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.

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

“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

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

The dark and thrilling sequel to the book Kirkus called, "Harry Potter, Alice in Wonderland, and Inkheart all rolled into one" Alice has her first adventure outside Geryon's library after he volunteers her to work with five other apprentice Readers, including Isaac, to capture a rogue apprentice who murdered his master. But none of them realize that the library of the late rival Reader is still a working deadly labyrinth, or that the vicious guardian is still protecting it. As they face the fight of their lives, Alice learns much more about Isaac, Geryon (her own master), and the fate of her father. "Wexler is an able builder of magical worlds and creatures, with labyrinths, an enchanted library, and a feisty, swashbuckling heroine at the center. A story rich in action and allegory—fantasy fans will want to hang on for what comes next."—Kirkus Reviews