain and cruelty towards possible readerly benefits. The book draws substantially upon recent criticism and theory written by philosophers, theorists, art historians, and literary critics including Martha Nussbaum, Catharine A. MacKinnon, Susan J. Brison, Mary D. Garrard, Nancy J. Vickers, and Coppélia Kahn. Writers may very well wish to determine the cultural meaning and ideological implications of their work, but for many reasons, including the necessary role of reader response and interpretation in the literary process, the meaning of a work cannot be entirely or finally fixed. Among the consequences of this is the fact that interpretations of literary works are always transactional negotiations with circumscribed perspectives. In light of these convictions, Sexual Violence and Literary Art subjects the literary artworks it addresses to close scrutiny derived from various generations of women’s writing on rape and upon the critical vicissitudes of the works studied. While recognising only too well the continuing presence of male violence in sexual relationships, this book’s aims include the identification of what roles literary art may play in its understanding, amelioration, and transformation. In these ways it offers a response to historical problems incurred through the inheritance of damage caused by the exercise of unequal power relations, and it offers an account of how literary art may work to overcome them.

‘Another Canon: Indian Texts and Traditions’ in English traces the development of Indian English literary and textual practice over a period of seven decades, focussing on classic texts which have fallen beyond the scope of the established canon. Central to this volume is an inquiry into the nature of Indian modernity. Through careful and path-breaking readings of such important writers as Mulk Raj Anand, R. K. Narayan, Raja Rao, M. Ananthanarayanan, Nayantara Sahgal, Anita Desai, Bharati Mukherjee, U. R. Anantha Murthy, Kiran Nagarkar, Vikram Seth, and Upamanyu Chatterjee, the author constructs what may be called ‘another canon,’ shedding new light on literary and critical practice in post-colonial India.

Useful both to specialists and general readers, these engaging and insightful interpretations of key Indian texts enhance our understanding of the making of modern Indian consciousness and culture. In addition, the book also offers crucial theoretical insights into the distinguishing features of the novel in India, especially of the fiction of the 1980s and 1990s.

This book is a wide-ranging collection of essays that makes the case for the humanities as central to our self-understanding, for theory as the latest incarnation of a perennial concern with the relation between words and things, and for the ancient as constitutive of the modern. Theory Does Not Exist: Comparative Ancient and Modern Explorations in Psychoanalysis, Deconstruction, and Rhetoric makes a strong argument for a comparative approach to what we term “theory” today. It argues that our disciplinary boundaries create artificial divisions between philosophy, rhetoric, and literature, which historically would not have been recognized and have come to function as conceptual straitjackets.

These essays contend that a concerted engagement with the crucial texts in these debates over the last 2500 years not only offers a better understanding of the issues involved but also provides the necessary political, ethical, and existential tools for fashioning a better and more inclusive life. They offer extended readings of Plato, Cicero, and Sophocles, as well as Derrida, Foucault, Irigaray, Kristeva, Žižek, and Lacan. Theory Does Not Exist offers a full-throated defense of the humanities and crucial counterarguments against the reduction of education to the vocational and the operational.

Late Victorian Orientalism is a work of scholarly research pushing forward disciplines into new areas of enquiry. This collection of essays tries to redefine the task of interpreting the East in the late nineteenth century taking as a starting point Said’s Orientalism in order to investigate the visual, fantasised, and imperialist representations of the East, as well as the most exemplary translations of Oriental poems. The Victorians envisioned the East in many different modes or Orientalisms since as Said suggested ‘[t]here were, perhaps, as many Orientalisms as Orientalists.’ 

By combining together Western and Oriental modes of art, this study is not only aimed at filling a gap in Victorian and Oriental studies but also at broadening the audiences it is intended for. Edward FitzGerald, William Bell Scott, the Brontë sisters, William Holman Hunt, D. G. Rossetti, William Morris, John La Farge, Algernon Swinburne, Walter Pater, the anonymous author of the Hongkong and the Hongkonians, Oscar Wilde, Arthur Symons, Rudyard Kipling, William Butler Yeats, Wilfred Thesiger, and Eric Newby play such a prominent role in the Oriental debate. By offering an extended discussion of their Oriental writings, this book will appeal to and benefit a wider range of audiences.

The subject range of this volume of essays on late Victorian Orientalism explores nineteenth-century modes of art which position themselves as instruments of knowledge of the Orient. The contributors deploy variegated tools derived from textual studies and visual culture research in order to explore the many ways in which the late Victorians envisioned the East. It is this combined approach which makes possible the reconsideration of Orientalist literature, art and cinema.

In considering Dostoevsky's 'The Idiot', a novel less easily defined in terms of plot and ideas than his other major fictional works, Sarah Young addresses problems in the novel unresolved by previous interpretations, and in doing so fills a significant gap in Dostoevsky studies. 'Dostoevsky's The Idiot and the Ethical Foundations of Narrative' provides an innovative theoretical framework for an analysis that integrates structural and narratological considerations with thematic (religious and ethical) aspects, by focusing on the characters' interactivity as the most fundamental level on which the ethical systems of the novel are enacted. It examines the questions of what ethical bases are put forward by the novel, what faith-issues and philosophical world-views they derive from, and how, in terms of structuring and narration rather than simply thematically, they are presented in the novel. For the first time, through the concept of scripting, the author shows how the ethical becomes the foundation for the narratological in The Idiot. No other book on Dostoevsky has addressed the question of ethics, which is so important to the study of Dostoevsky, particularly in the light of recent work on the religious dimension of his novels, within the context of narrative and Bakhtinian dialogue. This substantial new work will appeal to academics, postgraduates and undergraduates working on Dostoevsky and the nineteenth- and twentieth-century Russian novel in general; as well as scholars in the fields of literary theory, including Bakhtin studies, narratology, literature and ethics.

Dante and the Night Journey articulates a psychological approach to the Commedia, based on the Jungian concept of the descent into the darkest possibilities of the self and of human nature, which is necessary for spiritual progress.  Different chapters explore Dante’s growth in the problematic areas of love, anger, and ambition, and draw analogies between his journey through purgatory and contemporary experiences of recovery.  The last chapter, “Identity in Paradise,” examines telepathic communication there in the light of Object Relations work on inter subjectivity.

 The book emphasizes Dante’s universality, and takes issue with the tendency among professional dantisti to read him exclusively in terms of the theology of his time.  I think it will be of particular use to those who teach Dante to undergraduates, allowing students to connect their reading with their own lives.  My hope is that the personal side of the book will also speak to those who have undergone their own night journeys, or embarked on a spiritual path.

The Roxburghe Club, founded in 1812, has an unbroken publishing history from 1814 to the present day. Since the Club’s edition of ‘Havelok the Dane’ appeared in 1828, the Roxburghe has gained a reputation as a producer of beautifully printed editions of manuscripts and reprinted early books. The founding period of the Club, however, has been viewed with less approval, often seen as a frivolous, unscholarly period of wasted years when little of value was produced by a membership composed of dilettante aristocrats.

This work offers a new narrative of the formative years of the Roxburghe Club, for the bibliomania of the Romantic period and for early nineteenth-century antiquarian culture and its relationship to the emergent popularity and status of English vernacular literature. It addresses what is shown to be a long-repeated myth: what the Club was and whether its scholarship and editing of early English literature merited respect or mockery. The book covers the make-up and membership of the Club including social and political affinities, literary and scholarly achievements and the substantial contribution made by the Club to widening awareness and understanding of earlier English writers and the establishment of a canon of English literature. This revised history offers an alternative narrative for the move between antiquarian and scholarly areas of influence in the study of English literature, and offers a plausible mechanism for the growing acceptance of vernacular English literature, both in academia and in a more general cultural sense.

‘Philosophical Meta-Reflections on Literary Studies: Why Do Things with Texts, and What to Do with Them?’ takes up key meta-questions in the humanities, with focus on contemporary literary studies, philosophically examines the nature of knowledge therein as well as the implications of certain popular critical approaches, and addresses the effervescent question of ‘relevance’. In contrast to usual works on literary theory, or on philosophy of literature for that matter, this book presents an integrated meta-reasoning on the foundational questions of literary studies from an interdisciplinary perspective – in a manner of intertextual informality. It endeavours to articulate a rationale for the humanities in general and literary studies in particular. It philosophically examines the implications of, and assumptions behind, three popular tendencies in contemporary literary criticism – textual deconstruction, ideological criticism and constructivism. It also introduces the reader to possibilities of non-reductive reasoning with regard to the relation between the aesthetic and the political. With his multidisciplinary background, doctoral degree on an encyclopedic author who extended the frontiers of fiction with his highly experimental writings (James Joyce) and past engagements with vital issues in the humanities/literature, Jibu George is in a position to deal with foundational questions therein. The book endeavours to fill the gap between theory and practice; its metacritical reflections redefine the way critics interpret texts, teachers teach them, students study them and researchers grapple with their research problems. It also proposes an array of new concepts for the understanding of literature which have a significance beyond traditional disciplinary boundaries.

This critical study examines the theme of interpersonal encounter in a range of late twentieth- and early twenty-first-century travel writing written in French and Italian. Structured typologically, each chapter focuses on a typical activity that brings traveller-protagonists into contact with those they encounter: guiding and interpreting, hosting, staring and photography, challenging, and accompanying. Drawing on a wide variety of writing, the study offers a unique focus on this central but overlooked aspect of travel, demonstrating the key place that encounter occupies in the contemporary travel culture.

With reference to the literary critical study of travel writing, sociological and anthropological approaches to the study of tourism, as well as research in French and Italian area studies, the volume locates encounter firmly within the context of modern tourism. Elucidating the nature of encounter in unprecedented ways, the study demonstrates how the treatment of encounter determines the generic boundaries of travel writing and how narratives of encounter reveal the gap between ideals and practices in travel. The volume also analyses the dynamics between the traveller and ‘travellee’, as they are represented in narrative form, re-evaluating traditional notions of the traveller’s power and examining the potential for travellee agency, with particular reference to discourses of authenticity and ethics.

Australia has a fascinating history of visions. As the antipode to Europe, the continent has provided a radically different and uniquely fertile ground for envisioning places, spaces and societies. ‘The Antipodal Utopia’ evaluates this complex intellectual history by mapping out how Western visions of Australia evolved from antiquity to the modern period, with particular focus on the long nineteenth century. The book is underpinned by the provocative argument that due to its unique ‘antipodality’ (its antipodal relationship with Europe), Australia is imagined as a particular form of utopia – but since one person’s utopia is, more often than not, another’s dystopia, Australia’s utopian quality is both complex and highly ambiguous. Drawing on the rich field of utopian studies, ‘The Antipodal Utopia’ provides an original and insightful study of Australia’s place in the Western imagination and makes meaningful conceptual and analytical contributions to the fields of utopian theory, Australian studies and intellectual history.

The Roxburghe Club, founded in 1812, has an unbroken publishing history from 1814 to the present day. Since the Club’s edition of ‘Havelok the Dane’ appeared in 1828, the Roxburghe has gained a reputation as a producer of beautifully printed editions of manuscripts and reprinted early books. The founding period of the Club, however, has been viewed with less approval, often seen as a frivolous, unscholarly period of wasted years when little of value was produced by a membership composed of dilettante aristocrats.

This work offers a new narrative of the formative years of the Roxburghe Club, for the bibliomania of the Romantic period and for early nineteenth-century antiquarian culture and its relationship to the emergent popularity and status of English vernacular literature. It addresses what is shown to be a long-repeated myth: what the Club was and whether its scholarship and editing of early English literature merited respect or mockery. The book covers the make-up and membership of the Club including social and political affinities, literary and scholarly achievements and the substantial contribution made by the Club to widening awareness and understanding of earlier English writers and the establishment of a canon of English literature. This revised history offers an alternative narrative for the move between antiquarian and scholarly areas of influence in the study of English literature, and offers a plausible mechanism for the growing acceptance of vernacular English literature, both in academia and in a more general cultural sense.

‘The Constitution of Shelley’s Poetry’ is a close philosophical reading of ‘Prometheus Unbound’ from the perspective of the argument or drama of language played out in its pages. At its heart a four-chapter reading of ‘Prometheus Unbound’, the book is punctuated with readings of other Shelley works and prefaced with two earlier chapters: one on 'Mont Blanc' and 'Hymn to Intellectual Beauty', the companion poems inaugurating Shelley’s poetic maturity; the other on 'Ode to the West Wind' originally published with ‘Prometheus Unbound’ and here represented as 'signature' Shelley. The book’s one most distinguishing feature, from which several others derive, is its bringing the power and pertinence of Stanley Cavell’s thought to Shelley’s poetry and to his explicitly articulated philosophical interest in language.

The book urges and practises close reading, but it provides philosophical grounds for this ostensibly old-fashioned approach, and it implicitly proposes an understanding of language very different from those now most generally assumed in literary studies. The book’s bringing of Cavell’s thought to Shelley’s poetry would make two related but distinguishable contributions. There is, first of all, the reading of Shelley’s poetry, which is new and persuasive both in many of its local moments and in its overall thrust. Second, there is the practical demonstration of the relevance and yield of Cavell’s thought for literary studies.

This critical study examines the theme of interpersonal encounter in a range of late twentieth- and early twenty-first-century travel writing written in French and Italian. Structured typologically, each chapter focuses on a typical activity that brings traveller-protagonists into contact with those they encounter: guiding and interpreting, hosting, staring and photography, challenging, and accompanying. Drawing on a wide variety of writing, the study offers a unique focus on this central but overlooked aspect of travel, demonstrating the key place that encounter occupies in the contemporary travel culture.

With reference to the literary critical study of travel writing, sociological and anthropological approaches to the study of tourism, as well as research in French and Italian area studies, the volume locates encounter firmly within the context of modern tourism. Elucidating the nature of encounter in unprecedented ways, the study demonstrates how the treatment of encounter determines the generic boundaries of travel writing and how narratives of encounter reveal the gap between ideals and practices in travel. The volume also analyses the dynamics between the traveller and ‘travellee’, as they are represented in narrative form, re-evaluating traditional notions of the traveller’s power and examining the potential for travellee agency, with particular reference to discourses of authenticity and ethics.

As the first study of its kind, this book offers a new understanding of progressive women’s poetry in Urdu and the legacy of postcolonial politics. It underlines Urdu’s linguistic hybridities, the context of the zenana, reform, and rekhti to illustrate how the modernising impulse under colonial rule impacted women as subjects in textual form. It argues that canonical texts for sharif women from Mirat-ul Arus to Umrao Jan Ada need to be looked at alongside women’s diaries and autobiographies so that we have an overall picture of gendered lives from imaginative fiction, memoirs and biographies.

In the late nineteenth century, ideas of the cosmopolitan and local were in conversation with the secular and sacred across different Indian literatures. Emerging poets from the zenana can be traced back to Zahida Khatun Sherwania from Aligarh and Haya Lakhnavi from Lucknow who had very unique trajectories as sharif women. With the rise of anti-colonial nationalism, the Indian women’s movement gathered force and those who had previously been confined to the private sphere took their place in public as speaking subjects. The influence of the Left, Marxist thought and resistance against colonial rule fired the Progressive Writers Movement in the 1930s. The pioneering writer and activist Rashid Jahan was at the helm of the movement mediating women’s voices through a scientific and rational lens. She was succeeded by Ismat Chughtai, who like her contemporary Saadat Hasan Manto courted controversy by writing openly about sexualities and class. With the onset of partition, as the progressive writers were split across two nations, they carried with them the vision of a secular borderless world. In Pakistan, Urdu became an ideological ground for state formation, and Urdu writers came under state surveillance in the Cold War era. The study picks up the story of progressive women poets in Pakistan to try and understand their response to emerging dominant narratives of nation, community and gender. How did national politics and an ideological Islamisation that was at odds with a secular separation of church and state affect their writing? 

Despite the disintegration of the Progressive Writers Movement and the official closure of the Left in Pakistan, the author argues that an exceptional legacy can be found in the voices of distinctive women poets including Ada Jafri, Zehra Nigah, Sara Shagufta, Parvin Shakir, Fahmida Riaz and Kishwar Naheed. Their poems offer new metaphors and symbols borrowing from feminist thought and a hybrid Islamicate culture. Riaz and Naheed joined forces with the women’s movement in Pakistan in the 1980s and caused some discomfort amongst Urdu literary circles with their writing. Celebrated across both sides of the border, their poetry and politics is less well known than the verse of the progressive poet par excellence Faiz Ahmed Faiz or the hard hitting lyrics of Habib Jalib. The book demonstrates how they manipulate and appropriate a national language as mother tongue speakers to enunciate a middle ground between the sacred and secular. In doing so they offer a new aesthetic that is inspired by activism and influenced by feminist philosophy. 

Reaganism is a discourse of devotion and disqualification, combining a neoliberal negative theology of the market with a neoconservative demonization of opponents. By representing the market as a moralistic standard of perfection, a representation of goodness and freedom, Reagan’s personality cult organizes a social fantasy that shelters from inquiry the aggressivity of the market as a war of all against all. In literary theory and criticism, a homologous valuative system centered itself on the canon, which covers for exclusionary social systems by representing them as devoted agents of culture, defined as the Arnoldian study of perfection. Paul de Man argued for the displacement of this positive moralism, critiquing its referential structure for its failure to account for the arbitrariness of signification. But de Man’s proposals ultimately replace the system of culture and canon with a negative moralism, centered on literariness defined as a negative referent, a representation of the impossibility of desire to achieve its aims. 

De Man’s premises have been perpetuated in subsequent theory by persistent misrecognitions of dialectic as suspicious hermeneutics, of materialism as reference to materiality, and of demands for democratic equity as identity politics. The book traces this motivated reasoning through misreadings of Eve Sedgwick’s critique of conspiracy theory and Edward Said’s “secular criticism,” we are led back to the unexamined premises of Paul de Man’s negative moralism and the opportunistic competition of academic careerism. Stephen Best and Sharon Marcus cite Sedgwick to propose “surface reading” as an alternative or supplement to the hermeneutics of suspicion. But in failing to acknowledge that Ricoeur’s definition of a method common to Marx, Nietzsche, and Freud in terms of suspicion is a form of “defining the opposition,” which constructs the other as a negative image of the self. Their theoretical blind spots are thus linked to political or historical blind spots, and their willingness to accept bad faith objectifications of opponents is linked to the interpretive structure of privilege, in which narcissism organizes and sanctions aggressivity.

Like Sedgwick, Edward Said interrogates the homologies among interpretive, political, and historical patterns of behaviour, discerning the implication of literary studies in the rise of Reaganism. His secular criticism proposes an alternative to Reagan’s devotion to markets as well as the humanities’ devotion to canon, but it is attacked by J. Hillis Miller and Stanley Fish as a form of referential moralism. This line of attack is predicated on de Man’s arguments for the impossibility of reference, read as an alibi for competition and opportunism. A new explanation for the connections between de Man’s literary theory and his opportunist collaboration with Belgium’s Nazi occupiers is suggested by his use of arbitrary signification to obviate solidarity and cooperation in many forms—whether it be truth as intersubjective verifiability, justice as coincidence of interests, or aesthetic harmony as the compatibility of diverse preferences. His arguments to replace logic with aesthetics as the primary criterion of judgment are homologous with the replacement of the rule of law with personal rule, an unprincipled opportunism demonstrated by both supremacist politics and market competition.

Recent years have seen the strong development of Neo-Victorian studies, including its theorisation by such scholars as Cora Kaplan, Sally Shuttleworth, Ann Heilmann, Christian Gutleben, Marie-Louise Kohlke, Mark Llewellyn and others. It is a focus that has engaged literary critics from around the globe like Carmen Veronica Borbély (Romania), Susanne Gruß (Germany), Tiffany Gagliardi Trotman (Spain), Hitomi Nakatani (Japan), Agnieszka Matysiak (Poland), Max Duperray (France), Jeanne Ellis (South Africa) and Van Leavenworth (Sweden) to name just a few. [NP] ‘Neo-Gothic Narratives’ defines and theorizes what, exactly, qualifies as such a text, what mobilises the employment of the Gothic to speak to our own times, whether nostalgia plays a role and whether there is room for humour besides the sobriety and horror in these narratives across various media. What attracts us to the Gothic that makes us want to resurrect, reinvent, echo it? Why do we let the Gothic redefine us? Why do we let it haunt us? Does it speak to us through intertexuality, self-reflectivity, metafiction, immersion, affect? Are we reclaiming the history of women and other subalterns in the Gothic that had been denied in other forms of history? Are we revisiting the trauma of English colonisation and seeking national identity? Or are we simply tourists who enjoy cruising through the otherworld? The essays in this volume investigate both the readerly experience of Neo-Gothic narratives as well as their writerly pastiche.

This important study investigates how Austen worked with, and played upon, the cracks and faultlines which time had uncovered in the ideals of polite conversation. In a wide-ranging argument combining intellectual history and literary stylistics, Bharat Tandon explores such activities as flirtation and ventriloquism, in order to show how a form of conversational morality is what Austen's novels both describe and set out to achieve. At the same time, he surveys readers' reactions to Austen, from the nineteenth century to the present day, in order to investigate the possibilities and limitations of 'ethical' criticism. Written in a lively and accessible style, 'Jane Austen and the Morality of Conversation' offers a re-evaluation of Austen's career that will be of interest to scholars and general readers alike.

‘William Morris and the Uses of Violence, 1856–1890’ offers a new reading of Morris’s work, foregrounding his commitment to the idea of transformative violence. Hanson argues, contrary to prevailing critical opinion, that Morris’s work demonstrates an enduring commitment to an ideal of violent battle and that combat, both imaginary and actual, is represented as a potentially renewing and generative force in his writings, from the earliest short stories to the late propaganda poems and political romances.

Hanson examines Morris’s imagination of violence as a way of understanding the world and the self. The interactions of combat, work and play, of self-sacrifice and hope, class war and prowess in his writings draw together conflicting cultural narratives about individual and political identity in a way that complicates or reframes their meanings.

Moving chronologically through his works, the book discusses the philosophy and phenomenology of violence by which Morris delineates his ethical and aesthetic positions, as well as examining the ways in which they intersect with those of his contemporaries. It combines close readings of his work with historical and contextual analysis to suggest that Morris’s paradoxical commitment to violence as a means to wholeness shapes the form and style of his works as well as their content and reception.

This important study investigates how Austen worked with, and played upon, the cracks and faultlines which time had uncovered in the ideals of polite conversation. In a wide-ranging argument combining intellectual history and literary stylistics, Bharat Tandon explores such activities as flirtation and ventriloquism, in order to show how a form of conversational morality is what Austen's novels both describe and set out to achieve. At the same time, he surveys readers' reactions to Austen, from the nineteenth century to the present day, in order to investigate the possibilities and limitations of 'ethical' criticism. Written in a lively and accessible style, 'Jane Austen and the Morality of Conversation' offers a re-evaluation of Austen's career that will be of interest to scholars and general readers alike.

This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author’s own method. While many of the devices the book highlights have been discussed before and while there has been some scholarship on the poetic line as a unit, how lines end has not received much critical attention, and particularly not in the critical work on Renaissance poetry.

The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. Rhyme is perhaps the most obvious kind of line ending; it was a contentious subject in the English Renaissance. Scholars then debated whether rhyme was necessary or even advisable. Enjambment, in which the end of a line occurs part of the way through a phrase, was especially common in dramatic poetry. In lyric poetry as well, however, it was an important tool for poets. The sestina is a complex form in which matters are the (usually unrhymed) end words, which vary according to a set scheme. There are other technically demanding forms in the Renaissance that focus on end words, but the sestina is the most extreme.

These are the most significant kinds of line endings used by English Renaissance poets. Each chapter provides one or two main poetic examples, but the book considers a range of poems from the period. The book ends with a brief afterword, wherein the author’s findings are summarized.

Vyāsa is the primary creative poet of the Sanskrit epic Mahābhārata and 'Vyāsa Redux' examines the many paradoxical dimensions of his narrative virtuosity in the poem where the poet is both the creator of the work and a character within it. The book also studies elements in the poem which have been received by the late Bronze Age poets who composed the figure of Vyāsa, elements that reflect kinship, polity and modes of mnemonic inspiration. Three paired concepts function within the poem’s narrative process: first, the central approach of the book is founded upon the distinction between plot and story, that is, the causal relation of events as opposed to the temporal relation of events. Second, much of the argument then engages with how this distinction relates to the difference between the preliterate and literate phases of our present text. Third, the nature of how inspiration functions and how edition operates becomes another vital component in our analytic process explaining how Vyāsa becomes a dramatic, causal and at times prophetic character in the poem’s narration as well as its originator.

‘Sisters and the English Household’ revalues unmarried adult sisters in nineteenth-century English literature as positive figures of legal and economic autonomy representing productive labour in the domestic space. As a crucial site of contested values, the adult unmarried sister carries the discursive weight of sustained public debates about ideals of domesticity in nineteenth-century England. Engaging scholarly histories of the family, and providing a detailed account of the 70-year Marriage with a Deceased Wife's Sister controversy, Wallace traces an alternative domesticity anchored by adult sibling relations through Dorothy Wordsworth’s journals; William Wordsworth’s poetry; Mary Lamb’s essay ‘On Needle-Work‘; and novels by Jane Austen, Elizabeth Gaskell, Charles Dickens, Dinah Mulock Craik and George Eliot. Recognizing adult sibling relationships, and the figure of the adult unmarried sibling in the household, as primary and generative rather than contingent and dependent, and recognizing material economy and law as fundamental sources of sibling identity, ‘Sisters and the English Household’ resets the conditions for literary critical discussions of sibling relations in nineteenth-century England.

In the twenty-first century, literary scholars have increasingly explored the significant historical distance between the ways we name, plot and characterize sibling relations, and the quite different ways that pre-twentieth-century writers and readers might have done so. Yet, as Mary Jean Corbett and Naomi Tadmor have separately argued, efforts to historicize our understanding of English families over the crucial transitional period of the eighteenth and nineteenth centuries have been weakened by scholars’ reliance on terms and ideas that assume stable, universally human familial structures and relations. When we focus on the sibling relation, this reliance proves particularly limiting, driving continuing tendencies to define ‘brother’ and ‘sister’ in terms of sexual, specifically conjugal relations that reinscribe those stabilizing concepts, or to subsume the sibling relation into other categories, eliding its potential primacy in ‘family’.

‘Sisters and the English Household’ works to escape these lingering critical limitations through two innovations: a reframing of efforts to historicize ‘family’ as a further historicizing of ‘domesticity’ that renders it multiple and fluid rather than monolithic; and a turn towards the unmarried adult sister as a figure of legal and economic autonomy representing productive labour in the domestic space. The book traces two distinct nineteenth-century ideals of domesticity, one of which understood sibling fortunes as fruitfully intertwined through the full extent of the siblings' lives (corporate domesticity), while the other expected the domestic, material and, to some extent, emotional separation of adult siblings from their birth-homes and from each other (industrial domesticity). The second configuration, although counterbalanced by persistent idealizations of the first, sibling-anchored model, was gradually and unevenly ascendant through the period. As households came to be primarily defined by the relations between spouses, and between parents and children, the mutual householding and devotion of siblings, once expected features of family life, began to seem extraordinary. More specifically, as a domestic space defined by the apparent exclusion of productive labour was increasingly idealized, the adult unmarried sister in the house became an object of intense cultural scrutiny, her troubling autonomy rendering her the crucial figure in the English nineteenth-century’s protracted cultural negotiation of familial, household and domestic ideals. The sister's autonomy also drove a gradually increasing imperative to exclude adult unmarried siblings from the households of their married siblings, an imperative figured as expatriation from the homely and national ‘domestic’ space.

‘William Morris and the Uses of Violence, 1856–1890’ offers a new reading of Morris’s work, foregrounding his commitment to the idea of transformative violence. Hanson argues, contrary to prevailing critical opinion, that Morris’s work demonstrates an enduring commitment to an ideal of violent battle and that combat, both imaginary and actual, is represented as a potentially renewing and generative force in his writings, from the earliest short stories to the late propaganda poems and political romances.

Hanson examines Morris’s imagination of violence as a way of understanding the world and the self. The interactions of combat, work and play, of self-sacrifice and hope, class war and prowess in his writings draw together conflicting cultural narratives about individual and political identity in a way that complicates or reframes their meanings.

Moving chronologically through his works, the book discusses the philosophy and phenomenology of violence by which Morris delineates his ethical and aesthetic positions, as well as examining the ways in which they intersect with those of his contemporaries. It combines close readings of his work with historical and contextual analysis to suggest that Morris’s paradoxical commitment to violence as a means to wholeness shapes the form and style of his works as well as their content and reception.

Vyāsa is the primary creative poet of the Sanskrit epic Mahābhārata and 'Vyāsa Redux' examines the many paradoxical dimensions of his narrative virtuosity in the poem where the poet is both the creator of the work and a character within it. The book also studies elements in the poem which have been received by the late Bronze Age poets who composed the figure of Vyāsa, elements that reflect kinship, polity and modes of mnemonic inspiration. Three paired concepts function within the poem’s narrative process: first, the central approach of the book is founded upon the distinction between plot and story, that is, the causal relation of events as opposed to the temporal relation of events. Second, much of the argument then engages with how this distinction relates to the difference between the preliterate and literate phases of our present text. Third, the nature of how inspiration functions and how edition operates becomes another vital component in our analytic process explaining how Vyāsa becomes a dramatic, causal and at times prophetic character in the poem’s narration as well as its originator.

‘Dickens and the Sentimental Tradition’ is a timely study of the ‘sentimental’ in Dickens’s novels, which places them in the context of the tradition of Fielding, Richardson, Sterne, Goldsmith, Sheridan and Lamb. This study re-evaluates Dickens’s presentation of emotion – first within the eighteenth-century tradition and then within the dissimilar nineteenth-century tradition – as part of a complex literary heritage that enables him to critique nineteenth-century society.

The book sheds light on the construction of feelings and of the ‘good heart’, ideas which resonate with current critical debates about literary ‘affect’. As the text argues, such an analysis reveals sentimentalism to be a crucial element in fully understanding the achievement of Dickens and his contemporaries.

The first chapter of the book outlines the sentimentalist tradition in English literature from the Middle Ages onwards. The second and third chapters then examine Dickens’s eighteenth-century inheritance in the works of Sterne, Fielding, Goldsmith and Sheridan, whilst Chapter Four explores Dickens’s inheritance from Charles Lamb and his acting in sentimental plays by Bulwer Lytton and Wilkie Collins. Chapter Five analyses three early novels, including ‘Nicholas Nickleby’, revealing the extremism of post-Romantic sentimentalism. In Chapter Six, three later novels including ‘Dombey and Son’ are reread in terms of Dickens’s changing use of sentimentalist rhetoric to achieve remarkably subversive effects. The final chapter then looks at other examples of nineteenth-century sentimental writing, and at the ‘afterlife’ of the mode in the past two centuries.

‘Rethinking Therapeutic Reading’ uses a combination of literary criticism and experimental psychology to examine the ways in which literature can create therapeutic spaces in which to do personal thinking. It reconsiders the role that serious literary reading might play in the real world, reclaiming literature as a vital tool for dealing with human troubles. 

Did Spanish explorers really discover the sunken city of Atlantis or one of the lost tribes of Israel in the site of Aztec Mexico? Did classical writers foretell the discovery of America? Was Baja California really an island or a peninsula—and did romances of chivalry contain the answer? Were Amazon women hiding in Guiana and where was the location of the fabled golden city, El Dorado? Who was more powerful, Apollo or Diana, and which claimant nation, Spain or England, would win the game of empire? These were some of the questions English writers, historians, and polemicists asked through their engagement with Spanish romance. By exploring England’s fanatical consumption of so-called books of the brave conquistadors, this book shows how the idea of English empire took root in and through literature. 

The chapters in this book represent separate case studies regarding the use of romance strategies and tales of love and arms more generally in the imperialist myth-making of early modern England against the threat of imperial Spain, particularly those which were first used by Spanish authors to justify Spain’s own imperialist designs. With interwoven readings of Edmund Spenser, William Shakespeare, John Dryden, Ben Jonson and Peter Heylyn, this book shows how the English colonial mindset developed through a concerted conversation with the reality of Spain’s presence in the colonial world, particularly in the historically contentious sites of Mexico, Peru, Guiana, California and Australia, producing emergent discourses of English nationalism and proto-imperialism as contextually contingent responses to the Spanish problem. By uncovering long-neglected Spanish romantic influences on canonical English works, this book also tracks for the first time the unique social, political and cultural circumstances of English hysteria with Spanish romance that primed the success of Don Quixote of la Mancha in England.

Theology in the Early British and Irish Gothic, 1764–1832 seeks to explore the extent to which Early British Gothic writing, c.1760–1830, took distinctive shape in the particular theological and theo-political climate of the late eighteenth and early nineteenth centuries. The project takes as its starting point the widely noted ‘anti-Catholicism’ of the Early British Gothic. While taking into account the existing work in this field, the thesis will move beyond a simplistic Protestant/Catholic binary found in works, such as Diane Long Hoeveler’s The Gothic Ideology (2014) and Maria Purves Gothic and Catholicism (2009), which investigate the Gothic as anti- or pro-Catholic respectively. The project also moves the almost exclusively Anglican focus of texts like Alison Millbank’s God and the Gothic (2018), instead placing the Gothic within the complex theo-political context of tolerance debates, focused not only on Anglican-Catholic relations but on the place and suppression of Protestant Dissent. Having established the contemporary context of a proliferation of Dissenting denominations, the lack of a unified Anglican positions, the rich field of theological debate in the period and the continuing importance of Christianity (in its various forms) as a lived religion in the period, the project seeks to investigate the way in which varied theologies underpin key tropes, aesthetics and debates within the Gothic.

Theology in the Early British and Irish Gothic, 1764–1832 seeks to explore works throughout the period of the efflorescence and decline of the Early British Gothic, mapping changing currents and trends in the theo-aesthetics of the genre and its depiction and engagement with various supernatural phenomena. It seeks to investigate not only major writers of the period, such as Ann Radcliffe and Matthew Lewis, but a selection of writers from different denominational backgrounds in order to investigate the ways in which contemporary theological debates can be traced across Gothic texts of the period and the ways in which different theological positions manifest in these texts. 

Indian novels in English have generated a considerable amount of interest both in India and in English-speaking countries, particularly during India’s postliberalization period since 1991. For India, this period has seen unparalleled consumption of global goods and exposure to international media, and has resulted in Indian writers writing in English (including writers of Indian origin) catching the attention of the Western world like never before.

“Postliberalization Indian Novels in English: Politics of Global Reception and Awards” focuses on Indian writers writing in the English language, whose concerns are related to India in her immediacy, and who have come into literary prominence in the postliberalization period. Such writers have broached issues including nationalism, diaspora, identity, communalism, subaltern representation, modernism and the impact of globalization. Although the idea of this study is not to undermine the value of their novels, its aim is to consider the correlation of their novels’ themes with the workings of the organized, global market processes now present in postliberalized India.

As such, some large questions arise: What are the cultural and critical frameworks that define literary reception? Has there been a marked shift in the reception of Indian novelists writing in English postliberalization? To what extent are the works of these writers driven by the dictates of the market, and does a commercially/economically driven media influence critical/commercial perceptions? And are there certain thematic concerns and representations which are deemed “prize and attention worthy,” and do these factors influence the critical/commercial reception of the novels?

In investigating these questions, this critical handbook reveals the forces shaping the modern Indian novel in the postliberalization period, and provides a systematic approach to the study of Indian novelists in terms of their global reception. 

Across the past two centuries, the Western novel has propagated the narrow view of the addict as a toxic force bent on undermining the rationality, morality, and progressive spirit that have, since the Enlightenment, defined civilization in the West. Addiction, Representation undertakes an investigation into an alternative literary tradition within which the addict is neither doomed to a horrific death nor sacrificed to the Twelve Steps so that the “recovering addict” might survive. At the center of this investigation is a modest collection of contemporary novels, originally published in the thirty-year span between 1985 and 2015, that exhibits experimental narrative techniques and, in doing so, unsettles the limited portrayal of the addict that has dominated the Western realistic novel since the nineteenth century.

Examining the works of John O’Brien, Sara Gran, Paula Hawkins, Bret Easton Ellis, and Grace Krilanovich, the book argues that the ways in which readers occupy the narratives of contemporary experimental fiction can be instructive for how to live in an extra-diegetic world, where attitudes toward addicts often are as narrow, restrictive, and damaging as they historically have been expressed in the Western novel. The book concerns itself with the practices and politics of reading the experimental addiction novel, and outlines both a practice and an ethics of reading that advocates for a more compassionate response not only to fictional addicts, but also to the actual addicts whose lived experiences gave birth to the existing fiction.

‘Dickens and the Sentimental Tradition’ is a timely study of the ‘sentimental’ in Dickens’s novels, which places them in the context of the tradition of Fielding, Richardson, Sterne, Goldsmith, Sheridan and Lamb. This study re-evaluates Dickens’s presentation of emotion – first within the eighteenth-century tradition and then within the dissimilar nineteenth-century tradition – as part of a complex literary heritage that enables him to critique nineteenth-century society.

The book sheds light on the construction of feelings and of the ‘good heart’, ideas which resonate with current critical debates about literary ‘affect’. As the text argues, such an analysis reveals sentimentalism to be a crucial element in fully understanding the achievement of Dickens and his contemporaries.

The first chapter of the book outlines the sentimentalist tradition in English literature from the Middle Ages onwards. The second and third chapters then examine Dickens’s eighteenth-century inheritance in the works of Sterne, Fielding, Goldsmith and Sheridan, whilst Chapter Four explores Dickens’s inheritance from Charles Lamb and his acting in sentimental plays by Bulwer Lytton and Wilkie Collins. Chapter Five analyses three early novels, including ‘Nicholas Nickleby’, revealing the extremism of post-Romantic sentimentalism. In Chapter Six, three later novels including ‘Dombey and Son’ are reread in terms of Dickens’s changing use of sentimentalist rhetoric to achieve remarkably subversive effects. The final chapter then looks at other examples of nineteenth-century sentimental writing, and at the ‘afterlife’ of the mode in the past two centuries.

Christos Tsiolkas is one of the most recognizable and internationally successful literary novelists working in Australia today. He is also one of the country’s most politically engaged writers. These terms – recognition, commercial success, political engagement – suggest a relationship to forms of public discourse that belies the extremely confronting nature of much of Tsiolkas’s fiction and his deliberate attempt to cultivate a literary persona oriented to notions of blasphemy, obscenity and what could broadly be called a pornographic sensibility.

How would a Jacobean audience have assessed ‘The Tempest’? What would King James I have thought of it? This book provides detailed in-depth discussion of the various influences that an audience in 1611 would have brought to interpreting the play. How did people think about the world, about God, about sin, about kings, about civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to the world of Prospero on the stage. Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the concept of tragi-comedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a world attempting to come to terms with capitalism and colonialism while re-addressing the nature of rule.

Black Hauntologies is the second volume of a three-volume study that offers a fresh reading of African-American literary history by locating within the literature itself the terms for a revisionary account of black writing, terms pursued along three distinct but interlocking pathways (each to be pursued in the Impact Series format): by charting figurations of tradition among six of the most innovative practitioners of black literary expression from Sterling Brown to Toni Morrison (Volume 1); by following the haunting pathways of spectral dialogues between slavery and African-American modernism (Volume 2); and by interrogating interlocking topoi of critique and assertion (naming; facing; voicing) across the history of African-American literary expression (Volume 3). The critical trilogy presents thereby a narrative of African-American literature as a continual, dialectical process, blending confrontation with traumatic origins and the quest for expressive transformation.

This project arises from the question: how does one construe and narrate the story of a tradition for which the conventional structure of literary history—that is, the relation between discourse and its referents—is itself such a politically and thematically charged issue? On one hand, the ideological exclusion of the African-American subject from authorized spheres of meaning and signification gives value to narrating black literary tradition as the progressive emergence of a fully articulate presence, and seems to find warrant in black writing’s persistent thematization of literacy, public performance, and self-definition. On the other hand, such a narrative of fully realized agency and consciousness risks replicating the dominant ideology’s own reductive vision of identity as a predetermined totality, thus imagining some singular and final form for African-American being. The study asserts instead that African-American literature is fueled by the simultaneous workings of a desire for a totally realized subject and the constant displacement of that desire by a willingness—in contrast to the oppressive system that would deny its agency—to put its own mode of being into question. 

Simon J. James examines how Gissing's work reveals an unhappy accommodation with money's underwriting of human existence and culture, and how daily life in all its forms – moral, intellectual, familial and erotic – is transcended or made irrelevant by its commodification. Novels such as 'New Grub Street' expose high culture's dependence on the ruthless Darwinism of late Victorian capitalism: literary and personal success can only be achieved by understanding and adapting to the immanent and irresistible nature of a market hostile to the development of human self-betterment. Situated against nineteenth-century analyses of monetary relations by thinkers such as Ruskin, Mill, Marx and Carlyle, and novels by Dickens, Eliot and Hardy, 'Unsettled Accounts' demonstrates how Gissing's work is engagedly modern, dealing as it does with changes in the nature of the literary market, advertising, imperialism, the New Woman and the condition of the working classes. This groundbreaking new study, published 100 years after Gissing's death, will be of considerable interest to students, researchers and scholars. A valuable introduction to Gissing's work, it claims a prominent place for him in fin-de-siècle Victorian literature.

• Joint winner of The Literary Encyclopedia book prize 2024, category ‘Literatures written in languages other than English'
• Winner of the Nancy Staub Publications Award 2024
• Winner of the AATI Book Award 2024 for Literary, Critical Theory, and Cultural Studies

- Sicilian puppet theater is a unique nineteenth- and twentieth-century popular theatrical tradition based on the masterpieces of medieval and Renaissance chivalric literature. It flourished not only in southern Italy and Sicily, but also in the diasporic Italian urban communities of North and South America and North Africa, bringing immigrants together for nightly performances of the same deeply cherished chivalric stories. Even though this art form was designated by UNESCO as an “intangible cultural heritage of humanity” in 2001, it remains largely unknown today because by the late 1950s Sicilian puppet theater companies had ceased to perform the full Paladins of France cycle that used to extend nightly for well over a year. Thus, the only means we have left to explore the substance of this once widely enjoyed cultural phenomenon are the scripts dating from opera dei pupi’s heyday. Most of these invaluable documents, however, have been lost, while the few sets still in existence are either privately owned by the remaining puppeteer families and collectors or tucked away in the archives of Italian institutions. Thanks to the newly accessible scripts of the preeminent Catanese-American puppeteer Agrippino Manteo (1884–1947), whose career stretched from Sicily to Argentina to New York, students, scholars, and the general public can now explore the cycle of chivalric narratives staged during the golden age of Sicilian puppet theater.

- The many delicate hand-written notebooks containing Agrippino Manteo’s dramatic repertory are not only of interest for their historical and aesthetic value. These masterfully executed theatrical adaptations invite readers into a chivalric world featuring knights and damsels from across the globe – from Europe to Africa to East Asia – who share the stage with a host of wizards, fairies, giants, and monsters, in alternating episodes of love, enchantment, adventure, and warfare. The concerns with which they engage, such as justice, identity, duty, love, freedom, and virtue, transcend the categories of elite and folk, local and global, medieval and modern, interrogating what it means to be human.

- This book provides the most comprehensive history to date of the Manteo Family's Sicilian Marionette Theater across three generations and brings to light for the first time the contents of Agrippino Manteo’s extensive Sicilian puppet theater scripts, including translations of 8 selected plays and 270 extant play summaries of the famous Paladins of France cycle. Accompanying comparative analyses uncover the creative process of adaptation from Italian Renaissance masterpieces of chivalric poetry to nineteenth-century prose compilations to Agrippino’s opera dei pupi scripts.

Christos Tsiolkas is one of the most recognizable and internationally successful literary novelists working in Australia today. He is also one of the country’s most politically engaged writers. These terms – recognition, commercial success, political engagement – suggest a relationship to forms of public discourse that belies the extremely confronting nature of much of Tsiolkas’s fiction and his deliberate attempt to cultivate a literary persona oriented to notions of blasphemy, obscenity and what could broadly be called a pornographic sensibility.

‘Rethinking Therapeutic Reading’ uses a combination of literary criticism and experimental psychology to examine the ways in which literature can create therapeutic spaces in which to do personal thinking. It reconsiders the role that serious literary reading might play in the real world, reclaiming literature as a vital tool for dealing with human troubles. 

Indian novels in English have generated a considerable amount of interest both in India and in English-speaking countries, particularly during India’s postliberalization period since 1991. For India, this period has seen unparalleled consumption of global goods and exposure to international media, and has resulted in Indian writers writing in English (including writers of Indian origin) catching the attention of the Western world like never before.

“Postliberalization Indian Novels in English: Politics of Global Reception and Awards” focuses on Indian writers writing in the English language, whose concerns are related to India in her immediacy, and who have come into literary prominence in the postliberalization period. Such writers have broached issues including nationalism, diaspora, identity, communalism, subaltern representation, modernism and the impact of globalization. Although the idea of this study is not to undermine the value of their novels, its aim is to consider the correlation of their novels’ themes with the workings of the organized, global market processes now present in postliberalized India.

As such, some large questions arise: What are the cultural and critical frameworks that define literary reception? Has there been a marked shift in the reception of Indian novelists writing in English postliberalization? To what extent are the works of these writers driven by the dictates of the market, and does a commercially/economically driven media influence critical/commercial perceptions? And are there certain thematic concerns and representations which are deemed “prize and attention worthy,” and do these factors influence the critical/commercial reception of the novels?

In investigating these questions, this critical handbook reveals the forces shaping the modern Indian novel in the postliberalization period, and provides a systematic approach to the study of Indian novelists in terms of their global reception. 

Why does the position of the threshold exert such a compelling hold on our imaginative lives? Why is it a resonant space, and so urgently the place of writing – the place where one may remain, avoid speaking or naming, yet speak from? Through a combination of case studies and theoretical investigations, this book addresses these questions and speaks to the imaginative power of the threshold as a productive space in literature and art.

The first volume to draw together a significant range of the applications of the ‘threshold’, the book is located naturally on the threshold between disciplines, and alive to the increasingly interdisciplinary nature of education and scholarship. But its particular intervention is mainly literary, whether through an address of literary narratives, or through the use of literary critical analysis, or indeed through acts of criticism that become creative acts. Of this line of enquiry, ‘Thinking on Thresholds’ is a pioneering volume. Its broader remit is to examine the functions of transitive spaces in poetic language and mimesis. This includes ways in which narrative and mimetic art address the material and imaginative realities of such spaces; how they are drawn to threshold experience in life, society, and historical practice; and the affinity between the artistic process and the spatial idea of the threshold. Thus, it is cross-historical without being ahistorical, interdisciplinary but methodologically coherent. It also, unusually, muses on the methodologies that the threshold calls for in narrative as well as critical practice.

‘Robert Louis Stevenson, Literary Networks and Transatlantic Publishing in the 1890s’ focuses on an author characterised by geographical and aesthetic mobility, and on those who worked with him or wrote for him at a period of key changes in transatlantic publishing. Stevenson’s situation in the 1890s, living in Samoa, publishing in Britain and the United States, is both highly specific but also representative of a new literary mobility. Drawing on a range of resources, from archival material, correspondence, biographies, essays and fiction, the book examines the operations of transatlantic literary networks during a period of key changes in transatlantic publishing.

To investigate Stevenson and the geographies of his literary networks during the last years of his life and after his death, the book presents a series of critical case studies profiling figures who worked with Stevenson, negotiated his publications on both sides of the Atlantic, wrote for him or were inspired by him. Each chapter focuses on a figure involved in the production or afterlife of Stevenson’s late fiction. Individuals studied include Stevenson’s boyhood friend and literary negotiator, Charles Baxter; American publisher Scribner’s literary representative in London, Lemuel Bangs; Stevenson’s ‘mentor’, Sidney Colvin; Stevenson’s admirer and posthumous co-author, literary critic Arthur Quiller-Couch; and collaborators among Stevenson’s own family. Through its emphasis on these significant and fascinating figures, instrumental to or imbricated in the dissemination of Stevenson’s writing, the book offers a fresh understanding of his work in the context of transatlantic publishing.

The book deploys the concept of ‘literary prosthetics’ to frame its analysis of gatekeepers, tastemakers, agents, collaborators and authorial surrogates in the transatlantic production of Stevenson’s writing. The complexities of Stevenson’s geographical and literary situation demonstrate the ways in which the permeable bodies of ‘author’, ‘critic’, ‘editor’, ‘publisher’ and ‘agent’ were fixed and refixed during the period. The book contributes to knowledge of transatlantic publishing and literary cultures in the 1890s and to Stevenson studies but its focus on the specifics of Stevenson’s ‘case’ provides a point of entry into larger considerations of literary communities, nineteenth-century mobility drivers of literary production and the nature of the authorial function.

This book offers a ground-breaking exploration of the aesthetics of poetic freedom. The range is broad, from antiquity to the present and from Europe and the Middle East into the poetry of the English-speaking world. Silent reading is shown as developing for the first time since the fall of the Roman Empire into a fashionable way of reading, starting with the invention of the sonnet in the High Middle Ages. The social use of the word “we,” as when a society generalizes about itself, first appears in poetry in T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” In Goethe’s “Roman Elegies” anachronism becomes a literary device—also, it seems, for the first time—introducing a novel timelessness essential to modern affirmations of infinity.

Revealing questions about the elusiveness of poetic freedom—what does the term actually mean?—are repeatedly tested against the accomplishments of major poets such as Whitman, Dickinson, Rilke, Dante and Virgil, and their public yet intensely private originality. The result is a fresh, and well-nigh revolutionary, way of seeing literary and modern history, or an initiation into the more striking gift of aesthetic freedom.

Across the past two centuries, the Western novel has propagated the narrow view of the addict as a toxic force bent on undermining the rationality, morality, and progressive spirit that have, since the Enlightenment, defined civilization in the West. Addiction, Representation undertakes an investigation into an alternative literary tradition within which the addict is neither doomed to a horrific death nor sacrificed to the Twelve Steps so that the “recovering addict” might survive. At the center of this investigation is a modest collection of contemporary novels, originally published in the thirty-year span between 1985 and 2015, that exhibits experimental narrative techniques and, in doing so, unsettles the limited portrayal of the addict that has dominated the Western realistic novel since the nineteenth century.

Examining the works of John O’Brien, Sara Gran, Paula Hawkins, Bret Easton Ellis, and Grace Krilanovich, the book argues that the ways in which readers occupy the narratives of contemporary experimental fiction can be instructive for how to live in an extra-diegetic world, where attitudes toward addicts often are as narrow, restrictive, and damaging as they historically have been expressed in the Western novel. The book concerns itself with the practices and politics of reading the experimental addiction novel, and outlines both a practice and an ethics of reading that advocates for a more compassionate response not only to fictional addicts, but also to the actual addicts whose lived experiences gave birth to the existing fiction.

Simon J. James examines how Gissing's work reveals an unhappy accommodation with money's underwriting of human existence and culture, and how daily life in all its forms – moral, intellectual, familial and erotic – is transcended or made irrelevant by its commodification. Novels such as 'New Grub Street' expose high culture's dependence on the ruthless Darwinism of late Victorian capitalism: literary and personal success can only be achieved by understanding and adapting to the immanent and irresistible nature of a market hostile to the development of human self-betterment. Situated against nineteenth-century analyses of monetary relations by thinkers such as Ruskin, Mill, Marx and Carlyle, and novels by Dickens, Eliot and Hardy, 'Unsettled Accounts' demonstrates how Gissing's work is engagedly modern, dealing as it does with changes in the nature of the literary market, advertising, imperialism, the New Woman and the condition of the working classes. This groundbreaking new study, published 100 years after Gissing's death, will be of considerable interest to students, researchers and scholars. A valuable introduction to Gissing's work, it claims a prominent place for him in fin-de-siècle Victorian literature.

Why does the position of the threshold exert such a compelling hold on our imaginative lives? Why is it a resonant space, and so urgently the place of writing – the place where one may remain, avoid speaking or naming, yet speak from? Through a combination of case studies and theoretical investigations, this book addresses these questions and speaks to the imaginative power of the threshold as a productive space in literature and art.

The first volume to draw together a significant range of the applications of the ‘threshold’, the book is located naturally on the threshold between disciplines, and alive to the increasingly interdisciplinary nature of education and scholarship. But its particular intervention is mainly literary, whether through an address of literary narratives, or through the use of literary critical analysis, or indeed through acts of criticism that become creative acts. Of this line of enquiry, ‘Thinking on Thresholds’ is a pioneering volume. Its broader remit is to examine the functions of transitive spaces in poetic language and mimesis. This includes ways in which narrative and mimetic art address the material and imaginative realities of such spaces; how they are drawn to threshold experience in life, society, and historical practice; and the affinity between the artistic process and the spatial idea of the threshold. Thus, it is cross-historical without being ahistorical, interdisciplinary but methodologically coherent. It also, unusually, muses on the methodologies that the threshold calls for in narrative as well as critical practice.

Exploring the imaginative construction of the post-colonial South by the communist East, this is a multi-faceted, collaborative study of the reception of Australian literature in the German Democratic Republic. An account of fraught and complex cross-cultural literary exchange between two highly distinct, even uniquely opposed reading contexts, this study has resonance for all newly global reckonings of the cultural Cold War.

Australian Literature in the German Democratic Republic is an investigative exposé of Australian literature’s revealing career in East Germany. Working from the extraordinary records of the East German publishing and censorship regime, the authors materially track the production and reception of one country’s corpus as envisioned by another. The 90 Australian titles published in the GDR form an alternative canon, revealing a shadowy literary archive that rewrites Australia’s postwar cultural history from behind the iron curtain. Cast as a geo-political conundrum – beautiful and exotic, yet politically retrograde – Australia was presented to East German readers as an impossible, failed utopia, its literature framed through a critique of Antipodean capitalism that yet reveals multiple ironies for that heavily censored, walled-in community.

This book brings together leading German and Australian scholars in the fields of book history, German and Australian cultural history, Australian and postcolonial literatures, and postcolonial and cross-cultural theory, with emerging writers currently navigating between the two cultures.

Exploring the imaginative construction of the post-colonial South by the communist East, this is a multi-faceted, collaborative study of the reception of Australian literature in the German Democratic Republic. An account of fraught and complex cross-cultural literary exchange between two highly distinct, even uniquely opposed reading contexts, this study has resonance for all newly global reckonings of the cultural Cold War.

Australian Literature in the German Democratic Republic is an investigative exposé of Australian literature’s revealing career in East Germany. Working from the extraordinary records of the East German publishing and censorship regime, the authors materially track the production and reception of one country’s corpus as envisioned by another. The 90 Australian titles published in the GDR form an alternative canon, revealing a shadowy literary archive that rewrites Australia’s postwar cultural history from behind the iron curtain. Cast as a geo-political conundrum – beautiful and exotic, yet politically retrograde – Australia was presented to East German readers as an impossible, failed utopia, its literature framed through a critique of Antipodean capitalism that yet reveals multiple ironies for that heavily censored, walled-in community.

This book brings together leading German and Australian scholars in the fields of book history, German and Australian cultural history, Australian and postcolonial literatures, and postcolonial and cross-cultural theory, with emerging writers currently navigating between the two cultures.

Love is often called a leap of faith. But can faith be described as a leap of love? In ‘Touching God: Hopkins and Love’, Duc Dau argues that the conversion of Gerard Manley Hopkins to Roman Catholicism was one of his most romantic acts.

‘Touching God’ is the first book devoted to love in the writings of Hopkins, illuminating our understanding of him as a romantic poet. Discussions of desire in Hopkins’ poetry have focused on his tortured and unrequited attraction to men. In contrast, Dau builds on existing queer and conventional readings of the poet’s work by turning to theories of mutual touch propounded by Luce Irigaray and Maurice Merleau-Ponty. In the process, she uncovers the desire Hopkins actively cultivated and celebrated: his love for Christ. By analysing Hopkins’ writings alongside his literary, philosophical and theological influences, she demonstrates that this love is what he called ‘eros’ or ‘amor’.

Dau argues that descriptions of the body and its acts of tenderness – notably touching – played a vital role in the poet’s depictions of spiritual eroticism. By forging a new way of reading desire and the body in Hopkins’ writings, this work offers fresh interpretations of his poetry, and contributes to contemporary interest surrounding the relationship between love, sexuality and spirituality.

Love is often called a leap of faith. But can faith be described as a leap of love? In ‘Touching God: Hopkins and Love’, Duc Dau argues that the conversion of Gerard Manley Hopkins to Roman Catholicism was one of his most romantic acts.

‘Touching God’ is the first book devoted to love in the writings of Hopkins, illuminating our understanding of him as a romantic poet. Discussions of desire in Hopkins’ poetry have focused on his tortured and unrequited attraction to men. In contrast, Dau builds on existing queer and conventional readings of the poet’s work by turning to theories of mutual touch propounded by Luce Irigaray and Maurice Merleau-Ponty. In the process, she uncovers the desire Hopkins actively cultivated and celebrated: his love for Christ. By analysing Hopkins’ writings alongside his literary, philosophical and theological influences, she demonstrates that this love is what he called ‘eros’ or ‘amor’.

Dau argues that descriptions of the body and its acts of tenderness – notably touching – played a vital role in the poet’s depictions of spiritual eroticism. By forging a new way of reading desire and the body in Hopkins’ writings, this work offers fresh interpretations of his poetry, and contributes to contemporary interest surrounding the relationship between love, sexuality and spirituality.

Roland Barthes Writing the Political: History, Dialectics, Self is a re-reading and a re-purposing for the twenty-first century of the work and the critical theories of France’s most important writer of the twentieth century. Drawing on articles and chapters published since 2007, and including new material written for the volume, it argues that Barthes’s wide-ranging analyses and critical essays – from Voltaire to Nietzsche, Marx to myth, gay love to Japan – can be applied to debates and controversies in the contemporary world. By applying his 1958 essay on Voltaire to the aftermath in France of the 2015 terrorist attacks, by using Edouard Glissant’s work as an unspoken dialogue to look at post-colonial writing strategies, the volume sets out what a dialectical critical practice might look like in our complex world of political, ethical and aesthetic choices.

In order to address the complexity of his critical practice, the study takes up a seldom-discussed notion which Barthes had originally developed in relation to the nineteenth-century historian Jules Michelet: that of the ‘double grasp’. This ‘double grasp’ is used to think through photography and innovative forms of historiography (including a comparison with the work of Walter Benjamin), but also to account for the ‘stereographic’ approach with which Barthes read Balzac, visited Japan and then China, and even considered both the writing self and the imagined self.

The book considers the persistence – and the functions – of myth in the era of image-saturated social media, using both early Marx and early Nietzsche, whilst relating Barthes’s radical homosexuality and his questioning of binary structures to today’s debates on post-gender. The volume ends with discussion of Barthes’s essay-writing and its similarities with the theories on the essay of Hungarian Marxist George Lukaćs in his 1910 ‘Letter to Leo Popper’, and asks whether the essay, in its many Barthesian guises, is the future for radical forms of writing in the twenty-first century.

What does ‘queer’ have to do with children and young people and, in particular, with literature for them? How are sexualities and gender identities depicted in writing and illustration for younger readers in a variety of languages and cultures? How are queer families and the construction of queer families portrayed? How is this depiction influenced by the way the culture in question views queer identities? What is the connection between LGBTQ+ rights and literature for children and young adults?

These are some of the questions addressed in this edited collection. While English-language LGBTQ+ literature for young readers has been and continues to be explored in some depth in academia, this is the first book to compare LGBTQ+ children’s literature from around the world and to connect the literature to greater societal, political, linguistic, historical and cultural concerns. The aim of this book, then, is to explore LGBTQ+ literature for young readers around the world, particularly beyond the English-speaking countries/cultures.

This collection brings together contributions from across the academic and activist spectra, looking at picture books, middle-grade books and young adult novels. The foci of individual chapters include the representation of sexualities and gender identities, depictions of queer families, censorship, translation of LGBTQ+ literature for young readers, and self-publishing. Ultimately, the book considers what is at stake when we write (or do not write) about LGBTQ+ topics for young readers.

The book begins with rich descriptions of the experience of despair, drawn from real life case studies from the author’s clinical practice, and a review of current evidence of suicide prevalence, risk and protective factors. A review of theories about suicide highlights two contemporary explanatory models: Integrated Motivational-Volitional (IMV) model, with focus on perceptions of defeat and entrapment; and Interpersonal Theory (IPT), with focus on thwarted belongingness and perceived burdensomeness. The book provides an overview of recent analyses of how literary and poetic texts confront the dilemma of existence in the face of grief and loss, and how literary readings can act as points of transformation.

Gothic has often articulated fear as much through its depictions of weather, climate and landscape as it has through its typical monsters, and the relationship between geography, the environment and travel has been a persistent characteristic of the Gothic from its earliest moments. Gothic is an innately travelling mode of writing, and the literary fascination provoked by armchair travel is central to the navigation of cultural fears: ‘strangeness’ only becomes apparent once one exchanges the homely (Heimlich) for the uncanny in new or uncharted settings. This book will argue that what differentiates Gothic travel from all other kinds is the growing realisation that the terrain across which one journeys has become ‘haunted’ by what one finds there. At the same time, that encounter similarly transforms the traveller ‘for good’: whatever ghosts we encounter abroad follow us home and take root in our collective consciousness. This book therefore argues that Gothic literary travel plays a key role in giving expression to a range of very ‘real’ haunting anxieties. The strange and discomforting landscapes into which our reading propels us allow those anxieties to take form while, in turn, our experience of journeying through these landscapes enables us, in part, to confront the fears they provoke. 

This book argues that the process and experience of travel in Gothic literature provides a unique perspective on recurring cultural preoccupations from the late-eighteenth century onward, ranging from concerns about climate change or the presence of the unseen to the negotiation of cultural difference and the apprehensions produced by various modes of modern transport. The book follows travellers who take many fictional forms – tourists, commuters, walkers, explorers, as well as the ‘armchair’ tourist or reader – as they encounter fascinating, curious and often disquieting weathers, climates, landscapes and topographies. Gothic travel epitomises the wonder, excitement, suspicion or incomprehension that arises from journeys through familiar and unfamiliar terrain. While exposure to the wild, elemental or primitive could produce the elevation of the sublime in early Gothic, increasingly the experience of travel raised unsettling questions about people and environments that lay beyond established frames of knowledge. Gothic travellers are haunted, never alone, and the experience of journeying through these landscapes provokes fears that may shadow them even after they have returned to home ground.

One of the reasons why Gothic literature remains as popular in the twentieth and twenty-first centuries as it has ever been, despite our lessening belief in the supernatural or the after-life, is because it continues to provide us with a mechanism for giving shape to otherwise formless but profound cultural concerns. The book questions, however, whether Gothic literature per se remains a source of fear (as it arguably was in its earliest phases), or whether it now provides a ‘homeopathic’ response to growing social, cultural and environmental anxieties which loom large in our consciousness. It tracks the ways in which Gothic literature, from the later eighteenth century to the present, has always propelled fictional travellers abroad into cultural landscapes which prove terrifying and unknowable, but also questions whether more recent literary portrayals ask different questions of their readers in relation to the environment, surveillance, (im)migration, the foreign and technological innovation, as viewed through the lens of travel. As this study will show, these expressions of fear speak loudly to our own time, and are manifested not only in contemporary Gothic literature but in the wider cultural discourse.

Ever since Godwin announced to the world in Memoirs that Wollstonecraft had had little use for religion, most biographers, scholars, historians and readers have regarded her as an apostate. Further, the existing scholarly texts fail to demonstrate the pervasiveness of biblical references in A Vindication of the Rights of Woman. The Pickering & Chatto version cites 42 scriptures; the Norton Critical Edition, 41; the Longman Cultural Edition, 50; and Broadview, 92. The true tally of scriptural references approaches over 1,100 as identified in this study. Furthermore, scriptural references are rife throughout all her publications and in many of her letters, and not just those written in her youth, contradicting Godwin’s implication that she abandoned her faith by 1787.

Wollstonecraft’s biblical allusions, besides sheer volume, are noteworthy because they gave women a biblical basis upon which to contend for better education and occupational opportunities as well as for legal and political independence. That the arguments were couched in biblical rhetoric most likely contributed to their initial reception and tolerance of what were actually incendiary ideas and searing social criticism. Nevertheless, they failed to effect any apparent political change either in France or in England as Wollstonecraft had hoped. However, they would be wielded by suffragists in the next century to argue for equal opportunities for women. By the second-wave feminist movement in the 1900s and definitely by the third in the 1990s, Wollstonecraft was hailed the Mother of Feminism but also deemed not radical enough because of her biblical renderings of womanhood. It seems that in the twenty-first century, more recent publications, including several biofictions, have reinvented Wollstonecraft as a nonbeliever, lesbian and moral rebel, none of which accurately represent her life or works.

The recognition and analysis of biblical underpinnings in Wollstonecraft and Religion not only of Rights of Woman but also of her other publications and letters propose a new consideration. Ayres’s chapters that accompany the scripturally annotated text of Rights of Woman furnish biographical and historical context that offer fresh perspectives about Wollstonecraft’s religious convictions and faith.

This book-length essay on the oeuvre of a distinguished and influential poet, Fiona Sampson, is comprised of a series of interconnecting and dovetailing essays reading across and through a brilliant body of work to date. Dealing in turn with an extremely influential editorial career on the UK and internationalist scenes, much work at the interface of creative writing, poetry and social and health care, much internationally compelling, prize-winning poetry, criticism, creative nonfiction, literary theory and biography, the book aims to tie together and illuminate in different ways the variegated writing career to date, showing how the poetic métier at hand carries across many different modes and genres. Eschewing in the main a biographical approach, this is a book-length commentary that aims to tell and show the unitive story of a compelling literary career (still in vital motion), but more pressingly, that of a truly poignant literary sensibility. Under the lens of this study, Sampson’s oeuvre evinces high intelligence along with empathy, a long-borne and studied engagement with form and an approach to literary work that is deeply personable and engaging, and a democratic spirit that at the same time refuses to abandon the highest standards of excellence. Sampson is read across this work as an exemplary literary presence, after the so-called death of expertise.

A collection of essays rather than a single, continuously argued monograph, Hawthorne’s Histories, Hawthorne’s World collects together the essays Professor Colacurcio has written on Hawthorne since the publication of his ground-breaking Province of Piety, elaborating and refining his analyses of how Hawthorne’s most memorable early tales “do history,” but proceeding then to explore the later productions of that author’s distinguished career. The result, in Colacurcio’s patient analysis, is something like Hawthorne’s history of his own times. To be sure, The Scarlet Letter returns to the rich theme we know as “the matter of the Puritans,” but rides up from a moment, and clearly implies, the vibrant but troubled women’s movement; and, imagining the world Hester Prynne as good as predicted, The Blithedale Romance deepens the sensitive but cautious inquiry. Contemporaneous too is the subject of The House of the Seven Gables which, stopping just short of discovering that property is theft, dares to inquire into the murky sources of aristocratic wealth and privilege in his present New England. From the moment between the early tales and the three American romances, the tales and sketches written at the Old Manse in Concord reveal Hawthorne’s fascinated and troubled response to that swirl of contemporary reform movements which historians know as “Freedom’s Ferment”; several encounter Emerson explicitly, and even more question the life-implications of “idealism as it appears in 1842,” as Emerson had defined his Transcendentalism.  From the so-called “Last Phase” of Hawthorne’s career, Colacurcio presents, along with some remarks “Chiefly About War Matters” (1862) and, more briefly still, the unfinished romances, a major reading of the work Hawthorne called Our Old Home (1863); growing out of the Notebooks the author kept while serving as American Consul to Liverpool in the mid-1850s, this now nostalgic, now fierce mix of excursion and critique reveals a great deal about Hawthorne’s social intelligence, and about his biases. Finally, Colacurcio offers a patient but somewhat resistant reading of The Marble Faun, a major effort to identify the “puritanic” element in the developing American identity but revealing, at the same time, an unsteady Narrator’s increasing hesitance about the epistemology of the “Romance.”  Literary genius beginning to doubt its gift.

Black Configurations is the first volume of a three-volume study that offers a fresh reading of African-American literary history by locating within the literature itself the terms for a revisionary account of black writing, terms pursued along three distinct but interlocking pathways (each to be pursued in the Impact Series format): by charting figurations of tradition among six of the most innovative practitioners of black literary expression from Sterling Brown to Toni Morrison (Volume 1); by following the haunting pathways of spectral dialogues between slavery and African-American modernism (Volume 2); and by interrogating interlocking topoi of critique and assertion (naming; facing; voicing) across the history of African-American literary expression (Volume 3). The critical trilogy presents thereby a narrative of African-American literature as a continual, dialectical process, blending confrontation with traumatic origins and the quest for expressive transformation.

This project arises from the question: how does one construe and narrate the story of a tradition for which the conventional structure of literary history—that is, the relation between discourse and its referents—is itself such a politically and thematically charged issue? On one hand, the ideological exclusion of the African-American subject from authorized spheres of meaning and signification gives value to narrating black literary tradition as the progressive emergence of a fully articulate presence, and seems to find warrant in black writing’s persistent thematization of literacy, public performance, and self-definition. On the other hand, such a narrative of fully realized agency and consciousness risks replicating the dominant ideology’s own reductive vision of identity as a predetermined totality, thus imagining some singular and final form for African-American being. The study asserts instead that African-American literature is fueled by the simultaneous workings of a desire for a totally realized subject and the constant displacement of that desire by a willingness—in contrast to the oppressive system that would deny its agency—to put its own mode of being into question. 

The essays in this volume demonstrate how the Rossettis – from the celebrated Dante Gabriel and Christina to the comparatively neglected Maria and William – drew upon a shared cultural experience, and describe how each contributed to the intellectual debates of the age and played a substantial role in their various fields. Bringing together significant contributions from some of the most renowned experts on the Rossettis, 'Outsiders Looking In' provides important new perspectives on this talented family and their brilliant legacy.

‘Imagined Sound’ is a unique cartography of the artistic, historical and political forces that have informed the post-World War II representation of Australian landscapes. It is the first book to formulate the unique methodology of ‘imagined sound’, a new way to read and listen to literature and music that moves beyond the dominance of the visual, the colonial mode of knowing, controlling and imagining Australian space. Emphasising sound and listening, this approach draws out and re-examines the key narratives that shape and are shaped by Australian landscapes and histories, stories of first contact, frontier violence, the explorer journey, the convict experience, non-Indigenous belonging, Pacific identity and contemporary Indigenous Dreaming. ‘Imagined Sound’ offers a compelling analysis of how these narratives are reharmonised in key works of literature and music.

To listen to and read imagined sound is to examine how works of literature and music evoke and critique landscapes and histories using sound. It is imagined sound because it is created by descriptive language and imaginative thought, and is as such an extension of the range of heard sound. The concept is inspired by Benedict Anderson’s key study of nationalism, ‘Imagined Communities’ (1983). Discussing official (and unofficial) national anthems, Anderson argues the imagined sound of these songs connects us all. This conception of sound operates in two ways: it places the listener within ‘the nation’ and it bypasses the problem of both space and time, enabling listeners from across a vast space to, simultaneously, become one. Following Anderson, imagined sound emphasises the importance of the imagination in the formation of landscapes and communities, and in the telling and retelling of histories. 

’Imagined Sound’ encounters the different forms and tonalities of imagined sound – the soundscape, refrain, song, lyric, scream, voice and noise ¬– in novels, poems, art music, folk, rock, jazz and a film clip. To listen to these imagined sounds is to encounter the diverse ways that writers and musicians have reimagined and remapped Australian colonial/postcolonial histories, landscapes and mythologies. Imagined sound links the past to the present, enabling colonial landscapes and traumas to haunt the postcolonial; it carries and expresses highly personal and interior experiences and emotions; and it links people to the landscapes they inhabit and to the narratives and myths that give place meaning. As a reading and listening practice imagined sound pursues the unresolved conflicts that echo across the haunted soundscapes connecting the colonial past to the postcolonial present. The seeds of regeneration also bear fruit as writers and musicians imagine the future. ‘Imagined Sound’ fuses the spirit of close reading common to literary studies and the score analysis familiar to musicology with ideas from sound studies, philosophy, Island studies and postcolonial studies.

‘Imagined Sound’ is a unique cartography of the artistic, historical and political forces that have informed the post-World War II representation of Australian landscapes. It is the first book to formulate the unique methodology of ‘imagined sound’, a new way to read and listen to literature and music that moves beyond the dominance of the visual, the colonial mode of knowing, controlling and imagining Australian space. Emphasising sound and listening, this approach draws out and re-examines the key narratives that shape and are shaped by Australian landscapes and histories, stories of first contact, frontier violence, the explorer journey, the convict experience, non-Indigenous belonging, Pacific identity and contemporary Indigenous Dreaming. ‘Imagined Sound’ offers a compelling analysis of how these narratives are reharmonised in key works of literature and music.

To listen to and read imagined sound is to examine how works of literature and music evoke and critique landscapes and histories using sound. It is imagined sound because it is created by descriptive language and imaginative thought, and is as such an extension of the range of heard sound. The concept is inspired by Benedict Anderson’s key study of nationalism, ‘Imagined Communities’ (1983). Discussing official (and unofficial) national anthems, Anderson argues the imagined sound of these songs connects us all. This conception of sound operates in two ways: it places the listener within ‘the nation’ and it bypasses the problem of both space and time, enabling listeners from across a vast space to, simultaneously, become one. Following Anderson, imagined sound emphasises the importance of the imagination in the formation of landscapes and communities, and in the telling and retelling of histories. 

’Imagined Sound’ encounters the different forms and tonalities of imagined sound – the soundscape, refrain, song, lyric, scream, voice and noise ¬– in novels, poems, art music, folk, rock, jazz and a film clip. To listen to these imagined sounds is to encounter the diverse ways that writers and musicians have reimagined and remapped Australian colonial/postcolonial histories, landscapes and mythologies. Imagined sound links the past to the present, enabling colonial landscapes and traumas to haunt the postcolonial; it carries and expresses highly personal and interior experiences and emotions; and it links people to the landscapes they inhabit and to the narratives and myths that give place meaning. As a reading and listening practice imagined sound pursues the unresolved conflicts that echo across the haunted soundscapes connecting the colonial past to the postcolonial present. The seeds of regeneration also bear fruit as writers and musicians imagine the future. ‘Imagined Sound’ fuses the spirit of close reading common to literary studies and the score analysis familiar to musicology with ideas from sound studies, philosophy, Island studies and postcolonial studies.

The book provides a comprehensive descriptive history of the founding of the Saltire Society in 1936, a Scottish cultural organization dedicated to promoting ‘all that’s best in Scottish culture’, and its series of literary awards which now includes prizes for fiction, first books, history books, non-fiction, poetry and research books. The book accomplishes this by including a detailed descriptive history of the founding of the Saltire Society and its literary awards and original analyses of the impact the award has made within the UK’s literary economy and publishing culture, forming a unique perspective of research in practice enabled by access to archives, interviews and observations that are unique.

This cultural history of the Saltire Society Literary Awards demonstrates the significance the awards have had within Scottish literary and cultural life. It is one piece of the wider cultural award puzzle and illustrates how, far from being parochial or niche, lesser-known awards, whose histories may be yet untold, play their own role in the circulation of cultural value through the consecration of literary value. The study of the Society’s Book of the Year and First Book of the Year Awards not only highlights how important connections between literary awards and national culture and identity are within prize culture and how literary awards, and their founding institutions, can be products of the socio-political and cultural milieu in which they form,; but this study also illustrates how existing literary award scholarship has only begun to scratch the surface of the complexities of the phenomenon. This book promotes a new approach to considering literary prizes, proposing that the concept of the literary awards hierarchy can contribute to emerging and developing discourses pertaining to literary, and indeed cultural, prizes more broadly.