In this Book

Artistic Liberties
buy this book Buy This Book in Print
Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications.

Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.

Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux
they created.

Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.

Table of Contents

  1. Cover
  2. restricted access Download |
  1. Title Page, Editorial Board, Copyright Page
  2. restricted access Download |
  1. Contents
  2. restricted access Download |
  1. List of Illustrations
  2. pp. vii-xii
  3. restricted access Download |
  1. Acknowledgments
  2. pp. xiii-xvi
  3. restricted access Download |
  1. Introduction: Reading Rivalries in Illustrated Literary Realism
  2. pp. 1-28
  3. restricted access Download |
  1. 1. Kemble and Twain: Sketching "Truths" within the Minstrel Masquerade
  2. pp. 39-57
  3. restricted access Download |
  1. 2. Kemble and Stowe: Taking Liberties with Slave Imagery
  2. pp. 58-85
  3. restricted access Download |
  1. 3. Loeb and Twain: Returning to the Illustrated Scene of the Crime
  2. pp. 86-107
  3. restricted access Download |
  1. 4. Newell and Crane: Keeping Close to a Personal Honesty of Vision
  2. pp. 108-133
  3. restricted access Download |
  1. 5. Kemble and Dunbar: Manipulating the Masks of Folks from Dixie
  2. pp. 134-158
  3. restricted access Download |
  1. 6. Wenzell and Wharton: Marketing 'The House of Mirth's' Disigns
  2. pp. 159-189
  3. restricted access Download |
  1. Coda. Owen, Skeete, and Hopkins: Countering the Caricatures of Literary Realism
  2. pp. 190-198
  3. restricted access Download |
  1. Notes
  2. pp. 199-212
  3. restricted access Download |
  1. Works Cited
  2. pp. 213-222
  3. restricted access Download |
  1. Index
  2. pp. 223-230
  3. restricted access Download |
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.