Most cultural critics theorize modernity as a state of disenchanted distraction, one linked to both the rationalizing impulses of scientific and technological innovation and the kind of dispersed, fragmented attention that characterizes the experience of mass culture. Patrick Kindig’s Fascination, however, tells a different story, showing that many fin-de-siècle Americans were in fact concerned about (and intrigued by) the modern world’s ability to attract and fix attention in quasi-supernatural ways. Rather than being distracting, modern life in their view had an almost magical capacity to capture attention and overwhelm rational thought. Fascination argues that, in response to the dramatic scientific and cultural changes of the late nineteenth and early twentieth centuries, many American thinkers and writers came to conceive of the modern world as fundamentally fascinating. Describing such diverse phenomena as the electric generator, the movements of actresses, and ethnographic cinema as supernaturally alluring, they used the language of fascination to process and critique both popular ideologies of historical progress and the racializing logic upon which these ideologies were built. Drawing on an archive of primary texts from the fields of medicine, (para)psychology, philosophy, cultural criticism, and anthropology—as well as creative texts by Harriet Prescott Spofford, Charles Chesnutt, Theodore Dreiser, Paul Laurence Dunbar, Edward S. Curtis, Robert J. Flaherty, and Djuna Barnes—Kindig reconsiders what it meant for Americans to be (and to be called) modern at the turn of the twentieth century.

The American playwright and manager-director Augustin Daly dominated the theatrical scene in the United States during the last half of the nineteenth century. His plays and productions set a new standard for American theatre and exerted a strong influence in England, beginning with a first European tour in 1884 and culminating in the opening of Daly's own theatre in London in 1893. Daly, with the assistance of his brother Joseph, had over ninety of his plays or adaptations performed. This unique collection brings together three disparate examples from his prolific output: A Flash of Lightning (1868), Horizon (1871) and Love on Crutches (1884). Daly, an exceptional contriver of theatrical effects, offered the theatre of the 1870s and 1880s melodramas and comedies greatly superior to those of his competitors. These three plays represent the range and energy of his talent.

In 'Heroines of the Modern Stage' by Forrest Izard, the author delves into the portrayal of female characters in modern theater, examining their roles, complexities, and impact on the stage. Izard's analytical approach to the literary and social significance of these heroines offers readers a thought-provoking exploration of gender dynamics and representation in contemporary plays. Through detailed character studies and nuanced interpretations, Izard sheds light on the evolution of women's roles in theater, highlighting the power and agency of these heroines in shaping narratives and challenging societal norms. Drawing on a range of dramatic works, from classic plays to avant-garde productions, Izard demonstrates the enduring relevance of these strong and multifaceted characters in the modern theatrical landscape. Forrest Izard, a renowned theater scholar and critic, brings a wealth of knowledge and expertise to 'Heroines of the Modern Stage'. His deep understanding of dramatic literature and feminist theory enriches the book's insightful analysis, offering readers a comprehensive study of female representation in contemporary theater. This insightful and meticulously researched book is a must-read for theater enthusiasts, academics, and anyone interested in the intersection of gender, performance, and culture.