"Hodgdon's work should be required reading for anyone concerned with Shakespeare's cultural capital at the end of the twentieth century."—South Atlantic Review

Selling Shakespeare tells a story of Shakespeare's life and career in print, a story centered on the people who created, bought, and sold books in the early modern period. The interests and investments of publishers and booksellers have defined our ideas of what is 'Shakespearean', and attending to their interests demonstrates how one version of Shakespearean authorship surpassed the rest. In this book, Adam G. Hooks identifies and examines four pivotal episodes in Shakespeare's life in print: the debut of his narrative poems, the appearance of a series of best-selling plays, the publication of collected editions of his works, and the cataloguing of those works. Hooks also offers a new kind of biographical investigation and historicist criticism, one based not on external life documents, nor on the texts of Shakespeare's works, but on the books that were printed, published, sold, circulated, collected, and catalogued under his name.

Shakespeare and the Book Trade follows on from Lukas Erne's groundbreaking Shakespeare as Literary Dramatist to examine the publication, constitution, dissemination and reception of Shakespeare's printed plays and poems in his own time and to argue that their popularity in the book trade has been greatly underestimated. Erne uses evidence from Shakespeare's publishers and the printed works to show that in the final years of the sixteenth century and the early part of the seventeenth century, 'Shakespeare' became a name from which money could be made, a book trade commodity in which publishers had significant investments and an author who was bought, read, excerpted and collected on a surprising scale. Erne argues that Shakespeare, far from indifferent to his popularity in print, was an interested and complicit witness to his rise as a print-published author. Thanks to the book trade, Shakespeare's authorial ambition started to become bibliographic reality during his lifetime.

"This impressive study focuses on Africa, which has suffered hideous crimes. Yash Tandon’s case is a powerful one, and can be extended: The global class war that is institutionalized in the misnamed 'free trade agreements' is also a war against the traditional victims of class war at home. The resistance, in Africa and elsewhere, which Tandon describes here, is a source of hope for the future." —Noam Chomsky "A necessary and timely contribution which goes to the roots of the deep crises we face as humanity." —Vandana Shiva "... understand that 'trade is war' as Yash Tandon beautifully explains in this important book." —Samir Amin Globalization has reduced many aspects of modern life to little more than commodities controlled by multinational corporations. Everything, from land and water to health and human rights, is today intimately linked to the issue of free trade. Conventional wisdom presents this development as benign, the sole path to progress. Yash Tandon, drawing on decades of on-the-ground experience as a high level negotiator in bodies such as the World Trade Organization (WTO), here challenges this prevailing orthodoxy. He insists that, for the vast majority of people, and especially those in the poorer regions of the world, free trade not only hinders development – it visits relentless waves of violence and impoverishment on their lives. Trade Is War shows how the WTO and the Economic Partnership Agreements like the EU-Africa EPA and the Transatlantic Trade and Investment Partnership (TTIP) are camouflaged in a rhetoric that hides their primary function as the servants of global business. Their actions are inflaming a crisis that extends beyond the realm of the economic, creating hot wars for markets and resources, fought between proxies in Africa, Asia, Latin America, the Middle East and now even in Europe. In these pages Tandon suggests an alternative vision to this devastation, one based on self-sustaining, non-violent communities engaging in trade based on the real value of goods and services and the introduction of alternative currencies.

Canonising Shakespeare offers the first comprehensive reassessment of Shakespeare's afterlife as a print phenomenon, demonstrating the crucial role that the book trade played in his rise to cultural pre-eminence. 1640–1740 was the period in which Shakespeare's canon was determined, in which the poems resumed their place alongside the plays in print, and in which artisans and named editors crafted a new, contemporary Shakespeare for Restoration and eighteenth-century consumers. A team of international contributors highlight the impact of individual booksellers, printers, publishers and editors on the Shakespearean text, the books in which it was presented, and the ways in which it was promoted. From radical adaptations of the Sonnets to new characters in plays, and from elegant subscription volumes to cheap editions churned out by feuding publishers, this period was marked by eclecticism, contradiction and innovation as stationers looked to the past and the future to create a Shakespeare for their own times.

An account of Shakespeare's plays as they were transformed from scripts into books.

In 1623 a team of stationers published what has become the most famous volume in English literary history: William Shakespeare's First Folio. Who were these publishers and how might their stories be bound up with those found within the book they created? Ben Higgins offers a radical new account of the First Folio by focusing on these four publishing businesses that made the volume. By moving between close scrutiny of the Folio publishers and a wider view of their significance within the early modern book trade, Higgins uses Shakespeare's stationers to explore the 'literariness' of the Folio; to ask how stationers have shaped textual authority; to argue for the interpretive potential of the 'minor' Shakespearean bookseller; and to examine the topography of Shakespearean publication. Drawing on a host of fresh primary evidence from a wide range of sources, including court records, manuscript letters, bookseller's bills, and the literature itself, Shakespeare's Syndicate illuminates our understanding of how this landmark volume was made and what it has meant to scholars since. Moreover, it models exciting new ways of working with stationers and of reading the event of early modern publication itself. This innovative study demonstrates that despite four hundred years of history, the volume at the centre of Shakespeare's canon continues to generate new stories.