To better understand and contextualise the twilight of the Gothic genre during the 1920s and 1830s, The History of Gothic Publishing, 1800-1835: Exhuming the Trade examines the disreputable aspects of the Gothic trade from its horrid bluebooks to the desperate hack writers who created the short tales of terror. From the Gothic publishers to the circulating libraries, this study explores the conflict between the canon and the twilight, and between the disreputable and the moral.

This bibliography provides the first complete and copy-based record of the production of new English fiction in the period 1810-1829. The main listings include 2,256 entries, all but forty of which are based on examination of a first edition of the actual novel described. As a result of ten years of Anglo-German co-operation the bibliography makes especial use of the recently discovered collection of English novels of Schloss Corvey in Germany, whose holdings in English fiction 1796-1834 almost certainly exceed those held by any other library. This book also includes an extensive historical introduction by Peter Garside that offers a comprehensive overview of the main aspects of production, marketing and reception of fiction in the Romantic era.

Acting Like a Lady examines the impact of the eighteenth-century theatre on the ways British women novelists represented female subjectivity. The theatre, Nachumi demonstrates, offered women alternatives to contemporary models of feminine nature that insisted on a direct correlation between a lady's appearance and her quality of mind. It provided theatrical images and tropes which helped women writers dramatize the performative nature of female experience. Grounded in theatre history, Acting Like a Lady draws on current theoretical work concerning gender and representation on the stage and in novels. It considers its primary subjects (Burney, Inchbald, Austen) in depth, and places them in relation to each other and to other novelists, performers, and playwrights. In each case, the novelist's use of theatrical images and practices is linked to her own theatrical experience and to debates relevant to the eighteenth-century stage.