A captivating portrait of the poet and the scientist who shared an enchanted view of nature

Emily Dickinson and Charles Darwin were born at a time when the science of studying the natural world was known as natural philosophy, a pastime for poets, priests, and schoolgirls. The world began to change in the 1830s, while Darwin was exploring the Pacific aboard the Beagle and Dickinson was a student in Amherst, Massachusetts. Poetry and science started to grow apart, and modern thinkers challenged the old orthodoxies, offering thrilling new perspectives that suddenly felt radical--and too dangerous for women.

Natural Magic intertwines the stories of these two luminary nineteenth-century minds whose thought and writings captured the awesome possibilities of the new sciences and at the same time strove to preserve the magic of nature. Just as Darwin's work was informed by his roots in natural philosophy and his belief in the interconnectedness of all life, Dickinson's poetry was shaped by her education in botany, astronomy, and chemistry, and by her fascination with the enchanting possibilities of Darwinian science. Casting their two very different careers in an entirely fresh light, Renée Bergland brings to life a time when ideas about science were rapidly evolving, reshaped by poets, scientists, philosophers, and theologians alike. She paints a colorful portrait of a remarkable century that transformed how we see the natural world.

Illuminating and insightful, Natural Magic explores how Dickinson and Darwin refused to accept the separation of art and science. Today, more than ever, we need to reclaim their shared sense of ecological wonder.

At its simplest, Anna Karenina is a love story. It is a portrait of a beautiful and intelligent woman whose passionate love for a handsome officer sweeps aside all other ties - to her marriage and to the network of relationships and moral values that bind the society around her. The love affair of Anna and Vronsky is played out alongside the developing romance of Kitty and Levin, and in the character of Levin, closely based on Tolstoy himself, the search for happiness takes on a deeper philosophical significance.

One of the greatest novels ever written, Anna Karenina combines penetrating psychological insight with an encyclopedic depiction of Russian life in the 1870s. The novel takes us from high society St Petersburg to the threshing fields on Levin's estate, with unforgettable scenes at a Moscow ballroom, the skating rink, a race course, a railway station. It creates an intricate labyrinth of connections that is profoundly satisfying, and deeply moving.

Rosamund Bartlett's translation conveys Tolstoy's precision of meaning and emotional accuracy in an English version that is highly readable and stylistically faithful. Like her acclaimed biography of Tolstoy, it is vivid, nuanced, and compelling.

Travel writing was the most popular genre of writing in the nineteenth century. Initially published in newspapers and journals as dispatches from the road, these works allowed readers to join in on fabulous adventures by becoming armchair tourists--second-hand voyeurs of the peoples and places the writer visited. In order to take readers along on their journeys, travel writers typically recorded miles covered and dates of travel in a log or diary. They also documented key details of the experience itself, describing the conditions of the road, the people they met, and their accommodations, food, and clothing. The nineteenth century, specifically, offered a form of travel writing that commented on the ruined environment that ran afoul of the century's ethos of progress, with voices such as Henry David Thoreau, John Muir, and John James Audubon exploring a newfound environmental consciousness.

Geographies of Travel is organized geographically by region, with essays examining local journeys in the Northeast, Midwest, Far West, and the South. This regional arrangement allows readers to consider the geographic imagination of each region and the kinds of travel it invited, as well as providing valuable insight on the ways in which Americans reacted to both natural and social regional landscapes. Each region is treated chronologically so as to interrogate not only individual narratives but also the ways that travel, tourism, and modes of transportation evolved over time. The work concludes with an examination of Henry James's The American Scene in a coda that brings together his astute observations of the Northeast and the South at the turn of the century. Occasional interludes point to the ways that travel reverberates in the artistic work of some of the authors, making connections between travel and the imagination.

In eighteenth-century Britain, criminals were routinely whipped, branded, hanged, or transported to America. Only in the last quarter of the century--with the War of American Independence and legal and sociopolitical challenges to capital punishment--did the criminal justice system change, resulting in the reformed prison, or penitentiary, meant to educate, rehabilitate, and spiritualize even hardened felons. This volume is the first to explore the relationship between historical penal reform and Romantic-era literary texts by luminaries such as Godwin, Keats, Byron, and Austen. The works examined here treat incarceration as ambiguous: prison walls oppress and reinforce the arbitrary power of legal structures but can also heighten meditation, intensify the imagination, and awaken the conscience. Jonas Cope skillfully traces the important ideological work these texts attempt: to reconcile a culture devoted to freedom with the birth of the modern prison system that presents punishment as a form of rehabilitation.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

This book argues that early Romantic-Period women novelists used female madness to critique patriarchal structures of control and to revise misogynistic medical and popular sentimental models that blamed inherent female weakness and the aberrant female body for women's mental and emotional afflictions.

In Women at Odds, Riya Das demonstrates the limitations of female solidarity for the New Woman in Victorian society. On the one hand, feminist antagonism disrupts the status quo in unanticipated ways, and it helps open new domestic and professional pathways for women. On the other hand, the urban professional New Woman's rhetoric recycles distinctly sexist, racist, and classist conventions, thereby bringing middle-class Englishwomen dialectically--what Das terms retro-progressively--into the labor pool of the British empire. While foregrounding the figure of the New Woman as a white imperialist reformer, Das illustrates how the New Woman movement detaches itself from the domestic politics of female friendship. In works by George Eliot, George Gissing, Olive Schreiner, Bram Stoker, and others, antagonism and indifference enable the fin de siècle New Woman to transcend traditionally defined roles and fashion social progress for herself at the expense of femininities she excludes as other. By contesting the critical notion of solidarity as the only force that brings Victorian women's narratives to fruition, Women at Odds reveals the troubled but effective role of antagonistic and indifferent reformist politics in loosening rigid social structures for privileged populations.

American author Willa Cather was born and spent her first nine years in the Shenandoah Valley of Virginia. Here, as an observant daughter of a privileged white family, Cather first encountered differences and dislocations that remained lively, productive, and sometimes deeply troubling sites of tension and energy throughout her writing life.

The essays in Cather Studies, Volume 14 seek to unsettle prevailing assumptions about Cather's work as she moved from Virginia to Nebraska to Pittsburgh to New York City to New Mexico and farther west, and to Grand Manan Island. The essays range from examinations of how race shapes and misshapes Cather's final novel, Sapphira and the Slave Girl, to challenges to criticisms of her 1935 novel, Lucy Gayheart. Contributors also frame fresh discussions of Cather's literary influences and cultural engagements in the first decade of her career as a novelist through the lens of sex and gender and examine Cather's engagements with region as a geopolitical, sociolinguistic, and literary site. Together, the essays offer compelling ways of seeing and situating Cather's texts--both unsettling and advancing Cather scholarship.

Marilee Lindemann is an associate professor of English and executive director of College Park Scholars at the University of Maryland. She is the author of Willa Cather: Queering America and editor of The Cambridge Companion to Willa Cather and editions of Alexander's Bridge and O Pioneers! Ann Romines is professor emerita of English at George Washington University. She is the author of The Home Plot: Women, Writing, and Domestic Ritual and many essays on Cather. Romines is also the editor of Willa Cather's Southern Connections: New Essays on Cather and the South and At Willa Cather's Tables and the historical editor of the Willa Cather Scholarly Edition of Sapphira and the Slave Girl.

In eighteenth-century Britain, criminals were routinely whipped, branded, hanged, or transported to America. Only in the last quarter of the century--with the War of American Independence and legal and sociopolitical challenges to capital punishment--did the criminal justice system change, resulting in the reformed prison, or penitentiary, meant to educate, rehabilitate, and spiritualize even hardened felons. This volume is the first to explore the relationship between historical penal reform and Romantic-era literary texts by luminaries such as Godwin, Keats, Byron, and Austen. The works examined here treat incarceration as ambiguous: prison walls oppress and reinforce the arbitrary power of legal structures but can also heighten meditation, intensify the imagination, and awaken the conscience. Jonas Cope skillfully traces the important ideological work these texts attempt: to reconcile a culture devoted to freedom with the birth of the modern prison system that presents punishment as a form of rehabilitation.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

One of Europe's greatest living philosophers, Giorgio Agamben, analyzes the life and work of one of Europe's greatest poets, Friedrich Hölderlin.

What does it mean to inhabit a place or a self? What is a habit? And, for human beings, doesn't living mean--first and foremost--inhabiting? Pairing a detailed chronology of German poet Friedrich Hölderlin's years of purported madness with a new examination of texts often considered unreadable, Giorgio Agamben's new book aims to describe and comprehend a life that the poet himself called habitual and inhabited.

Hölderlin's life was split neatly in two: his first 36 years, from 1770 to 1806; and the 36 years from 1807 to 1843, which he spent as a madman holed up in the home of Ernst Zimmer, a carpenter. The poet lived the first half of his existence out and about in the broader world, relatively engaged with current events, only to then spend the second half entirely cut off from the outside world. Despite occasional visitors, it was as if a wall separated him from all external events and relationships. For reasons that may well eventually become clear, Hölderlin chose to expunge all character--historical, social, or otherwise--from the actions and gestures of his daily life. According to his earliest biographer, he often stubbornly repeated, nothing happens to me. Such a life can only be the subject of a chronology--not a biography, much less a clinical or psychological analysis. Nevertheless, this book suggests that this is precisely how Hölderlin offers humanity an entirely other notion of what it means to live. Although we have yet to grasp the political significance of his unprecedented way of life, it now clearly speaks directly to our own.

The Inwardness of Things considers Joseph Conrad as a modern voice in an ancient and enduring quarrel between the poets and the philosophers. Beginning from the polemical poetics of his 1897 preface, Debra Romanick Baldwin focuses on Conrad's distinctively poetic inward approach to truth - an inwardness that is found in lived experience, in language, and in the world beyond the individual.

The book traces Conrad's poetic voice from the rhetoric of his private letters to the narrative techniques of his fiction and finally to his explicit engagement with abstract approaches to truth. Baldwin applies narrative and rhetorical analysis to Conrad's private correspondence, showing how he encouraged fellow writers - John Galsworthy, F. Warrington Dawson, R.B. Cunninghame Graham, Ted Sanderson, and Edward Noble - to engage with the inwardness of their own experience. The book explores how Conrad crafted moments of narrative solidarity in his fictional narratives to evoke the experience of the inwardness of another, while also considering his explicit polemics against abstract approaches to truth-seeking.

Mindful of the colonial, late Victorian, Polish Romantic, and cosmopolitan contexts in which Conrad wrote, The Inwardness of Things nevertheless situates him in a broader human conversation that he himself invited and argues for the enduring value of his art.

A darkly alluring plant family and the arrival of modernity

Victorian Nightshades tells the story of how one plant family--notorious for centuries in England because of its frequently psychoactive and poisonous properties--rose to social and economic prevalence during the nineteenth century. Beginning with bittersweet and belladonna, the Old World species associated with evil, witchcraft, and dangerous women in an era when traditional botanical beliefs not only assigned morality to plants but also gendered them, Campbell then moves to the ubiquitous potato and tobacco before concluding with four of the Solanaceae that achieved the widest national favor by the end of the century: the ornamental petunia and the edible pepper, eggplant, and tomato.

The story of the nightshades exposes the conflicts between science and popular sentiment and between knowledge and received opinion that defined the nineteenth century. Campbell compellingly details how advances in medical and botanical knowledge, evolutionary theory, and the vagaries of human desire transformed the Solanaceae from a plant family plagued by fear and hostility in the British imagination to one of cultural favor and celebration by the turn of the century--encapsulating the Victorian era's course to modernity.

What happens to the experience of community when the grounds of communal life collapse? The Romantic period's upheaval cast both traditional communal organizations of life and outgrowths of the new revolutionary age into crisis. In this context, Joseph Albernaz argues that Romantic writers articulate a vital conception of groundless community, while following this idea through its aesthetic, ecological, political, and philosophical registers into the present.

Amidst the violent expropriation of the commons, Romantic writers including the Wordsworths, Clare, Hölderlin, and the revolutionary abolitionist Robert Wedderburn reimagined the forms of their own lives through literature to conceive community as groundless, a disposition toward radically open forms of sharing-including with nonhuman beings-without recourse to any collective identity. Both a poetics and ethics, groundless community names an everyday sociality that surges beneath and against the enclosures of property and identity, binding us to the movements of the earth.

Unearthing Romanticism's intersections with the history of communism and the general strike, Albernaz also demonstrates how Romantic literature's communal imagination reverberates through later theories of community in Bataille, Derrida, Nancy, Moten, and others. With sharp close readings, new historical constellations, and innovative theoretical paradigms, Common Measures recasts the relationship of the Romantic period to the basic terms of modernity.

Trollope singled out Orley Farm for its successful combination of realistic and sensational effects which he felt to be the highest achievement of the novelist. It was greatly admired by his contemporaries, including George Eliot and G. H. Lewes. The novel centers on a case of forgery and the anguish, guilt, and pathos of the central character, Lady Mason. Youthful marriage choices, middle-aged martial crisis, and the moving love and loss of an elderly man revolve around the legal action and the complex portrayal of Lady Mason, who is both sympathetic and wily. The novel proposes a standard of morality higher than that embodied in the practice of an English court of law.

With its concern for social issues and its extensive coverage of middle-class and landed life, Orley Farm is a novel that demands attention in the rich field of nineteenth-century fiction.

A darkly alluring plant family and the arrival of modernity

Victorian Nightshades tells the story of how one plant family--notorious for centuries in England because of its frequently psychoactive and poisonous properties--rose to social and economic prevalence during the nineteenth century. Beginning with bittersweet and belladonna, the Old World species associated with evil, witchcraft, and dangerous women in an era when traditional botanical beliefs not only assigned morality to plants but also gendered them, Campbell then moves to the ubiquitous potato and tobacco before concluding with four of the Solanaceae that achieved the widest national favor by the end of the century: the ornamental petunia and the edible pepper, eggplant, and tomato.

The story of the nightshades exposes the conflicts between science and popular sentiment and between knowledge and received opinion that defined the nineteenth century. Campbell compellingly details how advances in medical and botanical knowledge, evolutionary theory, and the vagaries of human desire transformed the Solanaceae from a plant family plagued by fear and hostility in the British imagination to one of cultural favor and celebration by the turn of the century--encapsulating the Victorian era's course to modernity.

Tom Shippey's new edition of H. Rider Haggard's saga-inspired Eric Brighteyes includes:

- An introduction to the work's literary and historical context

- Extensive annotations on its sources and influences

- Discussions of medieval Scandinavia and J.R.R. Tolkien

- 17 full-page illustrations by Lancelot Speed

Eric Brighteyes, published in 1891, represented a new departure for Rider Haggard, best-known at the time for his novels set in nineteenth-century Africa, such as King Solomon's Mines (1885) and She (1887). Set for the most part in tenth-century Iceland, it was praised by Tolkien for its heroic quality, and remains the best example of what was once a large and popular genre, the Victorian Viking novel. Unlike other works of this kind, however, though not unusually for Haggard, it is driven by female characters, and combines scholarly authenticity with Haggard's own unique flair for the strange and supernatural. In this new edition, Tom Shippey supplies Eric Brighteyes with extensive explanatory notes and an introduction discussing Tolkien's admiration for Haggard and the Victorian fascination with Vikings.

Dickens and Switzerland brings to light the many surprising connections between the country, which Dickens visited on several occasions, and the author's life and work. The close links between Dickens's biography, his writing and Switzerland have never before been examined so thoroughly. Rather than offering a mere chronology of travel, this volume explores Dickens's deep personal investment in the country and its people, which manifests itself in numerous and often the most unexpected places in his fictional and personal texts. It looks both at and beyond the period of the author's journeys to Switzerland during the 1840s and early 50s and considers both earlier and later references as well. The tome renders visible how Dickens's experience of Switzerland was more than merely episodic and is deeply connected to the rest of his life and literary work. As a significant and integral part of his imagination and his identity, Switzerland deserves a prominent place in Dickensian scholarship.

Focusing on the difference between lower-level perceptual processes in the neural unconscious and higher-order thought in the frontal lobes, this open access book shows how Herman Melville sought to reclaim the fluid world of the sensory, with its precategorical and radically egalitarian impulses. By studying this previously underexamined facet of Melville's work, this book offers an essential corrective to the pathology paradigm, which demonizes departures from a neurological norm and feasts on pejorative categorization.

The neurodiversity movement arose precisely as a response to how so-called mental disorders have been described, understood, and treated. Unlike standard neuroscientific or psychiatric investigation, Melville's work doesn't strive to explain typical functioning through the negative and, in the process, to shore up a regime of normalcy. To the contrary, it exploits the lack of congealed diagnoses in the 19th Century, much more neutrally asking the question: what can an atypical body-mind do?

Steeped in current studies about autism, Alzheimer's, Capgras and Fregoli syndromes, Mirror-touch synesthesia, phantom limb syndrome, stuttering, and tinnitus, and fully conversant with Melville scholarship, Phenomenological Primitives demonstrates what the humanities can contribute to the sciences and what the sciences can contribute to the humanities.

The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded in part by Grinnell College.

Every literary household in nineteenth-century Britain had a commonplace book, scrapbook, or album. Coleridge called his collection Fly-Catchers, while George Eliot referred to one of her commonplace books as a Quarry, and Michael Faraday kept quotations in his Philosophical Miscellany. Nevertheless, the nineteenth-century commonplace book, along with associated traditions like the scrapbook and album, remain under-studied. This book tells the story of how technological and social changes altered methods for gathering, storing, and organizing information in nineteenth-century Britain. As the commonplace book moved out of the schoolroom and into the home, it took on elements of the friendship album. At the same time, the explosion of print allowed readers to cheaply cut-and-paste extractions rather than copying out quotations by hand. Built on the evidence of over 300 manuscripts, this volume unearths the composition practices of well-known writers such as Samuel Taylor Coleridge, Sir Walter Scott, George Eliot, and Alfred Lord Tennyson, and their less well-known contemporaries. Divided into two sections, the first half of the book contends that methods for organizing knowledge developed in line with the period's dominant epistemic frameworks, while the second half argues that commonplace books helped Romantics and Victorians organize people.

Chapters focus on prominent organizational methods in nineteenth-century commonplacing, often attached to an associated epistemic virtue: diaristic forms and the imagination (Chapter Two); real time entries signalling objectivity (Chapter Three); antiquarian remnants, serving as empirical evidence for historical arguments (Chapter Four); communally produced commonplace books that attest to socially constructed knowledge (Chapter Five); and blank spaces in commonplace books of mourning (Chapter Six). Richly illustrated, this book brings an archive of commonplace books, scrapbooks, and albums to the reader.