University of Pennsylvania Press Inc.

A history of diabetes science and the experience of diabetics in the nineteenth-century England

A Male Hysteria examines both the science of diabetes in nineteenth-century England and the testimony of Victorian diabetics. What could be known about diabetes given the science of the day? And what did new models of diabetes mean for the treatment and self-image of diabetics?

Ideas about diabetes were revolutionized in 1849 by the great French physiologist Claude Bernard. After he made rabbits diabetic by pricking their brains, diabetes in England came to be thought of as neurological, even psychological in origin. British diabetics (often men) were prevented from working or becoming excited, treated in the same manner as women who were diagnosed with hysteria. Meanwhile, discoveries in thermodynamics were applied to diabetics and menstruating women. People were assumed to be closed systems, wasting energy that couldn't be replenished. Thus, diabetics had to stay still if they wanted to live and women had to stay away from education to have the energy to produce children.

Some people resisted these hysterical views. As no brain lesion was ever found in deceased diabetics, even after decades of searching, the animal model of the disease no longer seemed to apply to humans. Some diabetic patients also resisted the hysterical picture, including medical professionals—both men and women—who refused to slow down as the new treatment regimen was mandated. Likewise, physicians at spas noted that walking long distances seemed to help diabetics.

A Male Hysteria journeys through nineteenth-century diabetes science and the lives of diabetics. It examines how science can go wrong when models from one area of inquiry are too excitedly applied to another. It also demonstrates the persistence of the psychological stereotype of diabetics as nervous and overworked in the United Kingdom—long after medical attention turned to the pancreas and the role of insulin.

More than eight million young men perished during the First World War—a staggering figure. The natural reaction to such a great loss of humanity was to forget the individuals and recast the conflict into one of faceless armies and battles commemorated in stone and metal monuments. War Letters of Fallen Englishmen was published following the war in order to remind the living of those who were lost in the name of the British crown—brothers, husbands, fathers, sons.

This collection provides, in the very words of those who participated and died in combat, the closest approximation possible to the experience of war. Carefully selected from thousands of letters, those in this collection are poignant, powerful, and graphic and were chosen for their depth of perception, the intensity of their descriptions, and their messages to future generations. This edition contains a new foreword by the distinguished World War I historian Jay Winter.

More than ten years ago, Robert Lee Hall made a startling discovery. Within a secret compartment of an old armoire once owned by his great aunt, he found a yellowing manuscript describing a series of mysterious criminal cases. What made these stories so unusual was that they were solved by the renowned scientist and statesman, Benjamin Franklin, while he was a resident of London to plead the case of the American colonies before the British crown. Written by Hall's ancestor, Nick Handy, who happened to be Franklin's assistant throughout these adventures, Hall transcribed the tales and presented them in the order of their occurrence.

In Benjamin Franklin Takes the Case, the first mystery in Hall's series, the great Doctor Franklin meets the young orphan Nick Handy in the print shop of an old friend. When his friend is suddenly murdered, it is up to Franklin and Nick to prove who was responsible for the grisly deed. Turning detective, Franklin pursues the strange case along the dark byways of London and into its grand houses, uncovering a theft ring, a profitable trade in slaves and prostitutes, and strong reasons to believe that Nick is in grave danger. Employing his keen sense of scientific observation and his inventor's creative mind, the doctor is able to solve a case that the constables had thought would be impossible to break.

Who would not shudder when entering the skeleton-lined cave of the queen of the dead? How would a young man and his sister escape from the prison of a treacherous sultan? How would a poor farmer gain the hand of the beautiful daughter of the wealthiest sheik? These and thirteen more tales are spun in this stunning collection of sixteen traditional stories from the Shia tribes of southern Iraq. Gathered in the late 1940s and deftly translated to capture the elegance of the originals, these tales are full of action, adventure, love, and humor and are sure to delight anyone who has ever fallen under the spell of the Scheherezade.

Appearing here for the first time in paperback, the stories in Folktales from Iraq, each accompanied by specially commissioned engravings, allow the reader to travel to a distant, imaginary land swirling with great fortunes, terrifying predicaments, and quick-witted heroes.

Reflecting Conrad's genius for narrative that focuses on the quest for inner truths, The Arrow of Gold is an exploration of the dangerous appetites of men and of human vulnerability, as well as a profound meditation on the emotional boundary between people. Boasting a cast of extraordinary and eccentric personalities, including the heroine Doña Rita, this is a story of adventure on the high seas, of the revelation of love, of the crushing weight of loss, and of freedom found in the recklessness of unadorned sincerity.

During the Carlist war of the early 1870s, a young sailor, the unnamed protagonist, joins the champions of Don Carlos de Bourbon, pretender to the throne of Spain. The Carlists use the eager youth's intense attraction to the sea to persuade him to run perilous enterprises for their cause, ventures he later learns have been financed by the beautiful mistress and heiress of a rich man's fortune. When he falls in love with her, he finds himself moved absolutely by this discovery, despite the fact that she is unable to return his love fully. In the end he is left alone with his first love, the sea, his brief time with the mysterious Doña Rita marking a tumultuous awakening to a life of passion, the desolation that hides in its shadow, and the possibility of rebirth in its wake.

Although not as well known as his earlier novels Lord Jim and Nostromo, The Arrow of Gold was critically acclaimed when it first appeared in 1919 and is still considered to be among the best of Conrad's later works.

Kate Orme is a young woman whose illusions of marital bliss are shattered when she comes face to face with the dark secret harbored by her fiance, the wealthy and deceptively ebullient Denis. Kate decides to go ahead and marry Denis, however, as a selfless gesture to protect any child he may conceive from inheriting their father's moral weakness. The couple does have a child, Dick, and in a marriage with a man that Kate has admittedly ceased to love, she transfers her original affections for Denis to their son.

Denis dies suddenly and Kate is left to raise their young son. Knowing that Dick could have inherited the faults of his father, Kate anticipates a time when Dick's morality will be severely tested. That time comes years later when Dick, an eligible bachelor and aspiring professional, is faced with a dilemma that will affect the course of his life.

With the precision, beauty, and sharp awareness of the cracks in upper-class New York society that made her one of the great writers of the twentieth century, Edith Wharton offers a subtle critique of the nature versus nurture debate that raged in the early 1900s. Sanctuary is a spare and moving investigation of the forces that impel human beings toward sin, self-doubt, and redemption.

Diana Mayo is young, beautiful, wealthy—and independent. Bored by the eligible bachelors and endless parties of the English aristocracy, she arranges for a horseback trek through the Algerian desert. Two days into her adventure, Diana is kidnapped by the powerful Sheik Ahmed Ben Hassan, who forces her into submission. Diana tries desperately to resist but finds herself falling in love with this dark and handsome stranger. Only when a rival chieftain steals Diana away does the Sheik realize that what he feels for her is more than mere passion. He has been conquered—and risks everything to get her back. The power of love reaches across the desert sands, leading to the thrilling and unexpected conclusion.

One of the most widely read novels of the 1920s, and forever fixed in the popular imagination in the film version starring the irresistible Rudolph Valentino, The Sheik is recognized as the immediate precursor to the modern romance novel. When first published there was nothing like it: To readers the story was scandalous, exotic, and all-consuming; to such critics as the New York Times the book was "shocking," although written with "a high degree of literary skill." In the author's native England, the bestselling book was labeled "poisonously salacious" by the Literary Review and banned from some communities. But the public kept reading.

The influence of The Sheik on romance writers and readers continues to resonate. Despite controversy over its portrayal of sexual exploitation as a means to love, The Sheik remains a popular classic for its representation of the social order of its time, capturing contemporary attitudes toward colonialism as well as female power and independence that still strike a chord with readers today.

Though most widely known for the novella The Great Gatsby, F. Scott Fitzgerald gained a major source of income as a professional writer from the sale of short stories. Over the course of his career, Fitzgerald published more than 160 stories in the period's most popular magazines. His second short fiction collection, Tales of the Jazz Age (1922), includes two masterpieces as well as several other stories from his earlier career. One, "May Day," depicts a party at a popular club in New York that becomes a night of revelry during which former soldiers and an affluent group of young people start an anti-Bolshevik demonstration that results in an attack on a leftist newspaper office. "The Diamond as Big as the Ritz" is a fantastic satire of the selfishness endemic to the wealthy and their undying pursuit to preserve that way of life.

All of these stories, like his best novels, meld Fitzgerald's fascination with wealth with an awareness of a larger world, creating a subtle social critique. With his discerning eye, Fitzgerald elucidates the interactions of the young people of post-World War I America who, cut off from traditions, sought their place in the modern world amid the general hysteria of the period that inaugurated the age of jazz.

This new edition reproduces in full the original collection, stories that represent a clear movement in theme and character development toward what would become The Great Gatsby. In introducing each story, Fitzgerald offers accounts of its textual history, revealing decisions about which stories to include.

Originally appearing at the same time as the pacifist novel All Quiet on the Western Front, this powerful collection provides a glimpse into the hearts and minds of an enemy that had been thoroughly demonized by the Allied press. Composed by German students who had left their university studies in order to participate in World War I, these letters reveal the struggles and hardships that all soldiers face.

The stark brutality and surrealism of war are revealed as young men from Germany describe their bitter combat and occasional camaraderie with soldiers from many nations, including France, Great Britain, and Russia. Like its companion volume, War Letters of Fallen Englishmen, these letters were carefully selected for their depth of perception, the intensity of their descriptions, and their messages to future generations. "Should these letters help towards the establishment of justice and better understanding between nations," the editor reflects in his introduction, "their deaths will not have been in vain." This edition contains a new foreword by the distinguished World War I historian Jay Winter.