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Victorian Crimes, Social Panic, and Moral Outrage
In the climate of social panics that characterized so much of the Victorian period, there was keen consciousness of the threats a variety of crimes posed to social stability. Conversations about crime, particularly via the media, were a major feature of Victorian Britain’s daily life, and it was through such conversations that people learned about the nature of crime and criminality, as well as about the individuals who committed crimes or were merely guilty of socially offensive conduct or “bad” behavior. The essays in this book set out to explore the ways in which Victorians used newspapers to identify the causes of bad behavior and its impacts, and the ways in which they tried to “distance” criminals and those guilty of “bad” behavior from the ordinary members of society, including identification of them as different according to race or sexual orientation. It also explores how threats from within “normal” society were depicted and the panic that issues like “baby-farming” caused. Victorian alarm was about crimes and bad behavior which they saw as new or unique to their period—but which were not new then and which, in slightly different dress, are still causing panic today. What is striking about the essays in this collection are the ways they echo contemporary concerns about crime and bad behavior, including panics about “new” types of crime. This has implications for modern understandings of how society needs to understand crime, demonstrating that while there are changes over time, there are also important continuities.
James Baldwin and the Law
James Baldwin, one of the major African American writers of the twentieth century, has been the subject of a substantial body of literary criticism. As a prolific and experimental author with a marginal perspective—a black man during segregation and the Civil Rights era, a homosexual at a time when tolerance toward gays was not common—Baldwin has fascinated readers for over half a century. Yet Baldwin’s critics have tended to separate his weighty, complex body of work and to examine it piecemeal. A Criminal Power: James Baldwin and the Law is the first thematic study to analyze the complete scope of his work. It accomplishes this through an expansive definition and thorough analysis of the social force that oppressed Baldwin throughout his life: namely, the law. Baldwin, who died in 1987, attempted suicide in 1949 at the age of 25 after spending eight-days in a French prison following an absurd arrest for “receiving stolen goods”—a sheet that his acquaintance had taken from a hotel. This seemingly trite incident made Baldwin painfully aware of what he would later call the law’s “criminal power.” Up to now, the only book-length studies to address Baldwin’s entire career have been biographies and artistic “portraits.” D. Quentin Miller corrects this oversight in a comprehensive volume that addresses and unifies all of Baldwin’s work. Miller asserts that the Baldwin corpus is a testament to how the abuse of power within the American legal, judicial, and penal systems manifested itself in the twentieth century.
Colonial Adventure, Postmodernism, and American Noir
Stanley Orr’s Darkly Perfect World offers a large-scale historical narrative about the way American crime fiction and film have changed throughout the twentieth century. Orr argues that films noirs and noir fictions dramatize Raymond Chandler’s pronouncement that “Even in death, a man has a right to his own identity.” Orr illuminates a noir ethos committed to “authenticating alienation”: subjectivity managed through radical polarization of Self and Other. Distinguishing a heretofore unrecognized context for American noir, Orr demonstrates that Chandler and Dashiell Hammett arrive at this subject within and against the colonial adventure genre. While the renegades of Joseph Conrad and Louis Becke project a figure vulnerable to shifts in cultural context, the noir protagonist exemplifies alienated selfhood and often performs a “continental operation” against the slippages of the colonial adventurer. But even as Orson Welles, Billy Wilder, and other noir virtuosi persist with this revision of late Victorian adventure, Chester Himes, Dorothy Hughes, and John Okada experiment with hard-boiled alienation for a subversion of noir that resonates throughout literary postmodernism. In their respective avant-garde novels, Thomas Pynchon, Ishmael Reed, and Paul Auster expose what K.W. Jeter terms the “darkly perfect world” of noir, thus giving rise to and enabling the con men and “connected guys” of contemporary films noirs such as Bryan Singer’s The Usual Suspects, David Fincher’s Seven, Christopher Nolan’s Memento, and Quentin Tarantino’s Reservoir Dogs.
Cosmopolitanism and the Indian Novel in English
Interrogating current theories of cosmopolitanism, nationalism, and aesthetics in Postcolonial Studies, Decentering Rushdie offers a new perspective on the Indian novel in English. Since Salman Rushdie’s Midnight’s Children won the Booker Prize in 1981, its postmodern style and postnational politics have dominated discussions of postcolonial literature. As a result, the rich variety of narrative forms and perspectives on the nation that constitute the field have been obscured, if not erased altogether. Reading a range of novels published between the 1950s and 1990s, including works by Nayantara Sahgal, Kamala Markandaya, Anita Desai, and Arundhati Roy, Decentering Rushdie suggests an alternative understanding of the genre in postcolonial India. Pranav Jani documents the broad shift from nation-oriented to postnationalist perspectives following the watershed crisis of the Emergency of the 1970s. Recovering the “namak-halaal cosmopolitanism” of early novels—a cosmopolitanism that is “true to its salt”—Decentering Rushdie also explains the rise and critical celebration of postnational cosmopolitanism. Decentering Rushdie thus resituates contemporary literature within a nuanced history of Indian debates about cosmopolitanism and the national question. In the process, Jani articulates definitions of cosmopolitanism and nationalism that speak to the complex negotiation of language, culture, and representation in postcolonial South Asia.
White Anxiety, Racial Conflict, and the Turn to Fiction in Mid-Victorian English Prose
Deciphering Race engages with the complex and contested world of Victorian racial discourse. In the five central texts under consideration in this study—Harriet Martineau’s The Hour and the Man, Robert Knox’s The Races of Men, Charles Dickens and Wilkie Collins’s “The Perils of Certain English Prisoners,” the transcript of the inquiry into the Governor Eyre Controversy, and James Grant’s First Love and Last Love—a white English author or character turns to the aesthetic in order to assuage a sense of anxiety produced by a confrontation with racial otherness. White characters or narrators confront the limitations of preconceived ideologies or the interlacing of oppressions, and subsequently falter. In this manner these narratives confront the complexity, indeterminacy, and irrationality of both racial difference and the systems put in place to understand that difference. Deciphering Race unpacks this narrative turn to the aesthetic in writings by white English individuals and thus reveals the instability at the heart of cultural understanding of race and racial tropes at mid-century. This series of readings will help to see how figurative structures, while providing a bridge between different cultures and epistemologies, also reinforce a distance that keeps groups separate. Only by disentangling these structures, by addressing and unpacking our assumptions and narratives about those different from ourselves, and by understanding our deep cultural anxiety and investment in these ways of talking about one another, can we begin to create the conditions for productive, local understanding between different cultures, races, and communities.
With a song-like voice and deep knowledge of the history and folklore of her native Virginia, Cary Holladay creates dazzling stories of hardship and ecstasy. A young widow romances a German immigrant while weighing a proposal from the colonial governor. Convicted of murdering her master, an enslaved woman is burned at the stake. A breakneck stagecoach ride gives a bricklayer’s apprentice the power to save or destroy his fellow passengers. An aging bachelor despairs of his marriage to a Confederate orphan. A beautiful adventuress joins the 1898 Alaska Gold Rush, charms a violent gangster, and figures out the secret of his fabulous wealth. This seventh book from an award-winning author spans 300 years in the Old Dominion. Holladay’s people fight the wars, battle the floods, and wrest a living from a wilderness where “Time is God’s, not ours”—so says a reformed prostitute whose obsessive love for an amnesiac Yankee soldier defines her life. With a sensuous, lyrical style, Holladay holds a distinctive place in contemporary fiction. All of these stories have appeared in major literary journals and anthologies, including Tin House and New Stories from the South: The Year’s Best.
Stories and a Novella
What happens when people land on unfamiliar moral and cultural turf? The five stories in Paul Eggers’ The Departure Lounge examine that question, focusing on characters in either voluntary or involuntary exile—men and women forced to confront their deepest emotions and beliefs, removed from familiar, comforting surroundings. In one story an academic flees his family, arriving in Africa only to find that his African host is dealing with a similar crisis. In another, an American chess hustler in Africa is forced to come to terms with his own sense of right and wrong. In yet another, an old Vietnamese man now living in California finds that his relationship with his now-dead daughter was not what he had assumed. In the story “Hey,” a young chess star confronts the death of his brother in the Vietnam War. And in the final story, an aging American couple—former UN relief workers—return to their refugee-camp worksite in Malaysia, discovering what they had forgotten about themselves. In lyrical, tough-minded prose, Eggers’ stories illuminate in unexpected ways the profundity of cross-cultural experiences, as well as deliver fresh insights into the complexity of identity.
Fictions of Detection and the Imperial Venture
In Detecting the Nation Reitz argues that detective fiction was essential both to public acceptance of the newly organized police force in early Victorian Britain and to acclimating the population to the larger venture of the British Empire. In doing so, Reitz challenges literary-historical assumptions that detective fiction is a minor domestic genre that reinforces a distinction between metropolitan center and imperial periphery. Rather, Reitz argues, nineteenth-century detective fiction helped transform the concept of an island kingdom to that of a sprawling empire; detective fiction placed imperialism at the center of English identity by recasting what had been the suspiciously un-English figure of the turn-of-the-century detective as the very embodiment of both English principles and imperial authority. She supports this claim through reading such masters of the genre as Godwin, Dickens, Collins, and Doyle in relation to narratives of crime and empire such as James Mill's History of British India, narratives about Thuggee, and selected writings of Kipling and Buchan. Detective fiction and writings more specifically related to the imperial project, such as political tracts and adventure stories, were inextricably interrelated during this time.
In Dickens’s Hyperrealism, John R. Reed examines certain features of Dickens’s style to demonstrate that the Inimitable consciously resisted what came to be known as realism in the genre of the novel. Dickens used some techniques associated with realism, such as description and metonymy, to subvert the purposes usually associated with it. Reed argues that Dickens used such devices as personification and present-tense narration, which are anathema to the realist approach. He asserts that Dickens preferred a heightened reality, not realism. And, unlike the realism which seeks to mask authorial control of how readers read his novels, Dickens wanted to demonstrate, first openly, and later in his career more subtly, his command over his narratives. This book opens a new avenue for investigating Dickens’s mastery of his art and his awareness of its literary context. In addition, it reopens the whole issue of realism as a definition and examines the variety of genres that coexisted in the Victorian period.
A Spectrum of Possibilities
Dickinson’s Fascicles: A Spectrum of Possibilities is the first collection of essays dedicated exclusively to re-examining Emily Dickinson’s fascicles, the extant forty hand-crafted manuscript “books” consisting of the roughly 814 poems crafted during the most productive period in Dickinson’s writing life (1858-1864). Why Dickinson carefully preserved the fascicles despite her meticulous destruction of many of her early manuscript drafts is the central question contributors to this volume seek to answer. The collection opens with a central portion of Sharon Cameron’s 1992 book that was the first to abandon the until-then popular search for a single unifying narrative to explain the fascicles, inaugurating a new era of fascicle scholarship. Eight prominent Dickinson scholars contribute essays to this volume and respond vigorously and variously to Cameron's argument, proposing, for instance, that the fascicles represent Dickinson's engagement with the world around her, particularly with the Civil War, and that they demonstrate her continued experimentation with poetic form. Dickinson’s Fascicles is edited by Paul Crumbley and Eleanor Elson Heginbotham. Other contributors include Paula Bernat Bennett, Martha Nell Smith, Domhnall Mitchell, Ellen Louise Hart, Melanie Hubbard, and Alexandra Socarides who assess what constitutes a vast final frontier in the Dickinson literary landscape. Susan Howe provides a coda.