September 2002

Kenneth Daley, The Rescue of Romanticism: Walter Pater and John Ruskin

Kenneth Daley, The Rescue of Romanticism: Walter Pater and John Ruskin. Athens: Ohio University Press, 2001. ix + 169pp. Illus. $36.95 (Hdbk; ISBN: 0-8214-1382-1).

Reviewed by
Ernest Fontana
Xavier University

Given their obvious affinity of interests and sensibility and their importance in the Bloomian canon as strong critics, one would have expected more studies than currently exist of the interrelationship of Ruskin and Pater. One looks in vain for a study of them that is comparable to Delaura's study of Newman's influence on Arnold and Pater. Daley's study of Pater's possible revision of Ruskin's critique of an emerging concept of Romanticism attempts to fulfill this need. In his book, Daley focuses on what he feels are important topics shared by both writers: Wordsworth, the Italian Renaissance, and Michelangelo and Leonardo da Vinci. The last chapter deals with the possible relation between Ruskin's Slade lectures, given at Oxford in the 1870's, and Pater's contemporary critical project.

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Michael Gamer, Romanticism and the Gothic: Genre, Reception, and Canon Formation

Michael Gamer, Romanticism and the Gothic: Genre, Reception, and Canon Formation. Cambridge Studies in Romanticism, no. 40. Cambridge University Press, 2000. xii + 255pp. £37.50/$48.00 (Hdbk; ISBN: 0-521-77328-8).

Reviewed by
Anne Williams
University of Georgia

Ever since professional criticism of the Gothic emerged in the early decades of the twentieth century, this literature's relationship to high Romanticism has been a vexed question. Although early critics such as Eino Railo (The Haunted Castle, 1927) took it for granted that since Gothic motifs and archetypes appeared in "Romantic" poets such as Coleridge and Keats, the two modes were fundamentally akin. It was the newly professional critics of the equally emergent "Romanticism," however, who established, usually by simply ignoring their favored poets' use of Gothic conventions, that Coleridge's "Ancient Mariner" had nothing in common with Lewis's Wandering Jew, for instance, or that Keats's Gothic edifice in "The Eve of St. Agnes" was no Udolpho (though Keats himself had commented on the "fine Mother Radcliff [sic]" names he had chosen for his characters). And as feminist critics have more recently demonstrated, another latent motive for marginalizing Gothic works lay in their associations with women both as writers and as readers.

Michael Gamer's fine study directly confronts this critical amnesia or repression. In exploring the historical roots of the literary phenomenon we now call "Gothic," he exposes not only the ways in which this concept emerged around the turn of the nineteenth century in Britain, but he also argues provocatively that "the reception of gothic writing . . . played a fundamental role in shaping many of the ideological assumptions about high culture that we have come to associate with 'romanticism'" (2), and that the "Gothic's reception tells us much about how readers . . . organized and attempted to make sense of gothic as a 'new' kind of writing" (3).

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Richard Gravil, Romantic Dialogues: Anglo-American Continuities, 1776–1862

Richard Gravil, Romantic Dialogues: Anglo-American Continuities, 1776-1862. New York: Palgrave/St. Martin's Press, 2000. xx + 250pp. $55.00 (Hdbk; ISBN: 0-312-22716-7).

Reviewed by
Kenneth M. Price
University of Nebraska-Lincoln

Richard Gravil studies English and American literature from the Revolutionary War until about the midpoint of the American Civil War. Gravil's thorough-going knowledge of connections between British and American texts enables him to create illuminating juxtapositions and to make provocative assertions.

This book displays the strengths and weaknesses of its biases. More interested in Romantic writers than Victorians, Gravil offers an unreconstructed view of the Romantics in his emphasis on a select few writers--Blake, Wordsworth, Coleridge, Shelley, Keats--and he has little patience with those who would look beyond these figures. His study of literary influences is paradoxically broad and narrow at once. Expansive in its discussion of many writers on both sides of the Atlantic, Romantic Dialogues is also constricted in its lack of theoretical interests and its scant concern with history and politics. Gravil dismisses canonical revision and other current critical trends; for example, he belittles recent "definitions of context that take literary currencies to be of less account than those of merchant banking" (xii). He offers an insight into his overall view of literature when he describes a poem by Emily Dickinson as a "babel of 'quotation'" (199). For Gravil, literature grows out of literature: everyone quotes, echoes, alludes to, or rewrites someone else.

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Laura Mandell, Misogynous Economies: The Business of Literature in Eighteenth-Century Britain

Laura Mandell, Misogynous Economies: The Business of Literature in Eighteenth-Century Britain. Lexington: University Press of Kentucky, 1999. x + 228pp.  Illus.: 4 halftones.  $42.00 (Hdbk; ISBN: 0-8131-2116-7).

Reviewed by
Miranda J. Burgess
University of British Columbia

The first word in the title of this book is tonally at odds with the second, and with the argument of the book as a whole. "Misogyny" sounds like a topic for an older or more naïve feminism than Mandell's fresh and sophisticated version, and its transhistorical ring belies the specificity Mandell brings to her cultural study of eighteenth-century economic history. But these impressions are misleading, as Mandell makes clear in framing her book. She begins by arguing that "[m]isogyny in representations is not about women but rather about society" (1). She ends with the assertion that the "[d]isgust allegedly aroused by women's bodies comes in fact from the stench of social inequity" (158). Moreover, she insists that "misogyny is not necessary" either to literature or to culture (158). Criticism that is to be effective in the twenty-first century must be "willing to see gender as a figure, not a thing" (157).

Yet according to Mandell's analysis, the figure of gender and an accompanying misogyny are everywhere in eighteenth-century writing, from the individual poems, plays and economic texts discussed in the first four chapters to the anthologies and critical writings that processed such works later in the century, addressed in chapters five and six. The key to the simultaneous ubiquity and unnecessariness of this seemingly essential discourse is the way in which eighteenth-century poets and Romantic anthologists and critics used misogynist rhetorics and practices to manage the pleasures of their readers. It is eighteenth-century readers and their pleasures, and the social anxiety these pleasures produce in contemporaries, that are the major topic of Mandell's book.

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James C. McKusick, Green Writing: Romanticism and Ecology

James C. McKusick, Green Writing: Romanticism and Ecology. New York: Palgrave/St. Martin's Press, 2000. x + 261pp. $49.95 (Hdbk; ISBN: 0-312-23448-1).

Reviewed by
Kevin Hutchings
University of Northern British Columbia

James C. McKusick is one of the pioneers of Green Romanticism, an emerging critical movement investigating Romantic literature in relation to the histories of ecological thought and environmental activism. His most recent book, entitled Green Writing: Romanticism and Ecology, is among the important contributions McKusick has made to literary scholarship as an author of ecocritical articles, a guest editor of special periodical issues on Romanticism and Ecology, and co-editor of a significant new anthology of nature writing. What sets McKusick's work apart from that of Jonathan Bate and Karl Kroeber, the earliest and most widely cited advocates of English Green Romanticism, is its avoidance of an overtly polemical basis for the establishment of ecological literary criticism. This difference in critical approach is a crucial one, for Bate's and Kroeber's heated dismissals of New Historicist and poststructuralist critical perspectives have arguably done as much to impede the cause of Romantic ecocriticism as to encourage its advancement. By rejecting the ground-breaking insights of Alan Liu, Jerome McGann, Marjorie Levinson, Marilyn Butler, and other socially minded Romantic scholars, Bate and Kroeber have not only helped to consolidate the view that contemporary literary theory and ecocriticism are dichotomously opposed and irreconcilable; whether deservedly or not, they have helped to perpetuate the stereotype that environmental studies scholars are reactionary anti-intellectuals whose work is idealistically naive and dangerously misanthropic (because somehow disengaged from fundamental issues of social justice). In an era wherein the editorial board of a mainstream journal no less important than PMLA has by its own admission unfairly characterized environmental criticism as critically "soft" "hug-the-tree stuff," Green Romanticism needs more advocates like McKusick, whose arguments are persuasive without being needlessly polemical, succeeding not by virtue of a negatively reasoned attack upon the established views of others, but on the solid constructive basis of their own intellectual rigor and critical merit.

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Martin Priestman, Romantic Atheism: Poetry and Freethought, 1780–1830

Martin Priestman, Romantic Atheism: Poetry and Freethought, 1780-1830. Cambridge Studies in Romanticism, no. 37. Cambridge: Cambridge University Press, 1999. xiii + 305pp. Illus.: 7 halftones. $59.95 (Hdbk; ISBN: 0-521-62124-0).

Reviewed by
Mark S. Lussier
Arizona State University

Given the pronounced tendency in Romantic Studies to ground critical efforts historically and to re-examine past assumptions from that historical prospect, a book exploring the full range of "these [Romantic ] poets" in their "infidel phase" (6) was somewhat inevitable. And while Martin Priestman's Romantic Atheism: Poetry and Freethought, 1780-1830 traverses much familiar territory, the book steadfastly realizes its aim "to show how the possibility of being an atheist impacted on a wide range of poets and other writers" (257). Thus, while one can certainly agree with Priestman's initial self-assessment that "the core idea of this book is simple" (1), such modest, self-effacing critical humility, although rare and welcome in any scholarly investigation, hardly does justice to the motives for and results of this detailed re-assessment of one of the "givens" within Romantic thought. Taking the last first, this book strives in every possible way to provide its readers aids for reflection, including the quite useful "Glossary of Theological and Other Terms" (whose entries ranges from "alchemy" to "Zoroastrianism" [258-62]) with which it concludes. Such glossing is necessary to do justice to the spectrum of thinking and writing Priestman engages, and this range is evoked near the conclusion to the work's "Introduction," where the author carefully defines the terms of his engagement. Upon completing this satisfying assessment and re-examination, Priestman amply proves the case that the issues analyzed "touched everybody" (10).

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