Betsy Winakur Tontiplaphol is Professor of English at Trinity University in San Antonio, Texas, USA, where she specializes in 19th-century British literature, particularly Romantic poetry. In addition to numerous essays, she is the author of Poetics of Luxury in the Nineteenth Century: Keats, Tennyson, and Hopkins (2011) and The Pointe of the Pen: Nineteenth-Century Poetry and the Balletic Imagination (2021).Anastasia Klimchynskaya is Visiting Assistant Professor of English at Illinois Wesleyan University in Bloomington, Illinois, USA. She specializes in 19th-century literature in its intersections with science, technology, and the cultural imagination, and has published widely on "popular" genres such as detective, Gothic, and science fiction.

Taylor Swift’s artistic and commercial success has not just impacted the language of music, but language itself. This far-reaching volume approaches the superstar from every angle to assess the way Swift reflects and shapes literary culture—and why it matters not just to fans, but to everyone with a voice and a pen.

• Introduction: Blank Spaces, Fresh Pages: Taylor Swift and/as LiteratureBetsy Tontiplaphol, Trinity University, USA, and Anastasia Klimchynskaya, Loyola University Chicago, USAPart 1: All of the Books Beside Your Bed: Engaging the Literary-Historical Canon1. “I haven’t met the new me yet”: folklore/evermore and Taylor Swift’s Self-Fashioned RenaissanceDevori Kimbro, University of Tennessee at Chattanooga, USA2. Big Reputation: Reading Taylor Swift and/with 18th-Century Women WritersBridget Donnelly, Middle Tennessee State University, USA3. “Just to break me like a promise”: Taylor Swift as Romantic HeroineRita J. Dashwood, Edge Hill University, UK4. “What are my 'Wordsworth'?”: Taylor Swift’s New RomanticismBrittany Reid, Thompson Rivers University, Canada, and Taylor McKee, Brock University, Canada 5. Baby, We're the Late Romantics: Taylor Swift and the English BiedermeierBetsy Winakur Tontiplaphol, Trinity University, USA 6. Modernist Intertextualities in folklore and evermoreJennifer Smith, North Central College, Illinois, USAPart 2: Every Version of Yourself Tonight: Examining Gender, Sexuality, and Race7. The Death of the Pop Auteur: Taylor Swift’s Feminist Politics of Collaboration and RevisionStephen Grandchamp, University of Maine at Farmington, USA8. “No one likes a mad woman”: The Crazy Ex-Girlfriend Trope and/as Feminist Resistance in Taylor Swift’s Music and MythologyRyanne Kap, University of Calgary, Canada9. Female Millennial Rage: The Weaponization of CottagecoreKatherine Murray, Independent Scholar10. “She would’ve made such a lovely bride”: Queer Anxieties on folklore and evermoreErin Geary, Independent Scholar11. What It Means to Shake It Off: Taylor Swift, Race, and CitizenshipShaun Cullen, Independent ScholarPart 3: Time, Curious Time: (Re-)Writing Memory12. “Time, curious time”: Memory, Agency, and Elastic Temporality in Taylor SwiftMiranda Steege, University of California, Riverside, USA13. “Say you’ll remember me … all too well”: Taylor Swift’s Mobilizing and Monopolizing Memory WorkMaggie Laurel Boyd, Boston University, USA14. “Scrap[s] of you”: Textures of Loss in Swift’s folklore and evermore Claire Hurley, University of Kent, UK15. "The corner I haunt": Trauma, Time, and Space in Taylor Swift's Post-Hiatus OeuvreCarolin Isabel Steiner, Hochschule Mittweida, GermanyPart 4: This Ain’t a Fairy Tale: Considering Craft, Genre, and Mediation16. Show, Don’t Tell? How Taylor Swift Does Both and Complicates a Writing ClichéSamantha Bañal, Independent Scholar17. "I never knew I could feel that much": Taylor Swift's Recuperative Aesthetics of ExcessAnastasia Klimchynskaya, Loyola University Chicago, USA18. The Paradox of Defamiliarization and Hyperfamiliarity in Taylor Swift’s SongwritingMargrét Ann Thors, University of Iceland19. “This is me trying”: Autofiction and Taylor SwiftMaria Juko, University of Hamburg, Germany20. (Taylor’s Version): Authenticity and Aura in Taylor Swift’s Re-RecordingsMeghan Kuehnle, The Ohio State University, USAContributors Index

Betsy Winakur Tontiplaphol is Professor of English at Trinity University in San Antonio, Texas, USA, where she specializes in 19th-century British literature, particularly Romantic poetry. In addition to numerous essays, she is the author of Poetics of Luxury in the Nineteenth Century: Keats, Tennyson, and Hopkins (2011) and The Pointe of the Pen: Nineteenth-Century Poetry and the Balletic Imagination (2021).Anastasia Klimchynskaya is Visiting Assistant Professor of English at Illinois Wesleyan University in Bloomington, Illinois, USA. She specializes in 19th-century literature in its intersections with science, technology, and the cultural imagination, and has published widely on "popular" genres such as detective, Gothic, and science fiction.

Taylor Swift’s artistic and commercial success has not just impacted the language of music, but language itself. This far-reaching volume approaches the superstar from every angle to assess the way Swift reflects and shapes literary culture—and why it matters not just to fans, but to everyone with a voice and a pen.

• Introduction: Blank Spaces, Fresh Pages: Taylor Swift and/as LiteratureBetsy Tontiplaphol, Trinity University, USA, and Anastasia Klimchynskaya, Loyola University Chicago, USAPart 1: All of the Books Beside Your Bed: Engaging the Literary-Historical Canon1. “I haven’t met the new me yet”: folklore/evermore and Taylor Swift’s Self-Fashioned RenaissanceDevori Kimbro, University of Tennessee at Chattanooga, USA2. Big Reputation: Reading Taylor Swift and/with 18th-Century Women WritersBridget Donnelly, Middle Tennessee State University, USA3. “Just to break me like a promise”: Taylor Swift as Romantic HeroineRita J. Dashwood, Edge Hill University, UK4. “What are my 'Wordsworth'?”: Taylor Swift’s New RomanticismBrittany Reid, Thompson Rivers University, Canada, and Taylor McKee, Brock University, Canada 5. Baby, We're the Late Romantics: Taylor Swift and the English BiedermeierBetsy Winakur Tontiplaphol, Trinity University, USA 6. Modernist Intertextualities in folklore and evermoreJennifer Smith, North Central College, Illinois, USAPart 2: Every Version of Yourself Tonight: Examining Gender, Sexuality, and Race7. The Death of the Pop Auteur: Taylor Swift’s Feminist Politics of Collaboration and RevisionStephen Grandchamp, University of Maine at Farmington, USA8. “No one likes a mad woman”: The Crazy Ex-Girlfriend Trope and/as Feminist Resistance in Taylor Swift’s Music and MythologyRyanne Kap, University of Calgary, Canada9. Female Millennial Rage: The Weaponization of CottagecoreKatherine Murray, Independent Scholar10. “She would’ve made such a lovely bride”: Queer Anxieties on folklore and evermoreErin Geary, Independent Scholar11. What It Means to Shake It Off: Taylor Swift, Race, and CitizenshipShaun Cullen, Independent ScholarPart 3: Time, Curious Time: (Re-)Writing Memory12. “Time, curious time”: Memory, Agency, and Elastic Temporality in Taylor SwiftMiranda Steege, University of California, Riverside, USA13. “Say you’ll remember me … all too well”: Taylor Swift’s Mobilizing and Monopolizing Memory WorkMaggie Laurel Boyd, Boston University, USA14. “Scrap[s] of you”: Textures of Loss in Swift’s folklore and evermore Claire Hurley, University of Kent, UK15. "The corner I haunt": Trauma, Time, and Space in Taylor Swift's Post-Hiatus OeuvreCarolin Isabel Steiner, Hochschule Mittweida, GermanyPart 4: This Ain’t a Fairy Tale: Considering Craft, Genre, and Mediation16. Show, Don’t Tell? How Taylor Swift Does Both and Complicates a Writing ClichéSamantha Bañal, Independent Scholar17. "I never knew I could feel that much": Taylor Swift's Recuperative Aesthetics of ExcessAnastasia Klimchynskaya, Loyola University Chicago, USA18. The Paradox of Defamiliarization and Hyperfamiliarity in Taylor Swift’s SongwritingMargrét Ann Thors, University of Iceland19. “This is me trying”: Autofiction and Taylor SwiftMaria Juko, University of Hamburg, Germany20. (Taylor’s Version): Authenticity and Aura in Taylor Swift’s Re-RecordingsMeghan Kuehnle, The Ohio State University, USAContributors Index

Betsy Winakur Tontiplaphol is Professor of English at Trinity University in San Antonio, Texas, USA, where she specializes in 19th-century British literature, particularly Romantic poetry. In addition to numerous essays, she is the author of Poetics of Luxury in the Nineteenth Century: Keats, Tennyson, and Hopkins (2011) and The Pointe of the Pen: Nineteenth-Century Poetry and the Balletic Imagination (2021).Anastasia Klimchynskaya is Visiting Assistant Professor of English at Illinois Wesleyan University in Bloomington, Illinois, USA. She specializes in 19th-century literature in its intersections with science, technology, and the cultural imagination, and has published widely on "popular" genres such as detective, Gothic, and science fiction.

Taylor Swift’s artistic and commercial success has not just impacted the language of music, but language itself. This far-reaching volume approaches the superstar from every angle to assess the way Swift reflects and shapes literary culture—and why it matters not just to fans, but to everyone with a voice and a pen.

• Introduction: Blank Spaces, Fresh Pages: Taylor Swift and/as LiteratureBetsy Tontiplaphol, Trinity University, USA, and Anastasia Klimchynskaya, Loyola University Chicago, USAPart 1: All of the Books Beside Your Bed: Engaging the Literary-Historical Canon1. “I haven’t met the new me yet”: folklore/evermore and Taylor Swift’s Self-Fashioned RenaissanceDevori Kimbro, University of Tennessee at Chattanooga, USA2. Big Reputation: Reading Taylor Swift and/with 18th-Century Women WritersBridget Donnelly, Middle Tennessee State University, USA3. “Just to break me like a promise”: Taylor Swift as Romantic HeroineRita J. Dashwood, Edge Hill University, UK4. “What are my 'Wordsworth'?”: Taylor Swift’s New RomanticismBrittany Reid, Thompson Rivers University, Canada, and Taylor McKee, Brock University, Canada 5. Baby, We're the Late Romantics: Taylor Swift and the English BiedermeierBetsy Winakur Tontiplaphol, Trinity University, USA 6. Modernist Intertextualities in folklore and evermoreJennifer Smith, North Central College, Illinois, USAPart 2: Every Version of Yourself Tonight: Examining Gender, Sexuality, and Race7. The Death of the Pop Auteur: Taylor Swift’s Feminist Politics of Collaboration and RevisionStephen Grandchamp, University of Maine at Farmington, USA8. “No one likes a mad woman”: The Crazy Ex-Girlfriend Trope and/as Feminist Resistance in Taylor Swift’s Music and MythologyRyanne Kap, University of Calgary, Canada9. Female Millennial Rage: The Weaponization of CottagecoreKatherine Murray, Independent Scholar10. “She would’ve made such a lovely bride”: Queer Anxieties on folklore and evermoreErin Geary, Independent Scholar11. What It Means to Shake It Off: Taylor Swift, Race, and CitizenshipShaun Cullen, Independent ScholarPart 3: Time, Curious Time: (Re-)Writing Memory12. “Time, curious time”: Memory, Agency, and Elastic Temporality in Taylor SwiftMiranda Steege, University of California, Riverside, USA13. “Say you’ll remember me … all too well”: Taylor Swift’s Mobilizing and Monopolizing Memory WorkMaggie Laurel Boyd, Boston University, USA14. “Scrap[s] of you”: Textures of Loss in Swift’s folklore and evermore Claire Hurley, University of Kent, UK15. "The corner I haunt": Trauma, Time, and Space in Taylor Swift's Post-Hiatus OeuvreCarolin Isabel Steiner, Hochschule Mittweida, GermanyPart 4: This Ain’t a Fairy Tale: Considering Craft, Genre, and Mediation16. Show, Don’t Tell? How Taylor Swift Does Both and Complicates a Writing ClichéSamantha Bañal, Independent Scholar17. "I never knew I could feel that much": Taylor Swift's Recuperative Aesthetics of ExcessAnastasia Klimchynskaya, Loyola University Chicago, USA18. The Paradox of Defamiliarization and Hyperfamiliarity in Taylor Swift’s SongwritingMargrét Ann Thors, University of Iceland19. “This is me trying”: Autofiction and Taylor SwiftMaria Juko, University of Hamburg, Germany20. (Taylor’s Version): Authenticity and Aura in Taylor Swift’s Re-RecordingsMeghan Kuehnle, The Ohio State University, USAContributors Index