This book lifts Austen studies to a level of debate which is exciting, happy and tough. That she is one of the greatest philosopher-novelists of the Romantic Age is Peter Scott's conviction. He reads Mansfield Park as a ripe complex argument about discipline, Sense and Sensibility is valued as one of the great tragic novels of Europe, and Emma is viewed as brilliant but specious.

'A sublime piece of literary detective work that shows us once and for all how to be precisely the sort of reader that Austen deserves.' Caroline Criado-Perez, Guardian Almost everything we think we know about Jane Austen is wrong. Her novels don't confine themselves to grand houses and they were not written just for readers' enjoyment. She writes about serious subjects and her books are deeply subversive. We just don't read her properly - we haven't been reading her properly for 200 years. Jane Austen, The Secret Radical puts that right. In her first, brilliantly original book, Austen expert Helena Kelly introduces the reader to a passionate woman living in an age of revolution; to a writer who used what was regarded as the lightest of literary genres, the novel, to grapple with the weightiest of subjects – feminism, slavery, abuse, the treatment of the poor, the power of the Church, even evolution – at a time, and in a place, when to write about such things directly was seen as akin to treason. Uncovering a radical, spirited and political engaged Austen, Jane Austen, The Secret Radical will encourage you to read Jane, all over again.

"The best (and the best written) book about Austen that has appeared in the last three decades."—Nina Auerbach, Journal of English and Germanic Philology "By looking at the ways in which Austen domesticates the gothic in Northanger Abbey, examines the conventions of male inheritance and its negative impact on attempts to define the family as a site of care and generosity in Sense and Sensibility, makes claims for the desirability of 'personal happiness as a liberating moral category' in Pride and Prejudice, validates the rights of female authority in Emma, and stresses the benefits of female independence in Persuasion, Johnson offers an original and persuasive reassessment of Jane Austen's thought."—Kate Fullbrook, Times Higher Education Supplement

In Matters of Fact in Jane Austen: History, Location, and Celebrity, Janine Barchas makes the bold assertion that Jane Austen’s novels allude to actual high-profile politicians and contemporary celebrities as well as to famous historical figures and landed estates. Barchas is the first scholar to conduct extensive research into the names and locations in Austen’s fiction by taking full advantage of the explosion of archival materials now available online. According to Barchas, Austen plays confidently with the tension between truth and invention that characterizes the realist novel. Of course, the argument that Austen deployed famous names presupposes an active celebrity culture during the Regency, a phenomenon recently accepted by scholars. The names Austen plucks from history for her protagonists (Dashwood, Wentworth, Woodhouse, Tilney, Fitzwilliam, and many more) were immensely famous in her day. She seems to bank upon this familiarity for interpretive effect, often upending associations with comic intent. Barchas re-situates Austen’s work closer to the historical novels of her contemporary Sir Walter Scott and away from the domestic and biographical perspectives that until recently have dominated Austen studies. This forward-thinking and revealing investigation offers scholars and ardent fans of Jane Austen a wealth of historical facts, while shedding an interpretive light on a new aspect of the beloved writer's work. -- Joseph Roach, Sterling Professor of Theater and English, Yale University, and author of It

"In a series of readings of the six completed novels, in addition to the epistolary Lady Susan and the uncompleted Sanditon, William H. Galperin offers startling new interpretations, demonstrating the extraordinary awareness that Austen maintained not only of her narrative practice - notably, free indirect discourse - but also of the novel's function as a social and political instrument."--BOOK JACKET.