In the half century before Walter Scott's Waverley , dozens of popular novelists produced historical fictions for circulating libraries. This book examines eighty-five popular historical novels published between 1762 and 1813, looking at how the conventions of the genre developed through a process of imitation and experimentation.

**SHORTLISTED FOR THE WALTER SCOTT PRIZE 2018** 'A surprisingly touching account of hidden lives forced out of the shadows' Sunday Times One day in 1940 Rene Hargreaves walks out on her family and the city to take a position as a Land Girl at the remote Starlight farm. There she will live with and help lonely farmer Elsie Boston. At first Elsie and Rene are unsure of one another - strangers from different worlds. But over time they each come to depend on the other. They become inseparable. Until the day a visitor from Rene's past arrives and their careful, secluded life is thrown into confusion. Suddenly, all they have built together is threatened. What will they do to protect themselves? And are they prepared for the consequences? 'So lovely, gentle yet enthralling' Claire Fuller 'Quietly beautiful and brilliant. This is no bucolic idyll but an unfolding of a plot that constantly twists and turns and surprises. A truly wonderful, memorable novel' Judges of the Walter Scott Prize 2018

The story of three young provincials of no great heritage who together helped to destroy a way of life and, in the process, destroyed themselves: Camille Desmoulins, bisexual and beautiful, charming, erratic, untrustworthy; Georges Jacques Danton, hugely but erotically ugly, a brilliant pragmatist who knew how to seize power and use it; and Maximilien Robespierre, "the rabid lamb," who would send his dearest friend to the guillotine. Each, none older than thirty-four, would die by the hand of the very revolution he had helped to bring into being.

Harry Shaw’s aim is to promote a fuller understanding of nineteenth-century historical fiction by revealing its formal possibilities and limitations. His wide-ranging book establishes a typology of the ways in which history was used in prose fiction during the nineteenth century, examining major works by Sir Walter Scott—the first modern historical novelist—and by Balzac, Hugo, Anatole France, Eliot, Thackeray, Dickens, and Tolstoy.

Historical Writing in Britain, 1688-1830 explores a series of debates concerning the nature and value of the past in the long eighteenth century. The essays investigate a diverse range of subjects including art history, biography, historical poetry, and novels, as well as addressing more conventional varieties of historical writing.

This study examines how debates about history during the French Revolution informed and changed the nature of the British novel between 1790 and 1814. During these years, intersections between history, political ideology, and fiction, as well as the various meanings of the term "history" itself, were multiple and far reaching. Morgan Rooney elucidates these subtleties clearly and convincingly. While political writers of the 1790s--Burke, Price, Mackintosh, Paine, Godwin, Wollstonecraft, and others--debate the historical meaning of the Glorious Revolution as a prelude to broader ideological arguments about the significance of the past for the present and future, novelists engage with this discourse by representing moments of the past or otherwise vying to enlist the authority of history to further a reformist or loyalist agenda. Anti-Jacobin novelists such as Charles Walker, Robert Bisset, and Jane West draw on Burkean historical discourse to characterize the reform movement as ignorant of the complex operations of historical accretion. For their part, reform-minded novelists such as Charlotte Smith, William Godwin, and Maria Edgeworth travesty Burke's tropes and arguments so as to undermine and then redefine the category of history. As the Revolution crisis recedes, new novel forms such as Edgeworth's regional novel, Lady Morgan's national tale, and Jane Porter's early historical fiction emerge, but historical representation--largely the legacy of the 1790s' novel--remains an increasingly pronounced feature of the genre. Whereas the representation of history in the novel, Rooney argues, is initially used strategically by novelists involved in the Revolution debate, it is appropriated in the early nineteenth century by authors such as Edgeworth, Morgan, and Porter for other, often related ideological purposes before ultimately developing into a stable, nonpartisan, aestheticized feature of the form as practiced by Walter Scott. The French Revolution Debate and the British Novel, 1790-1814 demonstrates that the transformation of the novel at this fascinating juncture of British political and literary history contributes to the emergence of the historical novel as it was first realized in Scott's Waverley (1814).