This book focuses on the pervasive concern with narrativity and self-construction that marks Defoe’s first-person fictional narratives. Defoe’s fictions focus obsessively and elaborately on the act of storytelling—not only in his creation of idiosyncratic voices preoccupied with the telling (and often the concealing) of their own life stories but also in his narrators’ repeated adversion to other, untold stories that compete for attention with their own. Defoe’s narratives raise profound questions about selfhood and agency (as well as demonstrate competing attitudes about narration) in his fictive worlds. His canon exhibits a broad range of first-person fictional accounts, from pseudo-memoir (A Journal of the Plague Year, Memoirs of a Cavalier) to criminal autobiography (Moll Flanders) to confession (Roxana), and the narrators of these accounts (secretive, compulsive, fractive) exhibit an array of resistances to the telling of their life stories. Such experiments with narration evince Defoe’s deep involvement in projects of self-description and -delineation, as he interrogates the boundaries of the self and dramatizes the arduousness of self-accounting. Defoe’s fictions are emphatically consciousness-centered and the significance of such a focus to the development of the novel is patently as great as is his “realistic” style. Defoe’s narrative project, in fact, challenges current views on the moment at which inwardness and interiority begin, as Lukács argued, to comprise the subject matter of the novel, implicitly attributing to identity and consciousness a place of signal and complex importance in the new genre.

Daniel Defoe led an exciting and indeed precarious life. A provocative pamphleteer and journalist, a spy and double agent, a revolutionary and a dreamer, he was variously hunted by mobs with murderous intent and treated as a celebrity by the most powerful leaders of the country. Imprisoned many times, pilloried and reviled by his enemies, through it all he managed to produce some of the most significant literature of the eighteenth century. Daniel Defoe: Master of Fictions is the first biography to view Defoe's complex life through the angle of vision that is most important to us as modern readers--his career as a writer. Maximillian Novak, a leading authority on Defoe, ranges from the writer's earliest collection of brief stories, which he presented to his future wife under the sobriquet Bellmour, to his Compleat English Gentleman, left unpublished at his death. Novak illuminates such works as Robinson Crusoe and Moll Flanders, novels that changed the course of fiction in their time and have remained towering classics to this day. And he reveals a writer who was a superb observer of his times--an age of dramatic historical, political, and social change. Indeed, through his many pamphlets, newspapers, books of travel, and works of fiction, Defoe commented on everything from birth control to the price of coal, and from flying machines to the dangers of the plague. Beautifully and authoritatively written, this is the first serious, full-scale biography of Defoe to appear in a decade. It gives us, for the first time, a full understanding of the thought and personal experience that lie behind some of the great works of English literature.

Defoe and Fictional Time shows Defoe's relevance to issues now central to criticism of the novel; relationships between narrative time and clock time, the influence of time concepts shared by writers and their audience, and above all the questions of how fiction shapes the phenomenal time of reading. Paul K. Alkon offers first a study of time in Defoe's fiction, with glances at Richardson, Fielding, and Sterne; and second a theoretical discussion of time in fiction. Arguing that eighteenth-century views of history account for the strange chronologies in Captain Singleton, Colonel Jack, Moll Flanders, and Roxana, Alkon explores Defoe's innovative use of narrative sequences, frequency, spatial form, chronology, settings, tempo, and the reader's cumulative memories of a text. Defoe's Journal of the Plague Year is the first portrayal of a public duration—passing time shared by an entire population during a crisis—ranking Defoe among the most creative writers who have explored the way in which fictional time may influence reading time.

This book argues that recent materialist approaches to Defoe are insufficiently attentive to the dominant preoccupations of his fictional oeuvre, which center on moral accountability and self-definition, and addresses Defoe's characters, narration, aesthetic, and ethical experiments that constitute his innovative achievements in the novel form.

‘A General History of the Pyrates’ is a captivating account of some of history’s most notorious pirates. The author, writing as Captain Charles Johnson, blends fiction and non-fiction to provide readers with a most entertaining version of these iconic heroes and villains. This book was a massive success upon its first release due to its adventurous stories filled with danger and treasure and its influence lives on to this day as it shaped the modern view of pirates. Some of the best accounts in the book are of the infamous Blackbeard and the trailblazing female pirates Anne Bonny and Mary Read. ‘A General History of the Pyrates’ is the definitive story of the golden age of piracy and should be read by fans of books such as ‘Treasure Island’ and movies such as ‘Pirates of the Caribbean’. Daniel Defoe (1660 – 1731) is one of the most important authors in the English language. Defoe was one of the original English novelists and greatly helped to popularise the form. Defoe was highly prolific and is believed to have written over 300 works ranging from novels to political pamphlets. He was highly celebrated but also controversial as his writings influenced politicians but also led to Defoe being imprisoned. Defoe’s novels have been translated into many languages and are still read across the globe to this day. Some of his most famous books include ‘Moll Flanders’ and ‘Robinson Crusoe’ which was adapted into a movie starring Pierce Brosnan and Damian Lewis in 1997. Defoe’s influence on English novels cannot be understated and his legacy lives on to this day.

Metropolis and Experience: Defoe, Dickens, Joyce offers a close reading of the major texts of Defoe, Dickens, and Joyce, in their respective historical contexts and in comparison with their intertextual companions, from seventeenth-century “character” pamphlets through Baudelaire to Calvino. In doing so, it challenges the quietist complacency of specialization prevalent in current academia to contribute to a critique of urban modernity in the tradition of Simmel, Benjamin, and Lefebvre. Taking its cue from Benjamin’s bisection of “experience” into subjective sensory Erlebnis and communal reflective Erfahrung, Metropolis and Experience uses this binary pair as a categorical guide in its analysis of the stylistic and thematic adventures of the three centerpiece authors. Whereas Defoe’s novels embody a Simmelian metropolitan mentality through its narration of lived experience in paratactic prose, Dickens strives to humanize the sprawling Victorian metropolis into an experience for communal sharing. In Joyce’s works, the colonial dejections and belatedness of the Hibernian metropolis are transformed into an exuberant excess where both Erlebnis and Erfahrung meet their joyous end. This investigation of the interconnections between the metropolis, experience, and the novel takes place in tandem with a sustained query on non-literary subtopics such as finance capitalism and urban class antagonism. This is literary criticism charged with relevance for the age of “Occupy Wall Street.”