Edmund Curll was a notorious figure among the publishers of the early eighteenth century: for his boldness, his lack of scruple, his publication of work without author's consent, and his taste for erotic and scandalous publications. He was in legal trouble on several occasions for piracy and copyright infringement, unauthorised publication of the works of peers, and for seditious, blasphemous, and obscene publications. He stood in the pillory in 1728 for seditious libel. Above all, he was the constant target of the greatest poet and satirist of his age, Alexander Pope, whose work he pirated whenever he could and who responded with direct physical revenge (an emetic slipped into a drink) and persistent malign caricature. The war between Pope and Curll typifies some of the main cultural battles being waged between creativity and business. The story has normally been told from the poet's point of view, though more recently Curll has been celebrated as a kind of literary freedom-fighter; this book, the first full biography of Curll since Ralph Straus's The Unspeakable Curll (1927), seeks to give a balanced and thoroughly-researched account of Curll's career in publishing between 1706 and 1747, untangling the mistakes and misrepresentations that have accrued over the years and restoring a clear sense of perspective to Curll's dealings in the literary marketplace. It examines the full range of Curll's output, including his notable antiquarian series, and uses extensive archive material to detail Curll's legal and other troubles. For the first time, what is known about this strange, interesting, and awkward figure is authoritatively told.

“Drawing on deep familiarity with the period and its personalities, Rogers has given us a witty and richly detailed account of the ongoing war between the greatest poet of the eighteenth century and its most scandalous publisher.”—Leo Damrosch, author of The Club: Johnson, Boswell, and the Friends Who Shaped an Age “What sets Rogers’s history apart is his ability to combine fastidious research with lucid, unpretentious prose. History buffs and literary-minded readers alike are in for a punchy, drama-filled treat.”—Publishers Weekly The quarrel between the poet Alexander Pope and the publisher Edmund Curll has long been a notorious episode in the history of the book, when two remarkable figures with a gift for comedy and an immoderate dislike of each other clashed publicly and without restraint. However, it has never, until now, been chronicled in full. Ripe with the sights and smells of Hanoverian London, The Poet and Publisher details their vitriolic exchanges, drawing on previously unearthed pamphlets, newspaper articles, and advertisements, court and government records, and personal letters. The story of their battles in and out of print includes a poisoning, the pillory, numerous instances of fraud, and a landmark case in the history of copyright. The book is a forensic account of events both momentous and farcical, and it is indecently entertaining.

Edmund Curll was a one-man publishing firm, a figure notorious in his day and something of a comic figure ever since thanks to his enmity with Alexander Pope. This biography of his life gives an account of his varied and distinctive publishing output.

In The German Invention of Race, historians, philosophers, and scholars in literary, cultural, and religious studies trace the origins of the concept of "race" to Enlightenment Germany and seek to understand the issues at work in creating a definition of race. The work introduces a significant connection to the history of race theory as contributors show that the language of race was deployed in contexts as apparently unrelated as hygiene; aesthetics; comparative linguistics; anthropology; debates over the status of science, theology, and philosophy; and Jewish emancipation. The concept of race has no single point of origin, and has never operated within the constraints of a single definition. As the essays in this book trace the powerful resonances of the term in diverse contexts, both before and long after the invention of the scientific term around 1775, they help explain how this pseudoconcept could, in a few short decades, have become so powerful in so many fields of thought and practice. In addition, the essays show that the fateful rise of racial thinking in the nineteenth and twentieth centuries was made possible not only by the establishment of physical anthropology as a field, but also by other disciplines and agendas linked by the enduring associations of the word "race."

Edmund Curll was a one-man publishing firm, a figure notorious in his day and something of a comic figure ever since thanks to his enmity with Alexander Pope. This biography of his life gives an account of his varied and distinctive publishing output.

Throughout his life, Pope was fascinated by print. He loved its elements: dropped heads, italics, small capitals; fine paper and good ink; headpieces, tailpieces, initials, and plates. And he loved playing games with publication: anonymity, pseudonymity, false imprints, fake title-pages,advertisements, special editions, and variant texts.This is the first study to take Pope's experiments in print as a guide to interpretation. Each chapter is devoted to a particular book or text and focuses on how Pope expresses meaning through print. The Rape of the Lock, Dunciad Variorum, Essay on Man, early imitations of Horace, and Epistle to DrArbuthnot are read through their illustrations, annotations, parallel texts, title-pages, and revisions. Independent chapters are devoted to Pope's Works of 1717 and 1735-6, discussing his self-presentation and his relation to his readers. He emerges from the study as a figure marginalized socially,politically, and sexually, an author who gambles with his private life in confronting his opponents.

Since the rise of Napster and other file-sharing services in its wake, most of us have assumed that intellectual piracy is a product of the digital age and that it threatens creative expression as never before. The Motion Picture Association of America, for instance, claimed that in 2005 the film industry lost $2.3 billion in revenue to piracy online. But here Adrian Johns shows that piracy has a much longer and more vital history than we have realized—one that has been largely forgotten and is little understood. Piracy explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. Brimming with broader implications for today’s debates over open access, fair use, free culture, and the like, Johns’s book ultimately argues that piracy has always stood at the center of our attempts to reconcile creativity and commerce—and that piracy has been an engine of social, technological, and intellectual innovations as often as it has been their adversary. From Cervantes to Sonny Bono, from Maria Callas to Microsoft, from Grub Street to Google, no chapter in the story of piracy evades Johns’s graceful analysis in what will be the definitive history of the subject for years to come.

This is a revised and updated edition of the book, including more recent information, footnotes, a bibliography, page numbers (print edition) and more beautiful fonts! In a groundbreaking reappraisal of European history, award-winning historian Brian M. Watson gives the secret history of smut through the literature, art, photography, and historical figures you didn't learn about in school. Watson combs the bawdy and forgotten corners of Western civilization to reveal the hidden story of a topic that still causes anger, arousal, excitement and scandal. Combining an entertaining style with brand-new research, Annals of Pornographie: How Porn Became Bad explores not only the salacious history of pornography, but also explains the evolution of Western sexuality, the 'creation' of privacy (and public life), and the 'invention of manners.' The book analyzes Western culture's tortured and rapturous relationship with erotic representation by probing the underside of its culture, art, literature, philosophy, sexology, psychology and its law. Covering everything from the fifteenth century Renaissance all the way up to the twentieth century Playboy magazine, Watson takes the reader on a grand tour of the forgotten debauchery of Western history. Along the way, we meet a variety of colorful characters who rarely get their historical due: Lord Rochester, the royal Pimp; Pietro Aretino, the Renaissance godfather of pornography; Edmund Curll, the first Hugh Hefner; along with many other tax-dodging street pornographers and radicals who roamed the streets of London, Paris, New York, and other major metropoles. Watson takes us from the hallowed halls of the Council of Trent, where Popes and kings fought over the future of the west, to Grub Street, a narrow and disgusting London alley filled with hack writers, aspiring poets and pushers of dirty French pictures and many other sights and sounds from Western Civilization's glorious and seedier locales.Annals of Pornographie: How Porn Became Bad reveals, for the first time, exactly how pornography went from being beautiful to being bad.

Published here for the first time, David Foxon's 1975 and 1976 Lyell Lectures make a significant contribution to the study of the book trade in the first half of the century, including Alexander Pope's involvement in it. Lavishly illustrated with reproductions from Pope's published works as well as his manuscripts, the book illuminates the ways in which compositorial practices affected the transmission of the texts. McLaverty includes examples of Pope's proofs, corrected in his own hand; title pages and decorations used in his editions; plates, decorated initials, and frontpieces.