Senior colonial officer from 1813 to 1859, Inspector General James Barry was a pioneering medical reformer who after his death in 1865 became the object of intense speculation when rumours arose about his sex. This cultural history of Barry’s afterlives in Victorian to contemporary (neo-Victorian) life-writing (‘biographilia’) examines the textual and performative strategies of biography, biofiction and biodrama of the last one and a half centuries. In exploring the varied reconstructions and re-imaginations of the historical personality across time, the book illustrates (not least with its cover image) that the ‘real’ James Barry does not exist, any more than does the ‘faithful’ biographical, biofictional or biodramatic rendering of a life in a generically ‘stable’ and discrete form. What Barry represents and how he is represented invariably pinpoints the imaginative, the speculative and the performative: reflections and refractions in the looking glass of genre. Just as ‘James Miranda Barry’, as a subject of cultural inquiry, comes into being and remains in view in the act of crossing gender, so neo-Victorian life-writing constitutes itself through similar acts of boundary transgression. Transgender thus finds its most typical expression in transgenre.

Highlighting neo-Victorian biofiction’s crucial role in reimagining and augmenting the historical archive, this volume explores the complex ethical consequences of a creative movement of historiographic revisionism, combining biography and fiction in a dialectic tension of empathy and voyeuristic spectacle.

This volume addresses the current boom in biographical fictions across the globe, examining the ways in which gendered lives of the past become re-imagined as gendered narratives in fiction. Building on this research, this book is the first to address questions of gender in a sustained and systematic manner that is also sensitive to cultural and historical differences in both raw material and fictional reworking. It develops a critical lens through which to approach biofictions as ‘fictions of gender’, drawing on theories of biofiction and historical fiction, life-writing studies, feminist criticism, queer feminist readings, postcolonial studies, feminist art history, and trans studies. Attentive to various approaches to fictionalisation that reclaim, appropriate or re-invent their ‘raw material’, the volume assesses the critical, revisionist and deconstructive potential of biographical fictions while acknowledging the effects of cliché, gender norms and established narratives in many of the texts under investigation. The introduction of this book is available open access under a CC BY 4.0 license at link.springer.com Chapter 1 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Childhood in neo-Victorian fiction for both child and adult readers is an extremely multifaceted and fascinating field. This book argues that neo-Victorian fiction projects multiple, competing visions of childhood and suggests that they can be analysed by means of a typology, the 'childhood scale', which provides different categories along the lines of power relations, and literary possible-worlds theory. The usefulness of both is exemplified by detailed discussions of Philippa Pearce's "Tom's Midnight Garden" (1958), Eva Ibbotson's "Journey to the River Sea" (2001), Sarah Waters' "Fingersmith" (2002) and Dianne Setterfield's "The Thirteenth Tale" (2006).

Victorian Dress in Contemporary Historical Fiction is the first full-length study to investigate and attend to the deeply suggestive and highly symbolic iterations of Victorian women's dress in the contemporary cultural imagination. Drawing upon a range of popular and less well-studied neo-Victorian novels published between 1990 and 2014, as well as their Victorian counterparts, 19th-century illustrative material, and extant Victorian garments, Danielle Dove explores the creative possibilities afforded by dress and fashion as gendered sites of agency and affect. Focusing on the relationship between texts and textiles, she demonstrates how dress is central to the narrativization, re-formulation, and re-fashioning of the material past in the present. In its examination of the narrative trajectories, lively vitalities, and material entanglements that accrue to, and originate from, dress in the neo-Victorian novel, this study brings a fresh approach to reading Victorian sartorial culture. For researchers and students of Victorian and neo-Victorian studies, dress history, material culture, and gender studies, this volume offers a rich resource with which to illuminate the power of fashion in fiction.

A reissue of Rachel Holmes's landmark biography of Dr James Barry, one of the most enigmatic figures of the Victorian age. James Barry was one of the nineteenth century's most exceptional doctors, and one of its great unsung heroes. Famed for his brilliant innovations, Dr Barry influenced the birth of modern medical practice in places as far apart as South Africa, Jamaica and Canada. Barry's skills attracted admirers across the globe, but there were also many detractors of the ostentatious dandy, who caused controversy everywhere he went. Yet unbeknownst to all, the military surgeon concealed a lifelong secret at the heart of his identity: on his death Barry was claimed to be anatomically female and in fact a cross-dresser. Vividly drawn and meticulously researched, The Secret Life of Dr James Barry brings to life one of the most enigmatic figures of the Victorian age, elevating its subject to a latter-day transgender icon – and is a landmark in the art of biography.

"...one of the most fascinating and unusual new books I’ve read in some time." —Benjamin Shull, The Wall Street Journal "Hypnotic . . . Beautifully written and beautifully made." —W. M. Akers, The New York Times Book Review "...a weird and often beautiful fusion of science writing, history and poetry that explores our own relationship with the unknown..." —Edward Posnett, The Guardian "Mesmerizing . . . Original and often profound, [The Bathysphere Book] is a moving testament to the wonders of exploration." —Publishers Weekly, Starred Review "Imbued with the adventurous spirit of science and exploration . . . [The Bathysphere Book is] an enchanting cabinet of curiosities." —Kirkus Reviews A wide ranging, philosophical, and sensual account of early deep sea exploration and its afterlives, The Bathysphere Book begins with the first ever voyage to the deep ocean in 1930 and expands to explore the adventures and entanglements of its all-too-human participants at a time when the world still felt entirely new. In the summer of 1930, aboard a ship floating near the Atlantic island of Nonsuch, marine biologist Gloria Hollister sat on a crate, writing furiously in a notebook with a telephone receiver pressed to her ear. The phone line was attached to a steel cable that plunged 3,000 feet into the sea. There, suspended by the cable, dangled a four-and-a-half-foot steel ball called the bathysphere. Crumpled inside, gazing through three-inch quartz windows at the undersea world, was Hollister’s colleague William Beebe. He called up to her, describing previously unseen creatures, explosions of bioluminescence, and strange effects of light and color. From this momentous first encounter with the unknown depths, The Bathysphere Book widens its scope to explore a transforming and deeply paradoxical America, as the first great skyscrapers rose above New York City and the Great Plains baked to dust. In prose that is magical, atmospheric, and entirely engrossing, Brad Fox dramatizes new visions of our planetary home, delighting in tales of the colorful characters who surrounded, supported, and participated in the dives—from groundbreaking scientists and gallivanting adventurers to eugenicist billionaires. The Bathysphere Book is a hypnotic assemblage of brief chapters along with over fifty full-color images, records from the original bathysphere logbooks, and the moving story of surreptitious romance between Beebe and Hollister that anchors their exploration. Brad Fox blurs the line between poetry and research, unearthing and rendering a visionary meeting with the unknown.