Letters of Laurence Sterne


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The History of Tom Jones


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Laurence Sterne and the Eighteenth-Century Book


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Scrutinising Sterne's fiction through a book history lens, Helen Williams creates novel readings of his work based on meticulous examination of its material and bibliographical conditions. Alongside multiple editions and manuscripts of Sterne's own letters and works, a panorama of interdisciplinary sources are explored, including dance manuals, letter-writing handbooks, newspaper advertisements, medical pamphlets and disposable packaging. For the first time, this wealth of previously overlooked material is critically analysed in relation to the design history of Tristram Shandy, conceptualising the eighteenth-century novel as an artefact that developed in close conjunction with other media. In examining the complex interrelation between a period's literature and the print matter of everyday life, this study sheds new light on Sterne and eighteenth-century literature by re-defining the origins of his work and of the eighteenth-century novel more broadly, whilst introducing readers to diverse print cultural forms and their production histories.







Camp Austen


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"Ted Scheinman spent his childhood eating Yorkshire pudding, singing in an Anglican choir, and watching Laurence Olivier as Mr. Darcy. As the son of a devoted Jane Austen scholar, this seemed normal. Despite his attempts to leave his mother's world behind, he found himself in grad school organizing the first ever University of North Carolina Jane Austen Summer Camp, a weekend-long event that falls somewhere between an academic conference and superfan extravaganza. In Camp Austen, Scheinman tells the story of his indoctrination into this enthusiastic world, delivering a hilarious and poignant survey of one of the most enduring and passionate literary coteries in history. Combining clandestine journalism with frank memoir, and academic savvy with insider knowledge, Camp Austen is perhaps the most comprehensive study of Austen that can be read in a single sitting. Brimming with stockings, culinary etiquette, and scandalous dance partners, this is summer camp as you've never seen it before--back cover.







The Complete Novels and Selected Writings of Amy Levy, 1861-1889


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Amy Levy was a talented Anglo-Jewish writer who committed suicide at the age of 28 in 1889. During her brief career she published essays, short stories, three novels, and three collections of poetry, but none of them is in print today and her works are to be found almost solely in the closed stacks and rare book collections of university libraries. To correct this unavailability and set the stage for a generous selection of her work, Melvyn New introduces Amy Levy as an unmarried Victorian woman and an urban intellectual, disillusioned by the mores of her culture, yet unable to abandon her identification with the English Jews who embodied so much of what she scorned. He reconstructs her world in 1880s England--a time when the president of the British Medical Association warned his colleagues that educated women would become "more or less sexless. . . . [Such women] have highly developed brains but most of them die young"--raising questions that lead to the tortured heart and mind of this "found" writer.




Tristram Shandy and A Sentimental Journey


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Tristram Shandy provoked a literary sensation when it first appeared in a series of installments between 1759 and 1767. The ribald, high-spirited book prompted Diderot to hail Sterne as 'the English Rabelais.' An ingeniously structured novel (about writing a novel) that fascinates like a verbal game of chess, Tristram Shandy is both a joyful celebration of the infinite possibilities of the art of fiction and a wry demonstration of its limitations. Many view this picaresque masterpiece as the precursor of the modern novel. A Sentimental Journey, which came out in 1768, begins as a travelogue. Yet it ends as a treasury of portraits, sketches, and philosophical musings, for as Virginia Woolf observed: 'A Sentimental Journey, for all its levity and wit, is based upon something fundamentally philosophic--the philosophy of pleasure.'