This is a book about a longstanding network of writers and writings that celebrate the aesthetic, socio-political, scientific, ecological, geographical, and historical value of trees and tree spaces in the landscape; and it is a study of the effect of this tree-writing upon the novel form in the long nineteenth century. Trees in Nineteenth-Century English Fiction: The Silvicultural Novel identifies the picturesque thinker William Gilpin as a significant influence in this literary and environmental tradition. Remarks on Forest Scenery (1791) is formed by Gilpin’s own observations of trees, forests, and his New Forest home specifically; but it is also the product of tree-stories collected from ‘travellers and historians’ that came before him. This study tracks the impact of this accumulating arboreal discourse upon nineteenth-century environmental writers such as John Claudius Loudon, Jacob George Strutt, William Howitt, and Mary Roberts, and its influence on varied dialogues surrounding natural history, agriculture, landscaping, deforestation, and public health. Building upon this concept of an ongoing silvicultural discussion, the monograph examines how novelists in the realist mode engage with this discourse and use their understanding of arboreal space and its cultural worth in order to transform their own fictional environments. Through their novelistic framing of single trees, clumps, forests, ancient woodlands, and man-made plantations, Jane Austen, Elizabeth Gaskell, and Thomas Hardy feature as authors of particular interest. Collectively, in their environmental representations, these novelists engage with a broad range of silvicultural conversation in their writing of space at the beginning, middle, and end of the nineteenth century. This book will be of great interest to students, researchers, and academics working in the environmental humanities, long nineteenth-century literature, nature writing and environmental literature, environmental history, ecocriticism, and literature and science scholarship.

"This book looks at the transnational circulation of both people and plants as a feature of Victorian speculative fiction"--

Our relationship with trees is a lengthy, complex one. Since we first walked the earth we have, at various times, worshiped them, felled them and even talked to them. For many of us, though, our first memories of interacting with trees will be of climbing them. Exploring how tree climbers have been represented in literature and art in Europe and North America over the ages, The Tree Climbing Cure unpacks the curative value of tree climbing, examining when and why tree climbers climb, and what tree climbing can do for (and say about) the climber's mental health and wellbeing. Bringing together research into poetry, novels, and paintings with the science of wellbeing and mental health and engaging with myth, folklore, psychology and storytelling, Tree Climber also examines the close relationship between tree climbing and imagination, and questions some longstanding, problematic gendered injunctions about women climbing trees. Discussing, among others, the literary works of Margaret Atwood; Charlotte Bronte; Geoffrey Chaucer; Angela Carter; Kiran Desai; and J.R.R. Tolkien, as well as work by artists such as Peter Doig; Paula Rego; and Goya, this book stands out as an almost encyclopedic examination of cultural representations of this quirky and ultimately restorative pastime.

How to Do Things with Books in Victorian Britain asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish 'n' chips wrap? Shedding new light on novels by Thackeray, Dickens, the Brontës, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, Leah Price also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading. Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, Price offers a new model for integrating literary theory with cultural history. How to Do Things with Books in Victorian Britain reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.

In the fall of 1948, Ernest Hemingway made his first extended visit to Italy in thirty years. His reacquaintance with Venice, a city he loved, provided the inspiration for Across the River and into the Trees, the story of Richard Cantwell, a war-ravaged American colonel stationed in Italy at the close of the Second World War, and his love for a young Italian countess. A poignant, bittersweet homage to love that overpowers reason, to the resilience of the human spirit, and to the worldweary beauty and majesty of Venice, Across the River and into the Trees stands as Hemingway's statement of defiance in response to the great dehumanizing atrocities of the Second World War. Hemingway's last full-length novel published in his lifetime, it moved John O'Hara in The New York Times Book Review to call him “the most important author since Shakespeare.”

Although we have come to regard 'clinical' and 'romantic' as oppositional terms, romantic literature and clinical medicine were fed by the same cultural configurations. In the pre-Darwinian nineteenth century, writers and doctors developed an interpretive method that negotiated between literary and scientific knowledge of the natural world. Literary writers produced potent myths that juxtaposed the natural and the supernatural, often disturbing the conventional dualist hierarchy of spirit over flesh. Clinicians developed the two-part history and physical examination, weighing the patient's narrative against the evidence of the body. Examining fiction by Mary Shelley, Carlyle, the Brontës and George Eliot, alongside biomedical lectures, textbooks and articles, Janis McLarren Caldwell demonstrates the similar ways of reading employed by nineteenth-century doctors and imaginative writers and reveals the complexities and creative exchanges of the relationship between literature and medicine.

Shortlisted for the Best Book Prize from the British Society of Literature and Science Nineteenth-century English nature was a place of experimentation, exoticism, and transgression, as site and emblem of the global exchanges of the British Empire. Popular attitudes toward the transplantation of exotic species—botanical and human—to Victorian greenhouses and cities found anxious expression in a number of fanciful genre texts, including mysteries, science fiction, and horror stories. Situated in a mid-Victorian moment of frenetic plant collecting from the far reaches of the British empire, Novel Cultivations recognizes plants as vital and sentient subjects that serve—often more so than people—as actors and narrative engines in the nineteenth-century novel. Conceptions of native and natural were decoupled by the revelation that nature was globally sourced, a disruption displayed in the plots of gardens as in those of novels. Elizabeth Chang examines here the agency asserted by plants with shrewd readings of a range of fictional works, from monstrous rhododendrons in Daphne du Maurier’s Rebecca and Mexican prickly pears in Olive Schreiner’s Story of an African Farm, to Algernon Blackwood’s hair-raising "The Man Whom the Trees Loved" and other obscure ecogothic tales. This provocative contribution to ecocriticism shows plants as buttonholes between fiction and reality, registering changes of form and content in both realms.

"The material presents is not only a history of English fiction, but a view of its variations in atmosphere, motivation, dialogue, and characterization." -- Preface.