This critical biography the indifference which has surrounded Scott in this century and the distortions of his Victorian idolators to recapture the freshness of Scott as he appeared to his contemporaries. By weaving together the life and works, and examining all of Scott's best-known books

The Author's Effects: On the Writer's House Museum is the first book to describe how the writer's house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologised through the conventions of the writer's house museum, The Author's Effects anatomises the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer's bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer's house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns' skull, Keats' hair, Petrarch's cat, Poe's raven, Brontë's bonnet, Dickinson's dress, Shakespeare's chair, Austen's desk, Woolf's spectacles, Hawthorne's window, Freud's mirror, Johnson's coffee-pot and Bulgakov's stove, amongst many others. It investigates houses within which nineteenth-century writers mythologised themselves and their work—Thoreau's cabin and Dumas' tower, Scott's Abbotsford and Irving's Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch's Arquà, Rousseau's Ile St Pierre, and Shakespeare's Stratford to find out what they thought and felt and did, discovering deep continuities with the redevelopment of Shakespeare's New Place for 2016.

This innovative new book examines the ways in which writers’ houses contribute to the making of memory. It shows that houses built or inhabited by poets and novelists both reflect and construct the author’s private and artistic persona; it also demonstrates how this materialized process of self-fashioning is subsequently appropriated within various strategies and policies of cultural memory.

'I have read all W. Scott's novels at least fifty times,' wrote Byron. '.. .grand work. Scotch Fielding, as well as great English poet -wonderful man! I long to get drunk with him.'A.N. Wilson's subtle, entertaining and frequently provocative critical biography looks back through the indifference which has surrounded Walter Scott in recent times, and the distortions of his Victorian idolaters, to recapture the freshness of Scott as he appeared to his contemporaries.Despite his staggering output as a novelist, poet, biographer, historian and anthologist -not to mention his copious letters, and the celebrated Journal - Scott only embarked on his literary career in early middle age. In the face of constant ill-health, and financial and domestic troubles, he successfully combined the life of a bestselling, much-loved and enormously influential author with that of a lawyer, landowner, Border farmer, part-time soldier and paterfamilias. A.N. Wilson makes clear that Scott's genius, his humaneness, and his splendid qualities of stoicism and sympathy were as apparent in his life as in his work. Few writers can have been so likeable and so unpretentious, and it is hardly surprising that Scott has always been a popular subject with biographers. Yet most modern critics have tried to divorce the life from the work, or to minimise his reputation by suggesting that his talents were recognised in only a few of his works. By weaving together the life and the works, and discussing all Scott's best-known books as well as many which are less familiar, A.N. Wilson has produced a lively and contagiously enthusiastic reassessment of the writer who was, he believes, 'the greatest single imaginative genius of the nineteenth century'. Walter Scott's influence was felt not only in the field of literature, but also in the worlds of art, architecture, opera and domestic manners, and by figures as diverse as Byron and Queen Victoria, Dickens and Donizetti, Pugin and Victor Hugo.

This definitive 19th-century collection compiles all the extant ballads with all known variants and features Child's commentary for each work. Volume IV includes Parts VII and VIII of the original set — ballads 189-265.