TY - JOUR
AU - Baker,, William
AB - Abstract This chapter has five sections: 1: Periodicals; 2. Editions; 3. Bibliography and Associated Books and Articles; 4. Histories and Companions; 5. Shakespeare, History of Libraries, Collections, and Miscellaneous including Reference Materials. These sections are not inviolable. With some exceptions this review of the year’s work published in 2017 in the areas of bibliography, textual criticism, and reference materials is alphabetically arranged. Within the alphabetical arrangement by author there are some exceptions where publications are grouped under the respective authors rather than under editors of, for instance, the correspondence. There is also included in this chapter work that has been missed in some of the other chapters in this volume. Readers should be aware that coverage is largely limited to those items that have been received by the contributor, who would like to thank James E. May, James Fergusson, Patrick Scott, and Jan Webster for their assistance. 1. Periodicals The spring 2017 issue of The Book Collector is devoted to ‘Ian Fleming & Book Collecting’. It opens with James Fleming’s reflections on ‘My Uncle Ian’ (BC 66:i[2017] 11–14) followed by James Fergusson’s editorial ‘News & Comment’ (BC 66:i[2017] 15–32). Ian Fleming’s universe is entered into with Fergus Fleming’s illustrated ‘Ian Fleming and The Book Collector’ (BC 66:i[2017] 35–67), prefaced by a Douglas Glass photograph of ‘John Hayward in 1954’ and the citation ‘ “John is The Book Collector,” wrote Ian Fleming to John Carter three years later, “and without him it would perish” ’ (p. 34). A reprint follows ‘From the Archive I Spring 1965: P.H. Muir, “Ian Fleming: A Personal Memoir” ’ (BC 66:i[2017] 69). James Fergusson contributes ‘The Queen Anne Press. A Checklist 1952–5’ (BC 66:i[2017] 71–8). Fergusson writes that ‘The Queen Anne Press imprint was created for [BC] when Book Handbook … was relaunched under its new title [The Book Collector, incorporating Book Handbook] in 1952’ (p. 71). ‘From the Archive 2 Summer 1975: News & Comment’ (BC 66:i[2017] 79) consists of a recollection of Percy Muir concerning the eminent antiquarian book dealer, bibliographer, and author John Carter. James Fergusson's ‘The Death of “the Doctor”: Ian Fleming Intervenes’ (BC66:i[2017] 81–91) –an obituary account in BC in the autumn issue of 1953 of the career of A.S.W. Rosenbach, the great American book dealer, who died on 1 July1952 – is not confined to the story of Charles Geoffrey Maurice des Graz, who was chairman of Sotheby's from1949 to 1953. Fergusson writes that ‘Charles des Graz turns out … to have been a key figure in intelligence gathering and counter-espionage in both world wars’ (p. 91). ‘From the Archive 3’ is from ‘Autumn 2002: Christopher Dobson, “Fifty Years On” ’ (BC 66:i[2017] 93): Dobson ‘Librarian of the House of Lords, 1956–77, died in 2005, aged 89’. Joel Silver, the director of the Lilly Library Indiana University where Ian Fleming’s collection is housed today, in a well-illustrated article writes on ‘Books That Had Started Something’ (BC 66:i[2017] 95–129). ‘From the Archive 4’ is from ‘Autumn 1957: David A. Randall[’s] “Josiah Kirby Lilly: Contemporary Collectors XIV” ’. Randall became the Lilly Librarian: ‘fourteen years Ian Fleming’s senior, Josiah K. Lilly Jr survived him by twenty months. A customer both of Elkin Mathews (Percy Muir) and Scribner’s (sometime John Carter), in 1956 he gave his “superb library, one of the greatest ever assembled by a private collector”, to Indiana University’ (p. 131). Nicolas Barker writes on the background to ‘Printing and the Mind of Man: A Magnificent Affair’ (BC 66:i[2017] 133–5), the exhibition of books held in London between July 16–27, 1963, and its accompanying catalogue of the same name: ‘A display of printing mechanisms and printed material to illustrate the history of western civilization and the means of literary multiplication since the fifteenth century’ (p. 134). This is followed by ‘From the Archive 5 Spring 1967: P.H. Muir “Printing and the Mind of Man: The Inside Story” ’ (BC 66:i[2017] 137–8). Nicolas Barker writes on ‘Percy Muir: Ian Fleming’s Bookseller’ (BC 66:i[2017] 141–53), accompanied by Ernest Williams’s photograph of ‘Percy Muir in the 1950s: “one of the foremost bibliophiles in England”, said Ian Fleming’ (p. 140). ‘From the Archive 6’ is from ‘Winter 1965: P.H. Muir, “Some Memories of John Haywood” ’ (BC 66:i[2017] 155). John Carter introduced Muir to Ian Fleming, at Fleming’s request, in 1939, a month before the outbreak of war’ (BC 66:i[2017] 156). Howard Coster’s photograph of ‘Robert Harling in 1945’ prefaces A.S.G. Edwards’s ‘Friendship and Fiction: Ian Fleming and Robert Harling [1910–2008]’ (BC 66:i[2017] 157–67), an account of ‘the close friendship’ between the two, whose ‘lives became closely entwined during the Second World War when they were both in Naval Intelligence and then at the Sunday Times, where they both worked’ (p. 157). John Cork writes on ‘James Bond Invades America: A Tale of Three Publishers’ (BC 66:i[2017] 169–81), the three publishers being Viking, the New America Library, and Macmillan. Jon Gilbert’s ‘Collecting Ian Fleming: The Making of a Bibliography’ (BC 66:i[2017] 183–8) contains the reflections of the compiler of Ian Fleming: Bibliography published by the Queen Anne Press in 2012. Accompanied by a colour illustration of the dust-jacket, Mirjam M. Foot’s article describes the ‘Dust-Jacket by Richard Chopping for Ian Fleming’s You Only Live Twice, [Jonathan Cape] 1964 Twentieth-Century Dust-Jackets I’ (BC 66:i[2017] 190–4). This is followed by ‘Two Bond Collectors in Conversation with Sheila Markham’. The first is ‘Michael L. Van Blaricum: Contemporary Collectors LXVI’ (BC 66:i[2017] 197–201), accompanied by a colour illustration of ‘Michael Van Blaricum at the “Bond in Motion” exhibition, 2016, with the Mercury Cougar XR-7 from the 1969 film of On Her Majesty’s Secret Service’ (p. 196). The other collector in conversation with Sheila Markham is ‘Jeremy Miles: Contemporary Collectors LXVII’ (BC 66:i[2017 203–7), accompanied by a colour illustration of him with the caption ‘Jeremy Miles, “I set myself two goals: to own an Aston Martin, Bond’s car, and a complete set of first editions of Bond novels by my fiftieth birthday” ’ (p. 202). James Fergusson provides the fascinating ‘The Bond Market: An 007 Price Index’ (BC 66:i[2017] 209–14): ‘an Index of prices realized by first editions of the James Bond novels and short stories at auction (hammer prices, auctioneers’ premium not included). It is not intended to be complete, but indicative.’ To take but one instance, in 1966 Casino Royale—first published in 1953—with a dust-wrapper inscribed to John Hayward, was bought at Sotheby’s, London, by G.F. Sims for £60. In 2016 an ‘advance/review copy, inscribed to Ralph Arnold’ realized £32,000 at the same auction house (BC 66:i[2017] 210–9): unfortunately Fergusson doesn’t include a guide to inflation between 1966 and 2016! Fergusson’s ‘Price Index’ is followed by details of ‘The Twenty-Seventh Letter’ (BC 66:i[2017] 215–16), which opens with the explanation: ‘In 1947, while assisting his friend Robert Harling at the typographical magazine Alphabet and Image, Ian Fleming conceived the idea of a competition for the best interpretation of a twenty-seventh letter of the alphabet. Entries would be judged by him alone and the winner would receive a book token to the princely sum of five guineas … Seventy years later The Book Collector, in the person of Ian’s nephews James and Fergus Fleming, has decided to resurrect the competition’ (p. 215). Regular Book Collector features in this spring 2017 issue include details of recent ‘Sales’ (BC 66:i[2017] 219–32), recent ‘Catalogues’ (BC 66:i[2017] 235–46), and ‘Exhibitions’ (BC 66:i[2017] 249–54). ‘Obituaries’ are accompanied by photographs of many of the subjects. Nicolas Barker writes on ‘Bernard M Rosenthal’ (1920–2017) (BC 66:i[2017] 255–9), the distinguished antiquarian bookseller. James Fergusson writes on ‘David J. Holmes’ (1945–2016) (BC 66:i[2017] 259–64), whose catalogues focused on nineteenth- and twentieth-century Anglo-American literary manuscripts. In a concluding note David J Holmes’s friend Mark Samuels Lasner writes, ‘David Holmes was one of the great booksellers and autographed dealers of his time—and, beyond that, a lovely person. His death has saddened me greatly’ (p. 264). Another bookseller/dealer, ‘Martin Stone’ (1946–2016), is the subject of an obituary by John Hart (BC 66:i[2017] 264–7). Stephen Roe writes on ‘Sir Ralph Kohn’ (1927–2016) (BC 66:i[2017] 268–70), pharmacologist, collector, philanthropist, and formerly Master of Peterhouse, Cambridge. Roe writes that ‘Kohn’s select group of manuscripts, editions and iconography, relating mostly to J.S. Bach, is extremely fine’ (p. 269). John Saumarez Smith writes on the very ‘knowledgeable collector with a range that spread from early Celtic texts and manuscripts to the papers of twentieth-century writers’—'Nicholas B. Scheetz’ (1952–2016) (BC 66:i[2017] 270–1). This fascinating spring 2017 issue of The Book Collector concludes with recent books reviewed by Nicolas Barker and Roger Gaskell (BC 66:i[2017] 275–7). The summer 2017 issue of The Book Collector opens with the editor James Fergusson’s ‘The Book Fancier’ (BC 66:ii[2017] 297–302). Fergusson begins by lamenting the absence of Percy Fitzgerald, who died aged 96 in 1925 and authored ‘more than 200 books’, including The Book Fancier [1886], ‘an accessible collection of essays devoted to book collecting’, ‘but still finds no place in the ODNB’. Fergusson observes that ‘one hundred and thirty years on, the publishing of dictionaries on the subject of books and book collecting continues unabated’. He then considers Sidney E. Berger’s The Dictionary of the Book: A Glossary for Book Collectors, Booksellers, Librarians, and Others (see YWES 97[2016]) with the latest incarnation of John Carter’s ABC for Book Collectors (see YWES 97[2016]) which Berger’s volume ‘designedly, competes with, or sets out to replace, John Carter’s [which was] first published in 1952’. Judiciously comparing the two, Fergusson finds Berger’s to be “less a dictionary … than a discursive encyclopedia’, that in places is ‘curiously old-fashioned’; this ‘is compounded, for an English reader, by hints of Americo-centrism’. On the other hand Carter’s work, now co-edited by Nicolas Barker and Simran Thadan ‘in the first illustrated edition (the illustrations select but welcome, in colour, against Berger’s black-and-white) … has become a bit glossy in consequence, but remains portable, dippable, and quotably authoritative’ (BC 66:ii[2017] 299–302). The regular and unsigned informative feature ‘News & Comment’ (BC 66:ii[2017] 305–19) has a penultimate paragraph on the closure after seventy-eight years of Maggs Brothers at 50 Berkeley Square and their move to 48 Bedford Square, London EC1B 3DR (p. 319). Claire Reed’s ‘The Library at Osterley Park: National Trust Libraries 8’ (BC 66:ii[2017] 320–46) is accompanied by three colour full-page illustrations: ‘ “Palace of palaces”: Osterley Park House, Isleworth, the East Front’ (p. 330); ‘The 1771 printed catalogue of the library, with later MS additions’ (p. 337); ‘The Library at Osterley Park with the Athenaeum books in place’ (p. 343). Reed observes that ‘when the National Trust took over from the [Victoria and Albert Museum] in 1990 almost 1500 [items] were borrowed from the Athenaeum’ Club (p. 345). In his ‘Night Manager at Quill & Bush: The Making of a Book Collector’, (BC 66:ii[2017] 348–61) Michael Dirda, ‘a Pulitzer Prize-winning book columnist for The Washington Post’ (p. 359)—with a colour full-page photograph of him with a backdrop of volumes piled behind him (p. 348)—writes that the ‘truth is, I simply like being surrounded by books. They give me a sense of well-being and quiet happiness … Anthony Powell was only partly right. Books do furnish a world, but, more importantly, they also furnish a life’ (p. 361). Simon Eliot’s ‘Recasting Book History’ (BC 66:ii[2017] 362–75) is accompanied by three full-page colour illustrations. The first, showing the front of a naval destroyer, is accompanied by the caption ‘The ecology of communication: during the Second World War the Ministry of Information printed 7000,000 copies monthly of Neptune’ (p. 362). This was ‘a magazine focusing on the activities of the British armed services’ (p. 373). The second shows a startling image of a crucified Jesus holding up a swastika below which are the words ‘Hitler’s war on the Catholic Church’ and the caption ‘Print as a weapon: the war pamphlet directed at Roman Catholics’. The third colour image, which is placed on the back of this, is that of an RAF bomber keeping up ‘an unrelenting attack on Germany. The picture shows the bombing of the German power station in daylight’. Below is the caption, ‘strikingly modern graphic design: the M[inistry] O[f] I[nformation] magazine the Flag of Victory’ (pp. 371–2). Eliot’s fascinating article is part of his focus upon what he refers to at the start of his essay as the need for a ‘history of communication’ (p. 363). Stuart Bennett discusses ‘The Temple without The Synagogue: Identical Deluxe Binding on Two Copies of an Expurgated George Herbert, 1709’ (BC 66:ii[2017] 376–85). His description is accompanied by two full-page colour illustrations of ‘A trade binding? Twin copies of the thirteenth edition of George Herbert’s The Temple (London, 1709), both lacking the Herbert imitation The Synagogue’ (p. 376) and the ‘Title-page for the thirteenth edition of The Temple, the last before 1799’ (p. 381). Karen Limper-Herz writes on ‘A Masonic Binding for King George III, c.1794.: English & Foreign Bookbindings 130’ (BC 66:ii[2017] 386–8), accompanied by a full-page colour illustration of the ‘Binding for King George III, on Bernhard Christoph Faust, Catechism of Health (London, 1794), upper cover’ from the British Library copy (p. 386). The subject of Timothy d’Arch Smith’s contribution is ‘The Poetry of E.E. Bradford: The Author’s Own Copies’ (BC 66:ii[2017] 390–9), based on d’Arch Smith’s collection and that of Gerald Jones. Bradford was born in Torquay in 1860, left Exeter College, Oxford, in 1884, and then went into the Anglican Church. From 1909 until his death in 1944 he was vicar of Nordelph in Norfolk. A Uranian poet, his first book of poems appeared in 1908 and his twelfth and final collection in 1930. Six copies, extensively annotated by their author, are in d’Arch’s collection and some in Gerald Jones’s, although the number of copies owned by the latter is unclear. Four colour illustrations accompany the text: ‘Bradford in Paris in 1897 or 1898’ (p. 390); ‘Spoof inscriptions in Bradford’s The True Aristocracy (1923), top, and Passing the Love of Women (1913)’ (p. 393); ‘ “But tell me not your love is dead … ”: corrections by Bradford in his own copy of Sonnet Songs & Ballads (1908)’ (p. 394); ‘ “Why, after all, should he not meet his father’s errand-boy?” Extracts from readers’ letters, painstakingly transcribed by Bradford in his own copy of The True Aristocracy’ (p. 397). Timothy d’ Arch Smith’s contribution concludes with ‘a list of Bradford’s correspondents … and some extracts from their criticisms’ (pp. 395–9). Paul David Oswald’s essay, ‘Stefan George’s Circle and the George Bondi Editions (1898–1938): Contemporary Collectors LXVI’ (BC 66:ii[2017] 401–7), was ‘joint winner of Oxford University’s 2015–16 Colin Franklin Book Collecting Prize’ (p. 407). ‘Rob Shepherd in conversation with Sheila Markham’ constitutes ‘The Markham Interviews (New Series) 17’ (BC 66:ii[2017] 408–15): a bookbinder, Shepherd, with others, acquired ‘two of the oldest and most prestigious bookbinders in the country—Zaehnsdorf and Sangorski & Sutcliffe’ (p. 411). The eminent bibliographical scholar Patrick Scott writes on ‘The Tennyson Society: Author Societies 33’ (BC 66:ii[2017] 417–19). There then follow accounts of recent ‘Sales’ (pp. 421–7), ‘Catalogues’ (BC 66:ii[2017] 429–41), and ‘Exhibitions’ (BC 66:ii[2017] 443–8). ‘Obituaries’ include two contributions from the hand of David McKitterick: ‘Michael Turner’ (1935–2017), whose career from 1959 to 2001 was spent at the Bodleian, and ‘Chris Clarkson’ (1938–2017), an authority on book and manuscript conservation (BC 66:ii[2017] 453–5). Nicolas Barker writes on ‘George Braziller’ (1916–2017), publisher (BC 66:ii[2017] 458–9). This issue of the Book Collector concludes with informative book reviews written by Ian Jackson, Liam Sims, Nicolas Barker, and Jane Griffiths (BC 66:ii[2017] 463–8). The autumn Book Collector opens with James Fergusson’s reflections on ‘Evelyn Waugh, Artist’ (BC 66:iii[2017] 489–93) and Fergusson’s ‘News and Comment’ (BC 66:iii[2017] 495–527). These are followed by Charles Sebag-Montefiore’s ‘The British as Art Collectors: Contemporary Collectors LXVII’ (BC 66:iii[2017] 529–58), accompanied by colour illustrations of title pages in his collection; see for instance the title page of ‘A Description of the Earl of Pembroke’s Pictures (1731): the earliest known printed catalogue of any British private press collection of paintings’ (p. 539). A.S.G. Edwards writes on ‘The Bradmore Manuscript Medicine and Memory in Early Modern England’ (BC 66:iii[2017] 560–4). Edwards’s subject is ‘a manuscript that slip[ped] under the radar’ of an auction house’—‘a Middle English translation of a Latin treatise on surgery, titled Philomena, composed by the London surgeon and inventor of medical instruments John Bradmore (d.1412)’ (p. 561). Mirjam M. Foot contributes ‘A London Binding for Presentation to Bishop John King, c.1616: English and Foreign Bookbindings 131’ (BC 66:iii[2017] 566–7). David Batterham’s ‘ “How Much for the Whole Shop?”: A Billet at Hay Castle in 1965’ (BC 66:iii[2017] 571–5) contains memories of Richard Booth, ‘King of Hay-on-Wye’ (p. 571). In ‘Carl Williams in Conversation with Sheila Markham: The Markham Interviews (New Series) 18’ (BC 66:iii[2017] 576–83), Williams ‘aspire[s] to be a serious vendor or of books. To buy and sell them is a noble thing to do’ (p. 583). James Fergusson writes on ‘The David Jones Society Author Societies 34’ (BC 66:iii[2017] 585–7), ‘recent ‘Sales’ (pp. 589–609), ‘Catalogues’ (pp. 609–17), and ‘Exhibitions’ (pp. 619–23). These are followed by Fergus Fleming on ‘The Twenty-Seventh Letter Prize’ (BC 66:iii[2017] 625–8). A regular feature, ‘From the Archive Autumn 1957’, contains ‘Sir William Haley [1901–87] reviews Printing and the Mind of Man: a descriptive catalogue’ (BC 66:iii[2017] 629). There are a number of obituaries in this issue of the Book Collector. Stephen Rose writes on the auctioneer and dealer ‘Roy Davids’ (1942–2017) (BC 66:iii[2017] 631–6); James Carley’s subject is the authority on Sir Robert Cotton, ‘Colin Tite’ (1933–2017) (BC 66:iii[2017] 636–8); Nicolas Barker’s subject is one of the creators of Bloomsbury book auctions, ‘Frank Herrmann’ (1927–2017) (BC 66:iii[2017] 638–9). Barker’s tribute is followed by Sheila Markham’s, who writes on ‘Frank Herrmann and the Travellers Club’ (BC 66:iii[2017] 639–41). Ed Maggs’s subject is the authority on T.E. Lawrence, ‘Jeremy Wilson’ (1944–2017) (BC 66:iii[2017] 642–5). For Robert Darnton, writing on ‘Jacques Rychner’ (1941–2017) (BC 66:iii[2017] 645–9), ‘with the death of Jacques Rychner, the world of books lost one of the finest bibliographers, books historians, and librarians of the last century’ (p. 645). Nicolas Barker writes on ‘Lloyd Cotsen’ (1927–2017), the great collector of children’s books (BC 66:iii[2017] 649–51). Other obituaries include Stephen Roe on ‘Hans Schneider’ (1921–2017), the eminent music antiquarian (BC 66:iii[2017] 651–3), and Nicolas Barker on the authority on Lewis Carroll, ‘Morton N. Cohen’ (1921–2017) (BC 66:iii[2017] 653–4). The autumn issue concludes with Jon Lindseth’s ‘Bibliographical Notes and Queries 528: The Appleton Alice’, ‘concerning Appleton and Company’s 1866 edition of Alice’s Adventures in Wonderland’ (BC 66:iii[2017] 655), followed by book reviews written by Andrew Immel (BC 66:iii[2017] 659-60), Nicolas Barker (BC 66:iii[2017] 661), and John Collins III (BC 66:iii[2017] 661–2). The winter issue of The Book Collector for 2017 opens with James Fergusson’s ‘The Wigtown Diarist’ (BC 66:iv[2017] 681–5), his reflections on a visit to a bookshop in Wigtown in south-west Scotland, and is followed by ‘News & Comment’ (BC 66:iv[2017] 687–720). Brian McAvera, ‘On Collecting “The Troubles”: Contemporary Collectors LXX’ (BC 66:iv[2017] 721–49), relates his collecting during a period of great upheaval in Northern Ireland. Colin Franklin’s ‘Additions and Expunctions Anthony à Wood (b. 1632) and Doctor Fell’ (BC 66:iv[2017] 751–63) corrects the ‘received story of [the] growth and publication’ of Wood’s ‘two large folio volumes in 1674–5 … Historia et antiquitates Universitatis Oxoniensis … the first major announcement of the new University Press’ at Oxford (p. 751) in the publication of which John Fell (b. 1625) played an important role. Franklin’s account is accompanied by colour illustrations (pp. 755–8). Another Markham interview with a contemporary bookseller is ‘Jonathan Fishburn in Conversation with Sheila Markham: The Markham Interviews (New Series) 19’ (BC:66:iv[2017] 769–75): Fishburn is a specialist in Jewish and Hebrew materials. Holly Forsythe Paul writes on ‘The Lewis Carroll Collector: Joseph Brabant’s Acquisition Records as Material History’ (BC 66:iv[2017] 777–89): Brabant’s Carroll collection is now at the Thomas Fisher Rare Book Library at the University of Toronto. William Baker and Patrick Scott contribute ‘The Walter de la Mare Society: Author Societies 35’ (BC 66:iv[2017] 791–3). There are the usual interesting, informative accounts of recent ‘Sales’ (BC 66:iv[2017] 795–803), ‘Catalogues’ (BC 66:iv[2017] 805–17), and ‘Exhibitions’ (BC 66:iv[2017] 819–24). Obituaries include Simon Keynes on ‘Stephen Keynes’ (1927–2017), collector of Western medieval manuscripts (BC 66:iv[2017] 827–33). Joel Silver writes on the distinguished Lilly Librarian and Joseph Conrad specialist William R. Cagle (1933–2017) (BC 66:iv[2017] 833–6). Silver writes, ‘Bill Cagle was a great Bookman, and his legacy can be found at the Lilly Library, where his three decades of devoted collecting will continue to shape and benefit research and teaching at Indiana University for centuries to come’ (p. 836). James P. Carley’s subject is Professor Andrew Watson (1924–2017) (BC 66:iv[2017] 837–9), who had ‘a wide knowledge of medieval English manuscripts’ (p. 838); and Pamela Porter writes on Hilton Kelliher (1942–2017) (BC 66:iv[2017] 839–43), whose ‘knowledge of manuscripts and related skills was inspirational’ (p. 839). This issue of The Book Collector concludes with once again informative reviews from the hands of Paul Grinke (BC 66:iv[2017] 847–8), Liam Sims (BC 66:iv[2017] 849–50), Nicolas Barker (BC 66:iv[2017] 850–1), Sachiko Kusukawa (BC 66:iv[2017] 851–2), and Roger Gaskell (BC 66:iv[2017] 852–3). The March issue of The Library includes David Fielding’s and Shef Rogers’s ‘Copyright Payments in Eighteenth-Century Britain, 1701–1800’ (Library 18:i[2017] 3–44). Fielding and Rogers draw ‘on published references to copyright payments made to authors between 1701 and 1800’. In addition to matching ‘each payment to the published book’, they calculate payment values ‘to authors relative to the number of sheets each copy required and correlated to the sale price for the book’. According to Fielding and Rogers, ‘although’ they use ‘a relatively small sample of just over 400 titles, [their] study shows that entertainment was generally more rewarding for authors than history, philosophy and sermons, while booksellers made good returns on practical and informative works’. Furthermore, ‘booksellers’ valuations of works align surprisingly well with subsequent critical assessments of the quality of the works, indicating a high degree of discrimination and taste within the book trade’. They add that ‘the full spreadsheet of data for the study is freely available online at https://goo.gl/TzQnYO’ (p. 3). Ralph Hanna, in his ‘Manuscript Catalogues and Book History’ (Library 18:i[2017] 45–61), ‘addresses the production of “descriptive catalogues” of medieval manuscripts. Hanna asks ‘What function are these, in a scholarly context that has seen the rise of “codicology/book history”, supposed to be serving? And what (if anything) have their makers been thinking?’ His ‘essay addresses, inter alia, the fixation of cataloguers on textual identification and their persistence in following what is basically a print-book model formula of presentation, as well as a strikingly “presentist” view of the volumes they handle’. Hanna ‘suggests a range of improvements: greater explicitness of explanation, suppression of some detail to indexes, and especially greater attentiveness to the fluidity of medieval book-making procedures’ (p. 45). Hanna’s essay is followed by ‘Correspondence’ from Peter W.M. Blayney (Library 18:i[2017] 105), correcting an error in his ‘The Printers of the “Ajax” Pamphlets of 1596–97’ (Library, 17:iii[2016] 317–30). He ‘concluded by listing those thirteen pamphlets on p. 329. In doing so, however, I inattentively credited STC 12783 with the same collation (A4 B–E8 F4) as its copy’. However, ‘the reprint contains only four sheets (A–D8) rather than five’. Blayney adds ‘Because I made that mistake before calculating the printers’ shares in those pamphlets, in the first line of my conclusion the total number of edition-sheets should be corrected from 66 to 65, and Edward Allde’s share (five lines later) from 28½ to 27½’. In addition, he ‘also belatedly noticed that on the same page, I mistyped what should have been STC ‘12773.5’ as ‘12273.5’. Blayney comments that. ‘it seems curiously appropriate that the book in question is the first edition of An Apologie [and] hereby offer my own’ (p. 105). This March issue of The Library, in common with others, contains reviews of interest not least as they highlight recent publications not to be missed by YWES readers interested in bibliography and book history. David McKitterick reviews Anthony Griffiths, The Print before Photography: An Introduction to European Printmaking, 1550–1820 published by the British Museum in 2016 (Library 18:i[2017] 106–8). This is followed by Edmund B. King’s review of Mark R. Godburn’s Nineteenth-Century Dust-Jackets published by the Oak Knoll Press and the Private Libraries Association also in 2016 (Library 18:i[2017] 108–9). Of note in the June issue of The Library is Lloyd Houston’s ‘(Il)legal Deposits: Ulysses and the Copyright Libraries’ (Library 18:ii[2017] 131–51). Houston observes that while ‘almost every aspect of the publication history of ‘James Joyce’s Ulysses (1922) has been subjected to scrutiny by literary critics, bibliographers, and book historians’, there is ‘one facet of what might be termed the institutional history of Ulysses [that] has yet to receive any scholarly attention’. According to Houston, this concerns the work’s ‘accession in the closing months of 1922 into the holdings of the United Kingdom’s six copyright libraries’. Houston notes that ‘despite a concerted campaign by the Home Office, Post Office, Police, and Customs Authorities of Great Britain to suppress the novel, between November and December 1922 copies of the Egoist Press impression of Ulysses (published that October) were accepted and shelved under legal deposit by the British Museum, the Bodleian Library in Oxford, Cambridge University Library, the Faculty of Advocates in Edinburgh, the National Library of Wales, and Trinity College, Dublin’. His ‘article offers a detailed account of when and how these accessions were made, and what they reveal about the marketing, circulation, and readership of Joyce’s novel in the United Kingdom prior to its availability in a mass-market edition’ (p. 151). A striking illustration of the different approaches and subjects treated in The Library, the article following Houston’s is by David Shaw on ‘John Mower, Vicar of Tenterden in the Late Fifteenth Century: His Will, His Career and His Library’ (Library 18:ii[2017] 152–74). A strength of Shaw’s article is exemplified by its three appendices. The first, ‘Mower’s Will’ (pp. 162–5), is a ‘Transcription of probate of the will of John Mower, vicar of the parish church of Tenterden, Kent, dated Palm Sunday 1489. Proved 16 November. National Archives, PRO, PCC Will Registers, PROB 11/8 (20 Milles). The itemized bequests have been divided into separate paragraphs with reference numbers’ (p. 162). The second appendix relates to ‘Mower’s career’; he died in 1489 (pp. 165–72), and the third appendix relates to ‘Mower’s Library’ (pp. 172–4). Matthew Payne and Julia Boffey’s ‘The Gardyner’s Passetaunce, the Flowers of England, and Thomas Gardyner, Monk of Westminster’ (Library 18:ii[2017] 175–90) contains ten illustrative figures. Payne and Boffey’s subject is Gardyner’s ‘short English prose chronicle, the Flowers of England, beginning with Brutus and ending in the reign of Henry VIII with the birth of Princess Mary in 1516’. There is ‘what is thought to be an autograph copy, Dublin, Trinity College, MS 513, imperfect at the start, where it now accompanies an interesting selection of later chronicles and heraldic notes’. Additionally, ‘two copies in later hands are to be found in different collections of heraldic and historical notes: Dublin, Trinity College, MS 633, and London, College of Arms, MS D4; a further copy, probably contemporary with these and in yet another hand, is in Oxford, Bodleian Library, MS Rawlinson D. 1020’. Payne and Boffey write that ‘Gardyner’s authorship of the work is attested by internal evidence’, which they go on to describe (p. 175). Harriet Soper’s subject in her ‘Three Newly Recovered Leaves from the “Winchester Anthology” ’ (Library 18:ii[2017] 218–24)—‘The “Winchester Anthology” (London, British Library, MS Additional 60577)’—is ‘a late fifteenth-century collection of miscellaneous verse and prose in English, Latin and French’. Soper writes that, ‘acquired by the British Library in 1979, the Additional manuscript, which includes a unique Middle English verse translation of part of Petrarch’s Secretum’, had ‘a number of leaves once present’ that ‘were now lost. Apart from a lacuna of an estimated four quires, several leaves have also been removed individually or in small groups, leaving eleven stubs scattered throughout at the manuscript’s gutter.’ However, ‘three of these missing leaves survive and can be assigned to their places in the codex. They came into the hands of the antiquary Thomas Hearne (1678–1735), who pasted them into one of his notebooks’ (p. 218). Soper’s article describes and discusses these missing leaves. This June issue of The Library concludes with reviews. There is a hostile review by Joseph Marshall of Karen Attar’s useful Directory of Rare Book and Special Collections in the United Kingdom and the Republic of Ireland (third edition, Facet Publishing, 2016) (Library 18:ii[2017] 225–6). This is followed by Ralph Hanna’s more subtle review of R.M. Thomson’s A Descriptive Catalogue of the Medieval Manuscripts in the Library of Peterhouse, Cambridge published by Boydell and Brewer in 2016 (Library 18:ii[2017] 227–9). Hannah writes that ‘We should be very grateful for Thomson’s excellent textual identifications and discussions of provenance and library history. But around the edges of such contributions, a good deal of this volume strikes me as under-explained (and thus confusing), and at times a bit sloppy’ (p. 229). An overtly positive review of Adrian Armstrong’s Visible Voices: Translating Verse into Script and Print, 3000 BC–AD 2000, published by Carcanet in 2016, is written by Nicolas Barker (Library 18:ii[2017] 229–31). In 2015 the Worcestershire Historical Society (new series, 26) published Denise Thomas’s edition of The Autobiography and Library of Thomas Hall B.D. (1610–1665), and it is reviewed most favourably by Dunstan Roberts (Library 18:ii[2017] 231–2). Of interest in the September issue is Richard Palmer’s ‘Sancroft Versus Sheldon: A Case of Books’ (Library 18:iii[2017] 271–91). According to Palmer, ‘the death in 1677 of Gilbert Sheldon, Archbishop of Canterbury, was followed by a dispute concerning the fate of his books’. Palmer explains that ‘Sheldon had bequeathed a generous portion, listed in a schedule to be annexed to his will, to Lambeth Palace Library. However, his executors alleged that the schedule could not be found. The entire collection was thereupon removed from Lambeth and its dispersal by sale was set in motion. The collection was saved, in large part, by the elevation to the see of Canterbury of one of the most bibliophile Archbishops in its history, William Sancroft.’ From 1679, ‘Sancroft pursued the Sheldon legacy through two courts before finally reaching a settlement favourable to Lambeth Palace Library in 1683’ (p. 271). Margaret Connolly and A.S.G. Edwards, in their ‘Evidence for the History of the Auchinleck Manuscript’ (Library 18:iii[2017] 292–304), write on ‘some neglected aspects of the early history of the Auchinleck Manuscript (Edinburgh, National Library of Scotland, MS Adv. 19.2.1)’. They consider ‘the evidence of the leaves that have been removed from the manuscript and which survive elsewhere’, and their article ‘suggests that there were different phases to such extractions, some of which occurred while the manuscript was in the possession of a Scottish binder’. Additionally, ‘it is unlikely that the manuscript was bound at any early stage in its history’ (p. 292). Andrew Wadoski’s ‘Attributing and Dating the Manuscript Miscellany of Elizabeth Newell: Sir Matthew Hale and Beinecke Library Osborn MS b49’ (Library 18:iii[2017] 305–15) explains that ‘A late seventeenth-century commonplace book signed by Elizabeth Newell and held in the Osborne collection at Yale University’s Beinecke Library offers the promise of a collection of unpublished poetry written by an otherwise anonymous early-modern woman.’ There is a caveat as ‘all of the material in Newell’s commonplace book is directly attributable to other writers and furthermore that a full accounting of these sources allows us to adjust date of the book’s compilation from c.1668 to, at the earliest, 1681’.Wadowski observes ‘the poems derive from four sources: Sir Matthew Hale’s Contemplations Moral and Divine (1676), Gilbert Burnet’s biography, The Life and Death of Sir Matthew Hale (1681), Francis Quarles’ Emblemes (1635) and Samuel Clarke’s Mirror … both for saints and sinners (1657)’. Furthermore, ‘the presence of a poem that is first recorded in Burnet’s biography of Hale establishes 1681 as the earliest likely date for the manuscript’ (p. 305). Lotte Hellinga writes on ‘Caxton’s Chronicles of England and its Printer’s Copy’ (Library 18:iii[2017] 316–24). According to Hellinga, in the printer’s copy ‘Caxton introduced a new economical printing type, it was printed on a new and modern press, and set by a compositor who commanded skills not seen in the books produced for him before this date. Not only did Caxton thereby expand the capacity of his printing house, by extending the earlier version of the Chronicle to his own time he revealed his ambition to become a chronicler and historiographer himself’ (p. 316). Philip Tromans’s subject is ‘The Collation of John Hawkins’s Troublesome Voyage (1569), and its Wraparound Blank’ (Library 18:iii[2017] 325–9). For Tromans, ‘John Hawkins’ Troublesome Voyage (1567) is a little-known two-sheet octavo’. His ‘note demonstrates that the British Library copy of Troublesome Voyage retains its B8 leaf, which the online English Short Title Catalogue’s (ESTC) record of collation presents as excised’. Tromans ‘then shows that the British Library’s copy’s B8 was a wraparound blank, and that the offset mirror image of the title-page found on the verso of that copy’s B8 reveals a method of warehouse storage which is different to that taken to be the historical norm, Martin Moxon’s description of the printing house’s warehouse keeper in his Mechanick Exercises (1683–4)’ (p. 325). Tromans’s contribution is followed by Joshua McEvilla’s ‘John Cragge’s The Wits Interpreter’ (Library 18:iii[2017] 337–44). McEvilla explains that his ‘bibliographical note demonstrates that The Wits Interpreter, The English Parnassus, widely regarded to be one of the earliest and most fascinating collections of English drolleries—small extract portions of early plays, usually dialogic pieces of two or three parts—was not compiled by John Cotgrave, the well-known compiler of The English Treasury of Wit and Language’. According to McEvilla, the compiler was ‘John Cragge, a little-regarded clergyman, primarily known for a series of pre-Civil War pamphlets and post-Civil War non-conformist religious tracts’. Consequently ‘exposing the division of roles behind these two books of 1655, each by a different publisher, helps us to recognize the diversity of persons with a vested interest in the preservation of drama as a legitimized literary commodity at the time of the playhouse closures’ (p. 337). Reviews follow McEvilla’s note. These include Peter Kidd’s review of Christopher de Hamel’s Meetings with Remarkable Manuscripts, published by Allen Lane in 2016 (Library 18:iii[2017] 345–6), Antony Griffiths’s review of Richard Goddard’s privately printed Drawing on Copper: The Basire Family of Copper-Plate Engravers and their Works, drawing on family archives, published in Maastricht by Datawyse/Universitaire Pers Maastricht in 2017; the book is available as a free download from www.richardnbgoddard.com/engraving (Library 18:iii[2017] 350–2). A.S.G. Edwards produces a negative review of Patrick J. Kearney and Neil J. Crawford’s compilation The Private Case: A Supplement. Notes towards a Bibliography of the Books that used to be in the Private Case of the British (Museum) Library, published by the late Ian Jackson out of San Francisco in 2016 (Library 18:iii[2017] 352–3). Other reviews in this September issue are David McKitterick’s review of two books on typefaces, Jerry Kelly and Misha Beletsky’s The Noblest Roman: A History of the Centaur Types of Bruce Rogers, published in Boston by David R. Godine, in association with Sherwin Beach Press, Chicago (2016), and also by the same publishers, but in this instance in association with the Book Club of California (2016), Robert Bringhurst’s Palatino: The Natural History of a Typeface (Library 18:iii[2017] 354–5). Robert Laurie observes in his review (Library 18:iii[2017] 355–7) of the collection The University of Glasgow Library: Friendly Shelves, edited by Peter V. Davies and published in Glasgow by The Friends of Glasgow University in association with the University Library in 2016, that the ‘volume is published to celebrate the fortieth anniversary of the Friends of Glasgow University Library, which is probably a better rationale than the 465th anniversary of the foundation of the university in 1451, the 541st anniversary of the belated first mention of the library in 1475, or even the 48th anniversary of the recently refurbished present library building’. Laurie relates that ‘Peter V. Davies, a former senior lecturer in French at the university, has assembled a team of past and present library and other university staff members to tell the story of the library (and related archives), whose development for centuries lagged behind the status of its parent body’ (pp. 355–6). Karen Attar contributes a judicious review (Library 18:iii[2017] 357–9) of Story Time: Essays on American Children’s Literature from the Betsy Beinecke Shirley Collection, edited by Timothy Young and published from New Haven by the Beinecke Rare Book & Manuscript Library, Yale University (distributed by Yale University Press) in 2016. This is followed by another review by Robert Laurie, in this instance of Dave Cope’s Bibliography of the Communist Party of Great Britain, published by Lawrence and Wishart in 2016 (Library 18:iii[2017] 359–64). Laurie’s review is informative: ‘this is a book which might inelegantly be described as a work of three halves. It is a bibliography of 3679 items published by what stalwarts referred to simply as “The Party” and has another section listing 3593 items written about the Party. The Introduction goes far beyond what is normal for an Introduction and contains some material which should have been usefully integrated into the main body of the work. Manuscript record material is entirely excluded’ (p. 359). Laurie adds that ‘until the rise of Trotskyites and the New Left in the 1960s the CPGB was the major force to the left of the Labour Party in Britain. During the 1980s the CPGB was racked with bitter internal divisions before finally dissolving in 1991’ (p. 360). The December issue of The Library opens with Peter W.M. Blayney’s ‘A Dry Discourse on Wet Paper (and Ink)’ (Library 18:iv[2017] 387–404). Blayney’s complex and detailed analytical bibliographical article is accompanied by five figures, and divided into sections: ‘Part 1: Concurrent Perfecting’ (pp. 387–99); ‘Part 2: Leapfrog Perfecting’ (pp. 399–404). Blayney writes that he has ‘never undertaken a type-recurrence study either of one of the 1619 quartos or of any other book in which two skeletons recur in a similar way. But had I ever done so, especially if I had simply assumed that the sheets would have been worked in the “obvious” order, I would probably now want to revisit my analysis to determine whether leapfrog perfecting could explain the data equally well.’ Blayney concludes with a listing showing ‘the known whereabouts in Trinity College, Cambridge, of set-off sheets used during the printing of quires Dd–Gg and ¶–4¶ of Morton’s Antidotum (STC 18172) in 1637’. Blayney adds that ‘in each case’ he has ‘specified both the call number and whether the waste sheets are inside the front or the back board. Pastedowns whose reverse side cannot be examined are noted as “pd”, or as “+ pd” if a free endpaper is also present’ (p. 404). Winfried Rudolf’s subject is ‘A Fragment of the Old English Version of the Gospel of Mark in the Folger Shakespeare Library, Washington, DC’ (Library 18:iv[2017] 405–17). Rudolf explains that ‘In 1989, Richard Clement informed readers of the Old English Newsletter about the discovery of an Anglo-Saxon binding fragment in a printed book, which is kept in the Folger Shakespeare Library in Washington, DC’. Rudolf says that ‘this is a folded parchment strip of an Anglo-Saxon text that was found in a copy of Thomas Elyot’s The Castell of Helth (STC 7649), possibly printed in 1557 in the workshop of the late Thomas Berthelet (d. 1555), who was King’s Printer to Henry VIII from 1530’. For Richard Clement, ‘apart from two Old English words (the abbreviated þæt and ond) almost nothing of the readable letters could be of any help to identify the original text identified’. However, ‘such advances in modern technology as the Dictionary of Old English Corpus in electronic form and the most recent search engines have made it possible to retrieve the text once written on this withered parchment, which I will identify in the following as a portion of the Old English Gospel of Mark on Jesus’s healing of a man with a withered hand’ (pp. 405–6). Rudolf concludes a fascinating account by writing that the ‘Folger fragment should encourage scholars worldwide to investigate further printed books and their bindings from, especially, sixteenth-century English workshops for Anglo-Saxon and other traces’. He adds that ‘advanced technology, such as XRI scans or thread cameras to analyse pastedowns and spines without causing damage to the original carrier, is available today’. He judiciously concludes that ‘with regard to the Folger fragment’s identification, it is indeed a fortunate circumstance that the text it preserves was consecutive (if intermittently), relatively stable in its transmission (Gospels), and, what is most important, known from other manuscripts’. There is a caveat: ‘this need not be the case with regard to other Anglo-Saxon fragments that could surface in the future. Nevertheless, this Folger fragment is evidence that twenty-first-century digital corpora, if tackled in the right way, may serve as powerful tools for the archaeologist of knowledge’ (p. 417). Ralph Hanna explains in his ‘Nicholas Kempston and his Books’ (Library 18:iv[2017] 418–27) that ‘forty years ago, Neil Ker and Richard Beadle made an extremely interesting and fruitful intervention concerning the book activities to be associated with Robert Elyot, vice-provost of Eton College from 1482 until his death in 1499’. Hanna continues: ‘even though he rather inconsistently signed his volumes, Elyot was certainly the owner of a considerable library, one Ker suspected was a good deal larger than might overtly appear. Moreover, he was a voracious reader, distinctively marking and often dating his book encounters. From the persistent annotations he left in books, Ker just about doubled the number of books to be assigned to the medieval library of Eton College’ (p. 418). Hanna’s intention is ‘to examine rather more thoroughly Kempton’s acquisitions, his gifts, and their various fates’, and he describes the nine volumes in which Kempton’s inscription appears (p. 419) and the career of Kempton. Ostensibly this ‘was as a parish priest, with continuous appointments from 1439 to his death in 1477. These began with two churches in the diocese of Salisbury, but his most extensive posting was at Etchingham (Sussex), from 1446 on, a position he held in successive plurality with two Dorset parishes throughout the 1450s and 1460s.’ Yet Kempton’s ‘main career appears to have been Oxonian, and, given the pluralist appointments, which began in 1451, the year he received his BA, was probably a scholarly posting with some kind of patronal sponsorship’. Furthermore, Hanna writes, Kempton ‘regularly signed his books as ‘Magist(er)’, a degree not confirmed by any Oxford evidence, although there is a record of his leave to incept, which he must have followed through on, in 1459. And he was certainly teaching in Oxford in 1461–2, when he rented rooms for the purpose.’ Hanna concludes that ‘on the whole, he appears to have spent most of his life as a non-resident rector while pursuing studies that, from the contents of his books, were not erudite but relatively pragmatic’ (pp. 420–1). Of interest to students of seventeenth-century English literature and printed culture is Stephanie Gilbert and Kirsten Gibson’s ‘Printed Music in the Provinces: Musical Circulation in Seventeenth-Century England and the Case of Newcastle upon Tyne Bookseller William London’ (Library 18:iv[2017] 428–73). The authors explain that their ‘article provides a preliminary exploration of the place of printed music and the role of the regional book trade in the complex nexus of musical circulation beyond the metropolis during the late sixteenth and seventeenth centuries’. They ‘draw on a range of sources’, including ‘library and auction catalogues, probate inventories, diaries and household accounts, manuscript music and printed editions’, in order ‘to outline first the evidence for music ownership in sixteenth- and seventeenth-century England, as a means of gauging the spread of music beyond the metropolis, before offering an overview of the ways in which music circulated during the period, including through the regional print trade’. Gilbert and Gibson bring ‘together evidence from a sample of surviving probate inventories of regional booksellers and stationers, most of which have not been previously examined by musicologists’. They ‘survey the presence of music and related stationery in provincial seventeenth-century bookshops’. Their ‘article concludes with a detailed exploration of London’s Catalogue [William London, A Catalogue of the Most Vendible Books in England (London: s.n., 1657)], placing it in the wider context of the trade in music and musical instruments in seventeenth- and early eighteenth-century Newcastle upon Tyne, alongside evidence for recreational music-making in the town that would have supported such trade’. They add that, ‘with the exception of Foster’s inventory [the probate inventory of John Foster’s York bookshop (1616)], London’s Catalogue offers by far the most detailed evidence for the sale of printed music outside London to date, and thus provides a significant insight into this specialized aspect of the seventeenth-century book trade’ (p. 432). The prolific A.S.G. Edwards, in ‘Cutting Up the Heyneman Brut’ (Library 18:iv[2017] 474–7), writes that ‘the Robert G. Heyneman manuscript of the Middle English prose Brut has been identified by Kathleen Scott in her standard account of later medieval English illumination as a manuscript of “exceptional importance” in terms of its illustrative programme. As it currently survives it has “eight small format miniatures” and “fifty-eight historiated initials” a total of sixty-six illustrations in a work that rarely includes any.’ Edwards adds that ‘only one other manuscript of the Brut, Bodleian Library, MS Laud Misc. 733, contains a comparable illustrative programme’ (p. 474). Edwards explains that ‘Recently, two further fragments of the Heyneman manuscript reappeared in a Christie’s sale in London, 13 July 2016, lot 106.’ For Edwards, ‘it seems likely that the Christie’s leaves correspond to parts of the missing fols. 16 and 18 of the Heyneman manuscript. They have both been cut horizontally in the same way as Lehigh Fragment C, across both columns and comprise about twenty-two lines of text’ (p. 475). M.-C. Newbould and Melvyn New, in their ‘Reconsidering a Sternean Attribution: Cambridge University Library’s “Sterne Volume” ’ (Library 18:iv[2017] 478–86), write that ‘Cambridge University Library houses an extensive collection of material by and relating to Laurence Sterne (1713–68)’. They add that ‘the Oates Collection, mainly of Sterne’s publications and the extensive “Sterneana” it inspired, constitutes a significant part of these holdings’; however, Cambridge University Library ‘also owns items possessing a more tangential link with the author, and in particular with his Irish roots’. Newbould and New explain that, ‘born in Ireland in 1713, Sterne moved to England as a child, but scholars have entertained a longstanding interest in the extent to which he maintained connections with his Irish heritage. One item held by’ the Library ‘has played a questionable role within this history.’ This item, ‘Hib.3.730.1, has come to be called “the Sterne volume” among respected Sternean scholars, old and new; and yet both the origins of this particular label and the conclusions it has led some to make about Sterne’s connection with the volume and its contents deserve a second look’ (p. 478). Newbould and New are sceptical that Sterne had ‘anything at all to do with the’ volume (p. 486). Lawrence Warner, in his ‘Correspondence: The Alterations to Piers Plowman C’ (Library 18:iv[2017] 487–91), writes ‘to correct some of the errors of fact and misrepresentations in Sarah Wood’s essay in the December 2016’ issue (p. 487). Warner’s reference is to Sarah Wood’s ‘Langlandian Loose Leaves and Lost Histories’ (Library 17:iii (2016), 371–98). This issue of The Library is no exception to others that appeared in 2017 in including valuable reviews. These include Philip Knox’s review of Christopher Cannon’s From Literacy to Literature: England, 1300–1400, published in 2016 by the Oxford University Press (Library 18:iv[2017] 492–3). Alastair Bellany reviews Steven W. May and Alan Bryson’s edition of Verse Libel in Renaissance England and Scotland, also published in the same year by the same publisher (Library 18:iv[2017] 501–3). Michael Harris reviews Historical Networks in the Book Trade, edited by John Hinks and Catherine Feely and published by Routledge in 2017 (Library 18:iv[2017] 506–7), and Peter Fox reviews Toby Barnard’s Brought to Book: Print in Ireland, 1680–1784, published in Dublin by Four Courts Press, also in 2017 (Library 18:iv[2017] 507–19). Jonathan M. Yeager’s Jonathan Edwards and Transatlantic Print Culture, published in New York by the Oxford University Press in 2016, is reviewed by Timothy Whelan (Library 18:iv[2017] 509–13). Yeager ‘examines the career of the famous American divine Jonathan Edwards (1703–58), uncovering the various means by which relationships among ministers, church members, editors, printers, booksellers, and publishers in America and abroad, both during Edwards’s lifetime and after … were instrumental in promoting his works through a variety of formats suitable to many audiences, all connected by an interest in, and in many cases, a devotion to evangelicalism’ (p. 509). Richard J. Hill’s Robert Louis Stevenson and the Pictorial Text: A Case Study in the Victorian Illustrated Novel, published in 2017, is an addition to Routledge’s Studies in Publishing History: it is reviewed by Brian Alderson (Library 18:iv[2017] 513–15). The 111th volume of the quarterly Papers of the Bibliographical Society of America maintains its high quality of production and content. The March 2017 issue opens with Michael F. Suarez SJ’s ‘Hard Cases: Confronting Bibliographical Difficulty in Eighteenth-Century Texts’ (PBSA 111:i[2017] 1–30). An earlier version of his essay was presented at the January 2016 annual Bibliographical Society of America meeting. For Suarez, ‘the animating question of bibliography is not, What is the ideal text of Shakespeare?’ It is rather, ‘How did this book come to be the way it is?’ Suarez considers three books in order to consider the implication of the question. First, ‘Jacob Tonson’s celebrated Commentaries of Julius Caser, edited by Samuel Clarke’ published in 1712 (p. 3): his discussion is accompanied by two black and white illustrative figures (pp. 8, 10), exemplars ‘of the visual provenances of Tonson’s volume’ (p. 11). The second book discussed (pp. 12–20) is a French text, Louis Renard’s Poissons, écrevisses et crabes, de diverses couleurs et figures extraordinaires, published in Amsterdam in 1714 and chosen in order to ‘consider … the question of color reproduction in eighteenth-century natural history books’ (p. 12)—two colour plates from two eighteenth-century natural history texts published in English (pp. 18–19) are drawn upon by Suarez in his discussion. His third book is generic and revolves around the issue of abridgements (pp. 20–9). His discussion begins with a consideration of the third edition of Captain Cook’s third voyage (pp. 20–1) without a physical description, and moves on to various others, including ‘the biggest abridger of books in eighteenth-century Britain … John Wesley’ (p. 21). According to Suarez, ‘the most abridged book in the eighteenth century was Robinson Crusoe’ (p. 23), and two graphs illustrate ‘provisional count[s] of abridgements, one ‘by decade’ and the other ‘by genre’. Studies of abridgement, Suarez observes, illuminate ‘British provincial markets and ‘provide information ‘about reprinting and abridging in America as well’ (pp. 28–9). The revised text of Suarez’s lecture is followed by Sandro Jung’s ‘Robert Morison’s Collections of Extracts, The General Magazine, and the Reprinting of Illustrations’ (PBSA 111:i[2017] 31–60), focusing on the activities of the late eighteenth-century Perth-based publishing house of Robert Morison and the many illustrated titles it published. Jung’s article is accompanied by four illustrative back and white figures (pp. 35, 49–50, 52) and three tables: ‘Illustrated literary editions/collections published by the Morison’s’ (p. 37); ‘Illustrations in the numbers of The General Magazine (literary anthologies only)’ (p. 41); and ‘Literary anthologies deriving from The General Magazine and publication dates of individual numbers’ (p. 46). Peter W.M. Blayney’s review essay, ‘Quadrat Demonstrandum’ (PBSA 111:i[2017] 61–101), is a sustained detailed critique of Sir Brian Vickers’s The One King Lear, published by Harvard University Press in 2016. A sample of Blayney’s tone may be gleaned from a single sentence, ‘While I do not question the eminence of Brian Vickers in his own field, analytical bibliography is not his forte’ (p. 62), and Blayney goes on through his lengthy review to say why. The March 2017 issue concludes with detailed reviews by Brittany Adams, Paul. F Gehl, Robert J. Milevski, Rachel Noorda, and Julia Skinner (PBSA 111:i[2017] 103–22). The June 2017 PBSA opens with Marcia Reed’s ‘ “Lost in the Fog of the Past”: Introductory Remarks on the Subject of Provenance’ (PBSA 111:ii[2017] 135–42), in which she discusses what she regards as the importance of demonstrating ‘why detailed and complete provenance is integral to contemporary collecting and to bibliographical scholarship, documenting and authenticating each work as a historical object, establishing its significance, and providing its social and political context’ (p. 136). She adds that ‘provenance is an important subject [too] for special collections because it is truly the foundation, or the why, of what we collect’ (p. 137). Collection history and book provenance are also the concern of Milton McC. Gatch’s ‘Disappearing Ess/Phillipps Manuscripts’ (PBSA 111:ii[2017] 143–65), which is accompanied by eight illustrative figures. The first is an etching (p. 144) of the book and manuscript collector Leander van Ess (1772–1847), who was ‘a Benedictine monk until the dissolution of the monasteries in the Napoleonic period’ and who subsequently became a professor of Catholic theology. In 1824 he ‘sold a collection of manuscripts and incunabula to the voracious English collector Sir Thomas Phillipps’ and ‘the Ess/Phillipps collection is the subject’ of McC. Gatch’s paper (pp. 143, 145). This collection, following an 1885 Court of Chancery decision to disperse Phillipps’s collection, allowed items to be dispersed—a dispersal that ‘would continue until well after World War II’ (p. 149). McC. Gatch relates the story of what subsequently happened to the items in the collection. He comments that today ‘private owners seem not to want to be known, and the book trade is willing (perhaps constrained) to preserve owners’ anonymity and privacy. Personal security, a new obsession of the moment, has also become a factor of the quest for anonymity.’ McC. Gatch concludes that although ‘these factors may be perfectly reasonable and defensible … they make the work of the small company of students of collection history and book provenance extremely frustrating’ (p. 165). Caroline Duroselle-Melish, in her ‘Anatomy of a Pamphlet Collection: From Disbinding to Reuniting’ (PBSA 111:ii[2017] 185–202), traces ‘the history of the Folger Shakespeare Library bindings and the pamphlets that used to live in them’ (p. 186) prior to their coming to the Folger and being placed ‘at the end of the manuscripts section in the stacks of the Folger’ (p. 185). Duroselle-Melish also asks, in addition to ‘Where did they come from?’, ‘What exactly happened to them upon their arrival, and why?’ This results in ‘a broader question: is it possible to trace the past life of bound pamphlets which individually and collectively passed through many hands many times, were assembled and disassembled, sold as new items, then as used ones?’ (p. 186). In short Duroselle-Melish attempts ‘to reconstruct the history of a collection’ (p. 202): her contribution is accompanied by four illustrative black and white figures (pp. 188, 194–5, 199). Theodore J. Crackel, V. Fredrick Rickey, and Joel S. Silverberg, in their ‘Provenance Lost? George Washington’s Books and Papers Lost, Found, and (on occasion) Lost Again’ (PBSA 111:ii[2017] 203–20), focuses upon its subject’s early life: ‘George Washington seemed to understand, from an early age, that saving his papers—many of them, at least—could have real utility. The very first written records that he kept were … school papers begun at about the age of eleven or twelve’ (p. 204). The authors also provide an account of what still needs to be found or recovered in order to enhance the study of George Washington. Joseph Bristow and Rebecca N. Mitchell, in their ‘The Provenance of Oscar Wilde’s “Decade of Lying” ’ (PBSA 111:ii[2017] 221–40), discuss ‘the provenance of the various states of the text and publication of Wilde’s “Decade of Lying: A Dialogue” initially ‘published in 1889 in the Nineteenth Century and reprinted in a revised version in Intentions (1889)’ (p. 221). The essays in this PBSA June issue are based on papers given at ‘Mind the Gap: Recent Provenance of Antiquarian Materials’, the conference sponsored by the Bibliographical Society of America and held at the Grolier Club, New York, in the autumn of 2015 (p. 135). The June issue concludes with the observations of a collector, in this instance Mark Samuels Lasner, ‘A Collector Reflects on Provenance’ (PBSA 111:ii[2017] 241–53). In addition to anecdotes, Lasner discusses ‘the ideal book: associational provenance’ (pp. 242–5), ‘a value added tax: collector provenance’ (pp. 245–6); ‘obscure provenance’ (pp. 246–8); and ‘spurious provenance’ (pp. 248–53), providing interesting examples of each; his essay is accompanied by black and white illustrations from his collection now at the University of Delaware Library. With refreshing honesty, Lasner begins his presentation with the observation, ‘I think we all agree that provenance can add intellectual, sentimental, scholarly, and even financial value to books, but not everybody seems to notice this’ (p. 241). Lasner’s comments are followed by ‘Book Reviews’ (PBSA 111:ii[2017] 255–74), including a detailed review of Terri Bourus’s Young Shakespeare’s Young Hamlet, published as a paperback by Palgrave Macmillan in 2016, and Zachery Lessner’s Hamlet After Q1: An Uncanny History of the Shakespeare Text (University of Pennsylvania Press, 2015, 2016) by Ian Burrows (PBSA 111:ii[2017] 257–63). The September 2017 issue of PBSA contains two articles of interest to YWES readers. In the first, ‘ “What stuff is here?” Edmond Malone and the 1778 Edition of Beaumont and Fletcher’ (PBSA 111:iii[2017] 287–315), Ivan Lupić and Brett Greatley-Hirsch write that ‘we still only imperfectly understand the production of Malone’s own scholarly work despite several remarkably rigorous and erudite studies published in recent decades’ (p. 287). Lupić and Greatley-Hirsch attempt to redress the balance by focusing on Malone’s work on Beaumont and Fletcher: they conclude that ‘Malone’s manuscript notes in his copy of the 1778 edition of Beaumont and Fletcher … tell us that there is still significant work to be done on the elucidation of the plays of these two dramatists’. Furthermore, ‘the fact that, at times, Malone can offer more than Beaumont and Fletcher’s subsequent editors is as much a compliment to Malone’s skills as it is a reminder to us that we still lack a complete edition of their plays equipped with detailed and up-to-date commentary’ (p. 313). The other article of interest to YWES readers is David Stoker’s ‘The Later Years of the Cheap Repository’ (PBSA 111:iii[2017] 317–44). Stoker updates previous accounts, including Gordon Harold Spinney’s ‘Cheap Repository Tracts; Hazard and Marshall Edition’, published in The Library (20[1939/40] 295–340) and adds to our knowledge of ‘the life and work Hannah More (1745–1833), who was the originator of the scheme, the author of more than half of them, and the driving force behind its operation’ (p. 317). Stoker concentrates on the period between December 1797 and October 1789 and the reprinting of tracts in London after 1798. He ‘consider[s] the circumstances surrounding the remarkable revival of the scheme that took place during the year 1817, the new titles that then emerged, and how some of the existing titles were adapted to meet a new more overtly political purpose’ (p. 321). The September 2017 issue contains an extensive review essay by Ian Gadd, ‘A Companion to Blayney’ on Peter W.M. Blayney’s two-volume The Stationers’ Company and Printers,1501–1557, published in 2013 by the Cambridge University Press (PBSA 111:iii[2017] 379–406). Gadd observes, ‘The Stationers’ Company is not an easy work to grasp. It is complex, rich, mischievous, disconcerting, and at times frustrating. Its twelve hundred pages, spread across two hardback volumes weigh in at over five pounds’ (p. 381). Gadd writes that ‘Blayney is a superb stylist: he writes with remarkable clarity, fluency, and syntactic balance’ (p. 394). Gadd ‘cannot overstate the importance of Blayney’s history for our understanding of the Stationers’ Company and the development of London book trade up to 1557. No one else could have written this work, and the Company is unlikely to have a better or more diligent historian.’ Gadd believes that the work ‘actually transforms how scholars—even those of us in textual and literary studies—should understand the Company and the early book trade’ (p. 404). The review is followed by a ‘Bibliographical Note’ in which Douglas W. Lind writes on ‘Repacking Periodicals for the Holiday Season: The Peculiar Nature and Economics of Spurious Gift Book Productions’ (PBSA 111:iii[2017] 407–13). Lind’s focus is The Literary Annual: A Compendium of Religious, Literary and Philosophical Knowledge that initially ‘appeared on the New York book market’ in 1847 (p. 407). Interestingly, ‘on the final three pages appears Poe’s masterpiece, “The Raven” ’ (p. 412). Book reviews in this issue of The Papers of the Bibliographical Society of America include reviews by David A. Brewer (PBSA 111:iii[2017] 415–19), Élika Ortega (PBSA 111:iii[2017] 424–7), and John Vincler (PBSA 111:iii[2017] 427–31). The December issue contains some fascinating contributions too. Ann Blair’s address delivered at the annual meeting of the Bibliographical Society of America, ‘The Capacious Bibliographical Practice of Conrad Gessner’ (PBSA 111:iv[2017] 445–68), extends in interest beyond its subject, Conrad Gessner (1516–65). In her concluding paragraph Blair observes that ‘in the context of increasing digital tools, bibliographical practice might expand to incorporate some of the concerns present in Gessner that have eroded since his time’. Included amongst these are ‘attention to lost works (even in the age of print) … locations of manuscripts and digitizations as well as printed books, and to the presence and absence of paratexts’ (p. 468). Marissa Nicosia’s subject is ‘Printing as Revival: Making Playbooks in the 1650s’ (PBSA 111:iv[2017] 469–89). The main focus of her attention is the activities of ‘Andrew Pennycuicke, a former actor who became a publisher in the 1650s’ (p. 469). Nicosia writes that ‘Pennycuicke and his compatriots were not typical publishers by any standard, but … analysis of their writings and their activities offer a unique and unexplored perspective on the printing of playbooks in the 1650s.’ She examines the trade during a period of ‘harsh protectorate regulations’ and ‘consider[s] firstly how former players imagined the dynamic between print and performance, and secondly how they represented their participation in the print market’. According to Nicosia, ‘for former actors, printed playbooks were akin to revival. As vehicles for imagined performances, these printed plays are far more than mere reading material’ (p. 471). Megan Peiser’s ‘Reviews as Database: Reading the Review Periodical in Eighteenth-Century England’ (PBSA 111:iv[2017] 491–511) is a useful addition ‘to our limited knowledge of reading practices in eighteenth-century England’ (p. 511). Peiser’s focus is largely ‘the rival review periodicals, [the] Monthly Review [1749–1845] and Critical Review [1756–1817]’: these ‘were the first two periodicals devoted exclusively to reviewing recent publications in England’ (p. 493). Michaël Roy’s subject is ‘The Vanishing Slave: Publishing the Narrative of Charles Ball, from Slavery in the United States (1836) to Fifty Years in Chains (1858)’ (PBSA 111:iv[2017] 513–45). Accompanied by illustrative figures including title pages (pp. 516, 528, 536), Roy’s account of ‘the publishing history of the narrative of Charles Ball from 1836 to 1858 is … that of a projected readership successfully broadened from the publisher of one edition to the next’. However, ‘publication under a commercial imprint in the post-Uncle Tom context only deepened [a] process of hollowing-out. What was left in the end was but a distant echo of the slave’s original, singular voice’ (pp. 544–5). Jon Lindseth’s ‘Bibliographical Query’ is ‘A query to holders of the 1866 edition of Alice’s Adventures in Wonderland published in New York by D. Appleton and Co.’, in which Lindseth requests a copy of the 1866 Appleton Alice that contains variants (PBSA 111:iv[2017] 547–8). The remainder of the December 2017 issue consists of ‘Minutes of the Annual Meeting’ (PBSA 111:iv[2017] 549–56), the ‘Independent Auditor’s Report’ (PBSA 111:iv[2017] 557–70), the text of the ‘By-Laws of the Bibliographical Society of America’ (PBSA 111:iv[2017] 571–8), ‘Society Information’ (PBSA 111:iv[2017] 579–89), and a useful, detailed double-column ‘Index to Volume 111’ (PBSA 111:iv[2017] 591–605). The twentieth volume of Book History, edited by Greg Barnhisel, Beth le Roux, and Jonathan Rose, contains eleven contributions relevant to readers of YWES. Tamara L. Hunt’s ‘Servants, Masters and Seditious Libel in Eighteenth-Century England’ (BoH 20[2017] 83–110), accompanied by 131 notes (pp. 103–10), contains a consideration of the fact that ‘in the eighteenth-century English publishing trades, a master could be convicted of seditious libel even if a servant sold libelous items without the master’s knowledge or consent’. Hunt writes that ‘Several trials early in the century highlighted the injustice of this situation, and when coupled with changing views about the nature of servants’ work, a debate ensued about a jury’s right to consider fully the intent of individuals charged with selling seditious works.’ According to Hunt, ‘this ultimately laid the basis for Fox’s Libel Act of 1792, allowing juries to determine law as well as fact’ (abstract: <https://muse.jhu.edu/article/674964>). Lori Leavell’s ‘Recirculating Black Militancy in Word and Image: Henry Highland Garnet’s “Volume of Fire” ’ (BoH 20[2017] 150–87) is accompanied by five black and white figurative illustrations (pp. 160, 168, 170, 173, 175). Leavell’s ‘article foregrounds materiality in examining Henry Highland Garnet’s 1848 volume, which includes two texts of black militancy—a reprint of David Walker’s Appeal to the Coloured Citizens of the World (1829, 1830) and Garnet’s Address to the Slaves (1843)’. Leavell’s ‘argument situates Garnet’s Address within the volume in which it appeared, considers Garnet’s role as compiler, and recognizes the book’s role in the further circulation of black militancy’. Consequently, the ‘focus on Garnet’s volume illuminates antebellum black militant print’s survival, malleability, and cachet’. Additionally ‘Garnet’s volume precipitated subsequent circulation not only of Walker’s and Garnet’s texts but also of an image of a black Moses from Garnet’s book. The most striking iteration appeared in a modified form as the frontispiece of Hollis Read’s The Negro Problem Solved (1864).’ For Leavell, ‘the similarity of the images throws into sharp relief the contrast marking the books: Read’s advocacy of colonization is far different from Garnet’s and Walker’s assertions of black citizenship, even as Read’s book fabricates affiliation with Garnet. Ultimately’ the ‘focus on materiality reveals a range of motives at work in the dissemination of antebellum black militancy—in text and image—and demonstrates that black militant print could paradoxically circulate while becoming unrecognizable’ (abstract: <https://muse.jhu.edu/article/674967>). Ryan Cordell’s ‘ “Q I-JTB the Raven”: Taking Dirty OCR Seriously’ (BoH 20[2017] 188–225) is accompanied by six black and white illustrative figures (pp. 189, 202–3, 206–7, 209), four appendices containing metadata (pp. 217–20), and extensive notation (pp. 221–5). Cordell ‘argues that scholars must understand mass digitized texts as assemblages of new editions, subsidiary editions, and impressions of their historical sources, and that these various parts require sustained bibliographic analysis and description’. For Cordell, ‘to adequately theorize any research conducted in large-scale text archives—including research that includes primary or secondary sources discovered through keyword search—we must avoid the myth of surrogacy proffered by page images and instead consider directly the text files they overlay’. Cordell, ‘focusing on the OCR (optical character recognition) from which most large-scale historical text data derives … argues that the results of this “automatic” process are in fact new editions of their source texts that offer unique insights into both the historical texts they remediate and the more recent era of their remediation’. For Cordell, ‘the constitution and provenance of digitized archives are, to some extent at least, knowable and describable. Just as details of type, ink, or paper, or paratext such as printer’s records can help us establish the histories under which a printed book was created, details of format, interface, and even grant proposals can help us establish the histories of corpora created under conditions of mass digitization’ (abstract: <https://muse.jhu.edu/article/674968>). Cordell’s focus is ‘the Lewisburg Chronicle, and the West Branch Farmer’ that ‘on November 28, 1849 … published one of the most popular poems of the nineteenth century, Edgar Allan Poe’s “The Raven” ’. Cordell adds that ‘It is just such reprinting that we are tracing in the Viral Texts project, in which we use computational methods to automatically surface patterns of reprinting across nineteenth-century newspaper archives’ (p. 189). Sarah Bull, in her ‘Reading, Writing, and Publishing an Obscene Canon: The Archival Logic of the Secret Museum, c.1860–c.1900’ (BoH 20[2017] 226–57), an article accompanied by 121 notes (pp. 250–7), ‘investigates how a loose network of Victorian book collectors, bibliographers, self-styled sexual scientists, and pornographers represented the obscene as a multifarious category of print, encompassing a generically, historically, and linguistically varied range of works about (or associated in the public imagination with) sex’. Bull, ‘by examining this elite network’s reading, writing, collection, publishing, and advertising practices … demonstrates how diversely arrayed publications can, as a result of interacting historical, ideological, and commercial factors, become imaginatively linked, structuring the ways in which they are published, disseminated, and interpreted by their readers’ (abstract: <https://muse.jhu.edu/article/674969>). Jack Daniel Webb’s subject is ‘The Travelling Travel Narrative: The Communication Circuit of Spenser St. John’s Hayti; or, The Black Republic’ (BoH 20[2017] 258–73). Webb’s ‘article examines the “communication circuit” of Spenser St. John’s Hayti; or, The Black Republic [1884]’. Webb writes that ‘in this, the most widely read work on Haiti at the close of the nineteenth century, St. John helped to crystallize ideas about that country as steeped in Vodou, and quickly “decaying” into a condition of barbarism. As the book “travelled” around the Atlantic, it was read by radically different audiences, from Haitian diplomats to British reviewers.’ For Webb, ‘their corresponding and conflicting responses reveal something of the power dynamics in forming ideas about the “black republic” ’ (abstract: <https://muse.jhu.edu/article/674970>). Lucas Dietrich is concerned with ‘ “At the Dawning of the Twentieth Century”: W.E.B. Du Bois, A.C. McClurg & Co., and the Early Circulation of The Souls of Black Folk’ (BoH 20[2017] 307–29). Dietrich ‘examines the publication history of W.E.B. Du Bois’s The Souls of Black Folk’, initially published in 1903, ‘which has received only occasional scholarly attention’. Dietrich writes that ‘recent publications of the book, from both W.W. Norton & Company and Oxford University Press, reprint the first edition of the text without mentioning changes to the second printing. Likewise, the book’s editor has been widely misidentified by scholars. In light of this history’, Dietrich’s ‘essay reconsiders the initial publication and reception of The Souls of Black Folk, considering how the text circulated among a popular audience.’ For Dietrich, ‘while Du Bois and his Chicago publisher, A.C. McClurg & Co., sought to target a predominantly white audience by simultaneously appealing to and subverting fantasies of racial dominance, these efforts encountered dual attitudes of resistance’. He adds that ‘on the one hand, the vast majority of readers harshly rejected Du Bois’s argument for racial equality. On the other hand, they interpreted The Souls of Black Folk as confirming racial stereotypes and essential characteristics of the Negro. Such racialized misreading dominated the US literary marketplace at the dawning of the twentieth century, and Du Bois’s encounter with this reaction profoundly influenced his authorial approach for the remainder of his career’ (abstract: <https://muse.jhu.edu/article/674972>). Julieanne Lamond considers ‘Katherine Cecil Thurston’s John Chilcote, MP: Popularity and Literary Value in the Early Twentieth Century’ (BoH 20[2017] 330–50). Lamond observes that ‘Katherine Cecil Thurston’s novel, John Chilcote, MP (London: Blackwood, 1904), very quickly became “the novel of the season” across the English-speaking world, but the status and meaning of this popularity were not at all clear to contemporary readers and critics.’ Lamond ‘traces the reception of John Chilcote, MP and argues that its uncertain literary status is far from extraordinary in this period’. According to Lamond, ‘the reception of the novel was transnational and thoroughly mediated, involving a set of negotiations between critics, readers and publishers about what kind of novel it was, and thus how it should be valued’. In addition, ‘these negotiations trouble any assumption of a clear-cut divide between the literary and the popular at the turn of the twentieth century, and suggest the ways in which reception and reading history can trouble literary-historical accounts of literary popularity and cultural hierarchy’. For Lamond, ‘this reception indicates a literary field, in the first decade of the twentieth century, in which a divide between high and low literature was often asserted by critics, but thoroughly blurred by the practices of publishers, the press, readers, and authors themselves’ (abstract: <https://muse.jhu.edu/article/674973>). Lamond’s essay is accompanied by seventy-eight notes (pp. 347–50), some of which provide useful references to discussions concerning, for instance, best-selling fiction (see e.g. p. 348 n. 33). Jennifer Noland’s ‘Reading “Babylon Revisited” as a Post Text: F. Scott Fitzgerald, George Horace Lorimer, and the Saturday Evening Post Audience’ (BoH 20[2017] 351–73) focuses upon ‘Babylon Revisited’, ‘universally regarded as one of F. Scott Fitzgerald’s most accomplished stories’ that was initially ‘published in the Saturday Evening Post on 21 February 1931’. Nolan writes that ‘readers of the story in the Post encountered the text within a nexus of bibliographic codes—from the placement of the story in the magazine, to the illustrations that accompany it, to the advertisements and other materials that surround it, to the more general editorial context of the Post during the early days of the Depression’. According to Nolan, ‘very little scholarly attention has been paid to these textual, paratextual, and visual materials framing its publication, despite their importance in shaping contemporary reception of the work’. Her essay, ‘through an examination of how these editorial elements promoted a reading of the story that supported the ideological stance espoused by the Post in 1930–1931’, demonstrates ‘how attention to such evidence is necessary for understanding how Fitzgerald and his works were positioned for contemporary readers and critics alike’. Nolan writes that ‘given the importance of the slicks [popular magazines] in the careers of many American literary writers in the first half of the twentieth century, such an approach has far-reaching implications for our understanding of American literary history as well’ (abstract: <https://muse.jhu.edu/article/674974>). Children’s reading on another continent preoccupies Bronwyn Lowe in her ‘ “Books that civilize as well as satisfy”: Surveying Children’s Reading Habits in 1940s and 1950s Australia and New Zealand’ (BoH 20[2017] 374–93). According to Lowe, ‘surveys have often been used to find out what children were reading in any given time period’. Her ‘article examines a range of surveys taken over the 1940s and 1950s in Australia and New Zealand, focusing on W.J. Scott’s 1947 survey of New Zealand children’s reading habits, and Connell, Francis, and Skilbeck’s account of Australian adolescents’ reading habits published in 1957’. Lowe doesn’t focus ‘on the results of the surveys themselves’. Instead, Lowe addresses ‘the concerns of those conducting the surveys—namely that readership of inappropriate books and pernicious comics would degrade children’s intelligence and morals. These concerns are vitally present in the analysis of the results that they publish.’ Lowe writes that ‘while historians of reading have all made important contributions to their field through their use of historical reading surveys, few historians have sought to focus on the motivations and concerns of adults in conducting such surveys’. Her article, on the other hand, reveals ‘that the analyses of the results recorded in these surveys are just as worthy of examination as the results themselves’ (abstract: <https://muse.jhu.edu/article/674975>). Matthew Franks, in his intriguingly entitled essay ‘From Public Library Prankster to Playwright: Joe Orton and Postwar Britain’s Nanny State’ (BoH 20[2017] 394–423), notes that ‘Posters with graffiti are among the most visible examples of vandalism against Postwar Britain’s nanny state.’ His ‘essay focuses on more off-the-wall exploits by 1960s public library prankster and playwright Joe Orton’. Franks writes that ‘after spending six months in prison for defacing library books, Orton emerged to become one of Postwar Britain’s most important dramatists. Linking histories of libraries, propaganda, and graffiti, this essay asks why media regulators are so often analogized to old maids, and their vandals, to young men.’ Franks asks ‘what role do books and other print media play as mouthpieces for state authority, and as canvases for talking back to it?’ (abstract: <https://muse.jhu.edu/article/674976>). In his article, which is accompanied by seven figurative illustrations (pp. 400–3, 405–6), Franks concludes that ‘performance scholars could meet book historians half-way by thinking even more about how print literally and metaphorically conditions shared experiences of theater, whether looking at how print crosses the stage as props, or circulates around it as tickets, playbills, posters, and souvenirs. Such an approach would begin to answer Lisa Gitelman’s call’ in her monograph Paper Knowledge: Toward a Media History of Documents (Durham: Duke University Press, 2014, p. 9) ‘to shift from a study of print culture to one of media history, since, as Orton showed, Mrs. Grundy and Bill Stickers are as media-savvy as they are persistent’ (p. 418). The last article of interest to YWES readers in this volume of Book History has a Canadian context. Jody Mason, in her ‘ “Capital Intraconversion” and Canadian Literary Prize Culture’ (BoH 20[2017] 424–46), ‘analyzes how the “particular symbolic fortunes” of Canada’s most widely recognized literary prize, the Scotiabank Giller Prize, undergo what James English calls “capital intraconversion”—how they are “culturally ‘laundered” through their association with Frontier College, Canada’s longest-running adult literacy organization’. Mason observes that ‘while the Giller initially benefited from fashioning itself as the private, industry-driven alternative to state-sponsored culture in Canada, increasing criticism of its corporate sponsorship has led, in the past decade, to a rebranding effort. This effort’, she argues, ‘seeks to benefit from two key terms—multiculturalism and literacy’. Furthermore, ‘associated as the discourse of multiculturalism and the figure of the literate citizen are with the strong publics of the western, liberal-democratic nation-state, they possess a remarkable ability to accentuate the symbolic capital of Canada’s most widely recognized literary prize’ (abstract: <https://muse.jhu.edu/article/674977>). Her article is accompanied in places by extensive footnotes (e.g. pp. 441–2 nn. 18, 19). The Eighteenth-Century Intelligencer, edited by James E. May, offered several bibliographical and textual articles of note. The March issue begins with ‘Monuments of Unageing Intellect’ by Melvyn New (ECIntell 31:i[2017] 1–8). New, on completing the Florida Edition of Laurence Sterne [1978–2014], took up the task of co-editing a four-volume critical edition of Sir Charles Grandison (not yet published) for the ongoing Cambridge Edition of the Works of Samuel Richardson. His essay defends the critical edition as the durable, if temporal-specific, ‘monument’ against Janine Barchas’s case that such editions have become obsolete in view of electronic text-bases, in a review essay of the first three volumes of the Cambridge Edition of the Works of Samuel Richardson [2011–12] entitled ‘First and Last’ (ECL 38:iii[2014] 118–24). After noting greater flexibility in the Cambridge edition’s editorial policy than claimed, New finds problems in ‘Barchas’s suggestion that the “age of” ’ the electronic edition ‘allows scholars to view multiple versions and “choose freely and easily among” readings’ (ECIntell 31:i[2017] 5). New also illustrates the importance of textual work in determining meaning, and of annotation, creating a legacy for the future. Catherine Ingrassia provides a list of websites and databases in her discussion of teaching eighteenth-century women writers, ‘Familiarity Breeds Contentment: Reviving the Strange When Teaching Eighteenth-Century Women Writers’ (ECIntell 31:i[2017] 8–15). Anthony W. Lee, in ‘ “The Dreams of Avarice”: Samuel Johnson and Edward Moore’ (ECIntell 31:i[2017] 22–32), examines evidence for Johnson’s reading of and response to a contemporary author, finding quotations of Moore within Johnson’s Dictionary and strengthening the case attributing to Johnson a defence of Moore’s comedy Gil Blas in the February 1751 issue of The Gentleman’s Magazine. The issue also includes several notes related to publishing and bibliography. James E. May, with a lengthy tribute from Manuel Schonhorn, offered an assessment of a later publisher’s contributions to eighteenth-century studies in ‘Gabriel Hornstein and AMS Press, the Foundation of Scholarship’ (ECIntell 31:i[2017] 54–5). Next, reflections on two foundational bibliographies are offered from correspondence to the editor James E. May from Carolyn Nelson and John Lancaster, in ‘Some Thoughts on Wing and the ESTC from Carolyn Nelson (co-compiler of the Wing Short-Title Catalogue)’ and (ECIntell 31:i[2017] 55–6 and 56–7 respectively). In part to promote their use, James E. May offered generalizations about the relative health and utility of the two important secondary bibliographies offering abstracts and full scholarly texts in ‘Comparative Remarks on Project MUSE and JSTOR’ (ECIntell 31:i[2017] 57–60). The October 2017 issue begins with ‘When Novels and Newspapers Were New Media: The Strange and Familiar in the Eighteenth-Century Cultural Marketplace’ by Eleanor F. Shevlin, her presidential address to the East-Central American Society for Eighteenth-Century Studies at its 2016 meeting (ECIntell 31:ii[2017] 1–10). While this ‘new media’ approach attracts students to courses on the eighteenth century, it also reflects important creative interactions between emerging media early in that century. Shevlin notes that ‘the twenty-first-century concept of repurposed content that forms the basis for much of today’s new media provides a different vantage point from which to consider the occurrence of recycled matter in eighteenth-century novels and periodicals’, where recycled materials find new formats and audiences (p. 3). Shevlin illustrates instances of periodical material, such as classified advertisements, being incorporated into fiction to add more than just verisimilitude. Her fullest example involves The News-paper Wedding [1774], where the narrator incorporates responses to an advertisement for a husband run in July 1772 newspapers. Shevlin concludes by outlining the editorial project for this novel undertaken by students in her classes at West Chester University, who drew especially on contemporary newspapers in the Burney Collection online. In ‘Online.Swift Edition by Ehrenpreis Centre Newly Enhanced’ (ECIntell 31:ii[2017] 16–18), one of the project’s editors, Janika Bischof, reports on ‘major upgrades to the design and functionality of the site … made possible through the financial support of the Deutsche Forschungsgemeinschaft (German Research Council) since 2008’. Bischof also provides instructions on various approaches to using this ‘old-spelling critical online edition of the Prose Works of Jonathan Swift, with introductions and variorum commentaries’, available at <http://www.online-swift.de/about.html>. One of the edition’s many strengths involves the Ehrenpreis Centre’s nearly complete reconstruction of Swift’s library and a staff of readers capable of following Swift into classical and other languages. Lastly, Greg Clingham, director of Bucknell University Press, announces ‘Bucknell University Press & Rutgers University Press Create New Partnership’, with an appended bibliography of the press’s recent publications in eighteenth-century studies (ECIntell 31:ii[2017] 25–8). Script & Print (S&P 41:i–iii[2017), edited by Shef Rogers, continues to publish interesting material. Patricia Thomas’s ‘Iconoclastic Effrontery: Rex Fairburn, Bob Lowry and the Printing of Polemics’ (S&P 41:i[2017] 5–20), accompanied by six illustrative figures, in addition to discussing the importance of ephemera, considers the New Zealand printer Bob Lowry’s production of ‘two pamphlets penned by the New Zealand poet, critic and social commentator, Rex Fairburn’ (p. 5). Thomas also has interesting information on the careers of both Lowry and Fairburn and their activities during the middle years of the last century. Marion Amies’s subject is ‘Amelia Carey White: Author of Social Life and Manners in Australia’ (S&P 41:i[2017] 21–35). Amies identifies White (1831–?) as the author of Social Life and Manners in Australia, published anonymously ‘in June 1861 by Longman, Green, Longman, and Roberts, London’ (p. 21). Amies concludes that in the ‘light of’ her ‘research, Amelia’s story is no longer “so destitute of dates & distances as to be difficult of verification” and within … limitations … it is of “use for historical purposes” ’ (p. 35). The prolific analytical bibliographer B.J. McMullin contributes ‘Walter Scott’s Ballads and Lyrical Pieces, 1806, and the Collected Works’ (S&P 41:i[2017] 36–40). McMullin’s article is ‘a summary account of the relationships between editions/issues of Ballads and Lyrical Pieces and the burgeoning collected Works’ (p. 40). Another distinguished bibliographical scholar, in this instance John C. Ross, writes ‘Fleuron: A User’s Report—And Charles Ackers Revisited Again’ (S&P 41:i[2017] 41–52). Ross’s opening paragraph clearly explains, ‘in this article I report on Fleuron and my use of it to further knowledge of the output of the printing-house of Charles Ackers, active as a London master-printer from 1727 to 1759’ (p. 41); the Oxford Bibliographical Society published in 1968 A Ledger of Charles Ackers, Printer of ‘The London Magazine’ jointly edited by the late D.F. McKenzie and John C. Ross. Ross also produced Charles Ackers’ Ornament Usage (Oxford Bibliographical Society, 1990) and ‘Charles Ackers Revisited: Biographical Details and Further Books’ (S&P 36:ii[2012] 30–40). Nicholas A. Sparks contributes a listing of ‘Corrigenda to Two Modern Editions of The Peterborough Chronicle: Plummer’s Two of the Saxon Chronicles Parallel, Volume 1 (Oxford: Clarendon Press, 1892) and Irvine’s The Anglo-Saxon Chronicle: A Collaborative Edition. Volume 7 (Cambridge: Cambridge University Press, 2004)’ (S&P 41:i[2017] 53–7). Dennis Bryans reviews Jerry Kell and Misha Beletsky’s The Noblest Roman: A History of the Centaur Type of Bruce Rogers (S&P 41:i[2017] 63–4). Script & Print 41:ii[2017] contains three articles. In the first, Merete Colding Smith’s subject is ‘Eliza Brown (1785–1831): Anonymous Author of Mamma’s Lessons’ (S&P 41:ii[2017] 69–91). In addition to ‘investigating how the life and identity of the author, Eliza Brown, could be established through inscriptions in copies of her books’, Smith ‘examines how Mamma’s Lessons, a small volume by this minor author, became sufficiently popular to remain in print and to be published in at least fifteen editions over a period of forty years and also in numerous other authorized editions in the USA’ (p. 69). Patrick Spedding, in his ‘A List of My Books: A Detailed Analysis of a 1730s Personal Library’ (S&P 41:ii[2017] 92–104), observes that ‘the anonymous private library catalogues that are the subject of this essay offer a valuable insight into British culture in the 1730s, and provide further evidence to support the emphasis on sociability in accounts of eighteenth-century book culture’ (p. 92). Spedding’s contribution has three appendices: ‘Transcript of Both Lists, with Reference Codes Added’ (pp. 97–100); ‘Duplicated Entries Combined into Alphabetical Lists, with Bibliographical References’ (pp. 101–3); and ‘Earliest Editions Possible’ (p. 104). B.J. McMullin’s concern is ‘Hartford: Published by Silas Andrus’ (S&P 41:ii[2017] 105–28), an account of one of the ‘now-forgotten publishing houses existing in United States in the first half of the nineteenth century of Silas Andrus, who, in various partnerships (including with his son), was active in Hartford, Connecticut between 1810 and 1856’. Given the difficulties he encountered while conducting his research, McMullin’s article ‘is as much as an illustration of more general trade practices as it is of Andreas and his publishing activities’ and is based on ‘an examination of about one hundred volumes bearing on the title page the imprint of Silas Andrus as publisher’ (p. 105). McMullin’s investigations conclude with a chronologically arranged, enumerative listing by date of first publication—1822—and concluding in 1856 of the ‘Publications of Silas Andrus’ (pp. 126–8). There are several contributions to Script & Print 41:iii[2017]. The first is Tracy Caulfield’s ‘Publishing Henry Handel Richardson’s The Bath: An Aquarelle’ (S&P 41:iii[2017] 133–43). ‘Henry Handel Richardson (the pseudonym for Ethel Florence Lindesay Richardson, 1870–1894, Mrs. J.G. Robertson, 1895–1946) liked nothing better than to sit behind closed doors and play with words.’ Richardson is described by Caulfield as a ‘very private writer’ (p. 133); the article focuses mainly on the publication, by the short-lived Sydney-based publishing house of P.R. Stephenson & Co., which went ‘into voluntary liquidation in February 1935’ (p. 142), of Richardson’s story The Bath: An Aquarelle’. Another article of interest to YWES readers relating to material published in English is Gillian Dooley’s account of ‘The Library at Soho Square: Matthew Flinders, Sir Joseph Banks and the Publication of A Voyage to Terra Australis (1814)’ (S&P 41:iii[2017] 169–86). Dooley writes that ‘Matthew Flinders’s major work, A Voyage to Terra Australis: Undertaken for the Purpose of Completing the Discovery of that Vast Country, and Prosecuted in the Years 1801, 1802, and 1803, in His Majesty’s Ship the Investigator, appeared in 1814, eleven years after the voyage it describes finished, and just days before he died’ (p. 169). Dooley provides information about Flinders, his relationship with his patron Sir Joseph Banks, who supported Flinders’s efforts, and the problems concerning Flinders’s researches for his volumes and their publication in wartime, including the author’s hunt for previous voyage accounts. She includes two appendices: ‘Matthew Flinders and Sir Joseph Banks: The Library at Soho Square List of Books Mentioned in Flinders’s Introduction to A Voyage to Terra Australis (1814)’ (pp. 183–4); ‘Other Books Mentioned in the Introduction to Voyage to Terra Australis’ (pp. 184–6). This third issue of Script & Print, in common with others, is well illustrated inside with black and white illustrations, and on the front and back covers with colour ones. It concludes with Paul Tankard’s enthusiastic review of Terry I. Seymour’s, Boswell’s Books: Four Generations of Collecting and Collectors, published by Oak Knoll in 2016 (S&P 41:iii[2017] 187–90. Tankard, editor with Lisa Marr of the fine Facts and Inventions: Selections from the Journalism of James Boswell (published in 2014 by Yale), observes that ‘Seymour has given us a compilation that represents an astonishing amount of careful work, that is full of unexpected curiosities, and which it will be a lasting joy to explore’ (p. 190). This chapter is not confined to work dealing with bibliography, textual criticism, or necessarily reference works. A periodical that should not be ignored is Frontiers of Narrative Studies, edited by Shang Biwu and published by De Gruyter. Its third volume, first issue, is a special issue devoted to ‘Narrative and Narcissism: Conceptual Framework, Cultural Contexts, and Interdisciplinary Interfaces’, edited by Nora Berning. Following Berning’s introduction (FNS 3:i[2017] 3–8), articles of relevance include the guest editor’s ‘The “Me Decade”: Textual and Figural Narcissism in Robert M. Pirsig’s Motorcycle Narrative Zen and the Art of Motorcycle Maintenance: An Inquiry into Values (1974)’ (FNS 3:i[2017] 105–21). For Berning, ‘Robert Pirsig’s motorcycle narrative … revels in narcissism’ (p. 105). In the ‘General’ section of the issue (pp. 158–201) Patrick Colm Hogan’s subject is ‘How an Author’s Mind Made Stories: Emotion and Ethics in [Rabindranath] Tagore’s Short Fiction’ (FNS 3:i[2017] 158–78). This is followed by James Phelan’s ‘Narrative Theory, 2006–2015: Some Highlights with Applications to Ian McEwan’s Atonement’ (FNS 3:i[2017] 179–201), which ‘is a sequel to [Phelan’s] “Narrative Theory, 1966–2006: A Narrative,” Chapter 8 of the 2006 edition of The Nature of Narrative’ (p. 179), published in its second edition edited by Robert Scholes, James Phelan, and Robert Kellogg under the Oxford University Press imprint. Phelan ‘highlights five particular developments in the field by considering its implications for reading Ian McEwan’s Atonement’. The five areas he focuses on are ‘unnatural narratology’ (pp. 180–4); ‘theories of fictionality’ (pp. 184–7); ‘theory of mind or mind-reading’ (pp. 187–91); ‘feminist narrative theories, intersectionality, and critique’ (pp. 191–5); and ‘rhetorical theory and the narrative communication model’ (pp. 195–9). In his ‘Conclusion’, for Phelan, ‘narrative theory has not only emerged as a readily identifiable field of study. It has also made substantial progress in its project of how narrative works and why it matters’ (p. 200). The December issue of Frontiers of Narrative Studies is a special issue devoted to ‘Experimental Literature and Narrative Theory’, guest-edited by Brian Richardson. Following the guest editor’s ‘Introduction: Experimental Literature and Narrative Theory’ (FNS 3:ii[2017] 203–5), essays of interest include Mikko Keskinen ‘Blocks to, and Building Blocks of, Narrativity: Fragments, Anecdotes, and Narrative Lines in David Markson’s Reader’s Block [1996]’, published by Dalkey Archive Press in 2007 (FNS 3:ii[2017] 224–37). Markson’s work ‘consists of 193 pages of quotations, anecdotes, names, and fragments’. Markson reads ‘the ostensive block to narrativity’ as also functioning ‘as its very building block’. For Markson, ‘the very text claiming to deal with blockages performatively, as a finished book, testifies to the opposite: the mass of texts and plans proves that the ability to work on writing is not lost. Blocks that obstruct also construct, and the demediated novelistic medium still mediates as a form and repurposed content’ (p. 237). Sebastian Domsch, ‘Framing Absence: A Narratology of the Empty Page’ (FNS 3:ii[2017] 273–88), looks ‘at the narratology of the empty page by analyzing and comparing a number of texts that stage or emphasize the actual absence of text from the page’. Domsch contrasts ‘different techniques of “framing absence” ’ in texts by David Mitchell (number9dream [2001]), Jonathan Safran Foer (Tree of Codes [2010]), B.S. Johnson (House Mother Normal [1971]), and Mark Z. Danielewski (House of Leaves [2000]). ‘These examples will show how literary texts can use their own mediality and materiality to reflect on the general relation between all three’ (p. 273). Eva von Contzen, in her ‘ “Both Close and Distant”: Experiments of Form and the Medieval in Contemporary Literature’ (FNS 3:ii[2017] 289–303), ‘argues that some postmodern experimental forms of plot and narrative structure can be thrown into sharper relief by delineating them with medieval narrative practices of plot development’. She illustrates this from ‘Ali Smith’s 2014 novel How To Be Both’, which ‘offers an experimental plot that is shaped by the alterity and modernity of medieval and Renaissance art’. For von Contzen, Ali Smith in ‘drawing on the technique of fresco painting, the novel narrativizes the experience of simultaneity created by recollections of the past in the present’. Furthermore, ‘the novel’s two narrative strands—one set in contemporary England, the other in fifteenth-century Italy—are linked in associative and cross-temporal ways and highlight individual experience’. Her other example is Tokyo Cancelled [2005] by ‘the British Indian novelist Rana Dasgupta’. This is ‘a postmodern novel reminiscent of medieval narrative practices: in this tale collection held together by a very loose framework, plot itself becomes the protagonist as an epitome of modern society’s loss of identity’ (p. 289). Annjeanette Wiese, in ‘Who Says? Problematic Narration in Paul Auster’s City of Glass’ (FNS 3:ii[2017] 304–18), uses the novel, published in 1985, ‘as a means to understand the rhetorical strategies of Auster’s refusal to maintain a stable narrator’. Her analysis illustrates ‘how the category of narration prompts an unexamined trust in the teller and is therefore key to our understanding of truth and meaning in narrative’ (p. 304). Another genre, poetry, is the concern of Peter Hühn in his ‘The Eventfulness of Non-Events in Modernist Poetry: T.S. Eliot’s “The Waste Land” and Bertolt Brecht’s “Vom armen B.B.” ’ (FNS 3:ii[2017] 319–35). Following an exposition of ‘the transgeneric application of concepts of narrativity and eventfulness to lyric poetry’ Hühn’s ‘article analyzes in detail two pre-eminent modernist poems as significant cases where the non-occurrence of an eventful change constitutes an event in its own right (and thereby the point of the text): T.S. Eliot’s “The Waste Land” and Bertolt Brecht’s “Vom armen B.B.” (“Of poor B.B.”)’. For Hühn ‘the two poems are shown to differ significantly with respect to meaning and function of eventful uneventfulness: the absence of decisive changes is presented in “The Waste Land” as a deplorable failure of traditional values and forms of vital regeneration but in “Of poor B.B.” as a provocative rejection of conventional concepts and expectations’ (p. 319). Finally, Heike Hartung, in her ‘Fantastic Reversals of Time: Representations of Ageing in the Fantastic Mode’ (FNS 3:ii[2017] 336–59), is concerned with ‘the question how the genre of fantasy affects age narratives in terms of the representation of old age’. She analyses ‘George MacDonald’s “Little Daylight” (1864), Mary Elizabeth Braddon’s “Good Lady Ducayne” (1896) and F. Scott Fitzgerald’s “The Curious Case of Benjamin Button” (1921)’, and argues ‘that the mode of the fantastic serves to open up alternative visions of time and ageing. These age fantasies serve different cultural functions, both by reinforcing contemporary age stereotypes and by envisioning possible counter-narratives of old age’. She also compares ‘the problems with representing old age, its contradictions and ambiguities, to the internal oppositions of the fantastic genre’ (p. 336). Angelaki: Journal of the Theoretical Humanities, 22:iii[2017], with peer-reviewed contributions, is a special issue containing fourteen essays or poems on the subject of ‘nuclear theory disagree zero essays against the nuclear android’ (Angelaki 22:iii[2017] i). The issue concludes with Harriet David’s alphabetically arranged, annotated ‘Bibliographical Resources for Nuclear Criticism’ (Angelaki 22:iii[2017] 165–73). Other journals neglected in previous YWES coverage that contain useful contributions for English scholars include Atlantis: A Journal of the Spanish Association for Anglo-American Studies. A peer-reviewed, open-access, full-text journal published twice yearly, it may be found at <www.atlantisjournal.org>. a/b: Auto/Biography Studies is the journal of the Autobiography Society; it too contains peer-reviewed articles. Volume 32:iii[2017] is a special issue devoted to ‘Excavating Lives’. Studies in Scottish Literature 43:i[2017] contains two articles of interest to textual scholars. The first is Jamie Reid Baxter’s ‘Posthumous Preaching: James Melville’s Ghostly Advice in Ane Dialogue (1619), with an Edition from the Manuscript’ (SSL 43:i[2017] 70–101), in addition to containing a detailed discussion of a ‘dialogue’ (pp. 70–91) which as Baxter explains was a ‘written work in which two or more speakers debates and discuss an issue or event’. Baxter adds that ‘useful to historians, most of these dialogues make for dry reading now, when the controversies or situations which prompted their composition are long dead and may indeed be completely forgotten’. On the other hand, ‘some of these dialogues … reveal considerable imagination and a genuine flair for dramatic writing, and are hence of considerable interest to literary scholars’. One such example is ‘Ane Dialogue betuix Mr James Melville, Mr Walter Balquanquan, Archibald Johnstoune, Johne Smith, written in 1619 in the wake of the Kirk’s adoption of the Five Articles of Perth (August 1618), and the consequent introduction of changes to Scottish worship’ (p. 70). An edited text, with explanatory notes at the foot of each page, of the National Library of Scotland, Wodrow Quarto (pp. 92–101) follows Baxter’s commentary. The second item of interest is Patrick Scott’s ‘Robert Burns’s Hand in “Ay Waukin, O”: The Roy Manuscript and William Tytler’s Dissertation (1779)’ (SSL 43:i[2017] 137–51). This constitutes ‘the fifth in an on-going series illustrating Burns manuscripts in the G. Ross Roy Collection’ at the ‘Irvin Department of Rare Books and Special Collections, University of South Carolina Libraries’. Scott’s findings refine the ‘textual apparatus’ (p. 137) in James Kinsley’s edition of the Poems and Songs of Robert Burns, 3 vols. (Oxford: Clarendon Press, 1968), 2. 510, item 287. This seems the appropriate place to mention another Burns bibliographical item of interest published in 2017, Allan Young and Patrick’s Scott’s The Kilmarnock Burns: A Census. Young and Scott explain in their preface that ‘Poems, Chiefly in the Scottish Dialect, by Robert Burns, has long been recognized as one of the world’s great books. The 612 copies issued in the summer of 1786 by a local printer, John Wilson of Kilmarnock, sold out almost immediately. It launched Burns’s worldwide reputation as a poet, and within two years it had been followed by enlarged collections and reprints’. Young and Scott’s ‘is the first modern attempt to track down how many copies of Burns’s first book still survive, to describe their present appearance, including inscriptions and to trace, as far as possible, their previous ownership and its significance’ (p. vii). In his introduction, Allan Young observes that ‘the Census published here has identified 84 with confirmed locations’ and that ‘most copies are now in institutional libraries in the United States, the United Kingdom, and elsewhere, with a smaller number located in private ownership’ (p. xiii). This remarkable piece of bibliographical detection is divided into three parts. The first, ‘Copies in Institutional Ownership’, listed in alphabetical order of institution, begins with Balliol College, Oxford (pp. 30–4) and concludes with a description of the copy at the Beinecke Rare Book and Manuscript Library at Yale University (pp. 55–6). Descriptions contain the relevant library ‘call number’, the ‘size’, the ‘binding’, the ‘condition’, an account of ‘inscriptions’, of ‘provenance’ followed by notes and references (see e.g. pp. 55–6). The second part, ‘Some Copies in Private Ownership’, is organized in a similar manner and begins with a description of the copy in the possession of ‘Victor Glegg, Georgia’ (p. 57). It concludes with the three copies in the possession of ‘Dr. William Zachs, Edinburgh’, including ‘the William Wordsworth copy’ (pp. 69–70). The third part consists of ‘A Chronological Conspectus of Previously Recorded Copies’ (pp. 71–156), which ‘summarizes earlier descriptions and mentions copies of the Kilmarnock from sales records, newspapers, and other sources’ with indications ‘that the copy’s current location is known, and that the copy is described more fully in Part A or Part B’ (p. 71). This section is chronologically ordered beginning in April 1786 with the names of the original subscribers (pp. 71–2) and concludes in 2017 when ‘following the death of Mrs. Janet Burns Saint Germain of New York and Vermont, in September 2016, her Kilmarnock was added to the larger Scottish collection she had donated in 2013 to Innerpeffray Library, Perthshire’ (p. 156). There are three appendices to The Kilmarnock Burns: A Census. The first is a ‘Geographical Listing of Known Copies’ (pp. 159–62) beginning with twenty-five in Scotland, alphabetically arranged by town, five in England, and one in Switzerland (pp. 159–60), moving to North America, from Canada, three copies, to the United States arranged alphabetically by state with forty-eight indicated, including five at the New York Public Library in its various collections, and concluding with one in Australia, in Victoria at the Melbourne Scotch College (pp. 160–2). Somewhat surprisingly, given its Scottish connections, no copy is located in New Zealand. The second appendix contains a ‘Listing by Binders and Binding’ (pp. 163–73) and the third appendix contains details of ‘Facsimile Editions of the Kilmarnock Burns’ (pp. 174–80). Following ‘Acknowledgements’ (pp. 181–3) there is an extensive enumerative, alphabetically listed ‘Sources and References’ (pp. 185–98). To return to periodicals, a periodical that might otherwise be overlooked is The Walter de la Mare Society Magazine, issue 19 [November 2017], edited by Emma Close-Brooks. It leads with Giles de la Mare and Emma Close-Brooks’s ‘An Introduction to the “Count Stories” ’ (pp. 4–7) followed by Walter de la Mare’s ‘Richard’ (pp. 8–28), which Giles de la Mare discovered untitled ‘among some family papers’. Giles de la Mare writes that ‘it probably dates from the 1940s or early 1950s’ from a ‘1901 version’ (p. 8). An article by Eleanor Farjeon on ‘Walter de la Mare’ (pp. 29–33) is ‘reprinted from the June 1957 issue of The Horn Book Magazine’ (p. 29). The late Michael Moynihan’s ‘Edward Thomas and Walter de la Mare’ that originally appeared in the Edward Thomas Fellowship Newsletter (31[1994]), with an introductory note, is also reprinted (pp. 33–8). Giles de la Mare contributes ‘Walter de la Mare. Bibliography: Some of the More Important Sources’, a mixture of nineteen itemized primary and secondary sources with brief descriptions (pp. 39–40), and ‘Three Photographs of the De La Mare Family, taken by Edward Thomas in about 1911’ and ‘discovered by William Wootten in the Edward Thomas Archive in the Special Collections and Archives of Cardiff University’ (p. 40) are reproduced (pp. 41–3). This issue of the Walter de la Mare Society Magazine concludes with a reprint (pp. 44–6) of Walter de la Mare’s review of Francis Warre Cornish’s Jane Austen, ‘first published in the TLS on 16th October 1913’ (p. 4). 2. Editions A number of diverse edited texts from different periods appeared in 2017. In alphabetical order of the author of the edited texts, the first is an edition of Wilkie Collins’s The Red Vial: A Drama in Three Acts, edited with an introduction by Caroline Radcliffe, an authority on the Victorian theatre, with Andrew Gasson, the Wilkie Collins expert, as consultant editor: there is a foreword by the cellist and Wilkie Collins collector Steven Isserlis (pp. 3–4). Accompanied by black and white illustrations, this is the first publication of Wilkie Collins’s script for the performance at the Royal Olympic Theatre. It opened on 11 October 1858, on the whole received negative reviews, and with cuts the play ran for a month. In her detailed and well-documented introduction (pp. 5–29), Radcliffe sets the play in the context of Collins’s creative output and theatrical history (pp. 5–9), includes a detailed plot synopsis (pp. 11–12), discusses its reception (pp. 12–20), its sources (pp. 20–2), notes plot affinities between Collins’s drama and his subsequent serialized novel Jezebel’s Daughter [1879–80] (pp. 22–4), and includes a comparison of the chief characters of The Red Vial and Jezebel’s Daughter (pp. 24–5). There is too discussion of the manuscript versions of The Red Vial (pp. 25–6) and, prior to extensive notation to the introduction (pp. 27–9), explanation of the editorial practice (pp. 26–7) used in the edition: ‘the editors’ primary aim is to present an accurate and easily readable acting copy of the Texas manuscript. Having established that the Texas version of The Red Vial was the one acted at the Olympic, it has been decided to publish its text in its entirety rather than the earlier, B[ritish] L[ibrary] version.’ The reason is that the former ‘is written partly in Collins’s hand and partly in another hand, to which Collins has added corrections, annotations and deletions. The manuscript demonstrates and attests to the various changes that the production went through.’ In addition, ‘to enable the reader to compare the original BL version with the later Texas version, the editors have noted significant variants as endnotes’ (p. 26). The text (pp. 33–72) is followed by endnotes (pp. 73–7). This nicely produced edition by the Wilkie Collins Society is limited as a hardback edition to 200 copies: a paperback edition with stiff covers is available too. It concludes with extracts from ‘Selected Reviews for The Red Vial’ (pp. 78–81). Paul Hartle’s two-volume edition of The Poetry of Charles Cotton has been a long time in the works. Hartle writes that Cotton ‘has been a congenial collaborator for almost forty years’ (p. xlvii) and is a monument to a tradition of editing today increasingly under attack and regarded as out of date. Hartle’s edition clearly is not an electronic edition, but is in the tradition of other Oxford University printed scholarly edited texts. This edition of the mid-seventeenth-century poet Charles Cotton’s (1630–87) poetic output is based on a thorough evaluation of the available manuscript and early printed editions of his work and contains two major works that hitherto have not been edited, as well as a detailed commentary on all Cotton’s texts. The first volume contains a ‘General Introduction’ (pp. xxi–xlvii) divided into sections on ‘Charles Cotton: A Short Life’ (pp. xxi–xxviii), in which Hartle observes that Cotton’s ‘circle of literary friends was overwhelmingly cultivated and royalist’ (p. xxvi) including some friends inherited from his father Charles Senior (?1603–58), who ‘was a figure of some consequence in London literary circles’ (p. xxi). In ‘Editing Cotton’ (pp. xxviii–xxxiii) Hartle comments that ‘Charles Cotton is something of a literary Proteus’ (p. xxviii). Hartle then has sections on ‘Reading Cotton’ (pp. xxxiii–xli), ‘Cotton Reading’—focusing on Cotton’s ‘antiquarianism’ (pp. xli–xlv)—and ‘Cotton Writing’ (pp. xlv–xlvii). The ‘Textual Introduction’ (pp. xlix–liv) contains details of the ‘Contents of [the] Edition’ followed by most detailed descriptions of the texts of both volumes, including Cotton’s manuscripts, then printed sources (pp. lv–cx). In his ‘General Editorial Policy’ (pp. cxi–cxiv) Hartle’s succinct explanation of ‘Textual Variants’ reads: ‘these are to be found in the Textual Notes’ at the foot of the page of text. ‘All substantive variants from printed sources have been noted. In effect, this means that all lifetime additions’ and the posthumously published work are recorded (p. cxii). The first volume consists of the texts of poems from manuscripts (1. 1–384). The second volume prints texts from contemporary printed texts (2. 1–401). Each of the two volumes concludes with an extensive commentary (1. 391–669; 2. 403–784) on the works included in them. The commentaries are in some cases very detailed: see for instance the commentary on the text (found in 2. 3–110) of Scarronides. This commentary (2. 403–532) encompasses the background of a poem to commentary on, at times, each individual word in the poem. There are two appendices: ‘1689 Table of Contents and Location in This Edition’ (2. 785–92) and ‘Virgil Line References in Scarronides’ (2. 793–7). These appendices are followed by an enumerative, alphabetically arranged bibliography divided into ‘Selected Primary Texts’ (2. 799–810) and ‘Selected Secondary Reading’ (2. 810–25). This superb, well-bound and printed edition, a tribute to its subject and editor, concludes with an ‘Index of First Lines’ (2. 827–31). Jerome McGann writes in his introduction (pp. ix–xxxii) to his edition of Martin R. Delany’s Blake or The Huts of America [1859, 1861–2] that it ‘was at once the most important and least influential work of fiction published by a black writer in the nineteenth century. Most important because of its intellectual scope; least influential because it caught the attention of almost no one for nearly one hundred years after its publication’ (p. ix). It is the tale of its hero Henry Blake, his escape from a southern plantation, his travels across the United States, to Canada, and to Africa and then Cuba. Blake is on a mission to unite the free and slave black populations of the American Atlantic regions, in a freedom struggle either through insurrection or emigration, and to create an independent black state. According to McGann, its author, a black medical doctor and son of a slave, ‘was not a novelist—he was a polemicist, even a kind of prophet, who deployed various conventions of traditional fiction to make an argument about what black emancipation in America meant and how it was to be achieved’ (pp. xv–xvi). McGann’s ‘Editor’s Note’ (pp. xxxiii–xxxviii) outlines clearly ‘the difficult publication history’ of Blake (pp. xxxiii–xxxvi). McGann writes that his edition ‘offers for the first time a complete and accurate transcription of Delany’s work as it appeared in the revised’ seventy-four-chapter version published in the Weekly Anglo-African during 1861 and 1862, ‘correcting the text where correction is called for, and it supplies more extensive notes and introductory material’ (p. xxxvi). The text is followed by ‘Historical and Critical Notes’ (pp. 315–32), and the edition closes with an alphabetical enumerative list of ‘Further Reading’ (pp. 333–4) and ‘Acknowledgments’ (p. 335). A City Girl: A Realistic Story [1887] was the novelist and journalist Margaret Harkness’s (1854–1923) first novel. It centres on Nelly Ambrose from the East End of London, who has been seduced and abandoned by a middle-class man. Following her baby’s birth, she is betrayed by her family but saved by the Salvation Army and a local man, George, who wishes to marry her in spite of her ‘fallen’ situation. Unlike other ‘New Woman’ heroines she is passive and socially ignorant; however, her creator’s sympathy for her and refusal to judge her morally adds to the novel’s interest. Tabitha Sparks’s Broadview edition text is based on ‘a reprint of the original 1887 edition’ published ‘under the name “John Law” ’ with ‘minor spelling errors and typographical mistakes … corrected’ (p. 35). In addition to Sparks’s introduction (pp. 9–30), and ‘Margaret Harkness: A Brief Chronology’ (pp. 31–3), followed by the text with accompanying explanatory notes at the foot of the page (pp. 41–126), the edition has five appendices: extracts from seven ‘Contemporary Reviews’ (pp. 127–34); three illustration from ‘Other Writings by Margaret Harkness/John Law’ (pp. 135–45); three examples of contemporary accounts of ‘The East End in Late-Victorian London’ (pp. 147–56); four contemporary accounts of ‘Reform Initiatives by and for East End Women’ (pp. 157–65); and three extracts from ‘Fallen Women in Late-Victorian Fiction’: ‘From George Gissing, The Unclassed (1884)’; ‘From Ella Hepworth Dixon, The Story of a Modern Woman (1894)’; and ‘Arthur St. John Adcock, “The Soul of Penelope Sanders,” East End Idylls (1897)’ (pp. 167–77). These are followed by a chronologically arranged list of ‘Journalism’, and ‘Novels’, and basic listings of ‘Selected Works by Margaret Harkness’ (p. 179), followed by an alphabetically arranged, enumerative listing of ‘Other Primary Sources and Criticism’ (pp. 179–82). Omitted from previous coverage is Michael Anesko’s edition of The Portrait of a Lady, published in 2016 as part of the ongoing Cambridge Edition of the Complete Fiction of Henry James. The initial introductory material follows the pattern found in other volumes of the projected thirty-four-volume Cambridge edition. ‘Illustrations’ (p. x)—there are four in this instance—‘Acknowledgments’ (p. xi), ‘Abbreviations’ (pp. xii–xiv), the ‘General Editors’ Preface’ (pp. xv–xxii), and Philip Horne’s extensive ‘General Chronology of James’s Life and Writings’ (pp. xxiii–xxix) are followed by Anesko’s introduction to his edition (pp. xxx–lxxiv). This is followed by Tamara Follini’s compilation of the ‘Contemporary Reception of The Portrait of a Lady’ with ‘Reviews of the Periodical Version’ (pp. lxxiv–lxxv) and ‘Reviews of the Book Version’ (pp. lxxv–lxxvii). Anesko’s ‘Textual Introduction’ (pp. lxxviii–xc) explains a complicated textual history. Anesko observes that ‘The Cambridge Edition of the Complete Fiction of Henry James, as a general rule, adopts the text of the first published book edition of a work, unless the intrinsic particularities and the publishing history of that work required an alternative choice.’ This is indeed the case with The Portrait of a Lady, for which ‘the idiosyncrasies of publishing history dictates that the choice of copy text be the second published edition, rather than the first’ (p. lxxviii). Anesko provides a ‘Chronology of Composition and Production’ of the novel (pp. lxxxiii–xc) followed by a partly annotated bibliography (pp. xci–ci), ‘limited to works that are explicitly cited in the editorial matter or, if not cited, works that contribute information and evidence directly relevant to the history of the text’s genesis, composition, reception and afterlife’ (p. xci). The text of the novel (pp. 3–569) is followed by a ‘Glossary of Foreign Words and Phrases’ (pp. 570–2), notes (pp. 573–634), and extensive listings of ‘Textual Variants’ (pp. 635–948) divided into ‘Variants 1: Substantive Variants up to Copy Text’ (pp. 635–59) and ‘Variants II: Substantive Variants after Copy Text’ (pp. 660–944), followed by a tabulated listing of ‘Emendations to the 1882 Macmillan Copy Text’ of the novel (pp. 945–8). Some of these variants are fascinating. To take one instance from many, the 1908 New York Edition of the novel has Lord Warburton two years older than in earlier versions, in which he ages during the five-year period covered by the text from 35 to 40. By the conclusion of Anesko’s edition Warburton is 42. There are two appendices: the first contains ‘Extracts from James’s Notebooks’ with footnote explanations (pp. 951–9); the second, also with footnotes, is the ‘Preface to New York Edition’ (pp. 960–74). Anesko’s edition is sturdily bound, and the computer-generated typeface is easy on the eyes. Another addition to the ongoing Cambridge Edition of the Complete Fiction of Henry James is Jean Chothia’s edition of The Outcry, published in 2016. Not one of James’s more well-known novels, The Outcry was, Chothia writes in her account of ‘The Genesis of the Text’ (pp. xxviii–xxxv), the final novel ‘James completed and published in his lifetime derived directly from his 1909 play of the same name’. The novel, running to around 60,000 words, was ‘published almost simultaneously in England and America, in October 1911’ (p. xxviii). According to Chothia, ‘the play’s three acts had become the three books of the new novel, identically structured and with the same locations, characters, gestures, arrivals and departures as those of the play’. However, in spite of the parallels between the two, ‘the novel’s passages of narrative extend the tone and texture of the play’s stage directions and introduce a wryly observing authorial presence’ (p. xxxiii). An account of ‘Publication History’ (pp. xxxv–xli) is followed by a section on ‘Contexts Social, Political and Cultural’ (pp. xli–xlvi), ‘Art-Wealth, Art Grab and Grab-Resources’ (pp. xlvi–liv), and ‘ “Appreciation by Appropriation’”(pp. liv–lvii). Wealthy Americans raiding British art treasures is the major theme of The Outcry. The introduction continues with an account of ‘The Reception of the Text’ (pp. lvii–lxi): ‘the English reviews of The Outcry were positive, acknowledging the likeliness of the writing and the immediacy of the theme’. However, ‘reviews in the American press were more mixed’ (pp. lvii–lviii); furthermore, ‘only some sixteen articles, in the last fifty years, have addressed the novel directly’ (p. lx). Chothia writes also on ‘The Significance of the Work in James’s Oeuvre’ (pp. lxii–lxv). This is followed by a listing of its ‘Contemporary Reception’, consisting of ‘a selection of reviews and significant critical commentary from the time of the novel’s publication up to the time of Henry James’s death’ (pp. lxv–lxvi). In the ‘Textual Introduction’ (pp. lxvii–lxxii) there is further discussion of the relationship between James’s drama and his novel. This is followed by a ‘Chronology of Composition and Production’ (pp. lxxiii–lxxvii) and an enumerative, chronologically and alphabetically arranged bibliography divided into ‘Texts of the James Novel’, ‘Archival Resources Consulted’, ‘Other Works by Henry James’, and a selective listing of ‘Secondary and Related Works’ (pp. lxxviii–lxxxii). Chothia’s introductory material follows the standard format for the Cambridge Edition of the Complete Fiction of Henry James: ‘Abbreviations’ (pp. x–xii), ‘General Editors’ Preface’ (pp. xiii–xx), ‘General Chronology of James’s Life and Writings’ (pp. xxi–xxvii), and then Chothia’s introductory materials (pp. xxviii–lxxxii). In addition to four black and white illustrations, this edition of The Outcry has, following the text of the novel (pp. 1–156), a ‘Glossary of Foreign Words and Phrases’ (pp. 157), explicatory notes (pp. 158–93), extensive details of ‘Textual Variants’ (pp. 194–256), and a listing of ‘three substantive emendations’ (pp. 257–8). There are two appendices: ‘Henry James on The Outcry’, drawing upon material in James’s Notebooks and correspondence (pp. 261–8); and ‘Play and Novel: Staging and Narrative’ (pp. 269–76). In the final sentence of her second appendix, Chothia observes ‘The Outcry adapted from his last play, with its colloquialized dialogue and engaged narrative texture, demonstrates James’s ease with and enjoyment of the novel form. It might claim, if nothing else, to be “a play intensified” ’ (p. 276). N.H. Reeve’s edition of The Jolly Corner and Other Tales, 1903–1910, published in 2017, is also part of the ongoing Cambridge Edition of the Complete Fiction of Henry James. The stories in The Jolly Corner are the last ten known to be authored by James. Reeve writes that ‘they were written between July 1902 and March 1909, a period notable for the composition of The Golden Bowl and the long trip to America in 1904–5 and the laborious revision of his earlier work for the New York edition … all of which adventures leave faint or decisive imprints on the stories’ (p. xxviii). Reeve’s introduction (pp. xxviii–cxv) is organized by sections: ‘I. 1902–3: “The Birthplace,” “The Papers” and The Better Source’ (pp. xxix–xxxvi); ‘II. The Genesis of “The Birthplace” and “The Papers,” (pp. xxxvi–xlii); ‘III. The Better Sort: Publication and Reception’ (pp. xlii–xlviii); ‘IV. 1904—Writing for Harper and Brothers (I): “Fordham Castle” ’ (pp. xlviii–lii); ‘V. 1906–9: Writing for Harper and Brothers (II)—“The Jolly Corner”, “Julia Bride” ’ (pp. lii–lxiv); ‘VI. The Genesis and Reception of “The Jolly Corner” and “Julia Bride” ’ (pp. lxiv–lxx); ‘VII. 1908–10. The Finer Grain: Composition and Magazine Publication’ (pp. lxx–lxxxvii); ‘VIII—1910—The Finer Grain: Book Publication’ (pp. lxxxvii–xci); ‘IX. The Genesis of the Finer Grain Stories’ (pp. xci–xcvi); ‘X. Reception of The Finer Grain’ (pp. xcvi–cii), and ‘XI. Contemporary Reception of the Late Tales’ (pp. cii–civ). The ‘Textual Introduction’ explains why ‘the copy texts used in this volume are the first book printings of the stories’ (pp. cv–cvi). It is followed by a ‘Chronology of Composition and Production’ (pp. cvii–cxv), and a bibliography (pp. cxvi–cxxiv). The text (pp. 3–442) is followed by a ‘Glossary of Foreign Words and Phrases’ (pp. 423–4), extensive notes (pp. 425–507), and ‘Textual Variants’ (pp. 508–36) and ‘Emendations’ (p. 537). Reeve writes that by far the majority of the revisions concern matters of punctuation’ (p. 509). Number 32 in the Cambridge Edition of the Complete Fiction of Henry James concludes with two appendices: ‘Extracts from James’s Notebooks’ relating to each story (pp. 541–50); ‘Extracts from Prefaces to the New York Edition’ (pp. 551–66). The text of Mark Frost’s edition of Richard Jefferies’s After London; or Wild England ‘follows the first edition published by Cassell & Company in 1885’. Frost explains that ‘Original spellings are maintained except where obvious typographical errors in the original were identifiable’. Furthermore, ‘there has also been no attempt to amend Jefferies’s regularly inconsistent use of hyphens, nor his often idiosyncratic punctuation. A few explanatory footnotes have been added to the text where clarification was deemed necessary’ (p. liii). The strength of Ford’s edition lies in its making accessible what otherwise would be a forgotten Jefferies novel. Frost observes in his useful introduction that ‘this disturbing novel, set in a barbaric future England, can often dazzle, sometimes infuriate, and always intrigue’ (p. vii). The edition also includes a chronology of Jefferies’s life, and a list of his key works. There are two appendices, including the text of ‘The Great Snow’ (pp. 194–8), a short catastrophe story set in London, and an undated untitled fragment, now in the British Library, here called ‘Alone in London’ (pp. 199–201). This expensive edition, which hopefully will be available in paperback, also contains an alphabetical listing of ‘Further Reading’ (pp. xlvii–l). Pramod K. Nayar has edited English Siege and Prison Writings: From the ‘Black Hole’ to the ‘Mutiny’, which contains ‘British captivity writings—composed during and after imprisonment and in conditions of siege’. It includes writings from the Indian ‘Mutiny’ period of 1857 as well as those from other colonial areas such as Afghanistan, Sri Lanka, and Burma, as well as the Indian subcontinent. ‘Written in anxiety and distress, or recalled with poignancy and anger, these siege narratives depict a very different Briton.’ They are ‘A far cry from the triumphant conqueror, explorer or ruler’ and consequently ‘these texts give us the vulnerable, injured and frightened Englishman and woman who seek, in the most adverse of conditions, to retain a measure of stoicism and identity’ (p. iii). ‘This collection of siege and prison narratives’ is one that ‘offers a different view of the Raj’ (p. viii). There are eleven of these narratives: ‘An historical relation of the Island Ceylon in the East Indies (1681)’ by Robert Knox (pp. 11–35); ‘A genuine narrative of the deaths of English gentlemen (1764)’ by J.Z. Holwell (pp. 36–55); ‘Personal narrative of two years’ imprisonment in Burmah (1860)’ by Henry Gouger (pp. 56–146); ‘A journal of the disasters in Afghanistan (1843)’ by Lady [Florentia] Sale (pp. 147–217); ‘The military operations at Cabul (1843)’ by Vincent Eyre (pp. 218–74); ‘From the Calcutta Gazette (1791)’ by William Drake (pp. 275–80) ; ‘A narrative of the sufferings of James Bristow (1793)’ by James Bristow (pp. 281–311); ‘A narrative of the military operations on the Coromandel Coast (1789)’ by Innes Munro (pp. 312–17); ‘The captivity, sufferings and escape of James Scurry (1824)’ by James Scurry (pp. 318–42); ‘An authentic account of the treatment of English prisoners (1785)’ by Henry Oakes (pp. 343–50); and finally the ‘Siege of Lucknow: a diary (1892)’ by Lady Julia Inglis (pp. 351–70). In spite of Pramod K. Nayar’s introduction (pp. 1–10), in which he observes that the ‘English captive narratives’ offer ‘a wholly new perspective on the imperial condition’ (p. 9), no information is given about the assumed authors of the narratives, their lives before or after captivity, or the reliability of their texts and recollections or their sources. It shouldn’t come, then, as a surprise that no index is offered; indeed, some of the accounts presented might not be authentic at all! According to Elizabeth Popham and David G. Pitt’s introduction to their edition of his Letters, Edwin John Pratt (1882–1964) ‘occupies a unique place in the history of Canadian literature. From 1925 to 1964, he was arguably Canada’s foremost poet, and he had an unprecedented run as one of our first literary celebrities—a very public cultural figure at a time when the cultural identity of the nation was taking place’. The correspondence in the volume ‘will confirm many aspects of the public face of E.J. Pratt, but there are also some glimpses behind the curtain. The correspondence shows him negotiating the chasms between academic and popular audiences, and Victorian and modern sensibilities’ (pp. vii–viii). A useful ‘Biographical Chronology’ (pp. x–xl) concluding the introductory material reveals that Pratt was born in Newfoundland, the son of a clergyman born in Yorkshire, and received a Methodist-orientated education, entering the Methodist ministry between 1904 and 1907 prior to studying philosophy at Victoria College, University of Toronto; he received his BA in 1911, his MA the next year, and in 1913 following his BD degree he was ordained into the Methodist ministry. In 1917 he received his Ph.D. from the University of Toronto, and from 1920 to 1953 he taught in the English Department at Victoria College, rising through the ranks to become a senior professor. His first book of verse appeared in 1917, and the second edition of his Collected Poems, edited by Northrop Frye, was published in 1958. He won almost every literary award that his country could offer. He also served as founding editor of the Canadian Poetry Magazine from 1935 to 1943. His letters and correspondents extend from diplomats, government officials, and academics, to students of his such as Northrop Frye and Douglas Bush, and poets such as A.M. Klein and A.J.M. Smith amongst others. The editors write in their account of their ‘Presentation and Textual Notes’ (pp. xxxiii–xxxiv) that ‘the editorial approach in this volume is very conservative. Pratt’s correspondence is almost always handwritten’. Also ‘it is seldom formal, and is expressive, jovial, and opinionated, resulting in an idiosyncratic style’. So his ‘erratic capitalization and the progressive indentations of his complex closings have been retained. However, obvious inconsistences in spelling have been corrected’ (p. xxxiii). ‘Textual Notes’ follow the main text (pp. 677–727). There is one appendix: ‘Some Letters by Viola Pratt’ his wife, ‘written towards the end of Pratt’s life when he could write a few letters himself and shortly after his death’ (pp. 665–9). A considerable strength of this edition is the explanatory annotations in smaller typeface than the text of the letters at the foot of the page, and the extensive, largely name-based, index (pp. 729–51). Volume 16, Rossetti His Life and Works, is one of the first five titles published as part of The Complete Works of Evelyn Waugh, by Oxford University Press in conjunction with the University of Leicester’s projected forty-three-volume edition of Waugh’s works. It will include Waugh’s fiction, non-fiction, his extant correspondence, unexpurgated diaries, poems, juvenilia, reviews, and his graphic art. Waugh’s grandson leads an editorial team as general editor, with Martin Stannard as the co-executive editor: David Bradshaw was also an executive editor until he passed away in 2016. Rossetti His Life and Works grew from Waugh’s first published book. The informative ‘Chronology’ (pp. ix–xx) in the introductory material to Michael G. Brennan’s excellent edition reveals that in November 1926 ‘P.R.B.: An Essay on the Pre-Raphaelite Brotherhood, 1847–1854 [was] published in a private limited edition of fifty copies by Alastair Graham’. This formed the foundation for Rossetti His Life and Works published on 19 April 1928 by Duckworth. Waugh received an advance of £50, ‘split into three payments’ (p. xi). Brennan’s introduction (pp. xxv–lxix) contains informative discussion of ‘The Genesis of the Text’ (pp. xxvi–xxxv), ‘Rossetti: Contract and Writing Schedule’ (pp. xxxv–xxxxiv), a description of ‘The Manuscript of Rossetti’ now at the Harry Ransom Center, University of Texas at Austin (pp. xxxix–xlviii), ‘Publication History’ (pp. xlviii–lv), and ‘The Text in History’, consisting of sections on ‘Cultural Contexts’ (pp. lv–lviii) and ‘Critical Reception’ (pp. lviii–lxv). The detailed introduction concludes with a section on the ‘Context of Waugh’s Other Work and of Literary History’ (pp. lxv–lxix) and ‘A Note on the Text’ (p. lxix). The text (pp. 1–171), preceded by the original preliminaries (pp. lxxiii–lxxxii), is followed by five appendices: ‘Contextual Notes’ (pp. 173–95); ‘Manuscript Development and Textual Variants’ (pp. 196–230); ‘Biographical Notes’ (pp. 231–67)—‘the [alphabetically arranged]entries in this list provide information on figures mentioned in the text of [Evelyn Waugh’s] biography, and explain the context in which he refers to them’ (p. 231); ‘Paintings and Drawings by Rossetti’ (pp. 254–67)—‘this alphabetical listing includes information on all of Rossetti’s works mentioned in this edition’ (p. 254), and finally a ‘Selected Bibliography on the Pre-Raphaelite Brotherhood (to 1964)’ (pp. 268–74). Partly annotated, ‘this bibliography includes works owned by [Waugh] or consulted by him in the course of writing Rossetti’ (p. 268). This superb edition concludes with a name-orientated index (pp. 277–84). Another title, in fact the second volume to be published, in The Complete Works of Evelyn Waugh, is Vile Bodies, edited by Martin Stannard. The joint statement of ‘Editorial Principles’ by the edition’s general editors Martin Stannard and the late David Bradshaw (pp. vii–viii) is followed by a Waugh ‘Chronology’ (pp. ix–xx), a ‘List of Illustrations’ (p. xxii)—these include, in colour, ‘Waugh’s original illustration, used for dust-jacket and title page’ of the Chapman and Hall first edition published in 1930 (pp. xcix–xcx)—and a detailed ‘List of Abbreviations’ (pp. xxiv–xxv). Stannard’s extensive introduction (pp. xxvii–xcv), accompanied by useful footnote documentation, then follows. It contains sections on ‘The History of the Text’ (pp. xxviii–lix), ‘The Text in History’ (pp. lix–lxxi), its ‘Critical Reception’ (pp. lxxi–lxxviii), the ‘Context of E[velyn] W[augh’s] Other Works and of Literary History’ (pp. lxxviii–xcii), and ‘a Note on the Texts’ (pp. xcii–xcv). Stannard informs his readers that at the mid-point of composition of Vile Bodies Waugh’s wife deserted him. Given his personal circumstances, it is hardly surprising that Waugh didn’t like Vile Bodies and was reluctant to revise it for subsequent editions, although he took some interest in the Vaudeville Theatre 1932 stage adaptation. For Waugh the novel was completed in a ‘very different mood from that in which it was begun’. For Waugh, ‘the reader may, perhaps, notice the transition from gaiety to bitterness’ (p. xxvii). Its second half is full of moralism, influenced no doubt by Waugh sense of shame and alienation from the upper-class society he had once courted, following his wife’s desertion. As Stannard indicates, such feelings may account for the intense satire found in Vile Bodies. This edition, in common with others in the Complete Works of Evelyn Waugh contains line numbers in the text, and raises the issue of whether or not the marginal line numbers are really necessary. A case for their presence may well be made out, as they are used as points of reference in the instructive appendices following the text. In the case of the Vile Bodies edition there are three of these: ‘Contextual Notes’ (pp. 155–84); a detailed ‘Manuscript Development and Textual Variations’ (pp. 185–310); and ‘Preface to the 1965 New Edition’ (p. 311). This edition concludes with Stannard’s ‘Acknowledgements’ (pp. 312–13) and ‘reproduces as the reading text the first UK printing … Making changes to this only when the original reading produced nonsense or confusion, e.g. the muddling of speakers. All such changes are recorded in the following’, that is the extensive second appendix, ‘but no attempt is made in this, or other volumes in the Complete Works, to note every variant, for example to punctuation’ (p. 185). Daniel J. Murtaugh’s Good Night, Beloved Comrade: The Letters of Denton Welch to Eric Oliver contains ‘the complete correspondence of Denton Welch to Eric Oliver [comprising] fifty-one letters, dating from 1943 through 1946’. For Murtaugh, in addition, Welch’s letters are not ‘only a record of a relationship but also of an advancing illness that would eventually end a remarkable artistic and literary career … Each of Welch’s letters illuminates his times, including details of daily life in wartime England, and of the lives of fellow painters, writers and editors.’ In order ‘to preserve the integrity of the emotional turmoil and the intensity of feeling that characterize them’, the editor has ‘left misspellings, irregularities in punctuation, use of ellipses, hyphenation, and paragraphing as they appeared in the original manuscripts’, now at the Harry Ransom Humanities Research Center at the University of Texas. Murtaugh observes that ‘the letters are rife with frustration, self-distraction, and outright resentment at Eric’s vacillating, non-committal reaction to Welch’s urgings of love and affection’ (pp. xii–xiii). Murtaugh’s ‘Editorial Policy’ (pp. xi–xiv) is followed by an introduction (pp. 3–24) giving an account of Welch’s short life. He was born in 1915 in Shanghai; his family, connected to trade, came to England when he was at a very young age; he died in Kent in 1948. He wrote novels and short stories in addition to being a known painter. He suffered from the injuries caused by being ‘run over by a motorist and severely injured’ while bicycling in 1935. ‘From the age of eighteen until his death at thirty-three he suffered from the physical and emotional impact of his injuries’ (p. 12). In addition he was gay; this edition appears in the Living Out Gay and Autobiographies (p. iii) series published by the University of Wisconsin Press. Accompanied by black and white photographs (pp. 25–32), Murtaugh’s notes (pp. 123–211) following the texts of Welch’s letters are informative, at times lengthy, and contain extracts from Welch’s Journals (see e.g. pp. 140–1). The edition includes too an alphabetically arranged, enumerative list of references’ (p. 213). Good Night, Beloved Comrade presents a record of personal lives lived in provincial southern England during and immediately after the Second World War. Cambridge Scholars Publishing is to be applauded for producing Damian Atkinson’s fine edition of The Selected Letters of Charles Whibley: Scholar and Critic. Born in Sittingbourne, Kent, in 1859 and dying in 1930, the critic, journalist, and scholar Whibley, following a first in Classics from Cambridge, entered the London publishing world, working for three years for the publishers Cassell & Co. and forming a close friendship with the editor of the firm’s Magazine of Arts, the poet, critic, and editor William Ernest Henley (1849–1903). Whibley followed Henley to Edinburgh, where he became editor of the Scots Observer from 1881 to 1886. Subsequently Whibley wrote for many journals, including the Pall Mall Gazette, and Blackwood’s. He spent time in Paris, and formed a friendship with Lord Northcliffe: with Northcliffe he went on an American trip in 1906. Another important friendship in his life was with T.S. Eliot whose Charles Whibley: A Memoir, published by Oxford University Press for the English Association in 1931, is a most moving tribute by Eliot to his friend. Atkinson’s edition ‘consists of three hundred and four letters by Whibley, one by his first wife Ethel, and eleven letters by his second wife Philip’ (p. xix). They complement Atkinson’s two-volume 2013 edition of The Letters of William Ernest Henley to Charles Whibley, published by Edwin Mellen. The present edition contains extensive documentary notation at the foot of the page of the letters. Atkinson explains in his ‘Editorial Procedures’ that ‘Whibley’s spelling has been retained throughout, as has his punctuation, except where clarity demands an alteration or insertion’ (p. xix). There are two appendices: ‘Whibley’s Draft Prospectus for Fisher Unwin’s Series The Library of Literary History’ (pp. 373–5), and ‘The First Three Chapters of Charles Whibley’s Unfinished Biography [of] W.E, Henley’ (pp. 376–99). These are followed by an ‘Index of Recipients’ (pp. 400–1) and a very detailed, largely name-orientated index (pp. 402–14). 3. Bibliography and Associated Books and Articles The latest addition to the Chaucer Bibliography series, published in association with the University of Rochester by the University of Toronto Press (p. iii), is Chaucer’s ‘Squire’s Tale’, ‘Franklin’s Tale’ and ‘Physician’s Tale’: An Annotated Bibliography 1900 to 2005, edited by Kenneth Bleeth. In his preface (pp. xv–xvii) Bleeth writes that ‘the aim of this bibliography is to annotate all books, chapters of books, articles, and notes devoted exclusively or primarily to The Squire’s, Franklin’s, and Physician’s Tales, and all significant discussions of the tales in studies not primarily devoted to these works’. In addition ‘substantive discussions in editions of Chaucer’s works are also annotated, as are reviews that comment on the author’s treatment of the tales’ (p. xv). An extensive listing of ‘Abbreviations and Works Cited’ (pp. xviii–xxvi) is followed by narrative-based introductions to The Squire’s and Franklin’s Tales (pp. 3–33). There then follow, chronologically arranged by year, annotated bibliographies of ‘The Squire’s and Franklin’s Tales: Editions and Modernizations’ (pp. 34–59), ‘Sources, Analogues, and the Posterity of The Squire’s Tale’ (pp. 60–82), ‘The Franklin’s Tale: Sources, Analogues, and Later Influence’ (pp. 83–111), ‘The Squire’s Tale, 1889–2005’ (pp. 112–217), and the main body of annotations ‘The Franklin’s Tale, 1894–2005’ (pp. 218–413). This is followed by another narrative-based account, ‘The Physician’s Tale: Introduction’ (pp. 414–19), followed by the annotated ‘The Physician’s Tale: Editions and Modernizations’ (pp. 420–30), ‘The Physician’s Tale, Sources, Analogues, and Later Influence’ (pp. 431–40), and an extensive annotated, chronologically based ‘The Physician’s Tale, 1893–2005’ (pp. 441–516). The index (pp. 517–70) is detailed and an appropriate tool of use for this outstanding bibliography annotating 1,997 items. Philip W. Errington’s J.K. Rowling: A Bibliography 1997–2013 was published in hardback and paperback formats in 2015 (YWES 96[2017] 1380–1). Two years later an updated edition has appeared in paperback, J.K. Rowling: A Bibliography. It is much longer than its earlier incarnation, with 706 as opposed to 514 pages. The most extensive additions are found in the following categories: ‘A. Books and Pamphlets by J.K. Rowling’, extended to ‘A24’ (pp. 1–640) from ‘A17’ (pp. 1–455); ‘B. Books and Pamphlets with contributions by J.K. Rowling’, extended to ‘B22’ (pp. 663–95) from ‘B20’ (pp. 479–506); and ‘C. Contributions to Newspapers and Periodicals by J.K. Rowling’, extended to ‘C30’ (pp. 697–701) from ‘C26’ (pp. 507–10). One suspects that this 2017 update will not be the final one in the record of Rowling’s achievements. A most important donation made to the British Library, the Stefan Zweig Collection consists of more than 200 fascinating items collected by the Austrian writer Stefan Zweig (1881–1942) and by his heirs. Eclectic in both form and content, it provides deep insight into German, French, Russian, and other cultures and histories , bridging several centuries, as well as into Zweig’s own ways of engagement with that heritage. The British Library Stefan Zweig Collection: Catalogue of the Literary and Historical Manuscripts provides detailed descriptions of the eighty-seven literary and historical works in the British Library’s Zweig Collection. Pardasd Chamsaz’s detailed informative introduction (pp. ix–xxiii) is followed by editors Susan Reed and Sandra Tuppen’s ‘Principles Followed in the Catalogue Entries’ (pp. xxiv–xxvi) and their detailed catalogue entries (pp. 5–144). Of especial interest to YWES readers is a description of the currently unfashionable Arnold Bennett’s ‘Autograph draft of a newspaper article in the series “Books and Persons”, including a review of Conflicts by Stefan Zweig, written for the London Evening Standard; 20 February 1928’. As the cataloguers note, ‘this is the only manuscript in the British Library’s Stefan Zweig Collection which refers to Zweig’s own work’ (pp. 12–13). Other items of particular interest include Lord Byron’s prose ‘Note to the lines where Capel Lofft is mentioned’. This ‘explains the allusion to Capel Lofft in Byron’s “Hints from Horace” (1811), lines 693–696’ (pp. 14–15). There is too Keats’s ‘ “I stood tip-toe upon a little hill”, poem: autograph fragment of first draft; [1816]’ (pp. 57–9), John Locke’s ‘Epitaph on René Descartes: autograph fair copy of the inscription on a memorial tablet’ (pp. 69–70), Thomas Moore ‘ “’Tis the last rose of summer”, poem: autograph fair copy; 1805–13’ (p. 75), the c.1728 autograph fair copy of Alexander Pope’s poem ‘To the Right Honourable the Earl of Oxford Upon a piece of News in Mist’ (pp. 86–7), and, to mention two other riches from English literary manuscripts in the collection, an autograph fair copy of Percy Bysshe Shelley’s ‘ “Lines to—”, a sonnet to Lord Byron … headed “Jan 22.” [composed 1821 or 1822]’ (pp. 106–8), and, last but by no means least, Oscar Wilde ‘ “In the Gold Room. A Harmony”, poem: autograph draft with numerous autograph amendments [1881]’. Catalogue descriptions include, in addition to physical description, details of publication, if the case, reproduction, also if the case, a bibliography of the item, and a ‘Commentary’ (see e.g. the Wilde description, pp. 128–9). The entries are followed by a helpful tabular ‘List of Manuscripts by Stefan Zweig’s Date of Acquisition’ (pp. 145–7). Seventy-four colour plates of each of the items then follow (pp. 151–280): there is an extensive index too (pp. 281–8). It is no wonder that The British Library Stefan Zweig Collection: Catalogue of the Literary and Historical Manuscripts is no longer available and so highly priced. Christine Banou’s Re-inventing the Book: Challenges from the Past for the Publishing Industry examines the recent ‘significant changes [that] have taken place in the publishing industry altered the publishing value chain, the publishing activity and the structure of the industry’ (p. 1). According to Banou, many values of publishing, its aims and strategies, have been common since the time of the Renaissance. There are five chapters. The first, ‘Introduction: The Continuing Revolution of Gutenberg’ (pp. 1–18), has four sections: ‘The Continuing Revolution of Gutenberg: The Publishing Industry at a Turning Point’ (pp. 1–5); ‘New Worlds for Old Strategies, New Words for Old Values’ (pp. 5–9); ‘Toward a Methodological and Theoretical Framework for Publishing’ (pp. 10–12); and ‘The Structure of the Book’—that is, Banou’s book (pp. 13–16). Each chapter is followed by an alphabetically arranged, enumerative listing of ‘References’. In the case of the first chapter these are found on pp. 16–18. The second chapter, ‘Reimagining the Book: Aesthetics in Publishing’ (pp. 19–74), has eight sections: ‘Setting the Scene: From Illustration to New Multimedia Technologies. Approaches and Trends’ (pp. 19–24); ‘The Artistic Identity of the Book: Publishers, Readers and the Democratization of Taste’ (pp. 24–33); ‘The Aesthetics Publishing Chain–Circle and Its Explanations’ (pp. 33–42); ‘Reconstructing the Book: The Value of the Paratext’ (pp. 42–57); ‘Reader Participation and Personalized Copies: New Aesthetic and Business Models’ (pp. 57–62); ‘Reconsidering the Boundaries of the Book: Convergence’ (pp. 62–5); ‘Recalling Renaissance Woodcuts: From Painted Prints of Renaissance to Colouring Books of the Digital Era’ (pp. 65–7) and ‘Why Aesthetics in Publishing Is Still Important: The Aesthetic Capital’ (pp. 67–70) followed by ‘References’ (pp. 70–4). The third chapter, ‘Reengaging Readers, Rediscovering Strategies’ (pp. 75–114), has nine sections: ‘Reader Engagement and the Emergence of Publishing Strategies’ (pp. 75–8); ‘Lessons from the Past: Reader Participation in the Publishing Chain: Case Studies from Renaissance and the Baroque’ (pp. 78–85); ‘Readersourcing’ (pp. 85–90); ‘Rediscovering Preorders’ (pp. 90–4); ‘From Patronage to Crowdfunding’ (pp. 94–9); ‘Short Forms, Serialization, Series and Bestsellers from Renaissance to the Digital Age’ (pp. 99–105); ‘Other Business and Publishing Models’ (pp. 105–8); ‘Redefining Online Communities of Readers’ (pp. 108–109); and ‘Epilogue: The Unexpected in Publishing’ (pp. 108–12), followed by ‘References’ (pp. 112–14). The fourth chapter, ‘Re-discussing the Publishing Chain as Information Value Chain-Circle’ (pp. 115–31), has five sections: ‘Information as an Agent of Change in the Publishing Industry’ (pp. 115–18); ‘Inside the Page: Information Mechanisms of the Page’ (pp. 118–21); ‘Renaming Experience: From the Publisher’s Intuition to Data’ (pp. 121–2); ‘Books Everywhere: From Libelli Portatiles to Mobiles’ (pp. 122–6); and ‘Re-discussing the Information Publishing Chain–Circle’ (pp. 126–30), followed by ‘References’ (pp. 130–1). The fifth and final chapter, ‘Redefining Publishing: Challenges from the Past’ (pp. 133–46), has three sections: ‘Re-discovering Strategies, Reconsidering Values’ (pp. 133–9); ‘Keep Reinventing: Challenges from the Past for the Publishing Industry’ (pp. 139–45); and ‘A Comment as Epilogue. Time and the Book (or Reinventing Ourselves)’ (pp. 145), followed by ‘References’ (p. 146). Banou provides a ‘Timeline: Key Points of Publishing (with emphasis on editions and historical figures referred in the book)’ (pp. 147–8). This expensive book has an index (pp. 149–52). Replete with black and white illustrations, Alastair Fowler’s The Mind of the Book: Pictorial Title Pages explores, as he explains in his preface, ‘two hypotheses. First, that some features of the title page have remained constant, or at least recurrent, over long periods: author portraits, for example, go back to antiquity, and can still be seen on many dust jackets today.’ Secondly, ‘the front matter of books—what is sometimes called paratext—has undergone so many metamorphoses in response to technological change (script to print to mass production), let alone changes of taste and fashion, that it can be hard to recognize the continuities’. According to Fowler, ‘title-page forms are so multifarious it would take several tomes to cover them all’. His ‘book is only an essay sketching some outstanding topics and illustrating them with plates and attendant commentaries’ (p. vii). Fowler’s book is divided into two sections. In the introduction (pp. 1–69) there are chapters on the ‘Historical Setting’ (pp. 3–8), ‘Borders’ (pp. 9–14), ‘Architectural Structures’ (pp. 15–22), ‘Portraits’ (pp. 23–31), ‘Printers’ Devices’ (pp. 32–41), ‘Emblems’ (pp. 42–9), ‘Chronograms’ (pp. 50–5)—‘a string of words, in which some or all of the letters function also as numerals forming a date’ (p. 50)—‘Compartments’ (pp. 54–9), and the first part concludes with a discussion of the ‘Later History’ (pp. 60–9) from the seventeenth century to the late nineteenth century. The second part of Fowler’s book, ‘Frontispieces & Commentaries’ (pp. 72–192), contains illustrations of sixteen significant title pages with fascinating commentaries, ranging from Chaucer’s Works in 1532 (pp. 72–6), through Francis Bacon’s Instauratio Magna from 1620 (pp. 126–31), to Dickens’s The Mystery of Edwin Drood appearing in 1870 (pp. 183–6). The final illustrative discussion arrives back at Chaucer, with Edward Burne-Jones’s illustrated title page for the Works of 1896 (‘The Kelmscott Chaucer’, pp. 188–92). This section is followed by an explanatory glossary (pp. 193–5) beginning with ‘Cartouche’ (p. 193) and concluding with ‘Tableau’ (p. 195). Alphabetically arranged and enumerative, the bibliography (pp. 197–209) is extensive and is followed by ‘Picture Credits’ (pp. 211–12) and a helpful, detailed index (pp. 213–20). In What Editors Do: The Art, Craft, and Business of Book Editing, editor Peter Ginna arranges essays from twenty-seven book-publishing contributors from varied backgrounds representing various facets of the industry concerning their work. They argue that editing has a crucial role for both writer and readers. What Editors Do is replete with professional advice and a resource both for those in publishing and outside it, illuminating the ways in which editors acquire books, the nature of a strong author–editor relationship, and the vital role of the editor in the publishing process. Following Peter Ginna’s ‘Introduction: The Three Phases of Editing’ (pp. 1–13), there are six parts. The first, ‘Acquisition: Finding the Book’ (pp. 17–55), has four contributions: ‘Where It All Begins’ by Peter Ginna (pp. 17–29); ‘The Alchemy of Acquisitions: Twelve Rules for Trade Editors’ by Jonathan Karp (pp. 30–9); ‘Thinking Like a Scholarly Editor: The How and Why of Academic Publishing’ by Gregory M. Britton, editorial director at Johns Hopkins University Press (pp. 40–8); and ‘The Lords of Disciplines: Acquiring College Textbooks’ by Peter Coveney (pp. 49–55). The second part, ‘The Editing Process: From Proposal to Book’ (pp. 115–59), has six contributions: ‘The Book’s Journey’ by Nancy S. Miller (pp. 59–68); ‘What Love’s Got to Do With It: The Author– Editor Relationship’ by Betsy Lerner (pp. 69–76); ‘The Other Side of the Desk: What I Learned about Editing When I Became a Literary Agent’ by Susan Rabiner (pp. 77–84); ‘Open-Heart Surgery or Just a Nip and Tuck? Developmental Editing’ by Scott Norton (pp. 85–95); ‘This Just Needs a Little Work: Online Editing’ by George Witte (pp. 96–105); and ‘Toward Accuracy, Clarity, and Consistency: What Copyeditors Do’ by Carol Fisher Saller (pp. 106–15). The third part, ‘Publication: Bringing the Book to the Reader’ (pp. 119–48), has three contributions: ‘The Flip Side of the Pizza: The Editor as Manager’ by Michael Pietsch (pp. 119–30); ‘Start Spreading the News: The Editor as Evangelist’ by Calvert D. Morgan Jr. (pp. 131–40); and ‘The Half-Open Door: Independent Publishing and Community’ by Jeff Shotts. The fourth part, ‘From Mystery to Memoir: Categories and Case Studies’ (pp. 151–219), has eight contributions: ‘Listening to the Music: Editing Literary Fiction’ by Erika Goldman (pp. 151–8); ‘Dukes, Deaths, and Dragons: Editing Genre Fiction’ by Diana Gill (pp. 159–68); ‘Marginalia: On Editing General Nonfiction’ by Matt Weiland (pp. 169–76); ‘Once Upon a Time Lasts Forever: Editing Books for Children’ by Nancy Siscoe (pp. 177–86); ‘Lives That Matter: Editing Biography, Autobiography, and Memoir’ by Wendy Wolf (pp. 187–96); ‘Of Monographs and Magnum Opuses: Editing Works of Scholarship’ by Susan Ferber, who is executive editor covering American and world history at Oxford University Press in the USA (pp. 197–204); ‘Reliable Sources: Reference Editing and Publishing’ by Anne Savarese, executive editor for literary studies at Princeton University Press (pp. 205–12); and ‘The Pink Should Be a Surprise: Creating Illustrated Books’ by Deb Aaronson (pp. 213–19). The fifth and final part, ‘Pursuing a Publishing Career: Varieties of Editorial Experience’ (pp. 223–68), has five contributions: ‘Widening the Gates: Why Publishing Needs Diversity’ by Chris Jackson (pp. 223–30); ‘The Apprentice: On Being an Editorial Assistant’ by Katie Henderson Adams (pp. 231–7); ‘This Pencil for Hire: Making a Career as a Freelance Editor’ by Katharine O’Moore-Klopf (pp. 238–47); ‘The Self-Publisher as Self-Editor’ by Arielle Eckstut and David Henry Sterry (pp. 248–55); and ‘A New Age of Discovery: The Editor’s Role in a Changing Publishing Industry’ by Jane Friedman (pp. 256–68). Peter Ginna, in his ‘Conclusion. As Time Goes By: The Past and Future of Editing’ (pp. 269–72), thanks contributors and writes about his own career and family. This is followed by an alphabetically arranged glossary, beginning with ‘account’ (p. 275) and concluding with ‘young adult (YA) book’ (p. 290) and a largely alphabetically arranged listing of ‘Further Resources’. This ends with a listing of ‘Editing and Publishing Courses’ (pp. 296–7) in the United States and in one instance, the University of Toronto, and a listing of ‘Other Organizations Offering Online or In-Person Editorial Resources or Training’ (p. 297). There is a detailed index (pp. 301–10). Although North American readers are the primary target for What Editors Do, much may be gained from it for YWES readers elsewhere. In her In Collaboration with British Literary Biography: Haunting Conversations Jane McVeigh relates, as she writes in her opening chapter, ‘We Tell Stories about Ourselves and Others’ (pp. 1–12), ‘a story about one person’s reading and what she has learnt about how the lives of other people, particularly authors, have been written in British biographies over the last fifty years. It is less interested in what happened in the lives of the people described in these biographies, and more concerned with how their biographical stories have been told.’ McVeigh’s work ‘is a reading of British biographies by Michael Holroyd, Richard Holmes, Hermione Lee and Claire Tomalin in particular since the late 1960s. It is concerned, on the whole, with biographies of literary subjects, but its main focus is the literary nature of biographies of themselves’ (pp. 1–2). In the second chapter, ‘A Habit of Stories’ (pp. 13–48), McVeigh ‘offers a short overview of biography since the early twentieth century and touches on the impact of literary estates, biographers’ (p. 9). The chapter concludes (pp. 42–3) ‘with a conversation with Clare Brant, Director of the Centre for Life-Writing Research at Kings College London on some recent developments across life-writing’ (p. 13). The third chapter, ‘A Habitat of Stories’ (pp. 49–71), ‘discusses some recent examples of experimental biography and considers the conversation that reviewers, particularly Kathryn Hughes, have with biography’ (p. 9). In the next chapter, ‘Haunting Conversations’ (pp. 73–86), the focus is ‘on the haunting nature of biographical narrative in the work of Hermione Lee and Richard Holmes’ (p. 9). The writing ‘of Hermione Lee, the nature of self-fashioning and biographical makeovers’ are the focus of the fifth chapter—‘Hermione Lee by Indirections Finds Directions Out’ (pp. 87–117). In the sixth chapter, ‘R. Holmes Vibrating in Uncertainty’ (pp. 119–46), McVeigh focuses on ‘the haunting of R. Holmes of British biography and Romantic biographer Richard Holmes’s approach to biography as a form of epic narrative is explored’ (p. 9). Chapter 7, ‘Claire Tomalin and Several Strangers’ (pp. 147–81), ‘concerns the mediated nature of her portrayals; how she approaches autobiographical evidence; the use of anecdotes and chronology; her use of speculation; and how her work reflects the growth of feminist biography’ (p. 9). The eighth and final chapter, ‘Michael Holroyd: Re-creating Lives’ (pp. 183–211), ‘covers Michael Holroyd’s fiction and nonfiction narratives, and the nature of both his creative and re-creative writing’. McVeigh adds that ‘the last four chapters end with a conversation between [herself] and the biographer whose work has been discussed. They explore how we tell stories about ourselves and others and re-create different versions of life in our writing, reading and actual conversations’ (p. 9). Each chapter concludes with notation and references. The curiously perfunctory end bibliography enumerates a work by Richard Ellmann—his 1985 essays on ‘Freud and Literary Biography’ (p. 213)—although there is relatively little discussion in the volume of Ellmann (see pp. 3, 109, 166): various incarnations of Holroyd’s work on George Bernard Shaw, plus his biographies of Lytton Strachey, Augustus John, and Lives of Ellen Terry and Henry Irving, first published in 2009. It concludes with ‘Lee. Hermione. 2010. From the Margins. The Guardian, 3 April: 2–4’ (p. 213). There is a brief name-based index (pp. 215–17). A fascinating study of manuscript and textual history is found in Édouard Magessa O’Reilly, Dirk Van Hulle, and Pim Verhulst’s The Making of Samuel Beckett’s ‘Molloy’. Beckett’s novel was written in French in 1947 and initially published in French in 1951. Beckett and Patrick Wright translated it into English in 1953–5. It is the first novel in Beckett’s trilogy continued by Malone meurt/Malone Dies and L’Innommable/The Unnamable, which were published together in Paris in 1959 by the Olympia Press. The study is part of the Beckett Digital Manuscript Project, the first part of which plans ‘a digital archive of Samuel Beckett’s manuscripts (<www.beckettarchive.org>), organized in twenty-six research modules. Each of these modules comprises digital facsimiles and transcriptions of all the extant manuscripts pertaining to an individual text, or in the case of shorter texts a group of texts. The intention of the project is ‘to discover new documents and see how the dispersed manuscripts of different holding libraries interrelate within the context of a works genesis in its entirety’. Additionally the project aims to increase ‘the accessibility of the manuscripts with searchable transcriptions in an updatable digital archive; and by highlighting the interpretive relevance of inter-textual references that can be found in the manuscripts’ (p. 10). Following an extensive ‘List of Abbreviations’ which in itself provides a guide to the whereabouts of Beckett primary materials (pp. 15–20), there is a ‘Note on Transcriptions’ (p. 21) and a ‘List of Illustrations’ (pp. 22–3; there are twenty-five of these in black and white scattered throughout). ‘Introduction: Beckett’s Autobiography’ (pp. 25–9) clearly explains ‘the genetic analysis of Molloy’ that is to follow ‘based on the material that is still extant … The aim of interpreting the record is to understand Beckett’s work as both a product and a process’ (p. 25). The first chapter, ‘Documents’ (pp. 30–142), is a presentation of the physical record, including the ‘four notebooks’ in French ‘held at the Harry Ransom Center in Austin (Texas)’ (p. 27). The second chapter is concerned with the ‘Genesis of Molloy (French)’ (pp. 144–307) and the third chapter with the ‘Genesis of Molloy (English)’ (pp. 308–75). In their ‘Conclusion’ (pp. 377–9), O’Reilly, Van Hulle and Verhulst observe that ‘in the autograph manuscripts, we not only see the autographer, but we are also witness to the way autography works’ (p. 378). In an appendix (pp. 381–7) the reader is offered ‘an English translation of the long, omitted fragment concerning Ballyba’s economy (following its paragraph structure)’ (p. 381). ‘Works Cited’ (pp. 389–98) includes ‘Works by Beckett’ chronologically listed with publication details (pp. 389–90), and a largely enumerative alphabetical listing of ‘Other Works Cited or Consulted’ (pp. 390–8). There is a helpful name-orientated index (pp. 401–7)—a curious omission is the ‘Olympia Press’—to this instructive and well-designed firm paper-bound study. Duncan White’s Nabokov and His Books ‘is about Nabokov’s late modernist aesthetics, what happened to these aesthetics when confronted by the American literary marketplace, and what the consequences of this confrontation were for his literary production’. White writes that ‘what I have sought to achieve in this study is a socio-historical approach to Nabokov’s work as a professional writer that does not dilute the richness of the texts’ (pp. 8–9). White is concerned with Nabokov in the United States after his arrival with his family at the end of May 1940 and the ways in which he attempted to use the success brought about by the American appearance in the bookstores of Lolita in 1958 to rescue his Russian works from obscurity. For White, ‘in fleeing to the United States, Nabokov lost not just his established pathways to publication but his readership itself. He felt it necessary if he were to survive as a novelist and poet to write in English and made the decision to abandon the composition of Russian prose’ (p. 5). As Nabokov’s American reputation increased he assumed more and more command of the ways in which his books were produced, with especial attention to their material form such as forewords, blurbs, the covers. Indeed his later novels, such as Pale Fire [1962], Ada [1969], and Transparent Things [1972], are concerned with the notion of a novelist being unable to control his work, and this loss becomes the very subject of the novels themselves. His plots also reflect his own life and his inability to control the forces unleashed by the success of Lolita. Following an ‘Introduction: Coarse Print, Durable Pigments’ (pp. 1–21), there are chapters on Nabokov’s ‘Contexts’ (pp. 23–49), in other words ‘situating Nabokov’ (p. 24), ‘Inspiration’ (pp. 51–94), and focusing on his ‘aesthetic credo’ expressed in his early years in the United States (p. 52). The third chapter, ‘Reading’ (pp. 95–137), focuses on the fact that ‘his new books, written in a new language, would be produced in completely different market conditions, a situation that would have important formal consequences for Nabokov’s work. How this new market shaped Nabokov’s literary production is the subject of this chapter’ (p. 95). The fourth chapter examines ‘Publication’ (pp. 139–71), and considers the ‘way Nabokov’ asserted ‘his authorship and [sought] to diminish the degree of collaboration with the publisher in the production of his books’ (p. 140). Nabokov’s relationship with journalists and critics and his attempts through ‘two textual forums—forewords and interviews’ to ‘carefully construct … a public persona’ (p. 176) are the subject of White’s final chapter, ‘Legacy’ (pp. 173–212). The volume concludes with enumerative ‘Works by Nabokov’ arranged by order of initial publication (pp. 213–14) followed by alphabetically arranged ‘Other Works’ (pp. 214–25) and an extensive name-orientated index (pp. 227–34). In nine chapters, accompanied by tables and diagrams, and the use of different colour patterns, in his Nabokov’s Favorite Word Is Mauve: What the Numbers Reveal About the Classics, Bestsellers, and Our Own Writing, Ben Blatt argues that ‘text analysis can answer a huge range of questions that have intrigued curious writers and readers for generations’. These range from ‘Did Ernest Hemingway actually use fewer adverbs than other writers? How does reading level affect the popularity of a book? Do men and women write differently?’ to questions such as ‘Do writers follow their own advice, and is that advice any good? What, besides superficial spellings, distinguishes American and British novelists?’ and ‘From Vladimir Nabokov to E.L. James, what are our favorite authors’ favorite words?’ (p. 6). Restricted to one genre, the novel, in his notes (pp. 223–5) Blatt explains his methodology and then provides ‘Data Sources’ (pp. 225–71) beginning with ‘the bibliographies for all the authors used in this book’ arranged alphabetically beginning with ‘Chinua Achebe—5 Novels’ (p. 225) and concluding with ‘Markus Zusak—5 Novels’ (p. 251); there is no explanation of the order in which individual titles written by an author are listed. The range of authors, however, is wide, including for instance Agatha Christie drawing upon ‘66 Novels’ (p. 229), ‘Danielle Steel—92 Novels’ (pp. 246–7), and ‘Virginia Woolf—9 Novels’ (p. 251). There then follows ‘Additional Bibliography Lists Used (in order of appearance)’ chapter by chapter, beginning with ‘Adverb Chart for 15 Authors—Introduced Chapter 1’ (p. 251) and concluding with ‘Nancy Drew—Introduced Chapter 9’ (p. 271). There are some fascinating snippets of information in Blatt’s book, assuming of course that the evidence used is to be trusted. There is a colour-coded (purple) table revealing the ‘Percent of Authors’ Novels That Mention Weather in the First Sentence’. Using ninety-two of Danielle Steel’s novels listed there is a 46 per cent incidence; Charles Dickens, using twenty of his novels, gives a 10 per cent incidence, and, to take one more instance, in fourteen of Joseph Conrad novels, there is 0 per cent incidence (p. 207). To take two other illustrations from many, there is a purple-coded tabulation for ‘Authors with Shortest First Sentences’. At the top of the list is Toni Morrison with five words of ‘median length’, followed by Margaret Atwood with nine words and then Mark Twain, and Dave Eggers with eleven ‘median length’ words. Blatt adds that ‘only authors with five books were included’ (p. 199). There is too a purple-coded tabulation for ‘The 20 Best First Sentences in Literature’: the concept of ‘best’ isn’t discussed. The first example is from Jane Austen’s Pride and Prejudice and the last from Hemingway’s The Old Man and the Sea (pp. 200–1). Blatt writes that ‘while individual authors very widely in their choices about first sentences, a larger trend emerges when we look at 31 authors … Of all the books they’ve written, 69% of these books begin with first sentences that are longer than the average sentence throughout the rest of the book. That is, the standard choice for authors is to write long rather than short for their openers’ (p. 200). As Blatt observes in the concluding paragraph of his ‘Epilogue’ (pp. 217–20), ‘through the union of writing and math there is so much to learn about the books we love and the writers we admire. And by looking at the patterns, we can appreciate that beautiful moment when the pattern breaks, and where a brilliant new idea bursts into the world’ (p. 220). Of course sceptics and sophisticates will cavil at Nabokov’s Favorite Word Is Mauve: What the Numbers Reveal About the Classics, Bestsellers, and Our Own Writing; however, Blatt’s book does make its readers think and is replete with insights. A different approach to modernism is found in Steve Pinkerton’s Blasphemous Modernism: The 20th-Century Word Made Flesh, an addition to the Modernist Literature and Culture series edited by Kevin J.H. Dettmar and Mark Wollaeger. They observe that Pinkerton ‘acknowledges the rich history of literary blasphemy’; but in the modernist period, he argues, blasphemy becomes fundamental in a new way. ‘Elite culture’s proclamation of the death of God (in the West, anyway) has kept us from recognizing that modernists continued’, according to Pinkerton, ‘to seek in scripture and theology the particular sources of meaning, affect, and literary force that only religion seemed fully capable of providing … they did so through blasphemy’ (pp. ix–x). Following his ‘Introduction: “First-Rate Blasphemy” ’ (pp. 1–18), there are chapters on ‘ “For This is My Body”: James Joyce’s Unholy Office’ (pp. 19–50); ‘Blasphemy and the New Woman: Mina Loy’s Profane Communions’ (pp. 51–76); ‘Blasphemy and the New Negro: Black Christs, “Livid Tongues” ’ (pp. 79–109), a chapter with illustrative black and white accompanying figures, focusing largely on ‘the landmark anthology The New Negro: An Interpretation (1925)’ (p. 79); and ‘Go Down, Djuna: The Art of “Transcendence Downward” ’ (pp. 110–30). In his ‘Conclusion: To Be as Gods’ Pinkerton focuses upon Salman Rushdie’s The Satanic Verses [2008], which ‘compels us to grapple anew with the problems of religion in modernism’. For Pinkerton, ‘this novel is at bottom concerned with the question of “how newness enters the world” ’ (p. 281), and ‘one of the most obvious and compelling answers Rushdie provides is: through the ruptures of blasphemy. It is a classic modernist question, and a signally modernist solution’ (pp. 140–1). Notation to each chapter follows the text (pp. 143–62), followed by an enumerative, alphabetically arranged list of ‘Works Cited’ organized by ‘Archives’ (p. 163), then ‘Published Material’ (pp. 163–77), and an index (pp. 179–84). 4. History and Companions A very useful volume and reference work transcending time frames but not genre is Catherine Addison’s A Genealogy of the Verse Novel. As Addison indicates in her introduction (pp. 1–11), the verse novel genre pre-dates Byron’s ‘Don Juan published in parts between 1819 and 1823 [and] certainly the most important of the early texts in this tradition’. Indeed, ‘a seventeenth-century poetic narrative, William Chamberlayne’s Pharonnida [1659], may in fact represent the first attempt at a verse novel in English’ (p. 2). The first chapter, ‘Genre’ (pp. 12–35), considers ‘under what conditions may a text be considered as both a novel and a poem?’ (p. 6). The second chapter, ‘Early Verse Novels’ (pp. 36–83), traces ‘the verse novel’s early origins’, including ‘the first text that actually labelled itself a “Poetical Novel” … Anna Seward’s epistolary Louisa, published in 1784’ (p. 8). Works discussed include Pharonnida (pp. 36–44), Christopher Anstey’s The New Bath Guide from 1766 (pp. 44–9), Louisa (pp. 49–52), George Crabbe’s Tales from 1812 (pp. 53–9), and ‘Byron’s “Beppo” [1818] and Don Juan [1819–24]’ (pp. 59–72). A lengthy third chapter (pp. 84–226), ‘The Victorian Period’, as its title suggests continues the historical progression of A Genealogy of the Verse Novel and is divided into discussion of work in ‘Blank Verse’ (pp. 89–129) encompassing amongst others Elizabeth Barrett Browning’s Aurora Leigh, published in 1856 (pp. 89–103), and Robert Browning’s The Ring and the Book (pp. 109–23). Discussion of ‘Heroic Couplets’ (pp. 130–47) includes two examples: Wilfred Scawen Blunt’s Griselda, published in 1893 (pp. 130–40), and William Allingham’s Laurence Bloomfield in Ireland (pp. 140–7), ‘published in its entirety in 1864’ (p. 140). There is one instance discussed in the section on ‘Sonnets’ (pp. 147–53), George Meredith’s 1862 Modern Love (pp. 147–53). Two ‘Hexameter Verse Novels’ (pp. 153–69) are treated: Arthur Hugh Clough’s The Bothie and his Amours De Voyage, composed in 1849, a year after The Bothie’s publication. Two Coventry Patmore texts, The Angel in the House and The Victories of Love (pp. 170–9), ‘published together in an 1863 edition’ (p. 171), Herman Melville’s Clarel, published in 1876 (pp. 180–92), and ‘Owen Meredith’s’ verse novel Lucile, published in 1860 (pp. 192–210), are some of the instances from the discussion of ‘Tetrameter Verse Novels’ (pp. 170–26) that concludes the third chapter. A similarly lengthy fourth chapter considers productions from ‘The Earlier Twentieth Century’ (pp. 227–357). There is discussion of ‘Free Verse Novels’ (pp. 230–73), what Addison calls ‘Jazz Rhythm’, in which she looks at ‘the American poet, journalist and, later, Hollywood screenwriter Joseph Moncure March’s … two verse narratives in a unique poetic form of his own invention’ published in 1928 (p. 273), The Wild Party and The Set-Up (pp. 273–85). After considering ‘Blank Verse’ (pp. 285–308), Addison moves on to ‘Mixed Forms’ (pp. 309–39), and then to ‘Ottava Rima and Similar Stanzas’ (pp. 339–57) with discussion of Gilbert Frankau’s One of Us, written in 1912, his One of Them from six years later, and the same author’s final verse novel, More of Us, published in 1937 (pp. 339–48). The chapter concludes with Eileen Hewitt’s Donna Juana, published in London in 1925 (pp. 348–57). A lengthy fifth chapter is devoted to ‘The Contemporary Age’ (pp. 358–466). For Addison ‘the contemporary period has witnessed an unprecedented outburst of verse novels which is probably related to a general inclination of the age towards narrative’ (p. 358). There is discussion of ‘Free Verse’ (pp. 361–82), ‘Metrical Verse: Unrhymed Forms, Including Blank Verse’ (pp. 382–7), ‘Terza Rima and Related Forms’ (pp. 387–401), ‘Ottava Rima (and Some Spenserian Stanzas)’ (pp. 401–16), ‘Sonnets’ (pp. 416–28), ‘Four-Beat Lines: The Onegin Stanza and Related Forms’ (pp. 428–49), ‘Mixed-Form Verse Novels’ (pp. 449–55), and ‘New Forms’ (pp. 456–66), an analysis of Brad Leithauser’s Darlington’s Fall published in 2002. A great variety of authors and their work are discussed in Addison’s study. In some instances this places Addison’s literary analysis of work by, for example, Frankau, Hewitt, and Leithauser and others as amongst the initial consideration and probably the first, of their oeuvre. Catherine Addison’s A Genealogy of the Verse Novel in its range of historical coverage, incisive critical acumen, exploration of rarely if ever discussed work, and comprehensive in-depth discourse on a neglected genre, is an important study. It concludes with an alphabetically arranged, enumerative listing of ‘Works Cited’ (pp. 467–87) and an author-based index (pp. 488–90). Of considerable interest to YWES readers is Richard Ashdowne and Carolinne White’s edited Latin in Medieval Britain, published for the British Academy, in fact belonging to its Proceedings of the British Academy and being number 206 in the series, by the Oxford University Press (p. iii). In their helpful, detailed introduction (pp. 1–58) Ashdowne and White write that ‘for more than a thousand years after the end of the Roman Empire people across Europe used the Latin language for a wide array of functions’. The language ‘in its medieval context … forms a nexus of internal variation in usage (vocabulary, grammar, spelling, etc.) and external variation in distribution (over time, place, and function)’ (p. 1). The collection of essays they have edited ‘is not intended to be a comprehensive account of the Latin of medieval Britain but rather a selective illustrative representation of the diversity to be observed in the use of the language, examined with regard to the effects of various types of context that influenced the writers who wrote that Latin in this period’. The collection is divided into three parts. In the first (pp. 61–130), there are five contributions examining ‘the use of Latin and the Latin literary tradition in four periods within [the] chronological bounds of the 6th to 16th centuries’ (p. 3): ‘The Start of the Anglo-Latin Tradition’ by David Howlett (pp. 61–72); ‘The 12th-Century Renaissance in Anglo-Norman England: William of Malmesbury and Joseph of Exeter’ by Neil Wright (pp. 73–84); ‘From Chronicles to Customs Accounts: the Uses of Latin in the Long 14th Century’ by Wendy R. Childs (pp. 85–105); and ‘Elephans in Camera: Latin and Latinity in 15th- and Early 16th-Century England’ by Robert Swanson (pp. 106–30). In the second part (pp. 133–210) there are four contributions that examine Latin’s ‘use in some defined areas as well as the development of technical terms in certain genres, particularly in the highly productive period after the Norman Conquest’ (p. 4): ‘The Latin of the Early English Common Law’ by Paul Brand (pp. 133–46); ‘English Music Theory in Medieval Latin’ by Leofranc Holford-Strevens (pp. 147–68); ‘Latin in Ecclesiastical Contexts’ by Carolinne White (pp. 169–97); and ‘The Introduction of Arabic Words in Medieval British Latin Scientific Writings’ by Charles Burnett (pp. 198–210). The third and concluding part, having six contributions (pp. 213–349), considers ‘language contact between Latin and contemporary local vernacular languages in view of the different forms of multilingualism of Britain found in different places and different times’. Additionally there is consideration of ‘the effects of the Latin’, while many of the contributions ‘also consider the native languages’ (p. 6). Contributions include: ‘ “Go and look in the Latin Books”: Latin and the Vernacular in Medieval Wales’ by Paul Russell (pp. 213–46); ‘Official and Unofficial Latin Words in 11th- and 12th-Century England’ by Richard Sharpe (pp. 247–71); ‘On Non-Integrated Vocabulary in the Mixed-Language Accounts of St Paul’s Cathedral, 1315’ by Laura Wright (pp. 272–98); ‘Anglo-Norman, Medieval Latin, and Words of Germanic Origin’ by the late David Trotter (pp. 299–319); ‘The DMLBS [Dictionary of Medieval Latin from British Sources] and the OED: Medieval Latin and the Lexicography of English’ by Philip Durkin and Samantha Schad (pp. 320–40); and finally ‘Making the Dictionary of Medieval Latin from British Sources’ by David Howlett, its editor (pp. 341–9). The papers in Latin in Medieval Britain have their genesis in conference presentations held to celebrate the 2013 completion of the DMLBS. Each contribution contains at times detailed footnotes and alphabetically arranged references at their conclusion. Complete with an attractive dust-jacket with a front-flap illustration in colour of ‘Matthew Paris’s map of Great Britain’, four illustrative black and white figures, and a detailed index (pp. 351–7), Latin in Medieval Britain is nicely typeset and bound. A valuable volume that might otherwise be overlooked is Laura Ashe’s The Oxford English Literary History, vol. 1: 1000–1350: Conquest and Transformation. Ashe describes and explains the enormous transformations, cultural, literary, social, and political, characterizing the period 1000–1350. Theology witnessed ‘the focus shift from God the Father to the suffering Christ, while religious experience became ever more highly charged with emotional affectivity and physical devotion’. Furthermore, ‘a new philosophy of interiority turned attention inwards, to the exploration of self, and the practice of confession expressed that interior reality with unprecedented importance’. Ashe observes that ‘the old understanding of penitence as a whole and unrepeatable event, a second baptism, was replaced by a new allowance for repeated repentance and penance, and the possibility of continued purgation of sins after death. The concept of love moved centre stage: in Christ’s love as a new explanation for the Passion; in the love of God as the only means of governing the self … and in the appearance of narrative fiction, where heterosexual love was suddenly represented as the goal of secular life’. Ashe explains that ‘in the writing of fiction … . emerged the figure of the individual, a unique protagonist bound in social and ethical relation with other individuals; from this came a profound recalibration of moral agency, with reference not only to God but to society’. Ashe’s introduction (pp. 1–10) is followed by chapters on ‘England, c.1000: “This World is in Haste” ’ (pp. 11–63), ‘Conquests, Kings, and Transformations’ (pp. 65–126); ‘Know Yourself: Interiority, Love, and God’ (pp. 127–80); ‘The Bellator and Chevalerie: The Struggle for the Warrior’s Soul’ (pp. 181–239); ‘It is Different with Us: Love, Individuality, and Fiction’ (pp. 241–98); ‘Conversations with the Living and the Dead’ (pp. 299–356); ‘Engletere and the Inglis Conflict and Construction’ (pp. 357–429); ‘Epilogue’ (pp. 431–8). The bibliography (pp. 439–61) is enumerative, select, combines primary and secondary works, and is alphabetically arranged. There is a useful index (pp. 463–72) to Ashe’s volume that includes translations from the French. Ashe observes that ‘In England, there were three main languages in written use in the period 1000–1350’: Latin, ‘English, varying by regional dialect and in transition over time’ and French (p. xv). The volume contains twelve black and white illustrations. In the preface (pp. xiv–xviii) to their edited collection of essays Street Literature of the Long Nineteenth Century: Producers, Sellers, Consumers, David Atkinson and Steve Roud write that ‘ “Street literature” can be defined, or at least described, in relation to a number of different categories: format and typography, genre and literary history, printing and mode of sale, readership and audience, subject and theme—or, more broadly, production, distribution, and reception’ (p. xiv). Twenty-seven black and white illustrations are scattered throughout, especially at the conclusion of each contribution. An explanation of ‘Terminology, Abbreviations, Resources’ (pp. xi–xiii) and a preface are followed by Atkinson and Roud’s extensive introduction (pp. 1–59), which is then followed by contributions on ‘Street Literature in England at the End of the Long Eighteenth Century’ by David Stoker (pp. 60–98); ‘ “Stirring times”: Contemporary Accounts of Nineteenth-Century Street Balladry’ by Isabel Corfe (pp. 99–118); ‘Street Ballad Sellers in the Nineteenth Century’ by Vic Gammon (pp. 119–53); ‘The Decline and Fall of the Scottish Chapbook’ by Iain Beavan (pp. 154–93); ‘ “In Merthyr on a Saturday Night”: The Ballads and Balladeers of Glamorgan’ by E. Wyn James (pp. 194–216); ‘The Development of the Children ‘s Chapbook in London’ by Jonathan Cooper (pp. 217–40); ‘ “The Library of the Scottish Peasantry”: Street Literature in Aberdeen in 1828’ by David Atkinson (pp. 241–54); ‘Squibs, Songs, Addresses, and Speeches: Election Ephemera in Nineteenth-Century Devon’ by Ian Maxted (pp. 255–77); ‘ “My days must end on a dismal tree”: Constance Kent and Murder in the 1860s’ by David Atkinson (pp. 278–97); ‘ “All things are done by steam”: The Advent of Steam Power through Broadside Ballads’ by Colin Bargery (pp. 298–319); and ‘A Late Aberdeenshire Chapbook Printer’ by David Atkinson (pp. 320–38). Each contribution is accompanied by at times detailed footnote documentation. There is too an alphabetically arranged, enumerative listing of ‘Works Cited’ (pp. 339–60) and an index (pp. 364–73) to this well-produced, informative collection. Valerie Babb’s A History of the African American Novel is a comprehensive account of the development of the African American novel and its major genres. The initial part of her book, ‘History’ (pp. 3–211), is ‘a consideration of the novel’ (p. 4) from the middle of the nineteenth century to the early twenty-first century, ‘showing how the concept of black identity has transformed along with the art form’ (p. i). The second part of Babb’s book, ‘Significant Genres of the African American Novel’ (pp. 215–346), ‘focuses on the prominent genres of African American novels: the neo-slave narrative, detective, speculative, black pulp, graphic, and two categories that are group rather than actual genres, novels adapted for the screen and novels of the diaspora’ (p. 215). Babb’s work ‘builds on other literary histories by including early black print culture, African American graphic novels, pulp fiction, and the history of adaptation of black novels to film’. Consequently, ‘by placing novels in conversation with other documents—early black newspapers and magazines, film, and authorial correspondence—A History of the African American Novel brings many voices to the table to broaden interpretations of the novel’s development’ (p. i). A highly informative, alphabetically arranged appendix (pp. 347–423) ‘lists the novels of all writers within the study, as well as suggesting secondary sources for further study’ (p. 347). It begins with ‘Anderson, William H’. (p. 347) and concludes with ‘Young, Al’ (p. 418), followed by ‘Additional General Sources’ (pp. 418–23). The detailed notes (pp. 425–47) to the text are followed by an alphabetically arranged, enumerative listing of ‘Works Cited’ and a ‘Manuscript Collections’ listing (pp. 459–73). A History of the African American Novel concludes with a detailed index (pp. 475–86). The distinguished scholar Frédéric Barbier’s Gutenberg’s Europe: The Book and the Invention of Western Modernity, initially published in French in 2006, has been translated by Jean Birrell. Accompanied by black and white figures, maps, and tables, Barbier’s work provides an interesting non-English perspective on a period of profound transformation. In his foreword (pp. x–xi), Barbier ‘hope[s] in this book, by a discussion of the very first media revolution, that of Gutenberg in the mid fifteenth century, to offer some insights into the media revolution of the early twenty-first century’. He asks ‘how Western civilization passed from one communication system (oral and manuscript) to another (printing); how this technological innovation developed and what were its consequences’. Furthermore, his study asks ‘how the change in the dominant media influenced not only social structure as a whole, but a number of abstract categories and ways of thought’. Interestingly for a scholarly work, Barbier has ‘chosen not to encumber [his] book with a bibliography other than that provided by the notes’ (p. x) provided at the back of the text (pp. 275–301), adding that ‘a supplementary and much more extensive bibliography on the history of the book may be found on the website of the Centre de recherché en histoire du livre’ (p. x, <http://www.enssib.fr>). Following Barbier’s ‘Introduction: The Media and Change’ (pp. 1–8), his book is divided into three parts. In the first, ‘Gutenberg before Gutenberg’ (pp. 11–79), there are chapters on ‘The Preconditions for a New Economy of the Media’ (pp. 11–35); ‘The Economy of the Book’ (pp. 36–56); and ‘The Birth of the Market’ (pp. 57–79). The second part is called ‘The Age of Start-Ups’ (pp. 81–162), with chapters on ‘The Development and Logics of Innovation’ (pp. 83–105) with sections discussing ‘Paper and Papermaking’ (pp. 85–8), ‘Xylography’ (pp. 88–90), and ‘Punches, Forms and Moulds’ (pp. 95–101); ‘Gutenberg and the Invention of Printing’ (pp. 106–25); and ‘Innovation’ (pp. 126–62), and has material on ‘Techniques: Process Innovation’ (pp. 126–30), and ‘Practices’ (pp. 130–45). The third and final part of Barbier’s book focuses on ‘The First Media Revolution’ (pp. 165–268) with three chapters: ‘Printing Conquers the World’ (pp. 165–203), with sections on ‘The Spread of the Innovation’ (pp. 165–75), ‘Ranking the Cities’ (pp. 175–86), and ‘Conjunctures and Specializations: The Market and Innovation’ (pp. 186–203); ‘The Nature of Text’ (pp. 204–37); and ‘The Media Explosion’ (pp. 238–68), with sections on ‘A New Paradigm: Production and Reproduction’ (pp. 238–48), ‘The Reformation and Printing’ (pp. 248–57), ‘Regulation: Imposing Order on Books’ (pp. 257–67), and ‘Printing and Governments’ (pp. 267–8). For Barbier in his ‘Conclusion’ (pp. 269–74), ‘in the space of three generations the social communication systems of Western societies had experienced an unprecedented transformation’. He explains: ‘typography with movable characters had everywhere prevailed, an entire new economic sector had emerged, new reading practices had been generalized and the categories of intellectual representation itself had been redefined’. For Barbier ‘this was truly a revolution, in that one system of social communication had replaced another, while, at the same time, the conditions and practices of the reading and appropriation of texts had radically changed’ (p. 269). Concluding this challenging book are notes to the text (pp. 275–301) followed by a useful index (pp. 302–12). The present reviewer and Toby Barnard were contemporaries at grammar school and is somewhat in awe of Barnard, who went to Oxford and became a don. For the next half a century or more their paths didn’t cross—there was a brief encounter at a Midlands auction house in the mid-1980s—except for an increasing admiration for Barnard’s scholarly endeavours. His Brought to Book: Print in Ireland, 1680–1784 is a superbly written piece of scholarship. Mentioned elsewhere in this volume, Barnard’s volume is important enough to be discussed twice. As Peter Fox writes in his review in The Library, ‘in a fascinating analysis of the types of material being published in Ireland between 1689 and 1789, Toby Barnard shows how the output of publications for and by the government, which accounted for close to two-thirds of titles in the late 1690s, diminished to only seven per cent a century later’. Barnard’s is ‘an important addition to the literature not just of the book trade but of the wider culture of eighteenth-century Ireland. Barnard has done a magnificent job in assembling a vast range of material and analysing it into a fascinating narrative’ (Library 18:iv[2017] 508–9). A list of tables (p. 8) is followed by an extensive list of abbreviations (pp. 9–11), preface (pp. 13–14), and a lucid introduction (pp. 15–22). Sometimes extensive footnotes may be found on each page of Barnard’s text, and appropriately in the case of such a learned book there is a detailed index (pp. 375–95). Barnard has been well served by his publisher, Four Courts Press, with a computer-generated typeface pleasant to the eyes, practical margins, and study binding. Most of the thirteen essays in Daniel Bellingradt, Paul Nelles, and Jeroen Salman’s edited Books in Motion in Early Modern Europe: Beyond Production, Circulation, and Consumption focus on non-English-language book production. The exception is Vivienne S. Dunstan’s essay on ‘Reading Strategies in Scotland circa 1750–1820’ (pp. 221–42). Dunstan ‘explores reading habits through study of the strategies used by Scots to fit reading into their lives’. Duncan asks ‘how did readers access reading material, find the time to read and locate what interested them?’ She ‘analyzes differences among readers by social class, occupation, gender and geography. [She] also contrasts the habits of urban and rural readers’ (p. 221) by utilizing sources including ‘personal accounts and letters, diaries, memoirs, inventories of books owned and library borrowing records’ (p. 223). Interesting approaches to ‘concepts in the field of book history’ (p. 1) are also to be found in the opening chapter of Books in Motion, Bellingradt and Salman’s ‘Books and Book History in Motion: Materiality, Sociality and Spatiality’ (pp. 1–11), and in Joad Raymond’s closing chapter, ‘Matter, Sociability and Space: Some Ways of Looking at the History of Books’ (pp. 289–95). Raymond observes: ‘perhaps the clearest theme to emerge from the chapters in this volume is the importance of transnational approaches’ (p. 293). For Raymond the study of the history of books ‘today … is an aspect of human history, including the history of culture, literary and popular, the production and reception of words’. He adds, ‘the history of everyday life, and the physical encounters with particular books at particular times and in particular places’, including ‘the history of news and information … shaped individual conceptions of the world and the relationships between cities, states and locales; and also the social and economic history of the routine administration of government and changing patterns of consumption’ (p. 295). Books in Motion has a useful index (pp. 297–304), and at times extensive footnote documentation accompanies individual chapters. The Cambridge Companion to Literature and the Posthuman, edited by Bruce Clarke and Manuela Rossini, contains treatments from different critical perspectives of the concepts ‘posthuman and posthumanism’. Fifteen individual contributors examine ‘the historical and aesthetic dimensions of posthuman figures alongside posthumanism as a new paradigm in the critical humanities’. The collection is divided into three parts in which contributors trace ‘the history of the posthuman in literature and other media, including film and video games, and identify major political, philosophical, and techno-scientific issues raised in the literary and cinematic narratives of the posthuman and posthumanist discourses’ (p. i). The editors’ preface, ‘Literature, Posthumanism, and the Posthuman’ (pp. xi–xxi), is followed by ‘Chronology I: The Posthuman’, beginning in the year 865 with the abbot ‘Ratramnus of Corbie, “Letter on the Cynocephali’” and concluding in 2014 (pp. xxv–xxix) and then ‘Chronology 2: Posthumanism’, beginning in 1859 and concluding in 2015 (pp. xxxi–xxxiv). In the first part, ‘Literary Periods’ (pp. 3–68), there are five essays: ‘Medieval Karl’ by Tobias Steel (pp. 3–15); ‘Early Modern’ by Kevin LaGrandeur (pp. 16–28); ‘Romantic’ by Ron Broglio (pp. 29–40); ‘Modern’ by Jeff Wallace (pp. 41–53); and ‘Postmodern’ by Stefan Herbrechter (pp. 54–68). The second part, ‘Posthuman Literary Modes’ (pp. 71–138), has five essays: ‘Science Fiction’ by Lisa Yaszek and Jason W. Ellis (pp. 71–83); ‘Autobiography’ by Kari Weil (pp. 84–95); ‘Comics and Graphic Novels’ by Lisa Diedrich (pp. 96–108); ‘Film’ by Anneke Smelik (pp. 109–20); and ‘E-Literature’ by Ivan Callus and Mario Aquilina (pp. 121–38). The third and final part is concerned with ‘Posthuman Themes’ (pp. 141–208) and contains five contributions: ‘The Nonhuman’ by Bruce Clarke (pp. 141–52); ‘Bodies’ by Manuela Rossini (pp. 153–69); ‘Objects’ by Ridvan Askin (pp. 170–81); ‘Technologies’ by R.L. Rutsky (pp. 182–95); and ‘Futures’ by Claire Colebrook (pp. 196–208). Some of the contributions contain extensive notation following the text—see for instance the notes accompanying Callus and Aquilina on ‘E-Literature’ (pp. 134–8). The volume concludes with an alphabetically arranged, enumerative listing of ‘Further Reading’ (pp. 209–17) and a useful, detailed index (pp. 219–31). The fifth volume of The Oxford English Literary History: The Later Seventeenth Century by Margaret J.M. Ezell and covering the years 1645 to 1714 was also published in 2017. Ezell’s monograph explores ‘the continuities and the literary innovations occurring during six turbulent decades, as English readers and writers lived through unprecedented events including a king tried and executed by Parliament and another exiled, the creation of the national entity “Great Britain”, and an expanding English awareness of the New World as well as encounters with the cultures of Asia and the subcontinent’. In addition the period 1645 to 1714 witnessed ‘the establishment of new concepts of authorship’ plus ‘a dramatic increase of women working as professional, commercial writers. London theatres closed by law in 1642 reopened with new forms of entertainment from musical theatrical spectaculars to contemporary comedies of manners with celebrity actors and actresses.’ Also, ‘literary forms such as epistolary fictions and topical essays’ emerged and ‘were circulated and promoted by new media including newspapers, periodical publications’. Furthermore, ‘advertising and laws were changing governing censorship and taking the initial steps in the development of copyright’. This ‘was a period which produced some of the most profound and influential literary expressions of religious faith, from John Milton’s Paradise Lost and John Bunyan’s Pilgrim’s Progress’, yet at the same time ‘giving rise to a culture of libertinism and savage polemical satire, as well as fostering the new dispassionate discourses of experimental sciences and the conventions of popular romance’ (back jacket). Following her ‘A Preface to the Reader: Describing “Literary Life” in the Mid- and Late Seventeenth Century’ (pp. xvii–xxv), Ezell’s book is divided into five chapters. The first is concerned with ‘Ending the War, Creating a Commonwealth, and Surviving the Interregnum, 1645–1658’ (pp. 1–89). The second focuses on ‘The Return of the King, Restoration, and Innovation, 1659–1673’ (pp. 91–208) and includes a section ‘ “Adventurous Song”: Samuel Butler, Abraham Cowley, Katherine Philips, John Milton, and 1660s Verse’ (pp. 185–208). The third, on ‘Reading and Writing for Profit and Delight, 1674–1684’ (pp. 209–309), includes sections on ‘Theatrical Entertainments Outside the London Commercial Playhouses: Smock Alley, Travelling Companies, Strollers, School Plays, and Private Performances’ (pp. 277–85), ‘Fictions: The Pilgrim’s Progress, the New “Novels”, and Love and Erotica’ (pp. 285–94), and ‘Foreign Parts: English Readers and Foreign Lands and Cultures’ (pp. 294–309). The fourth chapter treats ‘The End of the Century, Scripting Transitions, 1685–1699’ (pp. 311–406) with sections on ‘1685–1686’ (pp. 311–60), ‘Laws Regulating Publication, Speech, and Performance, 1685–1699’ (pp. 360–6), ‘Heard in the Street: Broadside Ballads’ (pp. 366–73)’, ‘Seen on Stage: English Operas, the Female Wits, and the “Reformed” Stage’ (pp. 373–93) and ‘Debates between the Sexes: Satires, Advice, and Polemics’ (pp. 393–406). The final chapter, ‘Writing the New Britain, 1700–1714’ (pp. 407–502), has sections devoted to the year 1700 (pp. 407–45), ‘Laws Regulating Publication, Preaching, and Performance,1700–1714’ (pp. 445–54), ‘Kit-Cats and Scriblerians: Clubs, Wits, the Tatler, the Spectator, and The Memoirs of Martin Scriblerus’ (pp. 454–65), ‘Booksellers and the Book Trade: John Dunton, Edmund Curll, Grub Street, and the Rise of Bernard Lintot’ (pp. 466–71), and ‘ “The Great Business of Poetry”: Poets, Pastoral, and Politics’ (pp. 471–502). ‘Appendix: Table of Contents of The Oxford English Literary History, Volume 5, 1645–1714:The Later Seventeenth Century (Companion Volume)’ (p. 503) focuses on ‘The Companion Volume [which] is available as an e book and on Oxford Scholarship Online’ (p. xv). The bibliography (pp. 505–56) is enumerative, select, alphabetically arranged, and divided into ‘Pre-1750 Sources’ (pp. 505–26) and ‘Post-1750 Sources’ (pp. 526–56). There is a useful index (pp. 557–72). The volume contains six black and white illustrative figures. While on the subject of copyright, mention should be made of Matthew Sangster’s ‘Copyright Literature and Reading Communities in Eighteenth-Century St Andrews’ (RES 68[2017] 945–67), which ‘examines the extensive and previously underexplored eighteenth-century records of the University Library at St. Andrews, demonstrating their considerable potential for enhancing and complicating our existing accounts of book use and reading within eighteenth-century institutions’. Furthermore, Sangster ‘uses accession lists, borrowing registers and surviving books to investigate the far-reaching effects of the 1710 Copyright Act and to trace St. Andrews’ readers’ enthusiastic and vociferous engagements with poetry, novels, criticism and plays’ (p. 945). According to Paula Geyh’s The Cambridge Companion to Postmodern American Fiction, ‘few previous periods in the history of American literature could rival the richness of the postmodern era—the diversity of its authors, the complexity of its ideas and visions, and the multiplicity of its subjects and forms. Geyh’s edited volume offers ‘an authoritative, comprehensive, and accessible guide to the American fiction of this remarkable period’. The essays in the volume trace ‘the development of postmodern American fiction over the past half-century’ and explore ‘its key aesthetic, cultural, and political contexts’ as well as examining ‘its principal styles and genres, from the early experiments with metafiction to the most recent developments, such as the graphic novel and digital fiction’. It also ‘offers … readings of many of its major works’. Additionally the Cambridge Companion ‘both highlights the extraordinary achievements of postmodern American fiction and provides … critical frameworks for understanding it’ (p. i). A ‘Chronology’ beginning in 1960 and concluding in 2014 (pp. ix–xviii) is followed by an introduction by Paula Geyh (pp. 1–8). There are then eleven essays: ‘Postmodern Precursors’ by Jonathan P. Eburne (pp. 9–27); ‘Prolonged Periodization: American Fiction After 1960’ by David Cowart (pp. 28–46); ‘Postmodern American Fiction and Global Literature’ by Caren Irr (pp. 47–62); ‘Philosophical Skepticism and Narrative Incredulity: Postmodern Theory and Postmodern American Fiction’ by Arkady Plotnitsky (pp. 63–80); ‘History and Fiction’ by Timothy Parrish (pp. 81–96); ‘Gender and Sexuality: Postmodern Constructions’ by Sally Robinson (pp. 97–111); ‘Pluralism and Postmodernism: The Histories and Geographies of Ethnic American Literature’ by Dean Franco (pp. 112–30); ‘The Zombie in the Mirror: Postmodernism and Subjectivity in Science Fiction’ by Elana Gomel (pp. 131–47); ‘Postmodern Styles: Language, Reflexivity, and Pastiche’ by Patrick O’Donnell (pp. 148–62); ‘Between Word and Image: The Textual and the Visual in Postmodern American Fiction’ by Paula Geyh (pp. 163–80); and ‘Electronic Fictions: Television, the Internet, and the Future of Digital Fiction’ by Astrid Ensslin (pp. 181–97). Each contribution is followed by an alphabetically arranged, enumerative list of ‘Further Reading’ and by notes, some of which are extensive—see for instance those following Patrick O’Donnell’s contribution (pp. 160–2). In his ‘Introduction: Text, Image and the Urban’ (pp. vii–xv) to Text and Image in the City: Manuscript, Print and Visual Culture in Urban Space, edited with Catherine Armstrong, John Hinks observes that ‘the essays in this collection discuss how the city is “textualized”. They address many aspects of how texts and images are written and produced in, and about, cities’ (p. vii). The collection is divided into two parts. In the first, ‘Cities in the Margin’ (pp. 3–77), there are three contributions: ‘Paris: Text and Image Underground’ by Caroline Archer (pp. 3–24); ‘Confusing the “Schema”: Flash Notes and Fraud in Late Georgian England’ by Jack Mockford (pp. 25–50); and ‘London’s Little Presses’ by Rathna Ramanathan (pp. 51–77). The second part, ‘Textual Topographies: Urban Space in Manuscript, Print and Visual Culture’ (pp. 81–169), has five contributions: ‘Manuscript Book Production and Urban Landscape: Bologna during the Thirteenth and Fourteenth Centuries’ by Rosa Smurra (pp. 81–104) accompanied, as are the other contributions where appropriate, by black and white illustrations; ‘Defining the Scottish Chapbook: A Description of the ‘Typical Scottish Chapbook’ by Daliah Bond (pp. 105–24); ‘The Urban Context of Eighteenth-Century English Provincial Printing’ by John Hinks (pp. 125–42); ‘Birmingham’s Graphic DNA: Reading the City through Signage, Architectural Letterforms and Typographical Landscape’ by Geraldine Marshall (pp. 143–60); and finally a summary of the Leicester-based printmaker Sarah Kirby’s introduction to a display of her work ‘A Note on Sarah Kirby’s Prints: Drawing on History: the City in Print’ (pp. 161–3) accompanied by black and white illustrations (pp. 164 –9). The volume lacks an index; contributions are accompanied by footnotes. The Roxburghe Club was founded in 1812 and from 1814 ‘has enjoyed an unbroken record of private publishing to the present day’. Shayne Husbands, in her The Early Roxburghe Club 1812–1835: Book Club Pioneers and the Advancement of English Literature, presents a fresh account of the formative years of the Roxburghe Club, and ‘the backdrop of bibliomania’ of the Romantic period in which it was formed. Hers is a detailed examination of the make-up and membership of the club, its social and political affinities, and her analysis of its first two decades reveals what has previously been ignored: the club’s ‘serious and significant contributions in the early nineteenth century to the development of English literary studies, the formation of the history and canon of English literature, and also to the evolving practice and theory of editing and facsimile making in this period’ (pp. 1–2). Contents include: a ‘List of [seven] Figures’ in the text (p. vii); ‘Acknowledgements’ (p. ix); introduction (pp. 1–4); chapter 1, ‘The Persistence of Myth’ (pp. 5–14); chapter 2, ‘Scandal, Libel and Satire’ (pp. 15–34); chapter 3, ‘The Roxburghe Club and the Politics of Class’ (pp. 35–45); chapter 4, ‘Politics, Religion, Money’ (pp. 47–64); chapter 5, ‘Club Members and Their Book Collections’ (pp. 65–85); chapter 6, ‘The Passion for Print’ (pp. 87–100); chapter 7, ‘The Literary Works of the Roxburghe Club Members’ (pp. 101–23); chapter 8, ‘The Club Editions’ (pp. 125–48); chapter 9, ‘The Legacies of the Club’ (pp. 149–71); and ‘Conclusion’ (pp. 173–6). There are two appendices. ‘Appendix 1: The Club Membership 1812– 1835’ provides details of members and their activities. It is arranged alphabetically beginning with ‘Barnard, Benjamin’ (p. 177) and concluding with ‘Wrangham, Francis [Venerable Archdeacon] (1769–1842) (p. 189). ‘Appendix 2: Roxburghe Club Editions 1812– 1835’ is descriptive and presented in chronological order of publication (pp. 191–7). The bibliography (pp. 199–209) is arranged by ‘Works Written by Early Roxburghe Club Members’ alphabetically arranged and enumerative (pp. 199–202), followed by alphabetically arranged, enumerative listing of ‘Roxburghe Club Editions and Texts Edited by Club Members’ (pp. 202–3) before proceeding to an alphabetically arranged, enumerative listing of ‘Works about the [Roxburghe] Club’ (pp. 203–4; not ‘Works about the Oxburghe Club’—that should have been picked up in proof-reading). This interesting study draws upon hitherto far from explored archives and concludes with a useful index (pp. 211–16). Prose Fiction in English from the Origins of Print to 1750, edited by Thomas Keymer, is the first volume of The Oxford History of the Novel in English, an intended ‘multi-volume series offering a comprehensive history of English-language prose fiction and drawing on the knowledge of a large, international team of scholars’. Volumes include attention to ‘the processes of production, distribution, and reception’ as well as ‘popular fiction and the fictional sub-genres’ in addition to ‘chapters outlining the work of major novelists, movements, traditions, and tendencies’. This first volume ‘opens with the importation of printing technology into England by William Caxton’ and ‘in the mid-eighteenth century’ (pp. xvii). In the later chapters there are accounts of major canonical voices such as Defoe, Richardson, and Fielding. ‘With its extended chronological and geographical range’ the volume places ‘eighteenth-century developments in revelatory new ways, to provide a fresh, bold, and comprehensive account of the richness and variety of fictional traditions as they developed over two and a half centuries’. In addition ‘the volume … establishes a newly comprehensive mapping of early fiction that rectifies the shortcomings and exclusions of established ‘rise of the novel’ scholarship’ (back jacket), exemplified by Ian Watt in his influential The Rise of the Novel [1957]. Watt’s work exhibited for instance a ‘blindness to the role of women writers, following [Aphra] Behn’s reinvention of romance in the 1680s, in shaping novelistic themes and techniques’ with ‘a teleological bias that neglects, misrepresents or downgrades phases and types of fiction production, such as the richly variegated category of Elizabethan fiction, that resist being assimilated into narratives of evolution or ascent’. Additionally, in Watt there is ‘a reductive Anglocentrism that leaves out of account the translation, reception, and pervasive influence from the sixteenth century onwards of, among much else, the “ancient novel” of Apuleius and Heliodorus; Byzantine, Arabian, and Eastern traditions; the Italian novella from Boccaccio to Bandello; Spanish picaresque and anti-romance; and a range of French narrative modes from Rabelais to Marivaux’ (p. xx). Following Patrick Parrinder’s ‘General Editor’s Preface’ (pp. xv–xvi), an introduction by Thomas Keymer (pp. xvii–xxxi), a brief ‘Editorial Note’ (p. xxxiii), and a ‘Note on the British Currency before Decimalization’ (p. xxxiv), the contents are divided into three main parts. In the first, ‘Fiction in the Marketplace’ (pp. 3–106), there are six contributions: ‘Authorship, Publication, Reception: 1470–1660’ by Paul Salzman (pp. 3–25); ‘Authorship, Publication, Reception: 1660–1750’ by Robert D. Hume (pp. 26–45); ‘Cross-Sections (1): 1516–1520’ by Cathy Shrank (pp. 46–54); ‘Cross-Sections (2): 1596–1600’ by Lori Humphrey Newcomb (pp. 55–72); ‘Cross-Sections (3): 1666–1670’ by James Grantham Turner (pp. 73–88); and ‘Cross-Sections (4): 1716–1720’ by Pat Rogers (pp. 89–106). The second part has thirteen essays on ‘Early Modern Fiction—Sources and Modes’ (pp. 109–326): ‘Fiction and the Origins of Print’ by Alexandra Gillespie (pp. 109–22); ‘English Fiction and the Ancient Novel’ by Robert H.F. Carver (pp. 123–45); ‘Chivalric Romance and Novella Collections’ by Helen Moore (pp. 146–62); ‘Euphuism and Courtly Fiction’ by Nandini Das (pp. 163–79); ‘Nashe and Satire’ by Tiffany Stern (pp. 180–95); ‘Elizabethan Popular Romance and the Popular Novel’ by R.W. Maslen (pp. 196–211); ‘ “The conjunction cannot be hurtful”? Sidney’s Arcadia and Mingled Genres’ by Gavin Alexander (pp. 212–26); ‘Utopian Fiction’ by Daniel Carey (pp. 227–42); ‘Royalist Romance?’ by Steven N. Zwicker (pp. 243–59); ‘Picaresque and Rogue Fiction’ by Simon Dickie (pp. 260–76); ‘Cervantes, Anti-Romance, and the Novella’ by Brean Hammond (pp. 277–93); ‘Rabelaisian Comedy and Satire’ by Nicholas McDowell (pp. 294–309); and ‘Bunyan and Religious Allegory’ by Michael Davies (pp. 310–26). The third and final part is devoted to ‘Restoration Fiction and the Rise of the Novel’ (pp. 329–593), with sixteen essays. These are: ‘Formal Experimentation and Theories of Fiction’ by Nicholas Hudson (pp. 329–46); ‘Non-Fictional Discourses and the Novel’ by John Richetti (pp. 347–63); ‘Finding Their Accounts: Autobiography, Novel, and the Move from Self “to you-ward” ’ by Stuart Sherman (pp. 364–81); ‘Classical French Fiction and the Restoration Novel’ by Ros Ballaster (pp. 382–99); ‘Epistolary Fiction’ by Toni Bowers (pp. 400–16); ‘Pornography and the Novel’ by Paul Baines (pp. 417–34); ‘Restoration Theatre, and the Novel’ by Jenny Davidson (pp. 435–49); ‘Exploration, Expansion, and the Early Novel’ by Cynthia Wall (pp. 450–70); ‘Arabian Nights and Oriental Spies’ by James Watt (pp. 471–85); ‘The Rise of the Irish Novel’ by Moyra Haslett (pp. 486–99); ‘Scandal and Amatory Fiction’ by Jane Spencer (pp. 500–14); ‘Defoe, Journalism, and the Early English Novel: Contexts and Models’ by J. Paul Hunter (pp. 515–29); ‘Swift, Satire, and the Novel’ by Claude Rawson (pp. 530–47); ‘The Pamela Debate’ by Thomas Lockwood (pp. 548–62); ‘Clarissa and Tom Jones’ by J.A. Downie (pp. 563–78); and ‘ “Moral Romance” and the Novel at Mid-Century’ by Peter Sabor (pp. 579–93). An enumerative, alphabetically arranged ‘Bibliography of Secondary Sources’ (pp. 595–621) is followed by a name-orientated index (pp. 623–37): there are seventeen black and white figures and a table scattered throughout the text. Michelle Levy and Tom Mole’s The Broadview Introduction to Book History provides an account of book history which ‘emerged as a distinct and dynamic field of inquiry in the 1980s and 1990s by bringing together a variety of existing intellectual activities and setting them into new relationships with one another’ (p. xiii). Following a detailed introduction (pp. xiii–xx), the first chapter focuses on the idea of ‘Materiality’ (pp. 3–27), with sections on ‘Reading Books’ (pp. 3–9), ‘Bibliography’ (pp. 10–17) , ‘Making Printed Books’ (pp. 17–22), and ‘Typography’ (pp. 22–6). The second chapter is concerned with ‘Textuality’ (pp. 31–61), with discussions of ‘Who’s Been Tampering with My Text?’ (pp. 31–7), ‘Copy-Text’ (pp. 38–41), ‘Variants’ (pp. 41–5), ‘Authorial Intentions’ (pp. 45–54), and ‘Textual Pluralism’ (pp. 55–9). Chapter 3 discusses ‘Printing and Reading’ (pp. 65–98), with sections on ‘Print and the Book’ (pp. 66–70), ‘The Impact of Print’ (pp. 70–4), ‘Models for Book History’ (pp. 74–7), ‘Print Economies’ (pp. 77–81), ‘Controlling Print / Controlling Reading’ (pp. 81–9), and ‘Methods for a History of Reading’ (pp. 89–95). The penultimate chapter explains ‘Intermediality’ (pp. 1010–1131), or in other words ‘the study of the interactions between various media, and the acceptance that various media always exist alongside each other’ (p. 193). This fourth chapter has sections on ‘Models of Intermediality’ (pp. 103–5), ‘Orality and Writing’ (pp. 105–12), ‘Manuscript and Print’ (pp. 112–23), and ‘Text and Image’ (pp. 123–8). The fifth chapter focuses on ‘Remediating’ (pp. 135–62), in which the authors ‘return to the concerns of’ their first four chapters ‘and ask how they are re-inflected by the digital turn’ (p. 135). Consequently there are sections on ‘New Media, New Materiality’ (pp. 135–40), ‘(Hyper)Textuality’ (pp. 141–5), ‘Digital Printing and Screen Reading’ (pp. 145–52), ‘Reading, Knowledge, and the Digital Turn’ (pp. 153–6), and ‘Computer-Assisted Reading’ (pp. 156–60). There is a succinct ‘Conclusion’, in which Levy and Mole write: ‘an introduction like this cannot offer a comprehensive guidebook tracing all the byways of book history and the many interesting insights you can take in along the way, but we have aimed to provide a map for the journey’. They conclude that ‘as we survey our current moment of media change, we can see that book history offers not only a journey into the past, but one that takes us into the future as well’ (pp. 168–9). This is followed by a very useful ‘The History of the Book: A Brief Chronology’ (pp. 171–7), beginning ‘BCE’—‘c.3500 Sumerians use cuneiform alphabet, pressed in clay with a triangular stylus’ (p. 171)—and concluding, ‘[in] 2013 Newsweek announces it will continue to produce its print edition, in response to demands from loyal print readers’ (p. 177). A glossary (pp. 179–203) explains terms highlighted in bold in the text. It begins with ‘Accidentals/Substantives’ (p. 179) and concludes with ‘Woodcut’ and ‘Text’ (p. 203). ‘Further Reading’ (pp. 205–13) is arranged by subject and is descriptive. There is a comprehensive index (pp. 217–29). Each of the chapters concludes with detailed notes indicating the sources of the references in the chapter: see for example the notes following the first chapter (pp. 26–7). There is much to commend The Broadview Introduction to Book History, which manages to pack a lot of information into its pages. However, the typeface is small, the recycled paper used is irritating, and the volume isn’t that cheap to purchase: none of these ‘faults’ can be laid at the feet of the authors, who write lucidly. Philipp Löffler’s edited Reading the Canon: Literary History in the 21st Century has its genesis ‘in the context of a public lecture series organized at the University of Heidelberg in the fall term of 2013’ (p. vii). Löffler explains in his ‘Introduction: The Practices of Reading and the Need for Literary Value’ (pp. 1–20) that the volume ‘wants to offer an account of the theoretical complexities and contradictions that have defined debates about the function of the canon and literary value over the past three decades’. Furthermore, ‘the theoretical thrust of the book is complemented by a series of selected case studies that explore the practical consequences of these debates for the ways in which scholars explain and classify the evolution of literature throughout larger spans of time’. The volume has four sections, beginning with ‘Periodization, Prestige, Genre’ (pp. 23–101), in which the contributors ‘address some of the more general theoretical questions connected to recent debates about the function and the relevance of literary canons’ (p. 3). The initial section has three contributions: Clemens Spahr, ‘Literary History and the Problem of Periodization’ (pp. 23–45); Günter Leypoldt, ‘Singularity and the Literary Market’ (pp. 47–70); and Michael Basseler, ‘Literary Value and the Dynamics of Generic Change’ (pp. 71–101). The second section, ‘Classics in the Classroom’ (pp. 105–85), ‘features essays on the production of literary greatness’ (p. 3): Peter Paul Schnierer, ‘Shakespeare’s Complete Works: Canonization, Completion, and Collection in the Twenty-First Century’ (pp. 105–14); Johannes Völz, ‘The Uses of Emerson: Transcendentalism, Transnationalism, and the New Americanists’ (pp. 115–50); Heiko Jakubzik, ‘Edgar Allen Poe and the Rise of Detective Fiction’ (pp. 151–66); and Sascha Pöhlmann, ‘Canon Fodder: Thomas Pynchon and the Invention of Postmodernism’ (pp. 167–85). The third section, ‘In the Name of Diversity’ (pp. 189–311), ‘sheds light on the complex relationship between literary value and cultural diversity’ (p. 3). Essays include: Franziska Schmid, ‘Sherman Alexie and the Uses of Native American Literature’ (pp. 189–213); Katharina Gerund, ‘Contested Canons? Toni Morrison and the Nobel Prize in Germany’ (pp. 215–45); Caroline Lusin, ‘Canon and Carnival: Challenging Hierarchies in Zadie Smith’s NW (2012)’ (pp. 247–67); Jan Rupp, ‘New Canons in the Classroom: Teaching Black British Writing’ (pp. 269–91); and Dirk Wiemann, ‘The Great Unread: Indian Writing in English and its Shadow Canons’ (pp. 293–311). The fourth and final section of the book, ‘Lost Figures, Unlikely Revivals, Newcomers’ (pp. 315–456), explores the ‘historical contingency of canon formation by reconstructing stories of once prominent works whose reputations have declined, and recent unexpected re-discoveries’ (pp. 3–4). There are six contributions: Stefanie Schäfer, ‘John Neal’s Brother Jonathan [1825] and the Problem of American Romanticism’ (pp. 315–32); Karin Höpker, ‘Only in the Chattel Records—Obscurity, Historiography, and Frederick Douglass’s The Heroic Slave’ (pp. 333–62); Tim Sommer ,‘Charismatic Authorship: Walter Scott, William Wordsworth, and the Nineteenth-Century Construction of Romantic Canonicity’ (pp. 363–85)—Sommer writes that ‘Scott lost purchase in the later nineteenth-century race for canonization not only because to an audience accustomed to and hooked on realist fiction his medievalist romance and local colour verse had quickly become outmoded items on the literary menu, but also because he lacked the concept of authorship that was capable of catering to the desire—increasingly strong in an age of a rapidly expanding print market—for economic disinterestedness and aesthetic autonomy’ (p. 381); Sophie Spieler, ‘No Longer the “Text-Book” of any Generation: Stover at Yale and the Non-Canonical’ (pp. 387–403)—a discussion of Owen Johnson’s novel Stover at Yale initially published in 1911/12; Kirsten Hertel, ‘Highbrow–Middlebrow–Broadbrow? J.B. Priestley and Cultural Re-education in Postwar German Theatre’ (pp. 405–32)—an interesting account of twentieth-century literary reputation in Britain and post-1945 West Germany focusing upon Priestley’s dramatic work; and the final contribution, Ellen Redling, ‘Canonizing Youth in Mark Ravenhill’s Plays’ (pp. 433–56), an ‘example of … a development from scandalousness to canonization’ found in ‘the major works of British playwright Mark canonical’ (p. 434). Regrettably there is no index to this challenging collection of essays; there is also an annoying discrepancy between some of the titles of the contributions given in the table of contents (pp. v–vii) and actual titles. To cite one example, Kirsten Hertel’s ‘Highbrow–Middlebrow–Broadbrow? J.B. Priestley and Cultural Re-education in Postwar Germany’ on the contents page (p. vii) contains a crucial omission, the final key word ‘Theatre’ (p. 405). Adam Roberts, in his preface to Science Fiction: A Literary History, edited by Roger Luckhurst, says that the ‘book’s real achievement is to give a sense of the sheer diversity of the mode’ and ‘that the genre is still characterized by a restless and creative energy’ (pp. 6–7). Luckhurst, in his editor’s introduction (pp. 8–10), mentions a story by Jorge Luis Borges, ‘The Garden of Forking Paths’ [1941] (p. 8), and finds in ‘the cunning labyrinths of Borges’s vision of endless textual proliferation’ a metaphor for science fiction’s development and divergence in which there is something to attract a diverse readership (p. 10). The eight essays, by different hands, are organized on broadly chronological lines. In the opening chapter, ‘The Beginnings: Early Forms of Science Fiction’ (pp. 11–43), Arthur B. Evans notes that, ‘for much of its history, science fiction was a literary genre without a fixed label, known by different names at different times and in different cultural milieus. But, as early as the eighteenth century, a number of European science-fictional texts were already being recognised as constituting a distinct narrative tradition, occupying a separate branch on the literary tree’ (p. 14). Evans’s chapter is divided into discussion of ‘Definitions’ (pp. 12–13), ‘Histories’ (pp. 13–16), ‘Early SF Speculations’ (pp. 16–19), ‘Subterranean Worlds’ (pp. 19–22), starting with Margaret Cavendish’s The Blazing World [1666] and concluding with Conan Doyle and Rider Haggard, before moving on to ‘Interplanetary Voyages’ (pp. 22–3), and ‘Travels through Time’ (pp. 23–5). Evans then sets his sights on ‘Alfred Robida’ (pp. 25–7), ‘the French author, caricaturist, and illustrator’ (p. 25), before looking at ‘Mary Shelley and Romanticism’ (pp. 28–31), ‘Mad Scientists’ (pp. 31–2), ‘Poe and Verne’ (pp. 32–9), and finally ‘After Verne’ (p. 39–40). This is followed by Roger Luckhurst’s ‘From Scientific Romance to Science Fiction: 1870–1914’ (pp. 44–71), containing an in-depth examination of the half-century prior to the First World War and paying especial attention to Robert Louis Stevenson, Henry Rider Haggard, Arthur Conan Doyle, and H.G. Wells. The third chapter, Caroline Edwards’s ‘Utopian Prospects, 1900–49’ (pp. 72–101), includes discussion of Charlotte Perkins Gilman’s ‘utopian narrative, Herland [1915], in which parthenogenesis (self-reproduction) has enabled a women-only society to exist for more than 2,000 years’ (pp. 77–8). Edwards then discusses ‘the first unambiguously proto-dystopian text’, Karel Čapek’s 1920 drama R.U.R. (Rossum’s Universal Robots, ‘famous for coining the word robot (robota)’, and Yevgeny Zamyatin’s ‘famous dystopia’ We ‘first published in English translation in 1924’ (p. 84). The chapter closes with a section on ‘The Late 1930s and Dystopias of Totalitarianism’ (pp. 92–8). In the fifth chapter Mark Bould writes on ‘Pulp SF and Its Others, 1918–39’ (pp. 102–29), concluding in the post-Second World War period and John Wyndham’s Day of the Triffids [1951] (p. 127). Malisa Kurtz, in her ‘After the War, 1949–65 (pp. 130–56), looks, amongst other facets of the period, at ‘The Publishing Boom and Bust’ (pp. 131–5), ‘Hard Science Fiction’ (pp. 135–7), and ‘Social Science Fiction’ (pp. 137–43). In her ‘Conclusion’ she notes that ‘Science fiction published from 1945 to 1964 sits between two of the genre’s most well-known historical moments: the Golden Age of SF pulps in the 1940s and the emergence of the New Wave in the 1960s’. However, for Kurtz ‘the 1950s and early 1960s’ constituted ‘an exciting time in SF as the genre reflected on the rapidly changing atmosphere of global politics and technoculture. SF publishing boomed in the midst of post-war prosperity, expanding to reach new audiences and welcoming new authors whose works represent some of the most popular SF stories to date.’ She includes Malcolm Bradbury and Philip K. Dick as amongst these (pp. 153–4). Rob Latham, in his sixth chapter, ‘The New Wave “Revolution,” from 1960–76’ (pp. 157–80), is concerned with ‘the SF that emerged during the 1960s’ and is ‘boldly experimental and militantly political, in ways that represented a sharp break with previous writing in the field’ that also went hand in hand with ‘major changes in the genres infrastructure’ from the previous decade (pp. 157–8). In the seventh chapter Sherryl Vint’s subject is ‘From the New Wave into the Twenty-First Century’ (pp. 181–207). In this period ‘SF transformed into a more diverse genre community that was no longer synonymous with the fandom that emerged during its Golden Age, but nonetheless retained a connection to it’ (p. 181). It produced William Gibson’s cyberpunk, Kim Stanley Morrison’s environmental space sagas, feminist SF, Ursula Le Guin and Angela Carter, and authors of colour, most notably Octavia Butler. In the final chapter, Gerry Canavan assesses the contemporary and SF’s future, ‘New Paradigms, after 2001’ (pp. 208–34). Canavan opens his chapter: ‘We live in an era of obsolete futures and junked dreams. It has now been over fifteen years since 2001 with nary a monolith in sight, much less manned missions to Jupiter or increasingly malevolent computer superintelligences refusing to open the pod bay doors.’ He is pessimistic: ‘How can one even write science fiction when, in 2016 alone, Britain unpredictably voted to exit the European Union, a planet was discovered around Alpha Centauri in the habitable zone, the Arctic ice sheet went through further catastrophic reduction, bee colonies further collapsed, and Donald Trump was elected President of the US?’ (pp. 208–9). However, ‘prose SF stubbornly soldiers on, and with it the tradition of science fiction story-telling that began with Shelley, Poe, Verne, and Wells, 200 years ago’ (p. 233). Each of the eight chapters is followed by enumerative alphabetical references that include electronic sources and suggestions for ‘What to Read Next’ (see e.g. pp. 233–4). There is a detailed index (pp. 238–56). Science Fiction: A Literary History is accompanied by monochrome illustrations. The Oxford Handbook of Rhetorical Studies, edited Michael J. Macdonald, with its sixty chapters, ‘is designed to offer students and scholars an accessible but sophisticated one-volume introduction to the multidisciplinary field of rhetorical studies. Aimed at readers approaching rhetoric for the first time, the Handbook traces the history of Western rhetoric from ancient Greece and Rome through the Renaissance to the present day, and surveys the role of rhetoric in more than 30 academic disciplines and fields of social practice’ (p. 2). A ‘List of Contributors’ (pp. xv–xviii) from twelve countries is followed by a ‘Timeline’ beginning in ‘BCE 466 Tisias/Corax “Dispute over a Fee” ’ (p. xix) and concluding with ‘1964 Marshall McLuhan, Understanding Media’. As Michael J. Macdonald indicates in his note to the timeline, it ‘is limited to key works of rhetorical theory and ends around 1960. Texts about rhetoric begin to proliferate after this date’. Furthermore, ‘dates for many ancient and medieval works remain a matter of conjecture and should therefore be treated as approximations. More bibliographical information—more than 1,000 books, chapters, and articles—can be found in the references section at the end of each chapter’ (p. xxiii), which is an important strength of the Handbook. Macdonald, in his introduction (pp. 1–30), observes that ‘rhetoric is not only a body of precepts for stylish, effective communication in speech, writing, and other media but also a social process embedded in manifold areas of culture, a process that both mirrors and engenders the society in which it operates’ (p. 26). There are six parts. The first, ‘Ancient Greek Rhetoric’ (pp. 33–156), has eleven chapters: ‘The Development of Greek Rhetoric’ by Edward Schiappa (pp. 33–42); ‘Rhetoric and Law’ by Michael Gagarin (pp. 43–52); ‘Rhetoric and Politics’ by Edward Harris (pp. 53–62); ‘Rhetoric and Historiography’ by Chris Carey (pp. 63–71); ‘Rhetoric and Pedagogy’ by Malcolm Heath (pp. 73–83); ‘Rhetoric and Poetics’ by Jeffrey Walker (pp. 85–95); ‘Rhetoric and Tragedy’ by Paul Woodruff (pp. 97–107); ‘Rhetoric and Old Comedy’ by Daphne O’Regan (pp. 109–19); ‘Plato’s Rhetoric in Theory and Practice’ by Harvey Yunis (pp. 121–31); ‘Aristotle’s Rhetoric in Theory and Practice’ by Eugene Garver (pp. 133–41); and ‘Rhetoric and Sophistics’ by Barbara Cassin (pp. 143–56). The second part, devoted to ‘Ancient Roman Rhetoric’ (pp. 159–311), has thirteen chapters: ‘The Development of Roman Rhetoric’ by William J. Dominik (pp. 159–71); ‘Rhetoric and Law’ by Richard Leo Enos (pp. 173–82); ‘Rhetoric and Politics’ by Joy Connolly (pp. 183–93); ‘Rhetoric and Historiography’ by Rhiannon Ash (pp. 195–204); ‘Rhetoric and Pedagogy’ by Catherine Steel (pp. 205–14); ‘Rhetoric and Stoic Philosophy’ by Shadi Bartsch (pp. 217–24); ‘Rhetoric and Epic’ by Jon Hall (pp. 225–35); ‘Rhetoric and Lyric Address’ by Jonathan Culler (pp. 237–51); ‘Rhetoric and the Greco-Roman Second Sophistic’ by Laurent Pernot (pp. 253–65); ‘Rhetoric and Declamation’ by Erik Gunderson (pp. 267–77); ‘Rhetoric and Fiction’ by Ruth Webb (pp. 279–88); ‘Rhetoric, Music, and the Arts’ by Thomas Habinek (pp. 289–99); and ‘Augustine’s Rhetoric in Theory and Practice’ by Catherine Conybeare (pp. 301–11). The third part is devoted to five essays on ‘Medieval Rhetoric’ (pp. 315–74). These encompass ‘The Development of Medieval Rhetoric’ by John O. Ward (pp. 315–28); ‘Rhetoric and Politics’ by Virginia Cox (pp. 329–40); ‘Rhetoric and Literary Criticism’ by Rita Copeland (pp. 341–51); ‘Rhetoric and Poetics’ by Jill Ross (pp. 353–63); and ‘Rhetoric and Comedy’ by Jody Enders (pp. 365–74). The fourth part has eight contributions on ‘Renaissance Rhetoric’ (pp. 377–474): ‘Rhetoric and Humanism’ by Heinrich Plett (pp. 377–86); ‘Rhetoric and Politics’ by Wayne A. Rebhorn (pp. 387–96); ‘Rhetoric and Law’ by Lorna Hutson (pp. 397–408); ‘Rhetoric and Pedagogy’ by Peter Mack (pp. 409–21); ‘Rhetoric and Science’ by Jean Dietz Moss (pp. 423–35); ‘Rhetoric and Poetics’ by Arthur F. Kinney (pp. 437–47); ‘Rhetoric and Theater’ by Russ McDonald (pp. 449–60); and ‘Rhetoric and the Visual Arts’ by Caroline van Eck (pp. 461–74). The fifth part is devoted to seven essays on ‘Early Modern and Enlightenment Rhetoric’ (pp. 477–568). Contributions include: ‘Rhetoric and Politics’ by Angus Gowland (pp. 477–88); ‘Rhetoric and Gender in British Literature’ by Lynn Enterline (pp. 489–504); ‘Rhetoric and Architecture’ by Robert Kirkbride (pp. 505–22); ‘Origins of British Enlightenment Rhetoric’ by Arthur Walzer (pp. 523–34); ‘Rhetoric and Philosophy’ by Adam Potkay (pp. 535–46); ‘Rhetoric and Science’ by Peter Walmsley (pp. 547–57); and ‘The Elocutionary Movement in Britain’ by Paul Goring (pp. 559–68). The sixth and final part contains sixteen contributions on ‘Modern and Contemporary Rhetoric’ (pp. 571–771). The essays include ‘Rhetoric and Feminism in the Nineteenth-Century United States’ by Angela G. Ray (pp. 571–81); ‘Rhetoric and Feminism’ by Cheryl Glenn and Andrea A. Lunsford (pp. 583–97); ‘Rhetoric and Race in the United States’ by Jacqueline Jones Royster (pp. 599–611); ‘Rhetoric and Law’ by Peter Goodrich (pp. 613–24); ‘Rhetoric and Political Theory’ by Andrew Norris (pp. 625–35); ‘Rhetoric and Presidential Politics’ by Karlyn Kohrs Campbell and Kathleen Hall Jamieson (pp. 637–47)—written before the beginning of Donald Trump’s presidency; ‘Rhetoric and New Testament Studies’ by Stanley E. Porter (pp. 649–59); ‘Rhetoric and Argumentation’ by Frans H. van Eemeren (pp. 661–71); ‘Rhetoric and Semiotics’ by Theo van Leeuwen (pp. 673–82); ‘Rhetoric and Psychoanalysis’ by Gilbert Chaitin (pp. 683–94); ‘Rhetoric and Deconstruction’ by Paul Allen Miller (pp. 695–707); ‘Rhetoric, Composition, Design’ by David Kaufer and Danielle Wetzel (pp. 709–20); ‘Rhetoric and Social Epistemology’ by Lorraine Code (pp. 721–31); ‘Rhetoric and Environment’ by Andrew McMurry (pp. 733–44); ‘Rhetoric and Science’ by Richard Doyle (pp. 745–58); and ‘Rhetoric and Digital Media’ by Ian Bogost and Elizabeth Losh (pp. 759–71). There then follows a most useful alphabetically arranged ‘Glossary of Greek and Latin Rhetorical Terms’, beginning with ‘Abominatio’ and concluding with ‘Zeugma’ (pp. 773–90). The Oxford Handbook of Rhetorical Studies concludes with a very helpful index (pp. 793–819). Marina MacKay’s Modernism, War and Violence ‘sets out to describe the connections between modernist literary culture and the virtually continuous public violence’ that was witnessed for most of the twentieth century. MacKay ‘also outlines how critics in more recent decades have accounted for links between modernism and war, modernism and violence’ (pp. 1–2) differently than their predecessors. The first chapter, ‘A Terrible Beauty Is Born’ (pp. 1–34), is mainly a discussion of ‘the relationships among modernism, war, and violence that emerged prior to 1914’ (p. 18). The second chapter, ‘Modernism and the Great War’ (pp. 35–60), ‘looks at the ways in which modernist writers used the first world war as an opportunity “to criticize the social system & show it at work, at its most intense,” as Woolf wrote of Mrs. Dalloway (Diary 2:248 [ed. A.O. Bell and A. McNeillie. NY Harcourt Brace, 1978])’. The second chapter also ‘describes how critics [such as Samuel Hynes, and Margot Norris] placed modernist writings about war in the contexts of far-reaching inquiries into areas such as gender, embodiments, and grief’ (p. 32). The third chapter, ‘Modernism and Political Violence’ (pp. 61–84), ‘considers writers’ engagements with different forms of public violence, outside the sanction of the state, which have also been associated with the historical background of modernism, such as the insurgency, the terrorist outrage, and the conspiracy’ (p. 32). The fourth chapter, ‘Journeys to a War’ (pp. 85–101), ‘returns to war to address the ways in which modernism engaged overseas wars in the 1930’ (p. 33) with a special emphasis upon responses to the Spanish Civil War. The fifth chapter, ‘Modernism and the Second World War’ (pp. 103–30), ‘focuses on the renascent modernism of the Second World War, when the rehabilitation of modernist difficulty was indicated by the emergence of important work by both ageing high modernist writers’—MacKay discusses Woolf’s Between the Acts [1941], T.S. Eliot’s Four Quartets [1943], and also Pound’s Pisan Cantos [1948–]—‘and those writers of the following generation most influenced by then (such as Henry Green and Elizabeth Bowen)’ (p. 33). In her final brief ‘Epilogue: Cold War Modernism?’ (pp. 131–41), the writings of Fredric Jameson are discussed, and their limitations indicated (pp. 132–3). MacKay concludes: ‘the idea of Cold War modernism points out this moral: that to think about modernism, war, and violence is to consider not simply how literature responds to past events but its orientation toward events to come’ (p. 149). There is an extensive, alphabetically arranged, enumerative listing of ‘Works Cited’ (pp. 143–56) followed by a bibliography (pp. 157–62) arranged by chapter, and a useful index (pp. 163–72) to this challenging book. A weighty, bulky volume is Paul McNeil’s The Visual History of Type, with pages measuring 300 × 247 mm and 350 colour illustrations. McNeil’s majestic volume is a comprehensive, detailed survey of the major typefaces produced since the beginning of printing with movable type in the Western world in the mid-fifteenth century until today. Chronologically arranged, 350 typefaces are illustrated in the form of their original type specimens or earliest printing. Each of the entries is supported by a brief history and description of the key characteristics of the typeface. The introduction (pp. 6–9) is followed by ‘A Guide to the Typeface Tables’ (p. 9) and then the chronological sequence: ‘1450–’ (pp. 10–62); ‘1650–’ (pp. 64–101); ‘1800–’ (pp. 102–53); ‘1900–’ (pp. 154–321); ‘1950–’ (pp. 322–437); ‘1980–’ (pp. 438–576); ‘2000–’ (pp. 576–665). This last section reveals the wealth of responses by digital type designers. A glossary (pp. 666–7) is followed by a similarly alphabetically arranged, enumerative list of ‘Further Reading’ (pp. 668–9), and this magnificent tribute to type concludes with a seven-columns-per-page detailed index to the riches of the art (pp. 670–1) and a final page of ‘Acknowledgements’ and ‘Picture Credits’ (p. 672). A slipover half-decorative cover/jacket should be preserved and is an integral part of this cornucopia of information on The Visual History of Type. The Cambridge Companion to Erotic Literature, edited by Bradford K. Mudge, contains five black and white illustrative figures. It has fifteen essays offering ‘an introduction to key debates in the study of erotic literature from antiquity to the present. It addresses one of the longest-standing controversies in literary history: the boundary between acceptable and unacceptable treatments of human sexuality.’ Erotic literature, ‘whether scurrilous Roman satire, irreverent Restoration drama, or bold Modernist novel … pushes the boundaries of the acceptable and challenges the conventions of more mainstream literatures’. The chapters, which ‘range from ancient Greece and Rome to twentieth-century American, English, French, and Dutch literature … confront a variety of related topics, such as the definition and scope of erotic literature, the nature of textual pleasure, historical shifts in the understanding of the normal and the perverse, the relationship between gender and genre, sexual violence, homosexuality, sadomasochism, necrophilia, satire, pornography’, and so on (p. i). The editor’s preface (pp. xi–xiii) is followed by a ‘Chronology’ beginning with ‘c.570 BCE d. Sappho’ and concluding in 1994, when ‘ “Pauline Réage,” author of The Story of O [1954], is identified as Dominique Aury’ (pp. xv–xix): ‘the first modern sadomasochistic novel’ (p. 210). The essays are: ‘Eros and Literature’ by Bradford K. Mudge (pp. 1–16); ‘Classical Antiquity and Modern Erotic Literature’ by Daniel Orrells (pp. 17–33); ‘Performances of Suffering: Secular and Devotional Eros in Late Medieval Writing’ by Sarah Salih (pp. 34–46); ‘Can a Woman Rape a Man? Rape and the Erotic in Shakespeare’s The Rape of Lucrece and Venus and Adonis’ by Elizabeth Robertson (pp. 47–63); ‘The Manuscript Circulation of Erotic Poetry in Early Modern England’ by Ian Moulton (pp. 64–84); ‘The Erotic Renaissance’ by James Grantham Turner (pp. 85–104); ‘Pornography, Procreation and Pleasure in Early Modern England’ by Sarah Toulalan (pp. 105–22); ‘Novel Pleasure’ by Bradford K. Mudge (pp. 123–38); ‘Erotic for Whom? When Particular Bodies Matter to Romantic Sexuality’ by Richard Sha (pp. 139–54); ‘Emily Dickinson in Love (with Death)’ by Marianne Noble (pp. 155–74); ‘Erotic Bonds among Women in Victorian Literature’ by Deborah Lutz (pp. 175–92); ‘The Making of the Enfer Bibliography: Guillaume Apollinaire, Eroto-Bibliography and the Enfer Collection’ (at the Bibliothèque nationale de France) by Colette Colligan (pp. 193–209); ‘Sade, Réage, and Transcending the Obscene’ by Amy Wyngaard (pp. 210–23); ‘ “Nothing could stop it now!”: Tennessee Williams, Suddenly Last Summer, and the Intersections of Desire’ by David Greven (pp. 224–37); and ‘Dutch Gay Novels of the 1960s and 1970s’ by Gert Hekma (pp. 238–54). At times extensive notation follows the contributions, see for instance the notes following Sarah Toulalan’s contribution (pp. 117–22). The Cambridge Companion to Erotic Literature concludes with an alphabetically arranged, enumerative ‘Further Reading’ listing (pp. 255–8) and a useful index (pp. 259–68). Reingard Nischik’s The English Short Story in Canada: From the Dawn of Modernism to the 2013 Nobel Prize is an attempt to survey, as she observes in her introduction (pp. 1–13), ‘a century’s worth of rich material provided by the Canadian short story’. Nischik writes that ‘it was only with Raymond Knister and Morley Callaghan’s development of the modernist Canadian short story in the 1920s that the genre came into its own in Canada in the twentieth century. The crucial ascent of the short story in Canada, however, began in the 1960s … Raising the quality, diversity, and prominence of the genre in Canada to new heights, and reaching a climax in the bestowal of the Nobel Prize in Literature to Canadian short story writer Alice Munro in 2013’ (p. 1). Nischik’s monograph has three parts. The first, ‘History’ (pp. 15–84), contains four chapters: ‘The Modernist Canadian Short Story: Forging a Tradition’ (pp. 15–27); ‘The Modernist Canadian and American Short Story: A Comparative Approach’ (pp. 28–47); ‘The Canadian Short Story since 1967: Between (Post)Modernism and (Neo)Realism’ (pp. 48–70); and ‘The Noble Genre: Alice Munro Brings the Nobel Prize in Literature to Canada’ (pp. 71–84). The second part, ‘Approaches’ (pp. 85–163), has six chapters: ‘ “Pen Photographs”: On Short Story Poetics and the Canadian Short Story Cycle’ (pp. 85–94); ‘Multiple Challenges: The Canadian Artist Story and Gender’ (pp. 95–105); ‘Gender and Genre: Margaret Atwood’s Short Stories and Short Fictions’ (pp. 106–17); ‘Multiple Liminality: Aging in the Canadian Short Story’ (pp. 118–34); ‘Liminal Spaces, Liminal States: Crossing the Canada−U.S. Border in Canadian Border Stories’ (pp. 135–49); and ‘Cultural Locations of Ethnicity: Vancouver Short Fiction by First Nations and Chinese Canadian Writers in English’ (pp. 150–63). The third and final part, ‘Analyses’ (pp. 165–209), has four chapters: ‘(Un-)Doing Gender: Alice Munro, “Boys and Girls” ’ (pp. 165–75); ‘Canadian Artist Stories: John Metcalf, “The Strange Aberration of Mr. Ken Smythe” ’ (pp. 176–88); ‘Blending Indigenous and Western Traditions of Storytelling: Thomas King’s Short Fiction’ (pp. 189–202); and ‘Crossing Generic Borders: Margaret Atwood’s Short Prose Collection The Tent’ (pp. 203–9). The analysis of individual work is followed by at times detailed double-columned ‘Chapter Notes’ (pp. 211–24). There follows an enumerative, alphabetically arranged listing of ‘Works Cited’ (pp. 225–41) and a comprehensive index (pp. 243–63). Joseph North, in his Literary Criticism: A Concise Political History claims in his preface (pp. vi–xi) to offer ‘a rapid, synoptic overview of the basic paradigms that have governed the academic criticism of literature in much of the English-speaking world for the last century or so’ (p. vii); in fact, much of his book is concerned with discussion of a limited number of Anglo-American literary critics. North observes that his ‘book is largely structured around a very short list of individual figures’. It is ‘an attempt to write a strategic history, a working analysis of existing tendencies in the present situation, as indicated by past trajectories’. Furthermore, ‘the particular thinkers assembled’ and discussed ‘have been selected not because’ the author ‘recommend[s] them, nor in all cases because of their actual influence … on the subsequent history of literary study, but for quite different reason that they provide convenient emblems for the larger paradigms that are my real objects of analysis’ (pp. viii–ix). North hopes that his ‘friends on the left … will find within’ his book ‘a history of literary criticism that is properly attentive to political concerns’ (p. xi). An extensive introduction (pp. 1–20) is followed by considerations involving ‘The Critical Revolution Turns Right’ (pp. 22–55); ‘The Scholarly Turn’ (pp. 56–80); ‘The Historicist/Contextualist Paradigm’ (pp. 81–123); ‘The Critical Unconscious’ (pp. 124–94); and ‘Conclusion: The Future of Criticism’ (pp. 195–212). There is an appendix, ‘The Critical Paradigm and T.S. Eliot’ (pp. 213–17), in fact a lengthy footnote intended to dethrone Eliot as ‘the key figure in the critical revolution’ (p. 214). The text is followed by notes (pp. 219–45) that are at times detailed—see for instance North’s discussion of Raymond Williams (pp. 231–3) and Williams’s ‘sense that criticism is at fault for focusing too closely on the context of reception (“effect”)’ (p. 231). North’s index reveals that the critical voices and concepts engaged in his work range alphabetically from Perry Anderson, Isobel Armstrong , ‘Close Reading’, Terry Eagleton, T.S. Eliot, Feminism, Foucault, Catherine Gallagher, Jane Gallup, Stephen Greenblatt, Fredric Jameson, F.R. Leavis, George Levine, Liberalism, Marxism, D.A. Miller (but no Hillis Miller), New Criticism, New Formalism, New Historicism, Martha Nussbaum, Practical Criticism, Queer critique/queer theory, John Crowe Ransom, I.A. Richards, and Scholarly turn, to Eve Kosofsky Sedgwick and Raymond Williams (pp. 249–53). These critics and concepts reveal who is in and out in North’s intellectual horizons. A curious omission from Literary Criticism: A Concise Political History is a bibliography. Literary Criticism has received some highly favourable reviews. For example, Doug Battersby reviewing the study in English, observes that ‘North advances [his] decidedly unorthodox and provocative account with a great deal of wit, nuance, and verve; with every twist and turn in its narrative, Literary Criticism presents startling new insights. Perhaps the most intriguing is the reassessment of the New Critical reception of [I.A.] Richards’ (English 67[Summer 2018] 195). Items of interest that might otherwise be ignored are included in Oliver Scheiding and Anja-Maria Bassimir’s edited Religious Periodicals and Publishing in Transnational Contexts: The Press and the Pulpit, a volume in which contributors examine ‘the roles religious publishing plays in building and maintaining communities and identities, shaping their surroundings and being shaped by them’ (p. 1). Shari Rabin, in her ‘People of the Press: Religious Periodicals and the Creation of American Judaism’ (pp. 73–90), analyses ‘the burgeoning Jewish press in the world of the nineteenth-century immigration’ into America (p. 17). John Giggie, in his ‘Print Culture and Religious Identity among African-Americans, 1865–1914’ (pp. 91–106), examines the ways in which ‘black religious newspapers … testify to the power of print culture to trigger cultural change in unpredictable ways’ (p. 106). A specific magazine, re-founded in 1908, is the subject of Elesha J. Coffman’s ‘Marketing the Mainline: The Christian Century and the Business of Ecumenism’ (pp. 107–24). Frank Neubert writes on ‘From Connecting Hindus to Uniting Global Hinduism: History and Guiding Principles of Hinduism: History and Guiding Principles of Hinduism Today’ (pp. 125–43)—‘a quarterly magazine that appears in roughly 150 copies, shipped to nearly 60 countries worldwide’ (p. 125). There are two other contributions of interest in this collection: Anja-Maria Bassimar on ‘Evangelical Magazines in a Digital Age’ (pp. 145–67), and ‘Candy Gunther Brown on ‘Print Culture and the Changing Faces of Religious Communication’ (pp. 171–92). Contributions are accompanied by footnote documentation and there is an index (pp. 197–204). There is much on content, networking, distribution, readership, and other concerns in Oliver Scheiding and Anja-Maria Bassimir’s collection; however, there is regrettably little on style, on the manner in which content is presented. Published by Ameena Saiyid, at the Oxford University Press, Karachi, Pakistan, Muneeza Shamsie’s Hybrid Tapestries traces ‘the history of Pakistani English literature, a genre’—as Shamsie explains in her preface—that ‘is quite different to other Pakistani literatures because it is a direct result of the colonial encounter’. Her ‘definition of a “Pakistani writer” continues to be that of anyone who claims that identity’. Her account includes pre-colonial and colonial contacts, through the twentieth century to the present one. For Shamsie, ‘one of the differences between Indian English literature and Pakistani-English literature is that the latter includes a great many bilingual writers who write fiction or poetry in English but bring these skills to their translations of work in Urdu and other vernacular languages’. There are two main sections to her book. The first, ‘Pioneering Writers’ ( pp. 25–256), consists of ‘a chapter each, in chronological order, on thirteen writers whose work marked an important milestone in one or more genres from the early to late twentieth century’ (pp. x–xi). It begins with ‘Atiya Fyzee Rahamin (1877–1967): A Pioneering Indian Muslim Woman and a Writer of Urdu and English Prose’ (pp. 25–38) and her husband ‘Samuel Fyzee Rahamin (1880–1964) Early Dramatist, Novelist, and Art Critic’ (pp. 39–47), who ‘belonged to a cultured and well-known Bene Israel family in Poona (now Pune)’ and who, on his marriage to Atiya Freeze, ‘converted to Islam’ (p. 39). There are other chapters: ‘Shahid Suhrawardy (1890–1965): The First Modern English Language Poet of Undivided India’ (pp. 48–61); ‘Ahmed Ali (1910–1994): Pioneer of the Modern Urdu Short Story and the Modern South Asian English Novel’ (pp. 63–88); ‘Mumtaz Shahnawaz (1912–1948): The First Post-Independence Pakistani-English Language Novelist’ (pp. 89–99); ‘Shaista Suhrawardy Ikramullah (1915–2000): Pioneer of Post-Independence Pakistani-English Essays and Life-Writing’ (pp. 100–10); ‘Zaib-un-Nissa Hamidullah (1921–2000): Pioneer of Post-Independence Pakistani-English Short Fiction and Women’s Journalism’ (pp. 111–20); ‘Zulfikar Ghose [1935–]: The First Contemporary Voice in Pakistani-English Literature: Fiction, Poetry, and Life-Writing’ (pp. 121–50); ‘Taufiq Rafat (1927–1998): The First Contemporary Pakistan-Resident English Language Poet’ (pp. 151–71); ‘Tariq Ali [1943– ]: Political Activist and Writer: Forging New Directions in Pakistani-English Life-Writing, Fiction, Non-Fiction and Drama’ (pp. 172–94); ‘Bapsi Sidhwa [1938– ]: The First Contemporary Pakistan-Resident English Language Novelist’ (pp. 195–211); ‘Hanif Kureishi [1954– ]: Pioneer of a New Diaspora Literature: Drama, Fiction, Life-Writing, and Screenplays’ (pp. 212–42); and ‘Sara Suleri [1953– ]: The First Writer of a Creative Memoir in Pakistani-English Literature’ (pp. 243–56). Each includes discussion of their work and critical reactions to them followed by notation. The second section of Shamsie’s Hybrid Tapestries discusses ‘Developing Genres’ (pp. 259–593), in which Shamsie ‘follows the subsequent development of writers in each category: poetry, novels, short stories, drama, and literary non-fiction’ (p. xii). There are chapters on ‘Poetry between Isolation and Internationalism Debut Writers: 1973–1997’ (pp. 259–96); ‘Poetry in the Diaspora and New Voices in Pakistan Debut Writers: 1983–2011’ (pp. 297–336); ‘The Novel: Early Struggles. Debut Writers: 1934–1987’ (pp. 337–44); ‘The Novel: Migration, Minorities, and Global Politics. Debut Writers: 1983–2010’ (pp. 345–81); ‘The Novel: A New Generation Writes Geopolitics and Globalism. Debut Writers: 1998–2001’ (pp. 383–417); ‘The Novel: A Celebration of Talent. Debut Writers 2000–2011’ (pp. 418–72); ‘The Short Story: Early Years, A Long Struggle. Debut Writers 1966–1992’ (pp. 473–83); and ‘The Short Story: The Nuances of Language. Debut Writers 1993–2011’ (pp. 484–513). There are single chapters too on ‘Drama: Creating a Tradition. Debut Writers: 1962–2011’ (pp. 514–42); and ‘Literary Non-Fiction: Letters, Columns, and Memoirs. Debut Writers 1955–2011’ (pp. 543–93) with, apart from a paragraph or so (p. 578) in an account of Omar Kureishi’s Once Upon a Time [2000], little if any discussion of sports journalism or, especially, writing about cricket. In her ‘Conclusion: How the Literary Canon Grew: 1947–2011 and New Work in the New Decade: 2011–2014’ (pp. 594–615), Shamsie observes that ‘looking back over the years at Pakistani–English literature and its development, from 1947 to the present day, seems an almost incredible journey—one which would have been considered inconceivable in 1947—but one which clearly reveals a genre which has found its sense of self and come into its own’ (p. 614). An alphabetically arranged glossary beginning with ‘Ajnabi’, meaning ‘foreigner, stranger’ (p. 616), and concluding with ‘Takhti’, meaning ‘wooden tablet or slate to write on’ (p. 618), is followed by an alphabetically arranged, enumerative bibliography (pp. 619–68). Somewhat surprisingly for such a detailed, well-written, comprehensive, and informative book, the index is rather perfunctory, confined largely to names (pp. 669–76). An excellent addition to Penn State University Press’s series on the history of the book is Steven Carl Smith’s An Empire of Print: The New York Publishing Trade in the Early American Republic. Smith’s monograph ‘sheds light on how New York City’s printers, booksellers, and publishers helped build up the new nation in print by developing sophisticated regional, and in some cases national, distribution networks for books hot off the city’s presses’. Furthermore, each of Smith’s five chapters ‘examines an element of New York’s publishing trade in the early Republic’, encompassing ‘government printing, subscription publishing, the bookshop, the first national literary fair, and the wholesale book trade’. Consequently the book ‘provides detailed snapshots of the critical years between the end of the Revolutionary War and the consolidation of the trade in the 1830s and 1840s’ (pp. 4–5). Extensive tables (listed on p. ix) support Smith’s clearly written narrative and his contention that ‘the financial records, business correspondence, and aspirational rhetoric that circulated in newspapers reveal how the city’s printers, booksellers, and publishers engaged in extensive interurban and intrastate trade’ and that ‘their efforts coordinated with those of follow tradesmen in port cities such as Philadelphia, Boston, Baltimore, Richmond, Charleston, and Savannah’ (p. 5). Detailed notation (pp. 183–203) follows the text. The enumerative, alphabetically arranged bibliography (pp. 205–31) begins with a listing of ‘Primary Sources’ that are divided into ‘Manuscript Collections’ (pp. 205–6) and ‘Newspapers and Periodicals’ (pp. 206–7), followed by ‘Other Printed Primary Sources’ (pp. 209–15) and then by ‘Secondary Sources’ (pp. 215–31). There is a detailed, useful index (pp. 232–44) to this well-printed and bound study. Jennifer J. Sorensen’s Modernist Experiments in Genre, Media, and Transatlantic Print Culture is a valuable addition to the Routledge series Studies in Publishing History: Manuscript, Print, Digital, edited by Ann R. Hawkins and Maura Ives. Sorenson focuses upon the period from 1890 to 1935, which ‘witnessed an explosion of print, both in terms of the variety of venues for publication and in the vast circulation figures and the quantity of print forums’. Her monograph argues that ‘the formal strategies of modernist texts can only be fully understood when contextualized within the material forms and circuits of print culture through which they were produced and distributed’. She demonstrates how the authors and publishers she discusses, who include Henry James, Djuna Barnes, Jean Toomer, Horace Liveright, Katherine Mansfield, Leonard Woolf, and Virginia Woolf, ‘understood acts of reading as materially mediated encounters’. Sorensen draws ‘on recent textual theory, media theory, archival materials’, and also ‘paratextual materials such as advertisements, illustrations, book designs, layout, drafts, diaries, dust jackets, photographs, notes, and frontispieces’, to demonstrate ‘that modernist generic and formal experimentation was deeply engaged with specific print histories that generated competitive media ecologies of competition and hybridization’ (pp. 1–2). The book is supported by colour and black and white illustrations throughout. Her ‘Introduction: Material Formalism and Dynamic Materiality’ (pp. 1–21) is followed by three parts. The first, ‘Play with Periodical Pagescapes’, consists of a chapter on ‘Henry James Experiments with Print Culture Pagescapes in Transatlantic Periodicals’ (pp. 25–64). The second part, ‘Bookish Bodies’ (pp. 67–134), has two chapters: ‘Reading the Body of Djuna Barnes’s A Book [1923]: Mixed Genre Madness—“What a devastating convalescence” ’ (pp. 67–104), and ‘Design and Dismemberment: [Jean Toomer] Cane’s [1923] Bookish Embellishment’ (pp. 105–34). The third part, ‘Mixed-Media Material Aesthetics’ (pp. 137–251), also has two chapters: ‘Reframing the Book: Virginia Woolf Experiments with Verbal and Visual Genres in Flush: A Biography [1933]’ (pp. 137–87), and ‘Mixed-Media Modernism and the Book-as-Object: The Hogarth Press’s Visual and Verbal Experiments in Two Stories [1917], Prelude [1918], and Kew Gardens [1919, 1927]’ (pp. 188–251). A ‘Coda: Modernism’s Material Afterlives: The Un-Death of the Book’ (pp. 252–6), contains ‘a brief consideration of the afterlives of modernist materiality and its inconsistent mixing of books and bodies to rethink literary forms’. For Sorenson, ‘recent writers have continued to play with the materiality of print culture, from Rowling’s horcruxes to Jasper Fforde’s Thursday Next literary detective series, which imagines its heroine’s ability to book-jump and fight alongside Ms. Havisham against grammasites attacking punctuation and dragonesque adjectivores’ (p. 254). Chapters in Sorenson are followed by extensive notes—see for instance the eighty-five accompanying chapter 4, on Woolf’s Flush (pp. 176–87). There is an extensive enumerative, alphabetically arranged bibliography (pp. 257–65) and a brief name-orientated index (pp. 266–8). 5. Shakespeare, History of Libraries, Collections, and Miscellaneous including Reference Materials As Nicholas Allen, Nick Groom, and Jos Smith indicate in their introduction (pp. 1–18) to Coastal Works: Cultures of the Atlantic Edge, the essays in their volume ‘offer a variety of case studies that reveal the rich interconnections between archipelagic criticism, the blue humanities, and Island Studies from some of the leading researchers in these fields’. Furthermore, ‘each deploys an innovative critical methodology for rethinking the cultural relationships that stretch across this constellation of islands’ (p. 18), and especially, the ‘book focuses so much on the coastal regions of Ireland and Britain in particular (p. 7). Accompanied by twenty-nine black and white and colour illustrations (listed pp. xi–xii) and twelve ‘Cartographic Frontispieces’ (listed p. xiii), contributions include: ‘Draining the Irish Channel: Identity, Sustainability, and the Politics of Water’ by Nick Groom (pp. 21–39); ‘The Roar of the Solway’ by Fiona Stafford, paying particular attention to John Ruskin’s Praeterita (pp. 41–59); ‘Ireland, Literature, and the Coastal Imaginary’ by Nicholas Allen (pp. 60–75), which in common with Andrew McNeillie’s contribution to the volume, ‘In the Labyrinth: Annotating Aran’ (pp. 225–41), omits Harold Pinter’s powerful, evocative poem ‘The Islands of Aran Seen from the Moher Cliffs’ dated 1951; ‘ “At the Dying Atlantic’s Edge”: Norman Nicholson [1914–1987] and the Cumbrian Coast’ by Andrew Gibson (pp. 77–90), who acutely comments that ‘Nicholson rethinks his territory in and through his vision of devastation, but also as a landscape that requires the impossible redemption’, and adds that ‘this together with the boy’s love of poetry and the seduction by the beauty of a religious language, establishes the core of his poetry as messianic’ (p. 90); ‘ “Felt Routes”: Louis MacNeice and the North East Atlantic Archipelago’ by John Brannigan (pp. 93–109); ‘The Riddle of the Sands: Erskine Childers between the Tides’ by Daniel Brayton (pp. 111–28); ‘Ronald Lockley and the Archipelagic Imagination’ by Damian Walford Davies (pp. 131–59), who writes about the ‘Cardiff born Ronald Mathias Lockley (1903–2000)’, the ‘pioneering ethnologist, field biologist, “new naturalist”, ornithologist, conservationist, islophile, and paradigmatic island dweller’ (pp. 131–2); ‘Maude Delap’s Domestic Science: Island Spaces and Gendered Fieldwork in Irish Natural History’ by Nessa Cronin (pp. 161–78), discussing the work of ‘Maude Jane Delap (1866–1953) [who] is primarily remembered today for her contribution to Irish and British natural history through her work elaborating the complex life cycle of the jellyfish and for her contribution with her sister Constance to a maritime survey of Valentia Harbour, Co. Kerry in 1895–6’ (p. 161); ‘Science at the Seaside: Pleasure Hunts in Victorian Devon’ by Kyriaki Hadjiafxendi and John Plunkett (pp. 181–203); ‘Seeing Through Water: The Paintings of Zach Pritchard [1866–1956]’ by Margaret Cohen (pp. 204–23); ‘Fugitive Allegiances: The Good Ship Archipelago and the Atlantic Edge’ by Jos Smith (pp. 242–60), who writes that ‘the written and visual works published over the last decade in the literary journal Archipelago [2007–present] have produced a distinctive and enduring landscape vision of Britain and Ireland clustered around the Atlantic edge’ (p. 243). In his ‘Afterword: Beyond the Blue Horizon’ (pp. 261–8) to this fascinating volume, John R. Gillis notes that ‘in the absence of land frontiers, the sea has become a new wilderness’ (p. 267). Each of the essays in Coastal Works is accompanied by footnotes. There is an alphabetically arranged, enumerative bibliography (pp. 269–84) followed by a useful index (pp. 285–92). Fascinating different perspectives from diverse contributors are revealed in Houman Barekat, Robert Barry, and David Winters’s edited The Digital Critics: Literary Culture Online. Kasia Boddy observes in her foreword (pp. 7–8) that ‘one of the great virtues of this book is to remind us how much more there is to the online literary debate than “if you liked that, you’ll love this” ’. She adds that ‘if the Internet has created a situation in which everyone is a critic, then the sheer volume of critical writing (or “content”) itself calls for discrimination. And to do that we need to think about what we want from our critics’ (p. 8). For the editors in their introduction (pp. 11–15), ‘a revolution is occurring in literary life, made possible by new technology and networked culture. This book is an investigation of that revolution, of its pitfalls and possibilities’ (p. 15). The largely British-based contributions include: Scott Esposito, ‘The Upside of Being an Avatar: Critical Communities on the Web’ (pp. 16–30); Jonathan Sturgeon, ‘The Oeuvre is the Soul: Confessions of a 21st-Century Hack’ (pp. 31–5); Will Self, ‘Isolation, Loneliness and the Composition of Long-Form Fiction’ (pp. 36–49); Luke Neima, ‘Fragmentation and Aggregation: The Future of Criticism’ (pp. 50–8); Lauren Elkin, ‘The Digital Critic as Public Critic: Open Sources, Paywalls, and the Nature of Criticism’ (pp. 59–67); Robert Barry, ‘A Media of One’s Own: The Future of Criticism, in Retrospect’ (pp. 68–78); Joanna Walsh, ‘Book Lovers: Literary Necrophilia in the 21st Century’ (pp. 79–85); Louis Bury, ‘Topical Criticism and the Cultural Logic of the Quick Take’ (pp. 86–101); Ellen Jones, ‘Digital Palimpsesting: Literary Translation Online’ (pp. 102–13); Anna Kiernan, ‘Futurebook Critics and Cultural Curators in a Socially Networked Age’ (pp. 114–23); Michael Bhaskar, ‘Publishing as Criticism: Managing Textual Superabundance’ (pp. 124–38); Marc Farrant, ‘Theory Online: A New Critical Commons?’ (pp. 139–52); Laura Waddell, ‘Digital Currency’ (pp. 153–62); Theodora Hawlin, ‘The Re-Birth of the Author’ (pp. 163–9); Sara Veale, ‘Economics, Exposure and Ethics in the Digital Age’ (pp. 170–80); Orit Gat, ‘The Essay and the Internet’ (pp. 181–7); and Russell Bennetts, ‘Distracted to Attention: On Digital Reading’ (pp. 188–99). The Digital Critics: Literary Culture Online lacks an index. Hugh Craig and Brett Greatley-Hirsch, in their Style, Computers, and Early Modern Drama: Beyond Authorship, are concerned to amplify the computational analysis and its implications found in Hugh Craig and Arthur F. Kinney’s edited Shakespeare, Computers, and the Mystery of Authorship (YWES 90[2009] 314–28). On the whole, the essays in Craig and Kinney’s volume were concerned with issues of authorship attribution. Craig and Greatley-Hirsch’s attention is focused on Shakespeare and his contemporaries in order to ascertain through analysis whether there are underlying patterns and contrasts between them. Amply documented with illustrative figures—see ‘List of Figures’ (pp. viii–xiii) and ‘Tables’ (pp. xiv–xv)—an introduction (pp. 1–28) is followed by seven chapters. The first, ‘Methods’ (pp. 29–52), outlines Craig and Greatley-Hirsch’s ‘principles of text selection and preparation and then describe[s] the statistical and computational methods’ they employ throughout their book, in which ‘each description includes a working example to demonstrate the method’ (p. 9): each chapter is accompanied by at times extensive footnote documentation. There is an interesting analysis of the occurrence of the word ‘death’ in Shakespeare’s tragedies and comedies with, hardly surprisingly, a greater incidence of the word occurring in the former rather than the latter, and ‘there is one aberrant high score, for Romeo and Juliet, which accounts for a great deal of the high average for the set of tragedies overall’ (p. 52). In the second chapter, ‘Prose and Verse: Sometimes “Transparent”, Sometimes Meeting with “a Jolt” ’ (pp. 53–78), the authors assess ‘how far the medium of verse itself governs style, both in all-verse plays and plays that mix verse and prose’ (p. 28). The third chapter, ‘Sisters under the Skin: Character and Style’ (pp. 79–109), analyses the plays by character, ‘highlighting characters from plays by different authors whose dialogue styles are very similar, suggesting that they occupy the same dramatic niche’ (p. 28); dramatists and work considered include Shakespeare, John Lyly, Marlowe, and Middleton. The fourth chapter, ‘Stage Properties Bed, Blood and Beyond’ (pp. 110–35), moves ‘away from dialogue to look at the distribution of props in plays staged in professional theatres between 1590 and 1609. Do authorship and genre have an effect on the use of props?’ (p. 28). The fifth chapter, ‘ “Novelty carries it away”: Cultural Drift’ (pp. 136–63), ‘focuses on chronology and highlights collective change in dramatic dialogue from the 1580s to the 1630s’ (p. 28). There is a ‘change from elaborate entrammeled dialogue to more direct and casual speech’, which ‘fits a thesis that, as time went on, dramatists took more interest in reflecting the language of everyday exchanges in the world outside the theatre, and collectively developed methods for achieving this sort of verisimilitude’ (p. 162). The sixth chapter, ‘Authorship, Company, Style and Horror Vacui’ (pp. 164–201), ‘like Chapter 2, examines a long-standing belief about broad patterns in the early modern drama—the claim that regulatory companies cultivated a distinctive style, analogous to an authorial style’ (p. 28). The seventh chapter, ‘Restoration Plays and “the Great Race, before the Flood” ’ (pp. 202–23), ‘moves beyond the immediate period to examine how comedies and tragic comedies of the 1660s compare stylistically with their pre-Restoration counterparts’ (p. 28) Additionally, in a ‘coda’ (pp. 224–6) the authors ‘consider the implications of the findings as a group and sketch promising avenues for future work, and appendices detail the plays, characters, prop-lists and function words [they] have used’ (p. 28). Each appendix is arranged alphabetically. The first tabulates ‘Play-Texts in the Full Corpus’ (pp. 227–39). The second tabulates ‘Characters with [greater than] 2,000 Words of Dialogue from 243 Plays Performed on the Commercial Stage, 1580–1642’ (pp. 240–6). The third tabulates ‘Plays First Appearing on the Commercial Stage 1500–1609, with Totals for Prop-Types and Lines Spoken’ (pp. 247–54). The fourth tabulates the ‘Distribution of 691 Prop-Types across 160 Plays First Appearing on the Commercial Stage, 1590–1609’ (pp. 255–60). The final appendix tabulates, in seven columns, ‘A List of 221 Function Words’ (p. 261), beginning with ‘a’ and concluding with ‘you’ (p. 261). This is followed by a useful enumerative listing of ‘Works Cited’ (pp. 262–77): a list of ‘Sixteenth- and Seventeenth-Century Non-Dramatic Texts’ (p. 262), an alphabetically arranged ‘Later Editions of Early Modern Texts’ (pp. 262–4), ‘Databases and Other Electronic Resources’ (p. 264) and a ‘Critical Bibliography’ (pp. 264–77). This challenging book concludes with a useful index (pp. 278–83). Daniel Gray’s unpretentious 50 Eternal Delights of Books opens with ‘this particular book is an attempt to finally weigh up what makes a book so much more than paper and ink, how reading is so much more than a hobby, a way of passing time or a learning process. It is a celebration of the trivia that so many of us revel in, even if we don’t quite realize it; an observational gallivant among impromptu bookmarks, the sense of bookshops and reading in bed’ (p. xi). The fifty short chapters include musings on ‘Handwritten Dedications in Old Books’ (pp. 1–3), followed by ‘Visiting Someone’s Home and Inspecting the Bookshelves’ (pp. 4–6). There are also chapters on, for instance, ‘Scribbles in the Margins’ (pp. 43–5), ‘When Film and TV Adaptions Get It Right’ (pp. 54–7), ‘Giving a Book as a Present’ (pp. 116–18), and, to give one more instance, ‘Finishing a Book, Putting It Down, and Thinking about It’ (pp. 144–5). There is no index. A different perspective on books and their usage is reflected in Alex Johnson’s A Book of Book Lists, divided into eight sections: ‘Reading Lists’ (pp. 11–56); ‘On the Move’ (pp. 57–73); ‘In the Library’ (pp. 75–104); ‘Junior Choice’ (pp. 105–16); ‘Unwanted’ (pp. 117–31); ‘On the Screen’ (pp. 133–46); ‘Lists Yet to Come’ (pp. 147–51); and ‘Adventures in Books’ (pp. 153–203). As Johnson explains in his brief introduction, his ‘is a book of book lists’ of ‘lists that tell stories. These are unique collections of titles. Some are not real, but all are revealing … a person’s bookcase tells you everything you need to know about them’ (p. 9). Lists of authors and then titles haphazardly listed are followed by brief narrative observations. For instance, under ‘Nerd: The United States Navy’s E-Reader’ are found listed ‘Robinson Crusoe by Daniel Defoe’ followed by ‘Bossypants by Tina Fey’ and four explanatory paragraphs (pp. 71–3). Using materials collected by the late Jeremy J. Griffiths, Ralph Hanna and David Rundle’s A Descriptive Catalogue of the Western Manuscripts to c.1600, in Christ Church, Oxford heavy quarto-format volume contains seventy-seven colour illustrations and at its conclusion forty-eight quarto-size colour plates. Following Hanna and Rundle’s ‘Scope of Catalogue and Format of Descriptions’ (pp. 12–16) and listing of abbreviations (pp. 17–22), their introduction (pp. 23–74) begins with a recapitulation of the history of every preceding institution on the Christ Church site—the priory of St Frideswide (pp. 26–7), to Wolsey’s Cardinal College (pp. 28–33), to King Henry VIII College (pp. 33–5)—and of what can be said of the book provision at each, with the early inventories included in the appendices: ‘The 1676 Catalogue’ (pp. 75–86); ‘The Old Archives Catalogue’ (pp. 86–121); ‘John Rigby’s Listing, c.1723’ (pp. 122–6); and ‘The New Library Manuscript Catalogue’ (pp. 127–47). The introduction includes discussion of ‘Christ Church, from Foundation to the Early Seventeenth Century’ (pp. 35–49), ‘From the Restauratio of the Library to Restoration England’ (pp. 49–57), and ‘The Age of Catalogues, 1665–1717’ (pp. 57–66). This is followed by ‘Into the New Library’ (pp. 66–79), to ‘A “Modern” Manuscript Catalogue” (pp. 70–4). There is too a ‘Conspectus of Shelfmarks of Library Manuscripts’ (pp. 149–55), and a ‘List of Manuscripts Described’ (pp. 157–60), and a ‘Summary Listing of Manuscripts by Place and Date’ (pp. 161–3). The ‘Catalogue’ itself is divided into three: ‘Literary Manuscripts’ (pp. 167–397); ‘Chapter House Manuscripts now Held in Christ Church Archives’ (pp. 399–425); and ‘Allestree Collection Manuscripts’ (pp. 427–39). The descriptions and textual identifications are as comprehensive as one would expect from the careful scrutiny of two expert hands such as Ralph Hanna and David Rundle, and are mainly accompanied by colour illustrations. They include a general explanation, coverage of binding, if called for, contents, collation, textual presentation, and provenance. There are four indexes: ‘Index of Manuscripts and Early Printed Books Cited’ arranged by geographical location (pp. 443–53); an alphabetically arranged ‘Initia of Anonymous and Unidentified Texts’ (pp. 455–6); an alphabetically arranged ‘Index of Verba Probatoria’ (p. 457); and an extensive ‘General Index’ (pp. 459–73), which concludes this magnificent volume, superbly designed and typeset by Paul Nash and printed by the Short Run Press, Exeter. The dust-jacket, designed by Christina Neagu, and containing illustrative detail of two of the manuscripts described in Hanna and Rundle’s work, serves to illuminate the riches within and should be preserved by purchasing libraries. Mention should be made of Joshua Holden’s fascinating The Mathematics of Secrets: Cryptography from Caesar Ciphers to Digital Encryptio, with its brief account of ‘William Friedman (1891–1969), easily one of the most important figures in early twentieth-century cryptology. He studied genetics in college and graduate school and was invited to join the Department of Genetics at the Riverbank Laboratories, an organization founded and run by an eccentric Illinois millionaire. Friedman got involved in cryptology when he was asked to help with photography for a group attempting to find hidden ciphers in the works of Shakespeare.’ Holden adds that, ‘although he eventually concluded that no such ciphers were present he found both his future wife (1892–1980) and his future career in the Riverbank cryptology group’ (pp. 32–3). There is also an explanation of Francis Bacon’s ciphers that George Fabyan, who originally hired Friedman and a team of female cipher breakers at his Riverbank Laboratories, believed would reveal that Bacon was Shakespeare (pp. 113–14). Holden’s account contains a useful alphabetically arranged, enumerative bibliography (pp. 349–66) and index (pp. 367–73). William Friedman’s wife is the subject of G. Stuart Smith’s biography, A Life in Code: Pioneer Cryptanalyst Elizebeth Smith Friedman. Both were ‘enshrined in the “Cryptographic Hall of Honor” ’ at the United States ‘National Cryptologic Museum just outside the National Security Agency headquarters in Maryland’ (p. 1). Stuart Smith’s fascinating biography contains information on her engagement with George Fabyian’s Bacon and Shakespeare projects (see e.g. pp. 16–18, and 167–70). In their retirement she and her husband worked on demonstrating ‘that there was nothing in Shakespeare’s works to indicate any author other than William Shakespeare himself’ (p. 167)—in spite of what their former employer and patron Fabyian had believed. The story of the eventual publication of their groundbreaking The Shakespearian Ciphers Examined by Cambridge University Press in 1957 makes for fascinating reading (pp. 167–70). Stuart Smith, in one of the at times detailed notes found at the conclusion of his text (pp. 183–209), observes that ‘the Friedmans’ book may have put the Baconian controversy to rest, but did not end other avenues of Shakespeare speculation. The Friedmans mentioned the theory that the Earl of Oxford, Edward de Vere, truly was Shakespeare, but did not investigate that hypothesis since it was a lifestyle-based theory instead of a cryptologic one’ (p. 207 n. 57). Stuart Smith provides an extensive bibliography (pp. 210–26), information in which is helpful to literary students. It is divided into ‘Unpublished Documents and Other Primary Sources’ alphabetically arranged by persons and institutions, listed individually (pp. 210–20), ‘Speeches and Videos’ (pp. 220–1), and ‘Books’ (p. 220) followed by ‘Monographs’ (pp. 221–2), ‘Articles’ (pp. 222–4), and ‘Web Sources’ (pp. 224–6). It is hardly surprising that A Life in Code is accompanied by a fine, useful index (pp. 227–32) and scattered throughout with interesting black and white illustrations. A society founded in 1873 in order to find a solution utilizing science to the mystery of Shakespeare’s authorship, the New Shakspere Society (1874–93) is the subject of Jeffrey Kahan’s intriguing but expensively priced The Quest for Shakespeare: The Peculiar History and Surprising Legacy of the New Shakspere Society. In his ‘Introduction: A New Society’ (pp. xiii–xxvii), he notes that the society ‘lasted for only 19 years, but in that short time proved to be the engine of activity and innovation’. Following its ‘first formal meeting’ held at University College, London in March 1874, regional centres were quickly established elsewhere in the UK, and international ones sprouted up too: ‘at its height, the New Shakspere Society had hundreds of members and no fewer than sixty-six distinguished vice presidents’, who included royalty and important luminaries. Among them was Robert Browning, who during the 1880s ‘served as the Society’s president’. Scholars came on board too, including H.H. Furness (1802–96) of the Variorum Shakespeare fame, and ‘the renowned Chaucer scholar and editor of the Oxford English Dictionary, F.J. Furnivall (1825–1910), served as the society’s director, contributor, and tireless promoter’ (p. xiii). Kahan’s first chapter, ‘Squabbles’ (pp. 1–38), is an exploration of ‘the formation of the group, its body politic and its Achilles’ Heel, New Shakspere Society founder and director, Frederick J Furnivall’. As Kahan observes, ‘alternatively malevolent and magnanimous, Furnivall was seemingly all things to all people’, and in addition was very quarrelsome. His ‘controversial chokehold over the … [society], its editorial projects, internal processes, and financial accounts, undermined the otherwise highly collaborative activities of its members, many of whom quickly realized that society did not always mean equality’. Kahan adds that ‘most accepted Furnivall’s disproportionate influence; others, repulsed by Furnivall, resigned’ (pp. xiv–xv). The second chapter, ‘Skirmishes’ (pp. 39–70), centres on its ‘most important early contributor, Frederick Gard Fleay’ (1831–1909) (p. xv), a pugnacious character given to threatening legal action. In some respects Fleay anticipated early twenty-first-century developments in textual scholarship. He firmly believed, and met with firm resistance arguing, that Shakespeare worked in collaboration with others, and he worked on statistical analysis of rhyme schemes found in drama attributed to Shakespeare and his contemporaries, or ‘stylometrics’ (p. 144). The third chapter, ‘War’ (pp. 71–102), has as its subject ‘Swinburne’s defense of Shakespeare’ and attack on Furnivall. Kahan writes, ‘to Swinburne’s way of thinking, the statistical methods favored by the New Shakspere Society threatened to overturn centuries of conventional wisdom. This was especially true of Shakespeare biography.’ According to Kahan, ‘Swinburne’s defense of traditional Shakespeare studies inadvertently contributed to’ the ‘final collapse’ of the New Shakspere Society (p. xvi). His final two chapters, ‘Remembrance’ (pp. 103–36) and ‘Inheritance’ (pp. 137–45), ‘explore the legacy of the Society and the professionalization to which it gave rise. The New Shakspere Society would mark the first time that science would be applied to Shakespeare in a disciplined and meticulous manner; it also marked the beginning of a new way of looking at and talking about Shakespeare; its history is interconnected with the rise of method and the diminution of empathetic or intuitive readings.’ Furthermore, it sidestepped ‘almost two centuries of textual twiddling’ (pp. xvii–xviii). Each chapter is followed by extensive footnote documentation, often from primary and contemporary sources such as the New Shakspere Society’s Transactions. An alphabetically arranged, enumerative bibliography is followed by a name-orientated index (pp. 161–4) to this well written, fascinating volume. A totally different perspective on Shakespeare is found in Lily Kahn’s bilingual edition, commentary, and extensive introduction (pp. 1–26) to The First Hebrew Shakespeare Translations: Isaac Edward Salkinson’s ‘Ithiel the Cushite of Venice’ and ‘Ram and Jael’. Salkinson’s Hebrew translation of Othello was published in Vienna in 1874, and four years later, also in Vienna, his Hebrew translation of Romeo and Juliet appeared. Yiddish translations and versions of Shakespeare, especially in reference to The Merchant of Venice, have received attention. Little has been published on Hebrew translations and versions. Lily Kahn’s study, with its bilingual text of Othello and The Merchant of Venice, is consequently most welcome. Her twenty-six-page introduction is particularly instructive. Its four sections focus on ‘the historical and literary background to the first Hebrew Shakespeare translations’ (pp. 1–3); the pioneering translator from English to Hebrew ‘Isaac Edward (Elizer) Salkinson’s (1820–1883) life and works’ (pp. 3–9); ‘Salkinson’s Shakespeare translations’ (pp. 9–23); and ‘this edition of Ithiel the Cushite of Venice and Ram and Jael’ (pp. 23–6). Salkinson’s translations are a landmark in the history of Hebrew literature, and provide the foundation for subsequent Shakespeare translations: ‘they are of particular relevance for translation studies specialists in that they constitute some of the only examples globally of Shakespeare adaptations in a largely unspoken language’—Hebrew. Additionally they provide ‘insight into the reception of plays in a nineteenth-century European minority society’ (p. 13). The fourth and final part of Kahn’s fascinating introduction discusses her specific edition. This is a reproduction of the translations with the original spelling and vocalization, and the original footnotes are retained. The Hebrew is on the right side of the page with, on the left, an ‘English back-translation’ (p. 23). The purpose of this is to make the Hebrew text accessible to readers who do not know the Hebrew language. Biblical or post-biblical citations and allusions appear in bold with an explanatory footnote. There is a running commentary too. Kahn’s references are to the third Arden editions of Othello and Romeo and Juliet. Kahn’s endeavours are most useful to students of both plays. At the opening of Othello there is a street scene in Venice in which Iago (Salkinson translates as ‘Jago’) enters with Roderigo (‘Raddai’). In Salkinson’s Hebrew version ‘Raddai’ is accompanied by ‘Jago’ or ‘Doeg’. In a footnote Kahn notes the source as 1 Sam. 22:18 and Psalms 52:2 and observes: ‘Doeg was an Edomite and chief herdsman to King Saul who carried out the execution of a large number of priests. Edom was an enemy nation for biblical Israel; in rabbinic literature, it became a symbol of the Jews’ Roman conquerors and of Christianity in general.’ Salkinson possibly used the name ‘Doeg as the equivalent of Iago in order to highlight the character’s murderous proclivities and to mark him as a Christian enemy in contrast to the Jewish Thiel’ or Othello (p. 78 n. 4). Kahn’s footnote observation on the significance of the name ‘Jael’ for Juliet in Ram and Jael (Romeo and Juliet) is equally fascinating and instructive. Apart from the ‘sound correspondence’ the name also ‘has symbolic connotations’. Jael is the central figure in the biblical story found in Judges 4 and 5, where she entices Sisera the enemy general into a tent, kills him, and consequently saves her people from certain defeat and conquest by the Canaanites. In post-biblical Jewish tradition in the Babylonian Talmud, Jeal/Juliet is considered ‘to be more meritorious than even the four biblical matriarchs Sarah, Rebecca, Rachel, and Leah’. Consequently by giving her the name Jael ‘Salkinson has chosen to cast her unambiguously in the model of the strong, independent biblical figure who is unafraid to risk death in defense of her beliefs’—or, in the instance of Jael/Juliet, love (pp. 341–2). In short The First Hebrew Shakespeare Translations is a fascinating volume from which much can be learnt about translation and differing perceptions of Shakespeare in eclectic cultures and traditions. Mary Klages’s Literary Theory: The Complete Guide joins a highly competitive field of guides to literary theory and critical terminology. In her ‘Introduction: Humanistic Literary Theory’ (pp. 1–5), Klages observes that ‘the essence of literary theory [is] to examine and explain why the category “literature” has enduring cultural importance, and to interrogate the forces that manipulate how we describe that importance’. She adds that ‘literary theory, in the broadest sense, is an explanation or idea about what “literature” is, how “literature” is different from other kinds of writing, and how “literature” functions within a cultural context’ (p. 1). Klages’s third work on literary theory combines, often word for word, text from her Key Terms in Literary Theory (Continuum [2012]) and Literary Theory: A Guide for the Perplexed (Continuum [2006]). Chapters now include notes for teachers, reflection questions for class discussion or independent study, and a cross-referenced glossary of key terms covered, as well as updated guides to further reading on each topic; the text largely used for illustration is Hamlet. There are chapters on ‘Structuralism’ (pp. 7–21); ‘Deconstruction’ (pp. 23–36); ‘Psychoanalysis’ (pp. 37–62); ‘Feminist Theories’ (pp. 63–77); ‘Queer Theories’ (pp. 79–89); ‘Ideology and Discourse’ (pp. 91–116); ‘Race and Postcolonialism’ (pp. 117–39); ‘Ecocriticism’ (pp. 141–51); and ‘Postmodernism’ (pp. 153–66). A chapter on ‘Biographies’ (pp. 167–97) contains biographical details of the main exponents of these ideas, beginning with ‘Adorno, Theodor’ (p. 167) and concluding with ‘Žižek, Slavoj’ (p. 197). The remainder of the text, the eleventh chapter ‘Terms’ (pp. 199–281), consists of on the whole clear exposition of terminology used elsewhere in the book, beginning with ‘abjection’ (p. 199) and concluding with ‘value’ (p. 281). There is also a name- and term-based index (pp. 283–7). Klages’ book is reasonably priced: inevitably in such a changing field theories wax and wane: a surprising omission for instance is ‘trauma theory’. ‘This book is about media, mediation, and meaning’ (p. 1) Paul Kockleman writes in the first chapter, ‘Lines Crossed and Circles Reached’ (pp. 1–25), of his The Art of Interpretation in the Age of Computation, in which he ‘focuses on a set of interrelated processes whereby seemingly human-specific semiotic practices become automated, formatted, and networked. That is, as computation replaces interpretation, information effaces meaning, and infrastructure displaces interaction. Or so it seems’ (author’s italics). In his book he asks: ‘What does it take to automate, format, and network semiotic practices? What difference does this make for those who engage in such practices? And what is at stake? Reciprocally: How can we better understand computational processes from the standpoint of meaningful practices? How can we leverage such processes to better understand such practices? And what lies in wait?’ (p. 1). His second chapter, ‘Enemies, Parasites and Noise’ (pp. 27–53), ‘focuses on the relation between infrastructure and interaction’ (p. 1); the third, ‘Secrecy, Poetry, and Being-Free’ (pp. 55–80), ‘on the relation between secrecy, poetry, and freedom’ (p. 1), although there is little if any discussion of poets or ‘poetry’. The fourth chapter, ‘Meaning, Information, and Enclosure’ (pp. 81–108), is concerned with ‘the relation between information and meaning’ (p. 1). The fifth, ‘Materiality, Virtuality, and Temporality’ (pp. 108–38), ‘focuses on the relation between materiality, virtuality, and time’ (p. 1). Chapter 6, ‘Computation, Interpretation, and Mediation’ (pp. 139–69), is concerned with ‘the relation between computation and interpretation’ (p. 1): again apart from a fleeting reference to John Ruskin’s railing ‘against the machine, championing handicraft in the face of widespread industrialization’—the source is given as ‘(quoted in Gombrich)’ (p. 150)—there is no discussion concerning literary interpretation. The seventh and final chapter, ‘Algorithms, Agents, and Ontologies’ (pp. 171–95), ‘focuses on the relation between ontologies and their algorithmic transformation’ (p. 1). Extensive notes (pp. 197–214) follow the text. There is an alphabetically arranged, enumerative listing of ‘References’ (pp. 215–26) followed by an index (pp. 227–31) from which the present reviewer gleans that there is a discussion of elements of Huckleberry Finn ‘pp. 176–177, 181–182’ (p. 228) in Kockleman’s monograph, which is laden with figures and tables: it is salutary to see from the verso of the title page that its subject is ‘Semiotics—Psychological aspects’ (p. iv) lest library selectors and literary evaluators be misled! Another reference volume that should be noted is Victoria Moul’s edited A Guide to Neo-Latin Literature, providing twenty-three essays on a neglected area of literary studies. An alphabetically arranged ‘List of Neo-Latin Authors and Dates’ (pp. xvii–xxvii) is followed by Victoria Moul’s introduction (pp. 1–13), in which she notes that hers ‘is the first reference work dedicated specifically to neo-Latin literary genres’ (p. 1). For many centuries Latin was ‘the common literary language of Europe, and Latin literature of immense range, stylistic power and social and political significance was produced throughout Europe and beyond from the time of Petrarch (c.1400) well into the eighteenth century’ (p. i). In the volume, which is arranged by genre, all the Latin is translated. The first of the four parts is concerned with ‘Ideas and Assumptions’ (pp. 17–80) and contains four contributions: ‘Conjuring with the Classics: Neo-Latin Poets and Their Pagan Familiars’ by Yasmin Haskell (pp. 17–34); ‘Neo-Latin Literature and the Vernacular’ by Tom Deneire (pp. 35–51); ‘How the Young Man Should Study Latin Poetry: Neo-Latin Literature and Early Modern Education’ by Sarah Knight (pp. 52–65); and ‘The Republic of Letters’ by Françoise Waquet (pp. 66–80). The second section is devoted to the genres of ‘Poetry and Drama’ (pp. 83–234) with essays on the ‘Epigram’ by Robert Cummings (pp. 83–97); the ‘Elegy’ by L.B.T. Houghton (pp. 98–112); the ‘Lyric’ by Julia Haig Gaisser (pp. 113–30); ‘Verse Letters’ by Gesine Manuwald (pp. 131–47); ‘Verse Satire’ by Sari Kivistö (pp. 148–62); ‘Pastoral’ by Estelle Haan (pp. 163–79), which includes an extensive discussion of ‘Epitaphium Damonis, John Milton’s neo-Latin pastoral lament on the premature death of his close friend, Charles Diodari’ (pp. 163–5, 168–79); ‘Didactic Poetry’ by Victoria Moul (pp. 180–99); ‘Epic’ by Paul Gwynne (pp. 200–20); and ‘Drama’ by Nigel Griffin (pp. 221–34). The third section, devoted to ‘Prose’ (pp. 237–76), has eight contributions: ‘Approaching Neo-Latin Prose as Literature’ by Terence Tunberg (pp. 237–54); ‘Epistolary Writing’ by Jacqueline Glomski (pp. 255–71); ‘Oratory and Declamation’ by Marc van der Poel (pp. 272–88); ‘Dialogue’ by Virginia Cox (pp. 289–307); ‘Shorter Prose Fiction’ by David Marsh (pp. 308–21); ‘Longer Prose Fiction’ by Stefan Tilg (pp. 322–39); ‘Prose Satire’ by Joel Relihan (pp. 340–57); and ‘Historiography’ by Felix Mundt (pp. 358–76). The fourth and final part consists of two contributions on ‘Working with Neo-Latin Literature’: ‘Using Manuscripts and Early Printed Books’ by Craig Kallendorf (pp. 379–93); and ‘Editing Neo-Latin Literature’ by Keith Sidwell (pp. 394–407). Each contribution is concluded by a narrative-based account of ‘Further Reading’. A Guide to Neo-Latin Literature concludes with an alphabetical, enumerative bibliography (pp. 408–73) and an extensive index (pp. 474–88). In the preface (pp. xxi–xxiv) to Wrestling with Shylock: Jewish Responses to ‘The Merchant of Venice’ Edna Nahshon writes that the play ‘has stimulated intense engagement by Jewish writers, directors, actors, and critics’. She adds that ‘numerous books and learned articles have been written about The Merchant of Venice, but none has focused exclusively on the responses it elicited from Jews, the people who were most directly affected by it’. However, ‘not aspiring to compile a reference guide to Jewish responses to the play, the editors of this book’, herself and Michael Shapiro, ‘chose to focus on a selected number of works created in response to the Jewish aspect’ of the drama. They ‘hope that this collection of essays will inspire the study of other works created by Jews who felt compelled to address the Jewish aspect of this play in a variety of styles, genres and languages’ (p. xxiii). The volume contains fifty black and white illustrative figures (listed pp. ix–xi) and a tabulated listing of ‘Opera Adaptations of The Merchant of Venice’ (pp. 385–6). The book is divided into five parts: Part I, ‘Introductions’ (pp. 3–48), consisting of two contributions: ‘Literary Sources and Theatrical Interpretations of Shylock’ by Michael Shapiro (pp. 3–32); and ‘The Anti-Shylock Campaign in America’ by Edna Nahshon (pp. 33–48). The second part, ‘Discourses’ (pp. 51–116), has three contributions: ‘Shylock in German-Jewish Historiography’ by Abigail Gillman (pp. 51–73); ‘Yiddish Shylocks in Theater and Literature’ by Nina Warnke and Jeffrey Shandler (pp. 74–104); and ‘Lawyers and Judges Address Shylock’s Case’ by Richard H. Weisberg (pp. 105–16). Part III, ‘The Stage’ (pp. 119–316), unsurprisingly has the most contributions: ‘David Belasco’s 1922 Production of The Merchant of Venice’ by Marc Hodin (pp. 119–39); ‘New York City, 1947: A Season for Shylocks’ by Edna Nahshon (pp. 140–67); ‘The Merchant of Venice in Mandatory Palestine and the State of Israel’ by Shelley Zer-Zion (pp. 168–97); ‘Fritz Kortner and other German-Jewish Shylocks before and after the Holocaust’ by Jeanette Malkin (pp. 198–223); ‘Evoking the Holocaust in George Tabori’s productions of The Merchant of Venice’ by Sabine Schülting (pp. 224–42); ‘The Merchant of Venice on the German Stage and the 1995 “Buchenwald” Production in Weimar’ by Gad Kaynar-Kissinger (pp. 243–72); ‘Recasting Shakespeare’s Jew in Wesker’s Shylock’ by Efraim Sicher (pp. 273–90); and ‘Jewish Directors and Jewish Shylocks in Twentieth-Century England’ by Miriam Gilbert (pp. 291–316). Part IV, ‘Literature, Art and Music’ (pp. 319–410), has four contributions: ‘Zionism in Ludwig Lewisohn’s Novel, The Last Days of Shylock’ by Michael Shapiro (pp. 319–36); ‘Jessica’s Jewish Identity in Contemporary Feminist Novels’ by Michelle Ephraim (pp. 337–58); ‘Christian Iconography and Jewish Accommodation in Maurycy Gottlieb’s Painting, Shylock and Jessica’ by Susan Chevlowe (pp. 359–80); and ‘Shylock in Opera, 1871–2014’ by Judah M. Cohen (pp. 381–410). There is too Part V, ‘Postscript’: ‘Shylock and the Arab-Israeli Conflict’ by Edna Nahshon (pp. 413–23). The index (pp. 424–31) is largely name-orientated. In her preface Nahshon cites from Howard Jacobson’s Shylock is My Name [2016], words that appropriately convey the multiplicity of opinions in Wrestling With Shylock. Addressing his deceased wife Leah, Jacobson’s Shylock exclaims: ‘these Jews, Leah, these Jews! They don’t know whether to cry for me, disown me or explain me. Just as they don’t know whether to explain or disown themselves’ (p. xxiv, citing Shylock is My Name (Random House [2016] 191–2). Barnaby Ralph, Angela Kikue Davenport, and Yui Nakatsuma have edited a volume of essays. London and Literature, 1603–1901. This is a Festschrift celebrating the career of the distinguished Japanese Dickens scholar Eiichi Hara. The collection presents the ‘many facets of London’ (p. x) during an extended literary and historical period. Contributions include: ‘Strangers, Citizens, and Saints in Shakespeare’s London’ by James Tink (pp. 1–15); ‘ “Therein Intermix’d”: Psyche and the London Restoration Stage’, by Barnaby Ralph (pp. 17–33). Ralph’s chapter is a consideration of ‘the semi-opera Psyche by Thomas Shadwell and Matthew Locke, first performed in February of 1675 and based loosely on the story of the love affair between Cupid and Psyche from the 2nd-century AD Metamorphoses of Apuleius’ (p. 17). For Ralph it should be considered ‘as a pivotal work of the London Restoration stage’ (p. 31). This is followed by ‘The Disappearance of London from the Early Eighteenth-Century London Stage’ by Miki Iwata (pp. 35–48); ‘Autonomy and Ambiguity of the Trading Capital: Daniel Defoe’s Journal of the Plague Year’ by Masaaki Takeda (pp. 49–64); ‘Literature, London, and Lives of the English Poets’ by Noriyuki Harada (pp. 65–77); ‘ “Rotten Architecture, but Wonderful Gargoyles”: The Murky World of London and Charles Dickens’ Aesthetic Signposts’ by Neil Addison (pp. 79–93); ‘The Belly of London: Dickens and Markets’ by Midori Niino (pp. 95–110); ‘Terror and Crime in London in the Fictional Works of Douglas Jerrold’ by Yui Nakatsuma (pp. 111–26); and ‘The Dramatist as Historian: Oscar Wilde’s Society Comedies and Victorian Anthropology’ by Yusuke Tanaka (pp. 127–42). Contributions are followed by references and notes—and there is too a name-orientated index (pp. 149–56). Aimed primarily at faculty and researchers, English Without Boundaries: Reading English from China to Canada, edited by Jane Roberts and Trudi L. Darby, contains nineteen papers from the more than 170 papers presented at the 2016 Triennial Conference of the International Association of University Professors of English held at Senate House, University of London, and the Lambeth Palace Library from 25 to 29 July. The selections represent ‘outstanding papers, selected by chairs of the conference sections, to illustrate the width of interests represented at the conference’. As Jane Roberts and Trudi L. Darby indicate in their introduction (pp. xii–xvii), the papers ‘present a snapshot not only of the state of the subject in 2017, but also of how English is perceived globally’. Furthermore, they ‘attest to the role of interdisciplinarity in English, with boundaries crossed between subjects and cultures, demonstrating a variety of approaches to English literature currently in use around the world and their success’ (p. xii). There are three parts to this collection. In the first part, ‘Poets and Playwrights’ (pp. 2–118), there are nine contributions: ‘William Herbert and Richard Neville: Poetry and Nationalism in the Wars of the Roses’ by Helen Fulton (pp. 2–12); ‘ “When Constabulary Duty’s to be Done”: Constables and William Lambarde’s The Duties of Constables (1582)’ by Trudi L. Darby (pp. 13–26); ‘Not Madness, but Reason and Emotion’ by Aiko Saito (pp. 27–40), who investigates ‘the F1 text of Hamlet to discover why the audience finds it convincing when Hamlet senses in the lobby scene that Ophelia is being controlled’ (p. 39); ‘Enter the First Shakespearean Actress on the Japanese Stage: Her Contribution to the Theatre World, Cultural Exchange and Feminism’ by Yoshiko Kawachi (pp. 41–52); ‘ “To Give a Kingdom”: Milton and Lycurgus, Lawgiver of Sparta’ by John Leonard (pp. 53–62); ‘Milton and Modern Physics’ by Susanne Woods (pp. 63–75); ‘Keats and the Politics of Gothic Beauty’ by Michael Tomko (pp. 76–87) ; ‘The Example of Coleridge: A Utopian Element in Literary Communication’ (pp. 88–103); and ‘Knowing Your Place: Auden on Location’ by Tony Sharpe (pp. 104–18). In the second part, ‘North American Dimensions’ (pp. 120–77), there are four contributions: ‘Mary Rowlandson’s Indian Captivity Narrative [1682] and Her Cultural Border-Crossing in the New England Colony’ by Li Jin (pp. 120–34); ‘ “Astronomically True”: A Linguistic Approach to Poe’s Scientific Satire in “Hans Phaal-A Tale” ’ by Isabel Ermida (pp. 135–55); ‘Bentley and the British Empire: Richard Bentley and Susanna Strickland Moodie Correspondence’ by Mary Jane Edwards (pp. 156–67); and ‘Everyman and Nemesis in Newark: Philip Roth, Hebrew, and American Writing’ by Hana Wirth-Nesher (pp. 168–77). In the third and final part, ‘From Syntax to Big Data’ (pp. 180–266), there are six contributions: ‘Resumptive Pronouns in Old English Relative Clauses’ by Michiko Ogura (pp. 180–94); ‘On the Development of Idiomatic Prepositional Phrases in Collocation with bring, put, and set’ by Minoji Akimoto (pp. 195–213); ‘Word Combinations in The Royal Phraseological English-French, French-English Dictionary (Tarver, 1845–49)’ by Stefania Nuccorini (pp. 214–29); ‘Allegorical Preposition, or, The Topography of the Page’ by Cynthia Wall (pp. 230–41); ‘Studying Reading and Readers Using the Reading Experience Database (RED)’ by Bob Owens (pp. 242–54); and ‘Digital Humanities and Big Data’ by William A. Kretschmar (pp. 255–66). English Without Boundaries lacks an index; however, there is an appendix, ‘Programme of the 2016 Triennial Conference of the International Association of University Professors of English’ (pp. 268–78) followed by a listing of contributors to the volume with their institutional affiliations. Pertinent to readers of YWES is Jentery Sayers’s edited Making Things and Drawing Boundaries: Experiments in the Digital Humanities. The editor’s ‘Introduction: “I Don’t Know All the Circuitry” ’ (pp. 1–17) is followed by contributions divided into five parts. In the first, ‘Making and the Humanities’ (pp. 21–67), there are six contributions: ‘The Boundary Work of Making in Digital Humanities’ by Julie Thompson Klein (pp. 21–31); ‘On the “Maker Turn” in the Humanities’ by David Staley (pp. 32–41); ‘Vibrant Lives’ (pp. 42–3), which presents The Living Net, a collective effort with five contributors and black and white illustrations; ‘A Literacy of Building: Making in the Digital Humanities’ by Bill Endres (pp. 44–54); an explanation by Helen C. Burgess of ‘MashBOT’ (pp. 55–6); and ‘Making Humanities in the Digital: Embodiment and Framing in Bichitra and Indiancine.ma’ by P.P. Sneha (pp. 57–67). Part II, ‘Made By Whom? For Whom?’ (pp. 71–145), contains nine contributions: ‘Making the RA Matter: Pedagogy, Interface, and Practices’ by Janelle Jenstad and Joseph Takeda (pp. 71–85); ‘Reproducing the Academy: Librarians and the Question of Service in the Digital Humanities’ by Roxanne Shirazi (pp. 86–94); ‘Looks Like We Made It, But Are We Sustaining Digital Scholarship?’ by Chelsea A.M. Gardner, Gwynaeth McIntyre, Kaitlyn Solberg, and Lisa Tweten (pp. 95–101); ‘Full Stack DH: Building a Virtual Research Environment on a Raspberry Pi’ by James Smithies (pp. 102–15); ‘Mic Jammer’ which ‘is an ultrasonic security system that gives people the confidence to know that their smart phones are non-invasively muted’, contributed by Allison Burtch and Eric Rosenthal (p. 115); ‘The Making of a Digital Humanities Neo-Luddite’ by Marcel O’Gorman (pp. 116–27); ‘Made: Technology on Affluent Leisure Time’ by Garnet Hertz (pp. 128–9); ‘Reifying the Maker as Humanist’ by John Hunter, Katherine Faull, and Diane Jakacki (pp. 130–8); and ‘All Technology Is Assistive: Six Design Rules on Disability’ by Sara Hendren (pp. 139–45). Part III, ‘Making as Inquiry’ (pp. 149–218), also has nine contributions: ‘Thinking as Handwork: Critical Making with Humanistic Concerns’ by Gabby Resch, Dan Southwick, Isaac Record, and Matt Ratto (pp. 149–61); ‘Bibliocircuitry and the Design of the Alien Everyday, 2012–2013’, a brief one-paragraph contributed by Kari Krauss (p. 162); ‘Doing History by Reverse Engineering Electronic Devices’ by Yana Boeva, Devon Elliott, Edward Jones-Imhotep, Shezan Muhammedi, and William J. Turkel (pp. 163–76); ‘Electronic Music Hardware and Open Design Methodologies for Post-Optimal Objects’ by Ezra Teboul (pp. 177–84); a brief explanation with an accompanying black and white illustration of the ‘Glitch Console’ by Nina Belojevic (pp. 185–6); ‘Creative Curating: The Digital Archive as Argument’ by Joanne Bernardi and Nora Dimmock (pp. 187–97); ‘Reading Series Matter: Performing the SpokenWeb Project’ by Lee Hannigan, Aurelio Meza, and Alexander Flamenco (pp. 198–204); an explanation with black and white illustrations of ‘Loss Sets’ by Aaron Tucker, Jordan Scott, Tiffany Cheung, and Namir Ahmed (p. 205); and ‘Dialogic Objects in the Age of 3D Printing: The Case of the Lincoln Life Mask’ by Susan Garfinkel (pp. 206–18). The fourth part is concerned with ‘Making Spaces and Interfaces’ (pp. 221–316) and contains eleven contributions: ‘Feminist Hackerspaces: Hacking Culture, Not Devices (the zine!)’ by Amy Burek, Emily Alden Foster, Sarah Fox, and Daniela K. Rosner (pp. 221–31); ‘Fashioning Circuits, 2011–Present’ by Kim A. Brilliante Knight (pp. 232–3); ‘Making Queer Feminisms Matter: A Transdisciplinary Makerspace for the Rest of Us’ by Melissa Rogers (pp. 234–48); five people contribute a five-sentence paragraph explaining ‘Movable Party’ (pp. 249–50); ‘Disrupting Dichotomies: Mobilizing Digital Humanities with the MakerBus’ by Kim Martin, Beth Compton, and Ryan Hunt (pp. 251–6); a three-sentence single paragraph by five hands explains ‘Designs for Foraging: Fruit Are Heavy, 2015–2016’ (pp. 257–8); ‘Experience Design for the Humanities: Activating Multiple Interpretations’ by Stan Ruecker and Jennifer Roberts-Smith (pp. 259–70); in three sentences accompanied by an illustration Anne Balsamo, Dale MacDonald and Jon Winet explain an ‘AIDS Quilt Touch: Virtual Quilt Browser’ (p. 271); ‘Building Humanities Software That Matters: The Case of Ward One Mobile App’ by Heidi Rae Cooley and Duncan A. Buell (pp. 272–87); ‘Placeable: A Social Practice for Place-Based Learning and Co-design Paradigms’ by Aaron D. Knochel and Amy Papaelias (pp. 288–300); and ‘Making the Model: Scholarship and Rhetoric in 3D Historical Reconstructions’ by Elaine Sullivan, Angel David Nieves, and Lisa M. Snyder (pp. 301–16). The fifth and final part has three essays devoted to ‘Making, Justice, Ethics’ (pp. 319–41): ‘Beyond Making’ by Debbie Chachra (pp. 319–21); ‘Making It Matter’ by Jeremy Boggs, Jennifer Reed, and J.K. Purdom Lindblad (pp. 322–30); and finally ‘Ethics in the Making’ by Erin R. Anderson and Trisha N. Campbell (pp. 331–41). Notation follows the contributions; however, an index is lacking in this richly (black and white) illustrated volume, which conveys some impression of the latest developments in ‘making’ (p. 9) things in the humanities, in the applications for digital humanities. Peter Shillingsburg has emerged as one of the foremost authorities of the last thirty years or so on textual studies since his pioneering studies of the printing and publishing of the still unfashionable William Makepeace Thackeray, Pegasus in Harness: Victorian Publishing and W.M. Thackeray (YWES [1992]). In essence Shillingsburg’s Textuality and Knowledge: Essays applies the same rigorous methodology and line of enquiry found in his earlier work, but instead of being confined to a single author they are applied to a variety of writers from differing periods. These range from J.M. Coetzee, Matthew Arnold, A.E. Housman, George Eliot, W.M. Thackeray (of course), Herman Melville, and Henry David Thoreau to Virginia Woolf. The thirteen essays in Textuality and Knowledge ‘are about the relationship between textuality and knowledge’. Shillingsburg’s ‘aim in the whole is to explain the role of textual studies in literary studies. Any old text will not do, unless one does not care what it does.’ Shillingburg adds that ‘the central concern of this book is not the writings by men or women or minorities. Instead, my central concern is the value, indeed necessity, of determining the relationship between the texts one is using and the knowledge one purports to support by reference to them.’ For Shillingburg, ‘the principles I am exploring are … the same regardless of the gender, geography, ethnicity, or temporal placement of a writer. The relation between documents as evidence of criticism is argument is without gender, nationality, time, or place.’ Furthermore, he confines his ‘illustrations to textual histories that’ he has ‘examined first hand’. In addition, he does ‘not know how to illustrate one relationship between document and knowledge that holds true only for the writings of women and a different one that holds true only from the writings of men’ (pp. viii–x). His ‘Preface and Acknowledgements’ (pp. vii–xii) are followed by, in many instances, revised versions of lectures given at various venues: ‘The Evidence for Literary Knowledge’ (pp. 1–12); ‘Textual Criticism, the Humanities, and J.M. Coetzee’ (pp. 13–27); ‘The Semiotics of Bibliography’ (pp. 28–47); ‘Some Functions of Textual Criticism’ (pp. 48–63); ‘Responsibility for Textual Changes in Long-Distance Revisions’ (pp. 64–82); ‘Text as Communication’ (pp. 83–93); ‘Revisiting Authorial Intentions’ (pp. 94–114); ‘How Literary Works Exist’ (pp. 115–33); ‘Convenient Scholarly Editions’ (pp. 134–44); ‘Scholarly Editing as a Cultural Enterprise’ (pp. 145–65); ‘Work and Text in Nonliterary Text-Based Disciplines’ (pp. 166–77); ‘Publishers’ Records and the History of Book Production’ (pp. 178–92); and ‘Cultural Heritage, Textuality, and Social Justice’ (pp. 193–207). In addition to specific literary works, there are brief references scattered through the text and in accompanying footnotes to textual scholarship, including that of Fredson Bowers, Paul Eggert, Hans Walter Gabler, D.C. Greetham, Jerome McGann, D.F. McKenzie, G. Thomas Tanselle, and Hans Zeller. There is an alphabetically arranged, enumerative, double-columned bibliography (pp. 208–20) and an index (pp. 220–2). Nicholas D. Smith’s An Actor’s Library: David Garrick, Book Collecting and Literary Friendships, splendidly ‘designed by Scott Vile at the Ascensius Press, Bar Mills, Maine’ (p. 346), contains thirteen illustrations with a magnificent colour front dust-wrapper illustration of David Garrick (1717–79) painted in 1746 by Pompeo Batoni. Smith’s is the first real study of the library collection of the obsessive book collector David Garrick, the eminent eighteenth-century actor and theatre manager, who assembled a general library of more than 3,000 volumes and a dramatic library of around 1,300 old plays, the latter bequeathed to the British Museum in 1779. Replete with English drama and books on theatre history, dramaturgy, and the theory of dramatic character, the library was drawn upon by contemporary editors of Shakespeare, contemporary English dramatists, and literary and musical historians. Garrick allowed access to his friends and acquaintances such as Charles Burney, Thomas Percy, George Steevens, and Thomas Warton. Smith examines ‘the formation and dispersal of the library of David Garrick’; the ‘approach is interdisciplinary (history of the book, library and theater history, bibliography)’ (p. xvii). ‘Acknowledgments’ (pp. v–vi), ‘Abbreviations’ (pp. vii–ix), and ‘List of Illustrations’ (pp. x–xi), are followed by an alphabetically arranged listing of ‘Dramatis Personae’ (pp. xii–xv), a detailed preface (pp. xvii–xx) and a ‘Prologue’ (pp. 1–14), followed by eighty-two explanatory notes (pp. 14–20). Smith’s six chapters draw upon an extensive, largely unpublished until his book, archival legacy of Garrick, his wife, their contemporaries, and Mrs Garrick’s two executors. The first chapter, ‘Book Collecting, Bibliomania and the Eighteenth-Century Private Library’ (pp. 21–51), has sections on ‘The Morality of Book Collecting’ (pp. 22–35), ‘Edward Harwood on Book Collecting’ (pp. 35–8), and ‘Bibliomania and Its Symptoms’ (pp. 38–45) followed by extensive notation (pp. 45–51). The second chapter, ‘Building a Library’ (pp. 52–88), contains sections on ‘Educating the Book Collector’ (pp. 52–63), ‘Catalogues as Bibliographical Aids to Collecting’ (pp. 63–6), ‘Garrick’s Relationship with the Book Trade’ (pp. 67–72), ‘Book Acquisitions at Auctions’ (pp. 72–8), and ‘Subscriptions and Literary Patronage’ (pp. 78–81): extensive notation then follows (pp. 81–8). Chapter 3, ‘Garrick, Book Culture and The Club’ (pp. 89–118) has sections on ‘Establishment and Membership of The Club’ (pp. 89–92), ‘Garrick’s Literary and Scholarly Credentials’ (pp. 92–6), ‘The Role of Books in The Club’ (pp. 96–102), and ‘The Disposal of Some Clubmen’s Libraries’ (pp. 102–9), followed again by extensive notation (pp. 110–18)—see for instance note 100 on a description of the initial printing of Samuel Johnson’s A Journey to the Western Islands of Scotland [1775] (p. 115). The fourth, fascinating, chapter (pp. 119–64) is concerned with ‘Collecting Shakespeare and Other English Dramatists’. A general introduction is followed by sections on ‘Actors’ Dramatic Libraries’ (pp. 121–5), ‘Garrick’s Collection of Old English Plays’ (pp. 125–36), ‘Collecting Shakespeare’s Folios’ (pp. 136–45)—either two or three, one of which is today at Queen’s College, Oxford (p. 273), ‘Collecting Contemporary Shakespearean Texts and Criticism’ (pp. 145–50), and ‘Non-Shakespearian Drama in the General Library’ (pp. 150–3), followed by Smith’s usual extensive notation (pp. 153–64). The penultimate chapter, focusing on ‘Book-Buying in France and Italy’ (pp. 165–200), has sections on ‘Book Acquisitions in Paris, 1751’ (pp. 165–8), ‘Book Acquisitions in Italy; 1763–1764’ (pp. 168–79), ‘Garrick, Batoni and Terence’s Comedies’ (pp. 179–84), ‘Book Acquisitions and Literary Coteries in Paris, 1764–1765’ (pp. 184–6), and ‘Bibliographical Encounters Post-Paris’ (pp. 186–92), followed by notation (pp. 192–200). Appropriately the final chapter (pp. 201–58) is concerned with ‘Dispersal’ of Garrick’s library. A general introduction (pp. 201–5), opening with the observation that ‘the reasons for disposing of libraries are as various as the reasons for forming them’ (p. 201), is followed by ‘Garrick’s Death and the Disposal of His Death’ (pp. 205–14), ‘The Contested Ownership of Shakespeare’s First Folio’ (pp. 214–18), ‘Mrs. Garrick’s Book Collection’ (pp. 218–27), ‘The 1823 Sale of Garrick’s General Library’ (pp. 227–40), ‘Further Nineteenth- and Twentieth-Century Sales of Garrick’s Books’ (pp. 240–4), and ‘Garrick’s Books Today’ (pp. 244–7). Smith writes that ‘books mattered to Garrick. He enjoyed buying them, reading them, sharing them with his friends—but most of all accumulating them’. Furthermore, ‘books—particularly dramatic texts—were integral to his stagecraft, is study of Continental theatre history and his support of, and engagement with, contemporary literary culture’. Garrick ‘deserves a prominent position in the pantheon of British book collectors’ (pp. 246–7). Accompanying this sixth, concluding, chapter are 231 informative, detailed notes (pp. 247–58). Appropriately there are six appendices, alphabetically arranged where appropriate, to this deeply learned and well-written book: ‘Locations of Garrick’s Books’, including manuscripts in his possession (pp. 259–78); ‘Books to which Garrick Subscribed’ (pp. 279–83); ‘Books Addressed/Dedicated to Garrick’ (pp. 284–6); ‘Lots Purchased by Thomas Thorpe at the 1823 Sale’ (p. 287); ‘Garrick Books Formerly Belonging to George Frederick Beltz’ (pp. 288–92); and ‘Carrington Garrick’s Books’ (pp. 293–5). The extensive enumerative ‘Select Bibliography’ (pp. 296–329) begins with a listing of ‘Manuscript Sources’ (pp. 296–304) arranged alphabetically by location, followed by a listing of ‘Sales Catalogues’ arranged in chronological order (pp. 304–9) and then ‘Printed Primary Sources’ (pp. 309–16) and ‘Secondary Sources’ (pp. 317–29), arranged in alphabetical order. It is no surprise that this erudite book should conclude with a useful, detailed index (pp. 330–45). A highly useful reference work and critical guide that might otherwise be overlooked is Mads Rosendahl Thomsen, Lasse Horne Kjældgaard, Lis Møller, Lilian Munk Rösing, Peter Simonsen, and Dan Ringgaard’s edited About Literature: An Introduction to Theory and Analysis. Largely utilizing non-Anglo-Saxon contributors and apparently aimed in its initial incarnation at Danish and Swedish undergraduates, it offers much to a wider readership too. In his foreword (pp. viii–ix) J. Hillis Miller correctly notes that the text ‘will tell students and teachers, as well as general readers, most of what they need to know about the important topics in literary theory and analysis in Europe and America today’. The thirty-three brief chapters are ‘each on a different topic in literary study. Each chapter is a survey of its topic with references to the major theorists on the subject’ and each contains ‘a carefully chosen example’ with some chapters having ‘more than one example from literature’. Additionally, ‘each entry has an extremely helpful list of further readings on the topic in question’. The book is divided into three parts, moving from literary texts, to their contexts, ‘to adjacent important concepts in literary study’ such as ‘Archives’ or ‘Performance’ or ‘Translation’ (p. viii). The editors, in their introduction (pp. 1–12), explain how their book should be used and also its three-part structure. The first part, on ‘Texts’ (pp. 5–143), has eleven contributions: ‘Literature’ by Lasse Horne Kjældgaard and Peter Simonsen, (pp. 5–14), with especial emphasis on Jane Austen’s Northanger Abbey (pp. 11–14); ‘Interpretation’ by Jesper Gulddal (pp. 15–26); ‘Genre’ by Eva Hättner Aurelius (pp. 27–41); ‘Narrative’ by Stefan Iversen (pp. 43–53); ‘Character’ by Lis Møller (pp. 55–66), containing an interesting discussion of the character of Cecilia in Ian McEwan’s 2001 novel Atonement (pp. 59–65); ‘Narrator’ by Jan Alber (pp. 67–80); ‘Style’ by Lilian Munk Rösing (pp. 81–92), using speeches from Hamlet (pp. 86–91); ‘Sensation’ by Isak Winkel Holm (pp. 93–105); ‘Rhythm’ by Dan Ringgaard (pp. 107–17); ‘Tropes’ by Christoph Bode (pp. 119–29); and ‘Intertextuality’ by Elisabeth Friis (pp. 131–43). The second part has thirteen essays on ‘Contexts’ (pp. 147–295): ‘Author’ by Jon Helt Haarder (pp. 147–56); ‘Reader’ by Winfried Fluck (pp. 157–67); ‘History’ by Mads Rosendahl Thomsen (pp. 169–78); ‘Ethics’ by Lasse Horne Kjældgaard (pp. 179–88), a contribution that omits important developments in ethical criticism by Chinese-based critics; ‘Politics’ by Jakob Ladegaard (pp. 189–200); ‘Sex’ by Lilla Tőke and Karen Weingarten (pp. 201–12), using Toni Morrison’s 1987 novel Beloved for illustrative purposes; ‘Ethnicity’ by Tabish Khair (pp. 213–23); ‘Desire’ by Lilian Munk Rösing (pp. 225–37); ‘Nature’ by Peter Mortensen (pp. 240–50); ‘Place’ by Frederik Tygstrup (pp. 251–60); ‘Things’ by Karin Sanders (pp. 261–71); ‘Mobility’ by Søren Frank (pp. 273–83); and ‘Memory’ by Ann Rigney (pp. 285–95), which focuses on W.G. Sebald’s 2001 novel Austerlitz. The third and final part has nine contributions on ‘Practices’ (pp. 299–408): ‘Archive’ by Dennis Tenen (pp. 299–309); ‘Books’ by Tore Rye Andersen (pp. 311–25); ‘Remediation’ by Kiene Brillenburg Wurth (pp. 327–37); ‘Art’ by Peter Simonsen (pp. 339–48); ‘Performance’ by Claire Warden (pp. 349–60); ‘Translation’ by Karen Emmerich (pp. 361–71); ‘Creative Writing’ by Kiene Brillenburg Wurth (pp. 373–83); ‘Critical Writing’ by Gloria Fisk (pp. 386–96); and ‘Quality’ by Susan Bassnett (pp. 397–407). For Bassnett ‘quality … is a slippery notion, but although the concept of a universal canon may have been deconstructed, and although there is always a readerly, individualistic dimension to assessing quality, nevertheless some writers manipulate language and their material more skillfully than many of their peers’ (p. 406). The third part is followed by ‘An Overview of Schools of Criticism’ by individual contributors, beginning with ‘Formalism’ (pp. 409) and concluding with ‘Interdisciplinarity’ (pp. 422–3). There is an extensive index (pp. 431–54) to this interesting, helpful volume that, to use the words of J. Hillis Miller, ‘will be useful ‘for advanced literature courses, even postgraduate ones, or as a great resource for teachers of literature, or as a valuable resource for ordinary readers who may want to know something about what is meant by the “narrator” of a novel, or by “ethnicity” in literature and so on’ (p. viii). Late in 2016 and early in the following year the prestigious Oxford University Press published as three separate publications The New Oxford Shakespeare: The Complete Works: A Modern Critical Edition, edited by the team of Gary Taylor, John Jowett, Terri Bourus and Gabriel Egan; the two-volume New Oxford Shakespeare: The Complete Works: Critical Reference Edition by the same four editors; and The New Oxford Shakespeare: Authorship Companion, edited by Gary Taylor and Gabriel Egan. The Complete Works includes ‘The History of Cardenio adapted as Double Falsehood’: as Shakespeare’s hand may be evident in it based upon evidence in online databases such as LION and EEBO-TCP and Oxford Scholarly Editions Online. Now, a good deal of recent controversy has centred around the reliability of these texts—are they authoritative, are there omissions? Literary scholars who are not computer experts and literary scholars themselves have not been averse to claiming that those they disagree with have mishandled the data provided by the databases. The inclusion of the aforementioned Cardenio in the Shakespearian canon is based on the assumption that Shakespeare didn’t work alone as previously assumed. Many scholars and critics now believe that he was not the great Romantic genius working in isolation as generally assumed in the nineteenth century but worked in partnership in collaboration with his contemporaries, such as Francis Beaumont (1584–1616) and John Fletcher, to name but two, especially the latter, as frequent word-pattern similarities, collocations or verbal connections have been found through utilizing the electronic databases. According to Gary Taylor’s introduction to ‘The History of Cardenio adapted as Double Falsehood’ in The New Oxford Shakespeare based on ‘LION, EEBO-TCP and Oxford Scholarly Editions Online’ there are four candidates for its authorship: ‘Shakespeare is of course, the most studied of the four candidates’, the others being Davenant (1606–68)—if his hand is present this suggests a later composition date, at least for portions of the second act, than that of Shakespeare or his contemporaries, Beaumont and Fletcher. Of these, Shakespeare’s and Davenant’s presence in the text, especially, to repeat, in the second act, appears credible from the evidence (vol. 2, p. 3671). John Jowett writes in the introduction to the Critical Reference Edition that ‘the New Oxford Shakespeare Complete Works includes all the works reliably attributed in whole or in part to William Shakespeare’ (vol. 1, p. xciii). The idea of Shakespeare as a collaborative dramatist is not new, and its visual film treatment may be seen in Tom Stoppard’s and Marc Norman’s cinematic Shakespeare in Love [1998]. Indeed the myriad TV and cinematic versions of Shakespeare’s plays date back to 1899, and Beerbohm Tree’s King John—merely a fragment four minutes in length at the National Film and TV archive in London—contains silent stills which serve as illustrations of possible ‘texts’. Another different or controversial feature of the New Oxford Shakespeare is found in its organization, and the order in which the plays are presented. Traditionally the ‘Complete Works’, certainly the edition I grew up with, the 1951 Collins Clear Type Edition edited by Peter Alexander, began with the first play included in the 1623 First Folio of Shakespeare or Collected Edition. This play was The Tempest, probably one of the last rather than first to be written by Shakespeare. The New Oxford edition is distinct from the Modern Edition in modern English, in which ‘the works are ordered by their dates of composition’—a rather questionable decision implying dating certainty: the dates at which Shakespeare’s hand is present in work attributed to him are hotly contested, especially given the paucity of evidence. The statement of ‘Editorial Procedures’ for the New Oxford edition continues: ‘The Reference edition, in contrast’ to the Modern Edition, ‘is concerned with the history of texts as they were manufactured or otherwise disseminated among readers. The sequence of texts is therefore chronological by the date of printing or, in the case of manuscripts [there are very few as we shall see], the date of the relevant inscription’ (vol. 1, p. xciii). The opening play consequently is not The Tempest but Arden of Faversham. Its editors, Terri Bourus and Gary Taylor, write that the play ‘is here included for the first time in an edition of Shakespeare’s Complete Works, not as an item in the apocrypha [not part of the canon] but as a collaborative early play … Shakespeare may have written all or part of Scene 9 and perhaps also 3.184–202’; however, ‘Scenes 4–8 are confidently attributed to him’ (vol. 1, p. 1). However, at the conclusion of the introduction to the play, its editors, Bourus and Taylor, assert that ‘the latest scholarship … makes it unlikely that either Marlowe [1564–1593] or Kyd [1558–1594] was directly involved in the composition of the play’ (p. 4); other candidates are not proposed, for ‘The Tragedy of M. Arden of Faversham’, the title, is followed by ‘Anonymous and William Shakespeare’ (vol. 1, p. 21). This assertion is based on extra-textual evidence from metrical analysis—metrical counts conducted by database searching of the works of Shakespeare’s contemporaries. A further controversial area is the assertion that 2 Henry VI and 3 Henry VI, early texts, are collaborations between Shakespeare and Christopher Marlowe. It is no wonder then that this New Oxford edition has been the subject of much controversy and critical contention. To provide one illustration, Lars Engle and Eric Rasmussen conclude their extensive RES review in the following manner: ‘A lot of work, and a lot of varied experience of editing and thinking about Shakespeare, have gone into this edition. Its supplementary arguments fascinate, and it’s liberating pragmatic approach appeals. We think the edition right that no disciplinary absolutism can systematically reform the kingdom of an error, and that wise judgment is needed to administer it. But justice needs to be not only wiser but also more accurate than iniquity’ (RES 69[2018] 367–8). I take this to mean that it’s all very well to criticize but you had better not lay yourself open to compounding error upon error, especially in areas which you yourself have criticized! Dr Gerald N. Wachs (1937–2013), of New York City, in addition to being an eminent dermatologist was an assiduous collector. The cream of his collection and the one of which he was justifiably proud was nineteenth-century first editions of English poetry. This collection he built up with his friend, the eminent bookseller and bibliographer Steve Weissman, then of Ximenes Rare Books. They began in March 1970 and continued developing the collection until Jerry’s death at the age of 76. They collected only the finest copies, presentation copies to other writers, friends, and family members, those with close connections. The books had to be special in the sense of inscriptions illustrating personal and/or poetic associations. One hundred and fifty-five of these went for sale at the first session of Sotheby’s New York 14 June 2016 auction of ‘Fine Books & Manuscripts’—the Gerard N. Wachs collection of nineteenth-century English poetry. There is indeed a plethora of riches to choose from. These items are largely represented in Poetic Associations The Nineteenth-Century English Poetry Collection of Dr. Gerald N. Wachs. In her foreword (pp. 7–9), Catherine Uecker notes that in 2015 Dr Wachs’s children ‘donated two-thirds of the collection—nearly seven hundred volumes—to the University of Chicago’ (p. 8). The genesis of the collection is described by Steven Weissman in his highly informative ‘The Wachs Collection: An Informal Chronology’ (pp. 11–37). In the final paragraph of his ‘The Wachs Collection: An Introduction’ (pp. 39–49), Stuart Curran remarks that Jerry Wachs’s ‘stipulation that every addition to his library have some truly distinctive feature means that the collection is not just of rare books but of genuine treasures. That in this late day there is so much that is new, even where there is so much that is major, is a testament of how valuable was that decision in insuring a library of enduring magnitude and importance’ (p. 49). James E. Chandler, in his ‘Poetry’s Empire: “The Songs of Humanized Society” ’ (pp. 51–74), observes that the Wachs collection ‘is an edifice carefully crafted, literary brick by literary brick, to do justice to the great poetic corpus that stretches over the decades from William Blake to the early work of his great Anglo-Irish admirer, William Butler Yeats’ (p. 52). Astutely, Chandler concludes his assessment of the importance of the collection by observing that ‘one of the most valuable aspects of the collection are the holdings in nineteenth-century English poetry published in India both before and after Macaulay’s 1833 Minute. And these holdings, I suspect, will prove to be among the most valuable for working scholars who come to consult the collection in future years’ (p. 74). Many of the individual items are described by Stephen Weissman, who goes beyond physical description to the number of copies produced, the history of the copy when acquired, and in some cases the source of acquisition. To take a few instances from many, Samuel Taylor Coleridge items (pp. 97–105) include the first edition of his first book, The Fall of Robespierre [1794] with the proposal leaf present (a full-page colour illustration of the title page is included: p. 96). Perhaps the most interesting item from a scholarly point of view is that of Zapolya [1817]. This is an extraordinary presentation copy, inscribed by Coleridge on its half-title in the form of a lengthy letter to John Gibson Lockhart (1794–1854) (pp. 102–3). The neglected poet Walter Savage Landor’s items (pp. 165–71) include a copy of his last book Heroic Idylls [1863]. This is a proof copy extensively annotated by Landor and dedicated to Edward Twisleton, to whom he had been introduced by Robert Browning. Landor inscribes the book, ‘All my old friends are dead, let their place continue to be supplied by Edward Twisleton.’ The copy has more than fifty new lines of verse in Landor’s hand, and spelling and punctuation alterations on almost every page (pp. 170–1). There isn’t sufficient space here to describe the infinite riches in the Wachs collection: there are colour illustrations throughout. This splendidly designed and printed volume, a magnificent tribute to a great book collector and dealer Steve Weissman, concludes with an ‘Author Index’ (pp. 407–11). ‘Set in Adobe-Caslon type by Michael Höhne of Hohne [sic]—Werner Design 2017’ (p. 236), in quarto format replete with black and white illustrations, and double-columned text, Alan R. Young’s Steam-Driven Shakespeare or Making Good Books Cheap: Five Victorian Illustrated Editions provides ‘a detailed analysis of the actual making and marketing of five illustrated editions of Shakespeare by five different publishers: Charles Knight, Robert Tyas, George Routledge, John Cassell, and John Dicks’. These five ‘had much in common. In various degrees, they were all autodidacts. They came from relatively humble backgrounds and shared a belief in the power of education to transform the lives of all social classes.’ Furthermore, Young adds that they wished to make ‘good things cheap’: ‘the use of steam power in the making of books was an essential and central factor in making this possible’. Hence the term “steam-driven” in [s] title’ (p. 16). A clearly written introduction (pp. 15–18) is followed by six chapters. The first concerns ‘The Transformation of the Publishing Industry: Steam-Driven Printing and the Alliance of William Clowes and Charles Knight’ (pp. 19–43). The second chapter focuses on ‘Charles Knight and the Making of The Pictorial Edition of the Works of Shakspere’ (sic—there was no standardized spelling in the Victorian period for the bard’s name) (pp. 45–69). ‘Robert Tyas and the Making of The Works of Shakspere Revised from the Best Authorities’ (pp. 71–103) is the subject of the third chapter. The fourth provides an account of ‘George Routledge and the Making of The Plays of Shakespeare’ (pp. 105–34). The following chapter’s concern is ‘John Cassell and the Making of The Plays of Shakespeare (“Cassell’s Illustrated Shakespeare”)’ (pp. 135–61). The sixth and final chapter of this aesthetically pleasing book is an account of ‘John Dicks and the Making of Dicks’ Complete Edition of Shakspere’s Works’ (pp. 163–83). Each chapter is accompanied at the conclusion by at times lengthy and informative documentation. In the final paragraph of his ‘Afterword’ (pp. 185–8) Young turns to contemporary developments, observing that ‘rather than relying on retaining large storerooms of stereotypes to anticipate future printings, publishers today employed digital storage and frequently do not issue large print-runs but print many of their books on demand’. Yet what the six Victorian publishers he discusses ‘would make of it all [he] must leave to the speculation of others’ (p. 188). There are six appendices: the first is ‘The Publishing Workforces’, containing not only the titles, the dates of the first edition, and the publisher, but also the names of editor/s, printer, designer/s and engraver/s (pp. 189–90). The second is ‘The Duke of Northumberland vs William Clowes’ (pp. 191–3). Young writes: ‘in 1824 Clowes had to respond in the Court of Common Pleas to a lawsuit filed against him by a rich and powerful neighbor, Hugh Percy, the Duke of Northumberland, who complained of being disturbed in the occupation and enjoyment of his house by a steam-engine erected by the defendant’ (p. 191). The case was settled by arbitration and the wealthy duke paid Clowes ‘to move elsewhere’ (p. 193); noise and pollution were common complaints against steam presses throughout the nineteenth century. The third appendix consists of a ‘Table of Some of Knight’s Editions of Shakespeare’ (pp. 194–6); the fourth contains a ‘List of Shakespeare’s Plays included in “Dicks’ Standard Plays” Series (1874–6)’ (p. 197). The fifth appendix, ‘A Tour of William Clowes’s printing works on Stanford Street’ (pp. 198–209), contains extracts and Young’s commentary from Francis Bond Head’s account of his 1839 visit to Clowes’s printing works originally published unsigned in December 1839 in The London Quarterly Review. The final appendix is devoted to ‘A Tour of Cassell and Company’s Business Premises in the Belle Sauvage Yard’ (pp. 210–14). These premises, ‘like those of Knight and Clowes, were later destroyed during the Blitz in 1941’. Young reprints an ‘undated description … appended to G. Holden Pike’s 1894 biography of John Cassel’ (p. 210). Young’s Steam-Driven Shakespeare concludes with an alphabetically arranged, enumerative ‘List of References’ (pp. 215–25) and a name-orientated index (pp. 227–34). It comes with an attractively designed dust-wrapper showing, on the front, a steam-driven printing press. Books Reviewed Addison Catherine. A Genealogy of the Verse Novel . CambridgeSP . [ 2017 ] pp. x + 494. £70.99 ISBN 9 7814 4387 8999. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Allen Nicholas , Groom Nick , Smith Jos , eds. Coastal Works: Cultures of the Atlantic Edge . OUP . [ 2017 ] pp. xvi + 300. $80 ISBN 9 7801 9879 5155. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Anesko Michael , ed. The Portrait of a Lady. Cambridge Edition of the Complete Fiction of Henry James 7 . CUP . [ 2016 ] pp. cii + 986. $150 ISBN 9 7811 0700 4009. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Ashdowne Richard , White Carolinne , eds. Latin in Medieval Britain . BA and OUP . [ 2017 ] pp. xvi + 360. $110 ISBN 9 7801 9726 6083. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Ashe Laura. The Oxford English Literary History, vol. 1: 1000–1350: Conquest and Transformation . OUP . [ 2017 ] pp. xviii + 478. $46.95 ISBN 9 7801 9957 5381. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Atkinson Damien , ed. The Selected Letters of Charles Whibley: Scholar and Critic . CambridgeSP . [ 2017 ] pp. xxiv + 414. £67.99 ISBN 9 7815 2750 0334. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Atkinson David , Roud Steve , eds. Street Literature of the Long Nineteenth Century: Producers, Sellers, Consumers . CambridgeSP . [ 2017 ] pp. xx + 374. £64.99 ISBN 9 7814 4389 4999. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Babb Valerie. A History of the African American Novel . CUP . [ 2017 ] pp. xii + 500. $44.99 ISBN 9 7811 0706 1729. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Banou Christine. Re-inventing the Book: Challenges from the Past for the Publishing Industry . Chandos . [ 2017 ] pp. xii + 152. $63 ISBN 9 7800 8101 2789. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Barbier Frédéric. Gutenberg’s Europe: The Book and the Invention of Western Modernity , trans. Birrell Jean . Polity . [ 2017 ] pp. xiv + 322. $69.95 ISBN 9 7807 4567 2571. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Barekat Houman , Barry Robert , Winters David , eds. The Digital Critics: Literary Culture Online . OR Books . [ 2017 ] pp. 204. $18 ISBN 9 7816 8219 0760. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Barnard Toby. Brought to Book: Print in Ireland, 1680–1784 . FCP . [ 2017 ] pp. 395 . €50 ISBN 9 7818 4682 6292. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Bellingradt Daniel , Nelles Paul , Salman Jeroen , eds. Books in Motion in Early Modern Europe: Beyond Production, Circulation, and Consumption . PalMac . [ 2017 ] pp. xiv + 310. $99.99 ISBN 9 7833 1953 3650. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Blatt Ben. Nabokov’s Favorite Word Is Mauve: What the Numbers Reveal about the Classics, Bestsellers, and Our Own Writing . S&S . [ 2017 ] pp. x + 276. $25 ISBN 9 7815 0110 5388. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Bleeth Kenneth , ed. Chaucer’s ‘Squire’s Tale’, ‘Franklin’s Tale’ and ‘Physician’s Tale’: An Annotated Bibliography 1900 to 2005. Chaucer Bibliography . UTorP . [ 2017 ] pp. xxvi + 570. $130 ISBN 9 7814 4264 7220. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Brennan Michael G. , ed. The Complete Works of Evelyn Waugh, vol. 16: Rossetti: His Life and Works . OUP . [ 2017 ] pp. lxxxii + 286. $110 ISBN 9 7801 9968 3574. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Chothia Jean , ed. The Outcry. Cambridge Edition of the Complete Fiction of Henry James 20 . CUP . [ 2016 ] pp. lxxxii + 286. $110 ISBN 9 7811 0700 2692. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Clarke Bruce , Rossini Manuela , eds. The Cambridge Companion to Literature and the Posthuman . CUP . [ 2017 ] pp. xxxiv + 238. hb $89.99 ISBN 9 7811 0708 6203, pb $28.99 ISBN 9 7811 0745 0615. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Craig Hugh , Greatley-Hirsch Brett . Style, Computers, and Early Modern Drama: Beyond Authorship . CUP . [ 2017 ] xviii + 286. $99.99 ISBN 9 7811 0719 1013. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Errington Philip W. J.K. Rowling: A Bibliography . Bloomsbury . [ 2017 ] pp. xxix + 706. £40 ISBN 9 7814 7429 7257. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Ezell Margaret J.M. The Oxford English Literary History, vol. 5: 1645–1714: The Later Seventeenth Century . OUP . [ 2017 ] pp. xxvi + 582. $55 ISBN 9 7801 9818 3112. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Fowler Alastair. The Mind of the Book: Pictorial Title Pages . OUP . [ 2017 ] pp. xii + 228. $40.95 ISBN 9 7801 9871 7669. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Frost Mark , ed. After London; or Wild England, by Richard Jefferies . EdinUP . [ 2017 ] pp. liv + 202. £80 ISBN 9 7814 7440 2392. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Geyh Paula , ed. The Cambridge Companion to Postmodern American Fiction . CUP . [ 2017 ] pp. xviii + 228. $29.99 ISBN 9 7811 0750 2772. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Ginna Peter. What Editors Do: The Art, Craft, and Business of Book Editing . UChicP . [ 2017 ] pp. viii + 310. $25 ISBN 9 7802 2629 9976. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Gray Daniel. 50 Eternal Delights of Books . Bloomsbury . [ 2017 ] pp. xiv + 146. £9.99 ISBN 9 7814 0888 3945. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Hanna Ralph , Rundle David . A Descriptive Catalogue of the Western Manuscripts to c.1600, in Christ Church, Oxford . BibS . [ 2017 ] pp. 476 + 48 colour plates. £55 [free to members] ISBN 9 7809 0142 0619. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Hartle Paul , ed. The Poetry of Charles Cotton. 2 vols . OUP . [ 2017 ] vol. 1: pp. cxiv + 670; vol. 2: pp. xvi + 832. $280 ISBN 9 7801 9812 3507. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Hinks John , Armstrong Catherine , eds. Text and Image in the City: Manuscript, Print and Visual Culture in Urban Space . CambridgeSP . [ 2017 ] pp. xvi + 172. £45.99 ISBN 9 7814 4384 3881. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Holden Joshua. The Mathematics of Secrets: Cryptography from Caesar Ciphers to Digital Encryption . PrincetonUP . [ 2017 ] pp. xvi + 376. $29.95 ISBN 9 7806 9114 1756. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Husbands Shayne. The Early Roxburghe Club 1812–1835: Book Club Pioneers and the Advancement of English Literature . Anthem . [ 2017 ] pp. x + 216. £70 ISBN 9 7817 8308 6900. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Johnson Alex. A Book of Book Lists . BL . [ 2017 ] pp. 208. £7.99 ISBN 9 7807 1235 2253. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Kahan Jeffrey. The Quest for Shakespeare: The Peculiar History and Surprising Legacy of the New Shakspere Society . 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[ 2017 ] pp. xlv + 234. $74 ISBN 9 7801 9063 6531. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Levy Michelle , Mole Tom . The Broadview Introduction to Book History . Broadview . [ 2017 ] pp. xx + 236. $31.95 ISBN 9 7815 5481 0871. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Löffler Philipp , ed. Reading the Canon: Literary History in the 21st Century . Winter . [ 2017 ] pp. viii + 458. $50.84 ISBN 9 7838 2536 7206. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Luckhurst Roger , ed. Science Fiction: A Literary History . BL . [ 2017 ] pp. 256. £20 ISBN 9 7807 1235 6923. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Macdonald Michael J. , ed. The Oxford Handbook of Rhetorical Studies . OUP . [ 2017 ] pp. xxiv + 824. $150 ISBN 9 7801 9973 1596. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC MacKay Marina. Modernism, War and Violence . Bloomsbury . [ 2017 ] pp. vi + 178. $29.95 ISBN 9 7814 7259 0077. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC McGann Jerome , ed. Blake or The Huts of America, by Martin R. Delany . HarvardUP . [ 2017 ] pp. xxxiii + 338. $19.95 ISBN 9 7806 7408 8726. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC McNeil Paul. The Visual History of Type . Laurence King . [ 2017 ] pp. 672 . £60 ISBN 9 7817 8067 9761. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC McVeigh Jane. In Collaboration with British Literary Biography: Haunting Conversations . PalMac . [ 2017 ] pp. x + 218. £79.99 ISBN 9 7833 1958 3822. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Moul Victoria , ed. A Guide to Neo-Latin Literature . CUP . [ 2017 ] pp. xxviii + 490. $140 ISBN 9 7811 0702 9293. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Mudge Bradford K. ed. The Cambridge Companion to Erotic Literature . CUP . [ 2017 ] pp. xx + 276. hb $84.99 9 7811 0718 4077, pb $29.99 ISBN 9 7813 1663 5339. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Murtaugh Daniel J. ed. Good Night, Beloved Comrade: The Letters of Denton Welch to Eric Oliver . UWiscP . [ 2017 ] pp. xiv + 218. $29.95 ISBN 9 7802 9931 0103. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Edna Nahshon , and Shapiro Michael , eds. Wrestling With Shylock: Jewish Responses to ‘The Merchant of Venice’ . CUP . [ 2017 ] pp. xxiv + 432. $135 ISBN 9 7811 0701 0277. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Nayar Pramod K. , ed. English Siege and Prison Writings: From the ‘Black Hole’ to the ‘Mutiny’ . Routledge . [ 2017 ] pp. viii + 378. $160 ISBN 9 7811 3823 2686. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Nischik Reingard M. The English Short Story in Canada: From the Dawn of Modernism to the 2013 Nobel Prize . McFarland . [ 2017 ] pp. x + 264. $39.95 ISBN 9 7814 7662 8073. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC North Joseph. Literary Criticism: A Concise Political History . HarvardUP . [ 2017 ] pp. xiv + 256. £31.95 ISBN 9 7806 7496 7731. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC O’Reilly Édouard Magessa , Van Hulle Dirk , Verhulst Pim . The Making of Samuel Beckett’s ‘Molloy’ . UAntwerp/Bloomsbury . [ 2017 ] pp. 416. $43.95 ISBN 9 7814 7253 2565. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Pinkerton Steve. Blasphemous Modernism: The 20th-Century Word Made Flesh . OUP . [ 2017 ] pp. xvi + 184. $69 ISBN 9 7801 9062 7560. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Popham Elizabeth , Pitt David G. , eds. Letters, of E.J. Pratt . UTorP . [ 2017 ] pp. xl + 752. $140 ISBN 9 7814 4265 0237. Google Scholar Crossref Search ADS Google Scholar Google Preview WorldCat COPAC Ralph Barnaby , Kikue Davenport Angela , Nakatsuma Yui , eds. London and Literature, 1603–1901 . CambridgeSP . [ 2017 ] pp. xiv + 156. £45.99 ISBN 9 7814 4381 2757. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Radcliffe Caroline , ed. and introd. The Red Vial: A Drama in Three Acts, by Wilkie Collins. Consultant ed. Andrew Gasson . Francis Boutle in association with the Wilkie Collins Society . [ 2017 ] pp. vi + 82. hb £12.50 no ISBN stated, pb £9.99 [free to members of the Wilkie Collins Society] ISBN 9 7809 9574 7395. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Reed Susan , Tuppen Sandra , eds. The British Library Stefan Zweig Collection: Catalogue of the Literary and Historical Manuscripts . BL . [ 2017 ] pp. xxviii + 288. £150 ISBN 9 7807 1235 6664. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Reeve N.H. , ed. The Jolly Corner and Other Tales, 1903–1910. Cambridge Edition of the Complete Fiction of Henry James 32 . CUP . [ 2017 ] pp. cxxiv + 580. $120 ISBN 9 7811 0700 2753. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Roberts Jane , Darby Trudi L. , eds. English Without Boundaries: Reading English from China to Canada . CambridgeSP . [ 2017 ] pp. xviii + 288. £64.99 ISBN 9 7814 4389 5880. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Sayers Jentery , ed. Making Things and Drawing Boundaries: Experiments in the Digital Humanities . UMinnP . [ 2017 ] pp. x + 350. $35 ISBN 9 7815 1790 2858. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Scheiding Oliver , Bassimir Anja-Maria , eds. Religious Periodicals and Publishing in Transnational Contexts: The Press and the Pulpit . CambridgeSP . [ 2017 ] pp. x + 204. £61.99 ISBN 9 7814 4388 5201. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Shamsie Muneeza , ed. Hybrid Tapestries: The Development of Pakistani Literature in English . [ 2017 ] pp. xvi + 676. $59.95 ISBN 9 7801 9940 3530. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Shillingsburg Peter. Textuality and Knowledge: Essays . PSUP . [ 2017 ] pp. xii + 228. $115 ISBN 9 7802 7107 8502. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Smith G. Stuart. A Life in Code: Pioneer Cryptanalyst Elizebeth Smith Friedman . McFarland . [ 2017 ] pp. viii + 232. $35 ISBN 9 7814 7666 9182. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Smith Nicholas D. An Actor’s Library: David Garrick, Book Collecting and Literary Friendships . OakK . [ 2017 ] pp. xx + 346. $65 ISBN 9 7815 8456 3624. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC Smith Steven Carl. 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TI - XVIII Bibliography, Textual Criticism, and Reference Works
JF - The Year's Work in English Studies
DO - 10.1093/ywes/maz001
DA - 2019-12-01
UR - https://www.deepdyve.com/lp/oxford-university-press/xviii-bibliography-textual-criticism-and-reference-works-14DMQNLSEP
SP - 1309
VL - 98
IS - 1
DP - DeepDyve
ER -