Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen's lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.

Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen's lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.

Much attention has recently been given by scholars to the widening of the gender gap in the nineteenth century and the concept of separate spheres. Testing such constructions, and questioning the stereotypes associated with Victorian domesticity, Monica F. Cohen offers new readings of narratives by Austen, Charlotte Brontë, Dickens, Eliot, Eden, Gaskell, Oliphant and Reade to show how domestic work, the most feminine of all activities, gained much of its social credibility by positioning itself in relation to the emergent professions. By exploring how novels cast the Victorian conception of female morality into the vocabulary of nineteenth-century professionalism, Cohen traces the ways in which women sought identity and privilege within a professionalised culture, and revises our understanding of Victorian domestic ideology.

Grafton and Carmellini are back and joined by the Navy SEALs to battle terrorists on the high seas in Pirate Alley, an action-packed tale by New York Times bestseller Stephen Coonts A luxurious vacation cruise to the exotic locales of the Red Sea and the Gulf of Aden turns into a nightmare for passengers and crew when their ship is suddenly attacked and captured by a band of bloodthirsty Somali pirates. An initial rescue mission ends in failure; the decks are covered in blood. Unless they are paid a ransom of $200 million dollars within seven days, the pirates threaten to execute all their hostages. But information gleaned from a captured Al Qaeda operative indicates that there is a far more dangerous conspiracy afoot. Once the ransom is paid, Islamic militants intend to swoop in and slaughter the passengers in an orgy of terror, hoping to provoke a massive American military response that will set the Muslim world aflame. Jake Grafton is assigned to negotiate with the brutal pirate chief while his right hand man, Tommy Carmellini, and a team of CIA and Navy SEAL operatives mount an undercover operation to save the hostages and keep the U.S. from being maneuvered into a murderous war.

Study of selected pirate novels of the 19th century which illustrates the relationship between varied images of pirates and the different political projects of the authors, and the use of pirates as emblems of the struggle of Spanish America to transform

After her parents and brother are killed by Loyalists, fourteen-year-old Hannah leaves their farm and eventually, disguised as a boy, joins a pirate ship that preys on other ships to get supplies for the American Revolution.

“A lively tale of reckless pirates, ruthless bounty hunters, reluctant mages, and romantic adversaries. Fun, fast-paced, and full of action.” --Sharon Shinn, author of The Thirteenth House