Critical interest in Robert Louis Stevenson has never been greater. New editions of the author's works--from the poems to the travel writing, from the Scottish novels to the South Seas tales--are appearing. During the year 2000, the sesquicentennial of RLS's birth, three conferences were held in honor of the occasion and each entertained an international audience. This collection of essays reflects the scope of Robert Louis Stevenson's achievement and the range of current critical response. The first section contains four critical overviews that include an analysis of the Stevensonian imagination, an assessment of the author's literary theory, an examination of the coded significance of burial and reanimation in Stevenson's Wrong Box and other works, and an examination of the use of both Scottish and South Seas islands in his fiction. The second section contains three essays that examine the many-faceted Strange Case of Dr. Jekyll and Mr. Hyde. Other works--An Inland Voyage, A Child's Garden of Verses, The Dynamiter, The Master of Ballantrae, and Prayers Written at Vailima--are the subjects of the six essays in the third section. Three essays on biography, popular culture, and personal response are in the fourth section.

Robert Louis Stevenson and theories of reading is both an exceptionally well researched study of the novelist, and well as an intriguing exploration of 'literary consumption'. Glenda Norquay presents fresh interpretations of Stevenson’s literary essays, of major works including The Master of Ballantrae, and some of his more neglected fiction such as St Ives and The Wrecker, as well as illuminating our understanding of his role within debates over popular fiction, romance and reading pleasure. She offers an unusual combination of literary history and reception theory and argues that Stevenson both exemplified tensions within the literary market of his time and anticipated later developments in reading theory. By combining the study of nineteenth-century cultural politics with detailed analysis of his Scottish Calvinism, Stevenson is reassessed as both a Victorian and Scottish writer. The book is aimed at scholars, postgraduates and undergraduates with an interest in the nineteenth-century literary marketplace, in Scottish culture, and in reading /reception theory as well as Stevenson enthusiasts.

The book consists of a series of discussions of the prose fiction of Robert Louis Stevenson, from his first book, New Arabian Nights, to the last short novel published in his lifetime, The Ebb-Tide. All his best-known novels are covered, as well as a selection of his lesser-known works. The focus is on the works themselves, rather than on Stevenson's admittedly fascinating life, which is touched on only so as to provide a context for his writing. It is arranged by the dates when the works were written, rather than when they were published, so as to provide an outline sketch of his career as a writer. The emphasis is on the diversity and energy of Stevenson's creativity, without seeking to overemphasize distinctions frequently applied to him in the past, such as that between his 'stories for boys' and books apparently written for adults.

Explores Robert Louis Stevenson's collaborative processContains new readings of thirteen works by Robert Louis Stevenson, including several rarely discussedSheds light on connections between authorship, celebrity, the literary marketplace and the creative processSupported by extensive manuscript researchThis book investigates Stevenson's literary collaborations with family and friends as he travelled Scotland, America and the Pacific. With critical readings of both major and minor Stevenson texts, supported and contextualised by unpublished manuscripts and letters by both Stevenson and those he wrote with, this book argues that Stevenson's writings are both a product of and a meditation on collaborative writing. Stevenson's self-reflective body of work reimagines late-Victorian authorship by examining the ways that authors choose material, negotiate the marketplace and, ultimately, maintain power over their own words, or let that power go.

Robert Louis Stevenson, Literary Networks and Transatlantic Publishing in the 1890s investigates Stevenson and the geographies of his literary networks during the last years of his life and after his death. It profiles a series of figures who worked with Stevenson, negotiated his publications on both sides of the Atlantic, wrote for him or were inspired by him. Using archival material, correspondence, fiction and biographies it moves across these literary networks. It deploys the concept of ‘literary prosthetics’ to frame its analysis of gatekeepers, tastemakers, agents, collaborators and authorial surrogates in the transatlantic production of Stevenson’s writing. Case studies of understudied individuals and broader consideration of the networks they represent contribute to knowledge of transatlantic publishing in the 1890s, understanding of transatlantic culture, Stevenson studies, current interest in the workings of literary communities and in nineteenth-century mobility.

In part a sequel to his earlier Death and Fantasy, William Gray’s Fantasy, Art and Life: Essays on George MacDonald, Robert Louis Stevenson and Other Fantasy Writers examines the ways in which “Life” in its various senses is affirmed, explored and enhanced through the work of the creative imagination, especially in fantasy literature. The discussion includes a range of fantasy writers, but focuses chiefly on two writers of the Victorian period, George MacDonald and Robert Louis Stevenson, whose Scottish (and particularly Calvinist) backgrounds deeply affected their engagement with what MacDonald called “The Fantastic Imagination.”

Science, Medicine, and Lineage in Popular Fiction of the Long Nineteenth Century explores the dialogue between popular literature and medical and scientific discourse in terms of how they represent the highly visible an pathologized British aristocratic body. This books explores and complicates the two major portrayals of aristocrats in nineteenth-century literature: that of the medicalised, frail, debauched, and diseased aristocrat, and that of the heroic, active, beautiful ‘noble’, both of which are frequent and resonant in popular fiction of the long nineteenth century. Abigail Boucher argues that the concept of class in the long nineteenth century implicitly includes notions of blood, lineage, and bodily ‘correctness’, and that ‘class’ was therefore frequently portrayed as an empirical, scientific, and medical certainty. Due to their elevated and highly visual social positions, both historical and fictional aristocrats were frequently pathologized in the public mind and watched for signs of physical excellence or deviance. Using popular fiction, Boucher establishes patterns across decades, genres, and demographics and considers how these patterns react to, normalise, or feed into the advent of new scientific and medical understandings.

Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo. With an emphasis on conceptions of the 'post-traumatic', De le Court explores how cities and art are mutually formative in war and post-war contexts, providing unique insight into the politically and psychologically driven art scenes from within the works of art themselves. Grounded in close analyses and new research, the book makes an important contribution to the fields of art history and trauma studies.

This book explores how the heroes and villains of popular comic books—and the creators of these icons of our culture—reflect the American experience out of which they sprang, and how they have achieved relevance by adapting to, and perhaps influencing, the evolving American character. Multiple generations have thrilled to the exploits of the heroes and villains of American comic books. These imaginary characters permeate our culture—even Americans who have never read a comic book grasp what the most well-known examples represent. But these comic book characters, and their creators, do more than simply thrill: they make us consider who we are and who we aspire to be. Icons of the American Comic Book: From Captain America to Wonder Woman contains 100 entries that provide historical background, explore the impact of the comic-book character on American culture, and summarize what is iconic about the subject of the entry. Each entry also lists essential works, suggests further readings, and contains at least one sidebar that provides entertaining and often quirky insight not covered in the main entry. This two-volume work examines fascinating subjects, such as how the superhero concept embodied the essence of American culture in the 1930s; and the ways in which comic book icons have evolved to reflect changing circumstances, values, and attitudes regarding cultural diversity. The book's coverage extends beyond just characters, as it also includes entries devoted to creators, publishers, titles, and even comic book related phenomena that have had enduring significance.