This book provides the first thematic survey and analysis of nineteenth-century writing that imagined outcomes that history might have produced. Narratives of possible worlds and scenarios—referred to here as “alternate histories”—proliferated during the nineteenth century and clustered around pressing themes and emergent disciplines of knowledge. This study examines accounts of undefeated Napoleons after Waterloo, alternative genealogies of western civilization from antiquity to the (nineteenth-century) present day, the imagination of variant histories on other worlds, lost-world fictions that “discovered” improved relations between men and women, and the use of alternate history in America to reconceive the relationship between the New World and the Old. The “untimely” imagination of other histories interrogated the impact of new techniques of knowledge on the nature of history itself. This book sheds light on the history of speculative thought, and the relationship between literature and the history of ideas in the nineteenth century.

This important collection of essays acknowledges the long and distinctive history of the alternate history genre whilst also revelling in its vitality, adaptability, and contemporary relevance, with many of the chapters discussing late twentieth- and early twenty-first-century texts which have previously received little or no sustained critical analysis.

Inventing counterfactual histories is a common pastime of modern day historians, both amateur and professional. We speculate about an America ruled by Jefferson Davis, a Europe that never threw off Hitler, or a second term for JFK. These narratives are often written off as politically inspired fantasy or as pop culture fodder, but in Telling It Like It Wasn’t, Catherine Gallagher takes the history of counterfactual history seriously, pinning it down as an object of dispassionate study. She doesn’t take a moral or normative stand on the practice, but focuses her attention on how it works and to what ends—a quest that takes readers on a fascinating tour of literary and historical criticism. Gallagher locates the origins of contemporary counterfactual history in eighteenth-century Europe, where the idea of other possible historical worlds first took hold in philosophical disputes about Providence before being repurposed by military theorists as a tool for improving the art of war. In the next century, counterfactualism became a legal device for deciding liability, and lengthy alternate-history fictions appeared, illustrating struggles for historical justice. These early motivations—for philosophical understanding, military improvement, and historical justice—are still evident today in our fondness for counterfactual tales. Alternate histories of the Civil War and WWII abound, but here, Gallagher shows how the counterfactual habit of replaying the recent past often shapes our understanding of the actual events themselves. The counterfactual mode lets us continue to envision our future by reconsidering the range of previous alternatives. Throughout this engaging and eye-opening book, Gallagher encourages readers to ask important questions about our obsession with counterfactual history and the roots of our tendency to ask “What if...?”

First published in 1889, this novel has two main plots; one set in the real world at the time the book was published (the Victorian era), the other in the fictional world of Fairyland.

Both a historical recovery and a critical rethinking of the functions and practices of textbooks, Archives of Instruction: Nineteenth-Century Rhetorics, Readers, and Composition Books in the United States argues for an alternative understanding of our rhetorical traditions. The authors describe how the pervasive influence of nineteenth-century literacy textbooks demonstrate the early emergence of substantive instruction in reading and writing. Tracing the histories of widespread educational practices, the authors treat the textbooks as an important means of cultural formation that restores a sense of their distinguished and unique contributions. At the beginning of the nineteenth century, few people in the United States had access to significant school education or to the materials of instruction. By century’s end, education was a mass—though not universal—experience, and literacy textbooks were ubiquitous artifacts, used both in home and in school by a growing number of learners from diverse backgrounds. Many of the books have been forgotten, their contributions slighted or dismissed, or they are remembered through a haze of nostalgia as tokens of an idyllic form of schooling. Archives of Instruction suggests strategies for re-reading the texts and details the watersheds in the genre, providing a new perspective on the material conditions of schooling, book publication, and emerging practices of literacy instruction. The volume includes a substantial bibliography of primary and secondary works related to literacy instruction at all levels of education in the United States during the nineteenth century.

Fashioned Texts and Painted Books examines the folding fan's multiple roles in fin-de-siecle and early twentieth-century French literature. Focusing on the fan's identity as a symbol of feminine sexuality, as a collectible art object, and, especially, as an alternative book form well suited to the reception of poetic texts, the study highlights the fan's suitability as a substrate for verse, deriving from its myriad associations with coquetry and sex, flight, air, and breath. Close readings of Stephane Mallarme's eventails of the 1880s and 1890s and Paul Claudel's Cent phrases pour eventails (1927) consider both text and paratext as they underscore the significant visual interest of this poetry. Works in prose and in verse by Octave Uzanne, Guy de Maupassant, and Marcel Proust, along with fan leaves by Edgar Degas, Edouard Manet, Berthe Morisot, and Paul Gauguin, serve as points of comparison that deepen our understanding of the complex interplay of text and image that characterizes this occasional subgenre. Through its interrogation of the correspondences between form and content in fan poetry, this study demonstrates that the fan was, in addition to being a ubiquitous fashion accessory, a significant literary and art historical object straddling the boundary between East and West, past and present, and high and low art.

'Useful Objects' examines the cultural history of nineteenth-century American museums through the eyes of writers, visitors, and collectors. Throughout this period, museums gradually transformed from encyclopedic cabinets to more specialized public institutions. These changes prompted wider debates about how museums determine what objects to select, preserve, and display-and who gets to decide. Drawing on a wide range of archival materials and accounts in fiction, guidebooks, and periodicals, this text shows how the challenges facing nineteenth-century museums continue to resonate in debates about their role in American culture today.