Since its coinage in a sixteenth-century translation of Leviticus, the term "scapegoat" has become widely used. A groundbreaking search for the origins of this expression, Flesh Becomes Word traces the scapegoat to its origins in Mesopotamian ritual across centuries of typological interpretation and religious reflection, to its first informal uses in the pornographic and plague literature of the 1600s, and finally into the modern era.

Innovatively extending counterfactual thought experiments from history and the social sciences to literary historiography, criticism and theory, Counterfactual Romanticism reveals the ways in which the shapes of Romanticism are conditioned by that which did not come to pass. Exploring various modalities of counterfactual speculation and inquiry across a range of Romantic-period authors, genres and concerns, this collection offers a radical new purchase on literary history, on the relationship between history and fiction, and on our historicist methods to date – and thus on the Romanticisms we (think we) have inherited. Counterfactual Romanticism provides a ground-breaking method of re-reading literary pasts and our own reading presents; in the process, literary production, texts and reading practices are unfossilised and defamiliarised.

Takes a look at issues raised not only in Smollett's novels, for which he is usually remembered, but also in other works of this prolific Scottish author.