The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period''s romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant ''other'', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls ''romantic presentism'' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period''s romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant ''other'', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls ''romantic presentism'' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period's romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant 'other', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls 'romantic presentism' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

History and the Ever-Present Now in Antebellum American Writing examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary historysome, but not all of whom, associated with the period's romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism. Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, the book argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant 'other', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls 'romantic presentism' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

Part of the Norton Library seriesThe Norton Library edition of Moby-Dick features the text of the first U.S. edition. An introduction by Jeffrey Insko celebrates the novel as a love letter to language and explores the landscape of allegorical interpretations—from the impending doom of environmental crises to the shifting of sociocultural and intellectual sensibilities—that make the novel as timely today as it was in 1851.The Norton Library is a growing collection of high-quality texts and translations—influential works of literature and philosophy—introduced and edited by leading scholars. Norton Library editions prepare readers for their first encounter with the works that they’ll re-read over a lifetime.Inviting introductions highlight the work’s significance and influence, providing the historical and literary context students need to dive in with confidence.Endnotes and an easy-to-read design deliver an uninterrupted reading experience, encouraging students to read the text first and refer to endnotes for more information as needed.An affordable price (most $10 or less) encourages students to buy the book and to come to class with the assigned edition.About the Editor: Jeffrey Insko is Professor of English at Oakland University in Rochester, Michigan, where he teaches courses in nineteenth-century American Literature and Culture and the Environmental Humanities. He is the author of History, Abolition, and the Ever-Present Now in Antebellum American Writing (2018).

The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period''s romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant ''other'', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls ''romantic presentism'' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period''s romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant ''other'', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls ''romantic presentism'' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

The Ever-Present Now examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary history, some, but not all of whom, associated with the period's romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism.Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, Insko argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant 'other', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls 'romantic presentism' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

History and the Ever-Present Now in Antebellum American Writing examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary historysome, but not all of whom, associated with the period's romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism. Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, the book argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant 'other', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls 'romantic presentism' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

Part of the Norton Library seriesThe Norton Library edition of Moby-Dick features the text of the first U.S. edition. An introduction by Jeffrey Insko celebrates the novel as a love letter to language and explores the landscape of allegorical interpretations—from the impending doom of environmental crises to the shifting of sociocultural and intellectual sensibilities—that make the novel as timely today as it was in 1851.The Norton Library is a growing collection of high-quality texts and translations—influential works of literature and philosophy—introduced and edited by leading scholars. Norton Library editions prepare readers for their first encounter with the works that they’ll re-read over a lifetime.Inviting introductions highlight the work’s significance and influence, providing the historical and literary context students need to dive in with confidence.Endnotes and an easy-to-read design deliver an uninterrupted reading experience, encouraging students to read the text first and refer to endnotes for more information as needed.An affordable price (most $10 or less) encourages students to buy the book and to come to class with the assigned edition.About the Editor: Jeffrey Insko is Professor of English at Oakland University in Rochester, Michigan, where he teaches courses in nineteenth-century American Literature and Culture and the Environmental Humanities. He is the author of History, Abolition, and the Ever-Present Now in Antebellum American Writing (2018).