Romantic Circles Reviews

Leah Price, The Anthology and the Rise of the Novel: From Richardson to George Eliot

Leah Price, The Anthology and the Rise of the Novel: From Richardson to George Eliot. Cambridge: Cambridge University Press, 2000.  vii + 224pp.  $55.00 (Hdbk; ISBN: 0-521-78208-2).

Reviewed by
Michael Gamer
University of Pennsylvania

Within a culture of the excerpt, the novel forms a test case. Few genres have been better placed to escape the anthology's sphere of influence. Sheer scale helps define the novel. So do the pace and duration of reading which the scale elicits. But the novel depends just as much on readers' resistance to those demands. Skipping (or anthologizing) and skimming (or abridging) have never been separable from a genre that cracks under its own weight. (5)

Leah Price has written an original and cogent book, one that will invite readers to find pleasure in their own habits of reading and compel literary critics to become more self-conscious about how, when, and why we quote, excerpt, and paraphrase. Reviewing a book whose chapters feature section headings like "The Ethics of the Review" (137) feels somewhat like responding to a dare, and my own opening epigraph (without question) has been selected with more than usual care after reading Price's clever and playful study. As it suggests, part of her aim is to expand our sense of the sheer range of anthologizing acts out there--from "[s]kipping (or anthologizing) and skimming (or abridging)" to extracting, compiling, indexing, and expunging--not to mention connecting these acts of reading to the material texts they produce. The analogies inscribed in such parenthetical shifts as "skimming (or abridging)" are key to the book's daring and pleasures. They also form the keystone of its project of combining studies in book history and narrative technique, and of shifting the focus of both critical approaches to readers. Thus, Price's introduction compares acts of anthologizing to those of literary reviewing, cinematic previewing, and quoting out of context, all of which "depend on a gentleman's agreement to take the parts of a work for the whole" (2).

Jerrold E. Hogle, The Undergrounds of The Phantom of the Opera: Sublimation and the Gothic in Leroux's Novel and Its Progeny

Jerrold E. Hogle, The Undergrounds of The Phantom of the Opera: Sublimation and the Gothic in Leroux's Novel and Its Progeny. New York: Palgrave, 2002. xv + 261pp.  $69.95. (Hdbk; ISBN: 0-312-29346-1).

Reviewed by
Steven Bruhm
Mount St. Vincent University

"What accounts for the continuities and the discontinuities in the history of this shifting but ongoing phenomenon?," Jerrold Hogle asks of The Phantom of the Opera (xi).  "What 'cultural work'--what symbolic shaping of the way we think in the West--does The Phantom of the Opera keep doing for us in its original form and in the wider variations on it?" (xi).  Beginning with these questions, Hogle gives us a subtle, nuanced, and lucid excavation of the social and psychological undergrounds that Leroux's Erik and his "progeny" throughout the twentieth century inhabit.  These undergrounds, Hogle argues, "turn out to be deep-seated anomalies in Western European life--crossings of boundaries between class, racial, gender, and other distinctions--that are quite basic to, but commonly shunted off as 'other' than, the social and individual construction of a rise middle-class 'identity'" (xii).  Put another way, the Phantoms are "sublimations" of cultural anxieties, displaced into a monstrously other figure yet resonant and legible as that which white Western culture needs to solidify its sense of itself as a developed and healthy people.

Susan J. Wolfson, ed., Frankenstein: A Longman Cultural Edition; J. Paul Hunter, ed., Frankenstein: The 1818 Text; & Judith Wilt, ed., Making Humans: Mary Shelley, Frankenstein, H. G. Wells, The Island of Doctor Moreau

Susan J. Wolfson, ed., Mary Wollstonecraft Shelley, Frankenstein: A Longman Cultural Edition. New York: Longman, 2003. 343 pp.   $16.00 (Pbk; ISBN: 0-321-09698-3).
J. Paul Hunter, ed., Mary Wollstonecraft Shelley, Frankenstein: The 1818 Text, Contexts, Nineteenth-Century Responses, Modern Criticism. A Norton Critical Edition.  New York: W. W. Norton: 1996.  336 pp., ISBN 0-393-96458-2, $11.40.
Judith Wilt, ed., Making Humans: Mary Shelley, Frankenstein, H. G. Wells,
The Island of Doctor Moreau. New Riverside Editions. New York: Houghton Mifflin, 2003.  360 pp. $10.76 (Pbk; ISBN: 0-618-08489-4).

Reviewed by
Laura Mandell
Miami University

Three excellent new teaching editions of Mary Shelley's Frankenstein have appeared over the last decade. All three make use of the 1818 text rather than the last, much revised 1831 edition for reasons stated most succinctly by Judith Wilt: "Increasingly [editorial] practice favors the 'first' text, true to its cultural and biographical context, rather than a later, authorized text, in which the writer is often at work 'modernizing' the original child of his or her brain" (13). But in the case of Frankenstein, there is slightly more involved in preferring the 1818 to the 1831 text. Wilt summarizes the reception history of various editions (14), and J. Paul Hunter includes in his edition the text that has had the most impact on our current preference for teaching the 1818 text, Anne K. Mellor's "Choosing a Text of Frankenstein to Teach."1  Mellor argues that "the 1818 edition alone presents a stable and coherent conception of the character of Victor Frankenstein and of Mary Shelley's political and moral ideology" (qtd. in Hunter 37). Significantly, though, Mellor means to open up discussions about comparing various editions rather than to definitively foreclose on them, and her article might provide a useful blueprint for introducing literature students to the biases hidden in editorial choices, invisible to those who simply pick up a text and read it as if it were "Mary Shelley's."

E. J. Clery, Women’s Gothic: From Clara Reeve to Mary Shelley

E. J. Clery, Women's Gothic: From Clara Reeve to Mary Shelley. Devon, U.K.: Northcote House, 2000 viii + 168 pp.  $21.00 (Hdbk; ISBN: 0-7463-0872-8).

Reviewed by
Harriet Kramer Linkin
New Mexico State University, Las Cruces

The explosion of interest in Gothic literature during the past twenty-five years has resulted in a tremendous group of books, especially among scholars working on women's Gothic literature or the female Gothic (notably Bette Roberts's 1980 The Gothic Romance, Julian Fleenor's 1983 collection The Female Gothic, Kate Ferguson Ellis's 1989 The Contested Castle, Eugenia DeLamotte's 1990 Perils of the Night, Michelle Massé's 1992 In the Name of Love, Terry Castle's 1995 The Female Thermometer, Anne Williams's 1995 Art of Darkness, and Diane Hoeveler's 1998 Gothic Feminism). Emma Clery's Women's Gothic makes a rich contribution to the field that is both distinctive and innovative in looking exclusively at women's Gothic literature to argue against the simplicity of a separatist tradition that differentiates the male Gothic from the female Gothic. Rather than read women's Gothic works as "parables of patriarchy involving the heroine's danger from wicked father figures, and her search for the absent mother," the classic approach that positions the "'Female Gothic'" within the "notion of a distinctive women's tradition" (as Ellen Moers usefully defined "Female Gothic" in her 1977 opus Literary Women), Clery productively turns the issue of valuation upside down to ask "what happens if we lay aside our assumptions about women's writing and look again at women's Gothic? What we find there suggests the need for another story: wild passions, the sublime, supernatural phenomena, violent conflict, murder and torture, sexual excess and perversion, outlandish settings, strange minglings of history and fantasy" (2). That is the story Clery seeks to tell in Women's Gothic as she offers lucid, concise, and finely researched overviews of the works of Clara Reeve, Sophia Lee, Ann Radcliffe, Joanna Baillie, Charlotte Dacre, and Mary Shelley for Isobel Armstrong's "Writers and Their Work" series (which currently includes over one hundred brief studies of authors and literary movements).

Jerome J. McGann, Radiant Textuality: Literature after the World Wide Web

Jerome J. McGann, Radiant Textuality: Literature after the World Wide Web. New York: Palgrave, 2001. xv + 272pp.  $39.95 (Hdbk; ISBN: 0-312-29352-6).  $19.95 (Ppbk; ISBN: 1-4039-6436-X, 2004).

Reviewed by
Ron Broglio
Georgia Institute of Technology

Jerome McGann's introduction "Beginning Again: Humanities and Digital Culture, 1993-2000" gives us a glimpse at how far computing in the humanities has come in less than a decade, and it signals possible directions for the future. McGann situates humanities computing at a critical moment:

[W]e stand on the edge of a period that will see the complete editorial transformation of our inherited cultural archive. That event is neither a possibility nor a likelihood; it is a certainty. As it emerges around us, it exposes our need for critical tools of the same material and formal order that can execute our other permanent scholarly function: to imagine what we don't know in a disciplined and deliberate fashion. (18)

The way scholars work with new media has changed drastically over the years. As a collection of McGann's essays during the 1990s, Radiant Textuality bears witness to these changes--from digital editing in the mid-1990s, to pondering the ontology of the text in the late-1990s, and then to critical gaming in the new millennium. As the collection proceeds, chapter by chapter we see McGann's concerns shift, themes emerge, and new possibilities arise alongside the developments in digital technology. Unifying the diverse experiments in Radiant Textuality is McGann's persistence in finding ways that new media can improve the exploration and interpretation of aesthetic works.

Susan Manning, Fragments of Union: Making Connections in Scottish and American Writing

Susan Manning, Fragments of Union: Making Connections in Scottish and American Writing. New York: Palgrave, 2002.  vii + 249 pp. Illus.: 7 halftones.  £55.00/$69.95 (Hdbk; ISBN: 0-333-76025-5).

Reviewed by
Janet Sorensen
Indiana University, Bloomington

Scotland, once relegated to the margins of studies in Romanticism, has reemerged in recent scholarship as a geographical and intellectual site that at once anticipated key Romantic topoi and provided the conceptual basis of much Romantic cultural theory. Susan Manning's contribution to these studies is the most theoretically sophisticated and wide-ranging to date, moving fluidly between cultural politics, post-structuralist and psychoanalytic methodologies and traversing Scottish and American texts produced between the 1707 Act of Union and the American Civil War. At all points hesitant to identify causal relationships between specific political and cultural circumstances and the philosophical thought she outlines, Manning nonetheless makes a convincing argument regarding the significance of the post-Culloden Scottish intellectual milieu to subsequent Romantic motifs of fragmentation, of structural dismemberment, of incomplete memory, of unregistered mourning, and to the unstable narratives of union designed to acknowledge and sometimes overcome these threats to personal and national identity. In her discussion of the Scottish and North American literary negotiations of such fraught narratives, Manning profoundly complicates the very notion of national Romantic traditions. Temporally, she reveals links between Scottish Enlightenment and Romantic thought, particularly through her focus on David Hume and the Common Sense philosophers, such as Thomas Reid, who sought to discredit Hume but unwittingly propelled his views into the future. Spatially, she demonstrates the intricate connections between Scottish and North American writing as she describes how that most American "structure of thinking," e pluribus unum, is "characteristic of the writing of the Scottish Enlightenment" (2).

Dustin Griffin, Patriotism and Poetry in Eighteenth-Century Britain & David Morse, The Age of Virtue: British Culture from the Restoration to Romanticism

Dustin Griffin, Patriotism and Poetry in Eighteenth-Century Britain. Cambridge: Cambridge University Press, 2002. x + 316pp.  Illus.: 7 halftones.  $60.00 (Hdbk; ISBN: 0-521-81118-X).
David Morse, The Age of Virtue: British Culture from the Restoration to Romanticism. New York: Palgrave, 2000.  viii + 330pp.  $69.95 (Hdbk; ISBN: 0-312-22353-6).

Reviewed by
George Justice
University of Missouri-Columbia

Both of these books take seriously affective identifications that are commonly depreciated as "ideology" in much recent critical study. Dustin Griffin's Patriotism and Poetry in Eighteenth-Century Britain examines well-known poets during the century in the context of various understandings of "patriotism"; David Morse's The Age of Virtue surveys a broad swath of writing during the century in relation to "virtue." A strength of both books is the flexibility with which they address their topics. Patriotism and virtue emerge from these studies as crucial ways through which writers understood themselves and their culture. The authors' takes on their subjects result in refreshing works of scholarship (in the case of Griffin's book) and criticism (in the case of Morse's sometimes maddening book). Some readers may rush through the pages of these books looking for a central argument, but the absence of artificially unifying theses emerges, finally, as a strength rather than a weakness.

Samuel Lyndon Gladden, Shelley's Textual Seductions: Plotting Utopia in the Erotic and Political Works

Samuel Lyndon Gladden, Shelley's Textual Seductions: Plotting Utopia in the Erotic and Political Works. Studies in Major Literary Authors Series.  New York: Routledge, 2002. xviii + 351pp. $90.00 (Hdbk; ISBN: 0-415-93702-7).

Reviewed by
John Kandl
Walsh University

Samuel Lyndon Gladden's Shelley's Textual Seductions itself presents a seductively engaging study of the political implications of Shelley's major "erotic" works, including Oedipus Tyrannus, The Cenci, Julian and Maddalo, Epipsychidion, Laon and Cythna, and Prometheus Unbound. Throughout the book, Gladden demonstrates how Shelley's "processes of textual seduction model political strategies for displacing larger oppressive social structures" (xvi ). "Time and again," Gladden states, "Shelley stages the erotic as a device for renegotiating power and privilege, so that every context in which the erotic figures must be understood as a resolutely political one" (xvii). Acknowledging that the erotic has traditionally been associated with the apolitical and private, Gladden draws upon a "range of interpretive strategies" (xv) as well as an impressive range of critical authorities, to reveal the ways in which, for Shelley, the physical (or public, exterior world) and the psychological (or private, interior world) "dissolve into a radical contingency" (xvi). Shelley's dissolution of boundaries between the private and the public, which Gladden playfully and appropriately terms "ooziness," expresses at once the most definitive characteristic of the erotic while exploiting its subversive potential for exposing, and offering alternatives to, oppressive social relations. Gladden contends that Shelley, perhaps to avoid charges of treason, transposed "the language of radical politics into a discourse of eroticism," developing "a parallel language for the production of anti-hegemonic texts [which enabled him] to speak about political engagements even amidst seemingly apolitical retreats to pleasure, love, and aesthetics" (18).

William H. Galperin, The Historical Austen

William H. Galperin, The Historical Austen. Philadelphia: University of Pennsylvania Press, 2002. viii + 286 pp. Illus.: 4 halftones.  $39.95 (Hdbk; ISBN: 0-8122-3687-4).

Reviewed by
Mary A. Favret
Indiana University, Bloomington

In a recent profile in The New Yorker, Slavoj Zízek recalls the failed revolutionary rhetorics of the late '60s, insisting that they offered, at least, a sense of possibility, of alternative futures. Now, with the hegemony of American capitalism, he laments, we imagine no alternatives and have the bleakest sense of possibility. The probable is all too palpable: "[I]t is much easier for us to imagine the end of the world," notes Zízek, "than a small change in the political system." For all the differences between them, Zízek's stance nonetheless approximates that of William Galperin in his important, revisionary study, The Historical Austen. At the turn of the nineteenth century, when Great Britain was consolidating its empire, when the cultural norms of domesticity were pressing more forcibly upon women, when economic and political changes were sculpting a straitened version of the real, Galperin finds Austen simultaneously registering and resisting this reality. Acutely aware of the rise of the realistic novel, "in which she surely knew her own instrumentality," and alert to the "probabilistic" (215) and hegemonic world view it inscribed, Austen chafed, wrestled and devised experiments to distance herself from the probable and make space for the possible. Increasingly in her writing career, Austen broached the possible through a sense of belatedness, or, as Galperin sees it, through nostalgia for "a [lost] interval when other prospects were abroad" (215). In so doing the novelist becomes, in Galperin's hands, more Romantic, more historically-minded and more urgently contemporary than ever before.

Richard Cronin, Romantic Victorians: English Literature, 1824–1840

Richard Cronin, Romantic Victorians: English Literature, 1824-1840. New York: Palgrave, 2002.  vii + 296pp.  $69.95 (Hdbk; ISBN: 0-333-96616-3).

Reviewed by
Cynthia Lawford
Independent Scholar

Though the subtitle of Richard Cronin's latest book is English Literature, 1824-1840, a skim of the table of contents should alert those who hope it will give them a strong sense of the distinctiveness of the period's literature. Of the eighteen names listed under eight chapter headings, Tennyson's name occurs four times, as his work is given detailed treatment in four chapters. Browning, Carlyle, and Mary Shelley each receive discussion in two different chapters, and a decent amount of space is accorded to Coleridge, Shelley, Byron, Barrett Browning, and Macaulay. Add to that lot Caroline Lamb, whose Glenarvon (1816) alone wins her attention, and precious few names are left who have not long been considered as unmistakably Victorian or Romantic, indeed, precious few whose writings have not been considered essential to our understanding of what those two terms mean for English literary history. Those few are Benjamin Disraeli, Edward Bulwer Lytton, Letitia Landon, Felicia Hemans, George Darley, Thomas Lovell Beddoes, John Clare, and Catherine Gore. Among those, Disraeli alone is seen to deserve space in two chapters, as he wrote a novel using Byron and Shelley as characters.