The city of Paris experienced rapid transformation in the middle of the nineteenth century: the population grew, industry and commerce increased, and barriers between social classes diminished. Innovations in printing and distribution gave rise to new mass-market genres: literary guidebooks known as tableaux de Paris and illustrated physiologies examined urban social types and fashions for a broad audience of Parisians hungry to explore and understand their changing society. The works in this volume offer a lively, humorous tour of the manners and characters of the flâneur (a leisurely wanderer), the grisette (a young working-class woman), the gamin (a street urchin), and more. While the names of authors such as Paul de Kock are no longer familiar, their works still open a window onto a vivid time and place.

Envisioning today’s readers as poised between an impossible attempt to read texts as their original readers experienced them and an awareness of our own temporal moment, Simon Dentith complicates traditional prejudices against hindsight to approach issues of interpretation and historicity in nineteenth-century literature. Suggesting that the characteristic aesthetic attitude encouraged by the backward look is one of irony rather than remorse or regret, he examines works by Charles Dickens, George Eliot, Anthony Trollope, William Morris and John Ruskin in terms of their participation in significant histories that extend to this day. Liberalism, class, gender, political representation and notions of progress, utopianism and ecological concern as currently understood can be traced back to the nineteenth century. Just as today’s critics strive to respect the authenticity of nineteenth-century writers and readers who responded to these ideas within their historical world, so, too, do those nineteenth-century imaginings persist to challenge the assumptions of the present. It is therefore possible, Dentith argues, to conceive of the act of reading historical literature with an awareness of the historical context and of the difference between the past and the present while allowing that friction or difference to be part of how we think about a text and how it communicates. His book summons us to consider how words travel to the reality of the reader’s own time and how engagement with nineteenth-century writers’ anticipation of the judgements of future generations reveal hindsight’s capacity to transform our understanding of the past in the light of subsequent knowledge.

A landmark collection documenting the social, political, and artistic lives of African American women throughout the tumultuous nineteenth century. Named one of NPR's Best Books of 2017. The Portable Nineteenth-Century African American Women Writers is the most comprehensive anthology of its kind: an extraordinary range of voices offering the expressions of African American women in print before, during, and after the Civil War. Edited by Hollis Robbins and Henry Louis Gates, Jr., this collection comprises work from forty-nine writers arranged into sections of memoir, poetry, and essays on feminism, education, and the legacy of African American women writers. Many of these pieces engage with social movements like abolition, women’s suffrage, temperance, and civil rights, but the thematic center is the intellect and personal ambition of African American women. The diverse selection includes well-known writers like Sojourner Truth, Hannah Crafts, and Harriet Jacobs, as well as lesser-known writers like Ella Sheppard, who offers a firsthand account of life in the world-famous Fisk Jubilee Singers. Taken together, these incredible works insist that the writing of African American women writers be read, remembered, and addressed. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

In spite of the importance of the idea of the 'tale' within Romantic-era literature, short fiction of the period has received little attention from critics. Contextualizing British short fiction within the broader framework of early nineteenth-century print culture, Tim Killick argues that authors and publishers sought to present short fiction in book-length volumes as a way of competing with the novel as a legitimate and prestigious genre. Beginning with an overview of the development of short fiction through the late eighteenth century and analysis of the publishing conditions for the genre, including its appearance in magazines and annuals, Killick shows how Washington Irving's hugely popular collections set the stage for British writers. Subsequent chapters consider the stories and sketches of writers as diverse as Mary Russell Mitford and James Hogg, as well as didactic short fiction by authors such as Hannah More, Maria Edgeworth, and Amelia Opie. His book makes a convincing case for the evolution of short fiction into a self-conscious, intentionally modern form, with its own techniques and imperatives, separate from those of the novel.

These essays document and examine the transformation of children's literature during the Romantic period, and trace Romanticism's influence on Victorian children's literature using a variety of critical approaches, including neo-historicist, feminist, mythic, reader-response, and formalist.

In 1788, the Catalogue of Five Hundred Celebrated Authors of Great Britain, Now Living forecast a form of authorship that rested on biographical revelation and media saturation as well as literary achievement. This collection traces the unique experiences of women writers within a celebrity culture that was intimately connected to the expansion of print technology and of visual and material culture in the nineteenth century. The contributors examine a wide range of artifacts, including prefaces, portraits, frontispieces, birthday books, calendars and gossip columns, to consider the nature of women's celebrity and the forces that created it. How did authors like Jane Austen, the Countess of Blessington, Louisa May Alcott, Alice Meynell, and Marie Corelli negotiate the increasing demands for public revelation of the private self? How did gender shape the posthumous participation of women writers such as Jane Austen, Ellen Wood, Mary Elizabeth Braddon and Christina Rossetti in celebrity culture? These and other important questions related to the treatment of women in celebrity genres and media, and the strategies women writers used to control their public images, are taken up in this suggestive exploration of how nineteenth and early twentieth century women writers achieved popular, critical, and commercial success.

Beginning with Anna Laetitia Barbauld's petition to William Wilberforce and ending with the myth-making Irish writers of the Celtic revival, this major new anthology brings to light diverse female traditions that have, for years, remained in obscurity. While the editors showcase a host of female writers well-known in their day--Felicia Hemans, Elizabeth Barrett Browning, and Christina Rossetti--they widen the focus to less familiar works by working-class, colonial, and political writers. The anthology's chronological progression highlights the development of women's verse from the late Romantic period through the Victorian fin-de-siècle. The editors examine the political formations and cultural groupings to which the women belonged, along with the structures which made the development of their work possible: in particular, the numerous minority journals which allowed them a coherent voice. They consider common preoccupations with marriage, slavery, military conflict, national identity, and religious and sexual discourses, and reveal how styles and genres changed across the century. The anthology draws on first editions for texts wherever possible, retaining the spelling and punctuation of the originals for a faithful representation.