Telegraphic Realism demonstrates the connections between British nineteenth-century fiction, media technologies, and developing ideas about information, from the postage stamp to wireless.

Connects British and American literature to a changing media landscape in an era of innovation.

Suited to students and scholars alike, On Style in Victorian Fiction provides a timely and passionate argument for attending to the style of Victorian fiction as inseparable from meaning. Including a broad scope of major novelists from this period, the volume is indispensable for anyone working on Victorian literature.

The Oxford Handbook of Victorian Literary Culture is a major contribution to the dynamic field of Victorian studies. This collection of 37 original chapters by leading international Victorian scholars offers new approaches to familiar themes including science, religion, and gender, and gives space to newer and emerging topics including old age, fair play, and economics. Structured around three broad sections (Ways of Being: Identity and Ideology, Ways of Understanding: Knowledge and Belief, and Ways of Communicating: Print and Other Cultures), the volume is sub-divided into nine sub-sections each with its own 'lead' essay: on subjectivity, politics, gender and sexuality, place and race, religion, science, material and mass culture, aesthetics and visual culture, and theatrical culture. The collection, like today's Victorian studies, is thoroughly interdisciplinary and yet its substantial Introduction explores a concern which is evident both implicitly and explicitly in the volume's essays: that is, the nature and status of 'literary' culture and the literary from the Victorian period to the present. The diverse and wide-ranging essays present original scholarship framed accessibly for a mixed readership of advanced undergraduates, graduate students, and established scholars.

In the turbulent years after World War I, a transpacific community of American and Chinese writers and artists emerged to forge new ideas regarding aesthetics, democracy, internationalism, and the political possibilities of art. Breaking with preconceived notions of an "exotic" East, the Americans found in China and in the works of Chinese intellectuals inspiration for leftist and civil rights movements. Chinese writers and intellectuals looked to the American tradition of political democracy to inform an emerging Chinese liberalism. This interaction reflected an unprecedented integration of American and Chinese cultures and a remarkable synthesis of shared ideals and political goals. The transpacific community that came together during this time took advantage of new advances in technology and media, such as the telegraph and radio, to accelerate the exchange of ideas. It created a fast-paced, cross-cultural dialogue that transformed the terms by which the United States and China—or, more broadly, "West" and "East"—knew each other. Transpacific Community follows the left-wing journalist Agnes Smedley's campaign to free the author Ding Ling from prison; Pearl Buck's attempt to fuse Jeffersonian democracy with late Qing visions of equality in The Good Earth; Paul Robeson's collaboration with the musician Liu Liangmo, which drew on Chinese and African American traditions; and the writer Lin Yutang's attempt to create a typewriter for Chinese characters. Together, these individuals produced political projects that synthesized American and Chinese visions of equality and democracy and imagined a new course for East-West relations.

In the early 1800s, American critics warned about the danger of literature as a distraction from reality. Later critical accounts held that American literature during the antebellum period was idealistic and that literature grew more realistic after the horrors of the Civil War. By focusing on three leading American authors—Ralph Waldo Emerson, Walt Whitman, and Emily Dickinson— Reading Reality challenges that analysis. Thomas Finan reveals how antebellum authors used words such as "real" and "reality" as key terms for literary discourse and claimed that the "real" was, in fact, central to their literary enterprise. He argues that for many Americans in the early nineteenth century, the "real" was often not synonymous with the physical world. It could refer to the spiritual, the sincere, or the individual’s experience. He further explains how this awareness revises our understanding of the literary and conceptual strategies of American writers. By unpacking antebellum senses of the "real," Finan casts new light on the formal traits of the period’s literature, the pressures of the literary marketplace in nineteenth-century America, and the surprising possibilities of literary reading.

Aesthetic Materialism: Electricity and American Romanticism focuses on American romantic writers' attempts to theorize aesthetic experience through the language of electricity. In response to scientific and technological developments, most notably the telegraph, eighteenth- and nineteenth-century electrical imagery reflected the mysterious workings of the physical mind as well as the uncertain, sometimes shocking connections between individuals. Writers such as Whitman, Melville, and Douglass drew on images of electricity and telegraphy to describe literature both as the product of specific economic and social conditions and as a means of transcending the individual determined by such conditions. Aesthetic Materialism moves between historical and cultural analysis and close textual reading, challenging readers to see American literature as at once formal and historical and as a product of both aesthetic and material experience.

This book repositions thinking about rhythm, meter and versification during the “Mechanical Age.” Cutting across disciplinary boundaries, the book examines the rhythmical workings of poems alongside not only Victorian theories of prosody and poetics but also contemporary thinking about labor practices, pedagogical procedures, scientific experiments, and technological innovations. By offering an exploded definition of meter—one that extends beyond conventional foot-based scansion—this book explicates the conceptual and, at times, material exchanges between poetic meter and machine culture. The machines of meter include mid-century theories of abstraction and technologies of smoothness and even spacing; a deeply influential, though rarely credited, system of metrical manufacture; verse produced by a Victorian automaton; the mechanics of the human body and mind and the meters that issued from them; and the promise of scientific machines to resolve metrical dilemmas once and for all.

The proliferation of electric communication and power networks have drawn wires through American landscapes like vines through untended gardens since 1844. But these wire networks are more than merely the tools and infrastructure required to send electric messages and power between distinct places; the iconic lines themselves send powerful messages. The wiry webs above our heads and the towers rhythmically striding along the horizon symbolize the ambiguous effects of widespread industrialization and the shifting values of electricity and landscape in the American mind. In Power-Lined Daniel L. Wuebben weaves together personal narrative, historical research, cultural analysis, and social science to provide a sweeping investigation of the varied influence of overhead wires on the American landscape and the American mind. Wuebben shows that overhead wires--from Morse's telegraph to our high-voltage grid--not only carry electricity between American places but also create electrified spaces that signify and complicate notions of technology, nature, progress, and, most recently, renewable energy infrastructure. Power-Lined exposes the subtle influences wrought by the wiring of the nation and shows that, even in this age of wireless devices, perceptions of overhead lines may be key in progressing toward a more sustainable energy future.

"Published with the assistance of the Getty Foundation."