Romantic Circles Reviews

The Annotated Frankenstein, eds. Susan J. Wolfson and Ronald Levao

Mary Wollstonecraft Shelley, The Annotated Frankenstein, eds. Susan J. Wolfson and Ronald Levao (Harvard: Belknap Press, 2012). 400 pp. (Hdbk., $29.95; ISBN 978-0-674-05552-0).

Reviewed by
Nora Crook
Anglia Ruskin University at Cambridge

The Annotated Frankenstein? Most new editions of Frankenstein are annotated now. One thinks of those that have been published or updated in recent years—landmarks such as Charles Robinson’s The Original Frankenstein (2008), Stuart Curran’s wonderfully compendious Romantic Circles hypertext (2009), fine teaching editions (all using the 1818 text) such as Macdonald and Scherf’s Broadview (3rd ed., 2012), Paul Hunter’s Norton (2nd ed., 2012), Judith Wilt’s New Riverside (2003), and not least the Longman (2nd ed. 2007), edited by Wolfson, reviewed in Romantic Circles in 2004.

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Susan J. Wolfson, Borderlines: The Shiftings of Gender in British Romanticism and Romantic Interactions: Social Being and the Turns of Literary Action

Susan J. Wolfson, Borderlines: The Shiftings of Gender in British Romanticism (Stanford: Stanford University Press, 2006). 430 pp. (Hdbk., $ 97.95; Pbk., $ 29.95; ISBN-10: 0-8047-6105-1; ISBN-13: 978-0-8047-6105-5). Wolfson, Romantic Interactions: Social Being and the Turns of Literary Action (Baltimore: Johns Hopkins University Press, 2010). 381 pp. (Hdbk., $ 70; Pbk., $ 29.95; ISBN-10: 0-8018-9474-3; ISBN-13: 978-0-8018-9474-9).

Reviewed by
Diego Saglia
University of Parma, Italy

Although published six years apart, these two volumes belong in the same multifaceted critical mosaic. Both studies address the distinctive concerns which have been central to Susan Wolfson’s critical practice since the 1980s—her preoccupation with gender, her focus on literary form, and her indefatigable search for an increasingly detailed, as well as historically attuned, approach to the stylistic materiality of literary works. As with her previous works, these books require us to read intensively into texts, and we cannot escape this demand as we gradually explore their largely shared literary terrain: Hemans and Byron, mostly, but also Wollstonecraft, the Wordsworths and Keats. Wollstonecraft, in particular, plays a major role in Wolfson’s presentation of her argument in the earlier Borderlines, and its discussion of the continuities and discontinuities within Romantic-period gender debates between the 1790s and the 1830s.

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Ian Dennis, Lord Byron and the History of Desire

Ian Dennis, Lord Byron and the History of Desire (Newark: University of Delaware Press, 2009). 266pp. (Hdbk., $55.00; ISBN-13: 978 0 87413 066 9.)

Reviewed by
Colin Carman
Colorado Mountain College

Desire, by definition, is mediated, imitative, and mimetic. At the core of identity and indeed of being itself lie the dual demands to be recognized and to be imitated. These are just some of the premises of Eric Gans and René Girard, and the insightful literary study these two thinkers have inspired, Lord Byron and the History of Desire. Byron is a provocative choice: while the “Byronic hero” is usually typified by defiant autonomy, even solipsistic self-adulation, Ian Dennis reveals just how important the roles of mediation, interplay, and the desires of—and for—others are in Byron’s oeuvre.

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Christopher Rowland, Blake and the Bible

Christopher Rowland, Blake and the Bible (New Haven: Yale University Press, 2011). ISBN: 9780300112603. $50.00.

Reviewed by
G.A. Rosso
Southern Connecticut State University

On the final day of Christopher Rowland's lectures on Blake and the Bible at Yale Divinity School in 2008, the renowned apocalypse scholar John J. Collins began the question-and-answer period by intoning, “Yes, well, but did Blake get Jesus right?" Rowland, the Dean Ireland Professor of the Exegesis of Holy Scripture at Oxford, replied "Yes and no." Blake got the "non-conformist" Jesus right but he was not particularly interested in the "historical Jesus". Although the book developed from these lectures shows that Blake sometimes does get the "Jesus of history" right, Rowland’s primary focus throughout is on "Jesus the archetypal antinomian." In one of the book’s most profound and original insights, Rowland suggests that the figure of the antinomian Jesus provides a key underlying pattern of thought connecting early and late Blake. In the course of tracing this pattern, Rowland accomplishes his goal of raising Blake’s exegetical profile, arguing persuasively for his place at the center of modern hermeneutical history as "one of the foremost biblical interpreters" (xii).

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Judith W. Page and Elise L. Smith, Women, Literature, and the Domesticated Landscape

Judith W. Page and Elise L. Smith, Women, Literature, and the Domesticated Landscape: England’s Disciples of Flora, 1780-1870 (Cambridge: Cambridge UP, 2011). ISBN: 9780521768658. $90.00.

Reviewed by
Patricia Peek
Fordham University

This volume, a recent addition to the Cambridge Studies in Nineteenth-Century Literature and Culture series, should be of great interest to both Romantic and Victorian scholars. Spanning nearly one hundred years of literature about gardens and horticulture, Page and Smith discuss how women engaged in discussions of topics not limited by their domestic sphere. The motivating agenda for this work is an exploration of how in “a period marked by major political, technological, and cultural changes, the domesticated landscape was central to women’s complex negotiation of private and public life” (1). The act of gardening, botanical study and writing, and sketching the landscape both within and beyond the garden gate created opportunities for women in the nineteenth century to stretch beyond the boundaries set for them by society, in an attempt to participate in the larger socio-political arena. The essays found in the volume demonstrate how these acts “served as a ground for both social and intellectual experimentation” (11). Both Romantic and Victorian scholars will feel at home in the tangencies found in this genre and with the socio-political currents of each period, as Page and Smith see in their "domesticated landscape" the familiar (but always fresh) prospects of gender, female education, the tensions of class and labor, as well as the more abstract concept of sympathy.

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Kevis Goodman, Georgic Modernity and British Romanticism: Poetry and the Mediation of History

Kevis Goodman, Georgic Modernity and British Romanticism: Poetry and the Mediation of History (Cambridge: Cambridge University Press, 2004). 244 pp (Cloth; ISBN: 0521831687; £45.00).

Reviewed by
Seamus Perry
Balliol College, Oxford

Readers have often noticed that something odd keeps happening in Thomson’s The Seasons. A poem supposedly devoted to the Newtonian excellences of order and proportion keeps surprising itself with the counter-experience of disorderliness and unruly profusion. These glimpses of covert chaos prove no less absorbing for their being so obviously troublesome to the poem’s tidy-minded Deist agenda:

Nor undelighted by the boundless Spring
Are the broad monsters of the foaming deep:
From the deep ooze and gelid cavern roused,
They flounce and tumble in unwieldy joy.
Dire were the strain and dissonant to sing
The cruel raputures of the savage kind …

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The Woman of Colour: A Tale, by Anonymous, ed. Lyndon J. Dominique

The Woman of Colour: A Tale, by Anonymous, ed. Lyndon J. Dominique (Broadview, 2007). 268pp (Paperback, ISBN-10: 1551111764; $24.95).

Reviewed by
Patricia A. Matthew
Montclair State University

The allure of editing a text that has been out of print for two hundred years is irresistible to any scholar interested in lesser-known texts from the eighteenth and nineteenth centuries, especially a novel compelling enough to gain the notice of influential periodicals like The British Critic and The Monthly Review. For anyone interested in histories of prose fiction, Lyndon J. Dominique’s edition of The Woman of Colour: A Tale (1808) has much to offer. The novel fits neatly into that period between Frances Burney’s novels of the late eighteenth century and the historical novels of the Romantic era, and anticipates Bertha Mason in Charlotte Bronte’s Jane Eyre (1847). As Dominique convincingly argues, it extends the traditions introduced by Samuel Richardson in Pamela; Or, Virtue Rewarded (1740). The meticulously annotated primary text and the supplemental material Dominique has selected to situate it within its cultural moment has the potential to fill in gaps in our understanding of literary history, expand our understanding of a specific cultural moment and struggle (namely England’s competing projects of abolition and empire), and provide an entry to heretofore marginalized (if not completely unknown) literary traditions, all the while highlighting previously ignored threads in existing ones.

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Robert Bloomfield: Lyric, Class, and the Romantic Canon, ed. White, Goodridge, and Keegan

Robert Bloomfield: Lyric, Class, and the Romantic Canon, ed. Simon White, John Goodridge, and Bridget Keegan (Lewisburg: Bucknell University Press, 2006). 315pp (ISBN-10: 0838756298).

Reviewed by
Ron Broglio
Arizona State University

Several years ago, Pickering and Chatto published three volumes of collected period poems entitled Eighteenth-Century Laboring-Class Poets, as well as another three volumes under the title Nineteenth-Century Laboring-Class Poets. Through this large project general editor John Goodridge and a list of volume editors have brought to light many lesser known poets, and they have contextualized better known peasant poets such as Stephen Duck, Mary Collier, Robert Burns, Ann Yearsley, Elizabeth Hands, Robert Bloomfield and John Clare. The formidable size of this handsome collection calls for scholarly inquiry into a large number of poets and poems which have seen only marginal attention.

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Matthew Rowlinson, Real Money and Romanticism

Matthew Rowlinson, Real Money and Romanticism (Cambridge: Cambridge University Press, 2010). 266pp. (Hdbk., $85.00; ISBN: 978-0521193795).

Reviewed by
Brett Mobley
Fordham University

The guiding claim of Matthew Rowlinson’s Real Money and Romanticism is that literary historians have overlooked the ways in which “British literature of the late eighteenth and early nineteenth centuries was shaped by changes in the economic structure of the publishing industry and the commodity status of intellectual property” (32). Rowlinson’s objective is to develop a new understanding of the connections between Romantic authors, print culture, and capital as each was changing during this tumultuous period. While much good work has been done on the economics of Romantic literature, Rowlinson’s approach departs from predecessors such as William St. Clair and Lee Erikson. His critical lexicon and methodology are primarily derived from Marx’s Capital (and reactions against Adam Smith’s Wealth of Nations), with informing ideas from Marcel Mauss and Jacques Lacan. The works that receive this theoretically-charged critique include Scott’s Waverly novels (particularly Guy Mannering and The Antiquary), Keats’s “Fall of Hyperion,” and Dickens’s The Old Curiosity Shop. One of these things is not like the other: Rowlinson includes Dickens in his broadened Romanticism as a writer who “acutely experienced” this “period of rapid change in the monetary system, in the British economy at large, and in the publishing trade” (32).

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Karen Fang, Romantic Writing and the Empire of Signs: Periodical Culture and Post-Napoleonic Authorship

Karen Fang, Romantic Writing and the Empire of Signs: Periodical Culture and Post-Napoleonic Authorship (Charlottesville: University of Virginia Press, 2010). 248 pp. (Cloth; ISBN: 978-0-8139-2874-6; $35.00).

Reviewed by
Luke Iantorno
University of North Texas

Karen Fang’s examination of post-Napoleonic periodical culture in Britain focuses on the works of Charles Lamb, James Hogg, Letitia Landon, and Lord Byron, their individual experiences with imperialism, and how they translated those experiences for British periodicals. Periodical culture, according to Fang, was the nexus of empire and capital, consumption and commodification--a privileged formation that brought imperial exoticism to the domestic consumer, in the "visual and textual representation[s] within newspapers and magazines" (2). Jon Klancher's work figures heavily here, especially his sense that "the professionalization of the early-nineteenth-century periodical marketplace" constituted a "fundamentally different cultural economy": as such, Fang follows Klancher in reading the semiotics of the imperial project, an "'empire of signs, a phrase he derives from contemporary Romantic metaphors of the mind” to develop her own examination of the more material, “geographical exoticism” in British periodicals (7).

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