Captain Bligh and the mutiny on the Bounty have become proverbial in their capacity to evoke the extravagant and violent abuse of power. But William Bligh was one of the least violent disciplinarians in the British navy. It is this paradox which inspired Greg Dening to ask why the mutiny took place. His book explores the theatrical nature of what was enacted in the power-play on deck, on the beaches at Tahiti and in the murderous settlement at Pitcairn, on the altar stones and temples of sacrifice, and on the catheads from which men were hanged. Part of the key lies in the curious puzzle of Mr Bligh's bad language.

Nineteenth-century periodicals frequently compared themselves to the imperial powers then dissecting the globe, and this interest in imperialism can be seen in the exotic motifs that surfaced in works by such late Romantic authors as John Keats, Charles Lamb, James Hogg, Letitia Landon, and Lord Byron. Karen Fang explores the collaboration of these authors with periodical magazines to show how an interdependent relationship between these visual themes and rhetorical style enabled these authors to model their writing on the imperial project. Fang argues that in the decades after Waterloo late Romantic authors used imperial culture to capitalize on the contemporary explosion of periodical magazines. This proliferation of "post-Napoleonic" writing—often referencing exotic locales—both revises longstanding notions about literary orientalism and reveals a remarkable synthesis of Romantic idealism with contemporary cultural materialism that heretofore has not been explored. Indeed, in interlocking case studies that span the reach of British conquest, ranging from Greece, China, and Egypt to Italy and Tahiti, Fang challenges a major convention of periodical publication. While periodicals are usually thought to be defined by time, this account of the geographic attention exerted by late Romantic authors shows them to be equally concerned with space. With its exploration of magazines and imperialism as a context for Romantic writing, culture, and aesthetics, this book will appeal not only to scholars of book history and reading cultures but also to those of nineteenth-century British writing and history.

“History is always written wrong, and so always needs to be rewritten.” (George Santayana) Enquiries into the relationship between literature and history continue to stir up intense critical and scholarly debate. Alongside the new hybrid categories that have emerged out of this ferment―life-writing, ficto-criticism, “history from below”, and so on―there has been a welter of new literary histories, new ways of tracking the connections between the written word and the historically bound world. This has resulted in renewed discussion about distinguishing the literary from the non-literary, about dialogues taking place between different national literatures, and about ascertaining the relative status of the literary text in relation to other cultural forms. Remaking Literary History seeks to clarify the diversity of issues and positions that have arisen from these debates. Central to the book’s approach is a rigorous and constructive questioning of the past, across disciplinary boundaries. This is carried out through four detailed and engrossing sections that explore the relationship between memory and forgetting; what it means to be ‘subject’ to history; the upsurge of interest in trauma and redemption; and the question of historical reinvention, which demonstrates how the overwriting of history continues to reinvigorate the literary imagination. As well as readers of literature and history, Remaking Literary History will be of interest to students of literary theory, legal studies and cultural and media studies.

In Bligh, the story of the most notorious of all Pacific explorers is told through a new lens as a significant episode in the history of the world, not simply of the West. Award-winning anthropologist Anne Salmond recounts the triumphs and disasters of William Bligh's life and career in a riveting narrative that for the first time portrays the Pacific islanders as key players. From 1777, Salmond charts Bligh's three Pacific voyages – with Captain James Cook in the Resolution, on board the Bounty, and as commander of the Providence. Salmond offers new insights into the mutiny aboard the Bounty – and on Bligh's extraordinary 3000-mile journey across the Pacific in a small boat – through new revelations from unguarded letters between him and his wife Betsy. We learn of their passionate relationship, and her unstinting loyalty throughout the trials of his turbulent career and his fight to clear his name. This beautifully told story reveals Bligh as an important ethnographer, adding to the paradoxical legacy of the famed seaman. For the first time, we hear how Bligh and his men were changed by their experiences in the South Seas, and how in turn they changed that island world forever. 'Remarkable . . . The mutiny has inspired some marvellous books, of which this is possibly the finest.' --Jim Eagles, New Zealand Herald

Beyond the Bounty: A biography of the Royal Navy officer from “a master of the maritime narrative” (The Sydney Morning Herald). The eighteenth century was an era when brave mariners took their ships beyond the horizon in search of an unknown world. Those chosen to lead these expeditions were exceptional navigators, men who had shown brilliance as they ascended the ranks in the Royal Navy. They were also bloody good sailors. From ship’s boy to vice-admiral, discover how much more there was to Captain Bligh than his infamous bad temper. Meet a twenty-four-year-old Master Bligh as he witnesses the demise of his captain and mentor, Cook; a thirty-four-year-old Lieutenant Bligh at the helm of the famous Bounty then cast adrift by Fletcher Christian on an epic forty-seven-day open-boat voyage from Tonga to Timor; and a thirty-six-year-old Captain Bligh as he takes HMS Providence, in the company of a young Matthew Flinders, on a grand voyage to Tahiti and back. This book goes beyond the character we’ve seen in movies—into the real life of a complex and remarkable seaman.

The author reflects on his experiences exploring Antarctica, the last true wilderness.

This study of Byron’s last complete long poem, the comparatively neglected The Island, is the first to devote a whole book to the examination, contextualization and motivation of both the poetry and its poet. It is much more than just a monograph, however; aside from biographical considerations, it illumines aspects of study that embrace feminism, racial politics and social considerations in relation to Polynesian island society, all of which are contrasted with the loose anarchy of an eighteenth century group of British mutineers. Two historical contexts – the infamous 1789 mutiny on the Bounty and Byron’s life in the year that led up to the poem’s composition – serve as an extended prelude to a deep analysis of the major symbols and characters in the poem, while its main chapters range beyond The Island, conducting a literary conversation with Shakespeare, Pope, 18th-century writers of memoirs and nautical sea history, classical authors and even Chinese poets, as well as other Romantic poets. Consideration is given to aspects of racial and feminist theory in relation to the poem’s extraordinary central female character; in particular there is a focus on her promotion of the poem’s happy ending, one that is quite unique in Byron’s oeuvre. The Appendix contains the first-ever published transcript of the holograph of the poem, allowing readers to appreciate Byron’s idiosyncratic and expressive punctuation—as well as his first thoughts before editing.