Mary L. Shannon - Böcker

The story of William Waters, Black street performer in Regency London, and how his huge celebrity took on a life of its own  Every child in Regency London knew Billy Waters, the celebrated “King of the Beggars.” Likely born into enslavement in 1770s New York, he became a Royal Navy sailor. After losing his leg in a fall from the rigging, the talented and irrepressible Waters became London’s most famous street performer. His extravagantly costumed image blazed across the stage and in print to an unprecedented degree.  For all his contemporary renown, Waters died destitute in 1823—but his legend would live on for decades.  Mary L. Shannon’s biography draws together surviving traces of Waters’ life to bring us closer to the historical figure underlying them. Considering Waters’ influence on the London stage and his echoing resonances in visual art, and writing by Douglass, Dickens, and Thackeray, Shannon asks us to reconsider Black presences in nineteenth-century popular culture. This is a vital attempt to recover a life from historical obscurity—and a fascinating account of what it meant to find fame in the Regency metropolis.

This essay collection proposes that G.W.M. Reynolds’s contribution to Victorian print culture reveals the interrelations between authorship, genre, and radicalism in popular print culture of the nineteenth century. As a best-selling author of popular fiction marketed to the lower classes, and a passionate champion of radical politics and "the industrious classes," Reynolds and his work demonstrate the relevance of Victorian Studies to topics of pressing contemporary concern including populism, working-class fiction, the concept of ‘originality’, and the collective scholarly endeavour to ‘widen’ and ‘undiscipline’ Victorian Studies. Bringing together well-known and newly-emerging scholars from across different disciplinary perspectives, the volume explores the importance of Reynolds Studies to scholarship on the nineteenth-century. This book will appeal to students and scholars of the nineteenth-century press, popular culture, and of authorship, as well as to Victorian Studies scholars interested in the translation of Victorian texts into new and indigenous markets.

A glance over the back pages of mid-nineteenth-century newspapers and periodicals published in London reveals that Wellington Street stands out among imprint addresses. Between 1843 and 1853, Household Words, Reynolds’s Weekly Newspaper, the Examiner, Punch, the Athenaeum, the Spectator, the Morning Post, and the serial edition of London Labour and the London Poor, to name a few, were all published from this short street off the Strand. Mary L. Shannon identifies, for the first time, the close proximity of the offices of Charles Dickens, G.W.M. Reynolds, and Henry Mayhew, examining the ramifications for the individual authors and for nineteenth-century publishing. What are the implications of Charles Dickens, his arch-competitor the radical publisher G.W.M. Reynolds, and Henry Mayhew being such close neighbours? Given that London was capital of more than Britain alone, what connections does Wellington Street reveal between London print networks and the print culture and networks of the wider empire? How might the editors’ experiences make us rethink the ways in which they and others addressed their anonymous readers as ’friends’, as if they were part of their immediate social network? As Shannon shows, readers in the London of the 1840s and '50s, despite advances in literacy, print technology, and communications, were not simply an ’imagined community’ of individuals who read in silent privacy, but active members of an imagined network that punctured the anonymity of the teeming city and even the empire.

This essay collection proposes that G.W.M. Reynolds’s contribution to Victorian print culture reveals the interrelations between authorship, genre, and radicalism in popular print culture of the nineteenth century. As a best-selling author of popular fiction marketed to the lower classes, and a passionate champion of radical politics and "the industrious classes," Reynolds and his work demonstrate the relevance of Victorian Studies to topics of pressing contemporary concern including populism, working-class fiction, the concept of ‘originality’, and the collective scholarly endeavour to ‘widen’ and ‘undiscipline’ Victorian Studies. Bringing together well-known and newly-emerging scholars from across different disciplinary perspectives, the volume explores the importance of Reynolds Studies to scholarship on the nineteenth-century. This book will appeal to students and scholars of the nineteenth-century press, popular culture, and of authorship, as well as to Victorian Studies scholars interested in the translation of Victorian texts into new and indigenous markets.

This collection of essays takes a fresh look at the important role of illustration in Romantic literature. The late eighteenth century saw an explosion of illustrated editions of literary classics and the emergence of a new culture of literary art, including the innovative literary galleries. The impact of these developments on the reading and viewing of literary texts is explored in a series of case studies covering poetry, historical texts, drama, painting, reproductive prints, magazines and ephemera. Romanticism and Illustration argues for a more detailed study of illustration which includes the context of a wider circulation of images across different media. The modern understanding of the word 'illustration' fails to convey the complex relationship between the artist, the engraver, the publisher, the text and the audience in Romantic Britain. In teasing out the implications of this dynamic cultural matrix, this book opens up a new field of Romantic studies.