In early nineteenth-century Britain, there was unprecedented interest in the subject of genius, as well as in the personalities and private lives of creative artists. This was also a period in which literary magazines were powerful arbiters of taste, helping to shape the ideological consciousness of their middle-class readers. Romantic Genius and the Literary Magazine considers how these magazines debated the nature of genius and how and why they constructed particular creative artists as geniuses. Romantic writers often imagined genius to be a force that transcended the realms of politics and economics. David Higgins, however, shows in this text that representations of genius played an important role in ideological and commercial conflicts within early nineteenth-century literary culture. Furthermore, Romantic Genius and the Literary Magazine bridges the gap between Romantic and Victorian literary history by considering the ways in which Romanticism was understood and sometimes challenged by writers in the 1830s. It not only discusses a wide range of canonical and non-canonical authors, but also examines the various structures in which these authors had to operate, making it an interesting and important book for anyone working on Romantic literature.

'Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.

The first scholarly treatment of the life of William Maginn (1794-1842), David Latané’s meticulously researched biography follows Maginn’s life from his early days in Ireland through his career in Paris and London as political journalist and writer and finally to his sad decline and incarceration in debtor’s prison. A founding editor of the daily Standard (1827), Maginn was a prodigal author and editor. He was an early and influential contributor to Blackwood’s Edinburgh Magazine, and a writer from the Tory side for The Age, New Times, English Gentleman, Representative, John Bull, and many other papers. In 1830, he launched Fraser’s Magazine for Town and Country, the early venue for such Victorians as Thackeray and Carlyle, and he was intimately involved with the poet 'L.E.L.' In 1837, he wrote the prologue for the first issue of Bentley’s Miscellany, edited by Dickens. Through painstaking archival research into Maginn’s surviving letters and manuscripts, as well as those of his associates, Latané restores Maginn to his proper place in the history of nineteenth-century print culture. His book is essential reading for nineteenth-century scholars, historians of the book and periodical, and anyone interested in questions of authorship in the period.

Maps a coherent subfield of Romantic periodical studies through studying the trailblazing Blackwood's Edinburgh MagazineAn introduction by two established scholars that articulates a case for the more sustained, systematic study of Romantic periodicals and justifies the volume's focus by retracing Blackwood's emergence as the era's most innovative, influential and controversial literary magazine.Features eleven essays modelling how the wide-ranging commentary, reviews and original fiction and verse published in Blackwood's during its first two decades (1817-37) might meaningfully inform many of the most vibrant contemporary discussions surrounding British Romanticism. Contributes to field-wide bicentenary celebrations and reappraisals both of Blackwood's and the authors and works - including Shelley's Frankenstein, Byron's Don Juan and Keats's Poems - whose reputations the magazine helped shape.This book pioneers a subfield of Romantic periodical studies, distinct from its neighbours in adjacent historical periods. Eleven chapters by leading scholars in the field model the range of methodological, conceptual and literary-historical insights to be drawn from careful engagements with one of the age's landmark literary periodicals, Blackwood's Edinburgh Magazine. Engaging with the research potential unlocked by new digital resources for studying Romantic periodicals, they argue that the wide-ranging commentary, reviews and original fiction and verse published in Blackwood's during its first two decades (1817-37) should inform many of the most vibrant contemporary discussions surrounding British Romanticism.

Demonstrating the breadth and scope of women’s writing in the Romantic period, this collection covers a variety of topics ranging across polemical treatises, private correspondence, philosophical and historical disquisitions, and poetry and prose fiction. Helping to contextualise the areas discussed, the collection includes a general introduction by the editor, which traces the history of criticism in the field, and thus current definitions of "Women and Romanticism", before going on to discuss the contents of each volume.

This title was first published in 2000: Thackeray's "minor writings" remain caught in a debate about what constitutes "literature" and whether magazine writing and journalism might be construed as such. This debate was present during the inception of the mass periodical press in the 1830s when Thackeray began his career and forms part of the context of, reasoning within, and techniques of Thackeray's work. Throughout his career, Thackeray was enmeshed in critical arguments about periodicals, novels, "realism" and commercialism. He was himself both (and neither) journalist and literary artist and was at once a product of and critical of emerging writing practices. This book argues that an understanding of Thackeray's writings for periodicals and the literary and commercial context of these is central to an understanding of his literary achievement. Focusing principally on the foundational part of his career, from 1833-1847, but relating this to the novels, particularly "Pendennis" and "The Adventures of Philip" and the "Cornhill Magazine" of the 1860s, the book explores Thackeray's ambiguous response to the burgeoning periodical press, and considers his negotation and critique of the market-place through a variety of publishing media.