Stemming the torrent

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Kristin Boudreau

"In this chronicle of the role of sympathy in American literature and culture from the colonial period to the Gilded Age, Boudreau shows how the sentiment of fellow-feeling was repeatedly recruited at moments of national and personal crisis.". "Unlike many treatments of attachment and sentimentality, this book avoids positing either the radical or the conservative account of sympathy. Drawing on a range of texts from John Winthrop's 1630 "Model of Christian Charity" to William James's 1902 Varieties of Religious Experience, the work explores the entire complicated legacy of sympathy in American culture. In examining what she calls the "cultural fiction" of consanguinity, or shared blood, the author illuminates both its possibilities for soothing social and political divisions as well as its social and psychological costs. In one of the few books to trace the influence of writers of the Early Republic on antebellum sentimental works, Boudreau offers an array of examples from inside and outside the canon to illustrate that sentimental culture did not end with the Civil War."--BOOK JACKET.

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Jonathan H. Grossman

"In The Art of Alibi, Jonathan H. Grossman reconstructs the relation of the novel to nineteenth-century law courts. During the Romantic era, courthouses and trial scenes frequently found their way into the plots of English novels. As Grossman states, "by the Victorian period, theses scenes represented a powerful intersection of narrative form with a complementary and competing structure for storytelling." He argues that the courts, newly fashioned as a site in which to orchestrate voices and reconstruct stories, arose as a cultural presence influencing the shape of the English novel.". "Weaving examinations of novels such as William Godwin's Caleb Williams, Mary Shelley's Frankenstein, and Charles Dicknens's The Pickwick Papers and Oliver Twist, along with a reading of the new Royal Courts of Justice, Grossman charts the exciting changes occurring within the novel, especially crime fiction, that preceded and led to the invention of the detective mystery in the 1840s."--BOOK JACKET.

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John Sutherland

In Is Heathcliff a Murderer? (well, is he?) John Sutherland investigates thirty-four conundrums of nineteenth-century fiction. Applying these 'real world' questions to fiction is not in any sense intended to catch out the novelists who are invariably cleverer than their most defectively inclined readers. Typically, one finds a reason for the seeming anomaly. Not blunders, that is, but unexpected felicities and ingenious justifications. In Is Heathcliff a Murderer? John Sutherland, recently described by Tony Tanner as 'a sort of Sherlock Holmes of literature', pays homage to the most rewarding of critical activities, close reading and the pleasures of good-natured pedantry.

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Talia Schaffer

"Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten. Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors. Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations."--Pub. desc.