This book explores the interrelationships between British fiction and tourism, 1745-1830, especially as these are exemplified in the novels and tours of three of the most important Romantic novelists. Its author shows that the imaginative reshaping of humdrum reality characteristic of the fiction of Ann Radcliffe, Mary Shelley, and Sir Walter Scott was also widely practiced by tourists who shared the same liberating "Romantic" aesthetic.

Exemplary Romantic novelists Ann Radcliffe, Sir Walter Scott, and Mary Shelley were likewise keen tourists and influential contributors to the discourse of Romantic tourism. The shaping power of this discourse--already highly developed in poetry, travel literature, and the visual arts by the time they began writing--affected not only what they saw and felt on tour but also how they imagined their greatest novels. Defining both tour and novel as privileged spaces exempt from the boring routines and hampering contingencies of ordinary life, these authors as well as many of their contemporaries and early Romantic predecessors effectively brought the tour into fiction and fiction into the tour. This is the first extended study of the intimate connections between these two major cultural innovations of the later eighteenth and early nineteenth centuries, and the first to pay close attention to the active commerce, the fluid interplay, within the larger discourse of Romantic tourism, between British Romantic fiction, poetry, tour books, landscape painting, and book illustration (as exemplified by the collaboration between Scott and J. M. W. Turner).

In the city of Natal in northeastern Brazil, several local women negotiate the terms of their intimate relationships with foreign tourists, or gringos, in a situation often referred to as "sex tourism." These women have different experiences, but they share a similar desire to "escape" the social conditions of their lives in Brazil. Based on original ethnographic research and presented in graphic form, Gringo Love explores the hopes, dreams, and realities of these women against a backdrop of deep social inequality and increasing state surveillance leading up to the 2014 World Cup and 2016 Olympic Games. It touches on important contemporary issues, including sexual economics, transnational mobility, romantic imaginaries, gender representation, race and inequality, and visual methods. The graphic story is accompanied by analysis and contextual discussion, which encourage readers to engage with the narrative and expand their understanding of the broader social issues therein.

2021 Independent Publisher Book Awards, Gold Medal Winner 2021 National Indie Excellent Awards Finalist 2020 Bronze Award for Travel Book or Guide from the North American Travel Journalists Association 2020 Bronze Winner for Travel in the Foreword INDIES Both a memoir in travel essays and an anti-guidebook, Bad Tourist takes us across four continents to fifteen countries, showing us what not to do when traveling. A woman learning to claim her own desires and adventures, Suzanne Roberts encounters lightning and landslides, sharks and piranha-infested waters, a nightclub drugging, burning bodies, and brief affairs as she searches for the love of her life and finally herself. Throughout her travels Roberts tries hard not to be a bad tourist, but owing to her cultural blind spots, things don’t always go as planned. Fearlessly confessional, shamelessly funny, and wholly unapologetic, Roberts offers a refreshingly honest account of the joys and absurdities of confronting new landscapes and cultures, as well as new versions of herself. Raw, bawdy, and self-effacing, Bad Tourist is a journey packed with delights and surprises—both of the greater world and of the mysterious workings of the heart.

Gothic tourism is a growing phenomenon and a medium through which Gothic fictions and folkloric tales are re-imagined and generated. This book examines the complex relationship between contemporary English Gothic attractions and storytelling, uncovering how works of Gothic fiction can both inspire Gothic tourism and emerge from the spaces of Gothic tourism, contending that Gothic tourist attractions are multi-layered storytelling experiences. Contributing to the study of literature and place, Gothic Literary Travel and Tourism draws together the study of literary Gothic tourism and spatial philosophy, offering interdisciplinary analysis into the interface between Gothic narrative(s) and the spaces in which the tourist navigates. The storytelling practices taking place in Gothic caves, theme parks, ghost tours and rural walks serve to reflect contemporary fears and anxieties. This book situates the act of touring a Gothic site as a process of literary and social discovery.

Adeline, the protagonist of Ann Radcliffe’s The Romance of the Forest, became a model for later Gothic heroines. Passionate, imaginative, and sensitive, in the course of the novel she travels rapidly through the forests and Gothic ruins of France, pursued by the villain de Montfort and perpetually threatened by what appear to be supernatural events. The publication of The Romance of the Forest in 1791 had a significant impact on Radcliffe’s career and on the rise of what would be known as the Gothic novel. The novel was widely praised upon publication and became a measure of quality against which all her future novels were gauged. Along with critical praise, The Romance of the Forest found an enthusiastic general audience and opened the new genre of Gothic Romance to a wider range of readers. The extensive historical appendices provide material on the novel’s contemporary reception, the Gothic novel, sensibility and sentiment, and the aesthetics of the sublime and picturesque.

The Oxford Handbook of British Romantic Prose is a full-length essay collection devoted entirely to British Romantic nonfiction prose. Organized into eight parts, each containing between five and nine chapters arranged alphabetically, the Handbook weaves together familiar and unfamiliar texts, events, and authors, and invites readers to draw comparisons, reimagine connections and disconnections, and confront frequently stark contradictions, within British Romantic nonfiction prose, but also in its relationship to British Romanticism more generally, and to the literary practices and cultural contexts of other periods and countries. The Handbook builds on previous scholarship in the field, considers emerging trends and evolving methodologies, and suggests future areas of study. Throughout the emphasis is on lucid expression rather than gnomic declaration, and on chapters that offer, not a dutiful survey, but evaluative assessments that keep an eye on the bigger picture yet also dwell meaningfully on specific paradoxes and the most telling examples. Taken as a whole the volume demonstrates the energy, originality, and diversity at the crux of British Romantic nonfiction prose. It vigorously challenges the traditional construction of the British Romantic movement as focused too exclusively on the accomplishments of its poets, and it reveals the many ways in which scholars of the period are steadily broadening out and opening up delineations of British Romanticism in order to encompass and thoroughly evaluate the achievements of its nonfiction prose writers.