This is the fascinating story of Paschal Beverly Randolph, an African American who carved his own eccentric path in the mid-nineteenth century from the slums of New York's Five Points to the courts of Europe, where he performed as a spiritualist trance medium. Although self-educated, he became one of the first Black American novelists and took a leading part in raising Black soldiers for the Union army and in educating Freedmen in Louisiana during the Civil War. His enduring claim to fame, however, is the crucial role he played in the transformation of spiritualism, a medium's passive reception of messages from the spirits of the dead, into occultism, the active search for personal spiritual realization and inner vision. From his experiences in his solitary travels in England, France, Egypt and the Turkish Empire in the 1850s and 1860s, he brought back to America a system of occult beliefs and practices (the magic mirror, hashish use and sexual magic) that worked a revolution. The systems of magic he taught left their traces on many subsequent occultists, including Madame Blavatsky and her Theosophical Society, and are still practiced today by several occult organizations in Europe and American that carry on his work. This is the fist scholarly work on Randolph and includes the full text of his two most important manuscript works on sexual magic.

Despite several recent monographs, editions and recordings devoted to the reassessment of British music in the late nineteenth and early twentieth century, some negative perceptions still remain--particularly a sense that British composers in this period somehow lacked literary credentials. British Music and Literary Context counters this perception by showing that these composers displayed a real confidence and assurance in refiguring literary texts in their music. The book explores how a literary context might offer modern audiences and listeners a 'way in' to appreciate specific works that have traditionally been viewed as problematic. Each chapter of this interdisciplinary study juxtaposes a British composer with a particular literary counterpart or genre. Issues highlighted in the book include the vexed relationship between words and music, the refiguring of literary narratives as musical structures, and the ways in which musical settings or representations of literary texts might be seen as critical 'readings' of those texts. Anyone interested in nineteenth-century British music, literature and Victorian studies will enjoy this thought-provoking and perceptive book.

This book explores the ways in which poetic inspiration came to be associated with madness in early nineteenth-century Britain. By examining the works of poets such as Barrett, Browning, Clare, Tennyson, Townshend, and the Spasmodics in relation to the burgeoning asylum system and shifting medical discourses of the period, it investigates the ways in which Britain’s post-Romantic poets understood their own poetic vocations within a cultural context that insistently linked poetic talent with illness and insanity. Joseph Crawford examines the popularity of mesmerism among the writers of the era, as an alternative system of medicine that provided a more sympathetic account of the nature of poetic genius, and investigates the persistent tension, found throughout the literary and medical writings of the period, between the Romantic ideal of the poet as a transcendent visionary genius and the ‘medico-psychological’ conception of poets as mere case studies in abnormal neurological development.