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Even though England, Ireland, Scotland, and Wales were under a common Parliament in the nineteenth century, cultural, economic, and historical differences led to very different values and assumptions about crime and punishment. For example, though the Scots were the most likely to convict accused killers, English, Welsh, and Irish killers were two and a half times more likely to be executed for their crimes. In Certain Other Countries, Carolyn A. Conley explores how the concepts of national identity and criminal violence influenced each other in the Victorian-era United Kingdom. It also addresses the differences among the nations as well as the ways that homicide trials illuminate the issues of gender, ethnicity, family, privacy, property, and class. Homicides reflect assumptions about the proper balance of power in various relationships. For example, Englishmen were ten times more likely to kill women they were courting than were men in the Celtic nations. By combining quantitative techniques in the analysis of over seven thousand cases, as well as careful and detailed readings of individual cases, the book exposes trends and patterns that might not have been evident in works using only one method. For instance, by examining all homicide trials rather than concentrating exclusively on a few highly celebrated ones, it becomes clear that most female killers were not viewed with particular horror, but were treated much like their male counterparts.The conclusions offer challenges and correctives to existing scholarship on gender, ethnicity, class, and violence. The book also demonstrates that the Welsh, Scots, and English remained quite distinct long after their melding as Britons was announced and celebrated. By blending a study of trends in violent behavior with ideas about national identity, Conley brings together rich and hotly debated fields of modern history. This book will be valuable both for scholars of crime and violence as well as for those studying British history.

Finalist, 2021 Locus AwardIn Literary Afrofuturism in the Twenty-First Century, eminent contributors pay tribute to Afrofuturism as a powerful and evolving aesthetic practice that communicates the experience of science, technology, and race across centuries, continents, and cultures. While Ryan Coogler and Janelle Monáe may have helped bring the genre into contemporary pop consciousness, it in fact extends back to the writing of eighteenth-century poet Phyllis Wheatley and has continued in the work of Samuel R. Delany, Octavia E. Butler, N. K. Jemisin, and many others. In examining this heritage, contributors in this volume question generic boundaries, recover lost artists and introduce new ones, and explore how the meteoric rise of a new, pan-African speculative literary tradition may or may not connect with Afrofuturism. Additionally, the editors have marshaled some of today's most exciting writers for a roundtable discussion of the genre: Bill Campbell, Minister Faust, Nalo Hopkinson, N. K. Jemisin, Chinelo Onwualu, Nisi Shawl, and Nick Wood. Pioneering author and editor Sheree R. Thomas limns how black women have led new developments in contemporary Afrofuturism, and artist Stacey Robinson's illustrations orient readers to the spirited themes of this enduring and consequential literary tradition.

Finalist, 2021 Locus AwardIn Literary Afrofuturism in the Twenty-First Century, eminent contributors pay tribute to Afrofuturism as a powerful and evolving aesthetic practice that communicates the experience of science, technology, and race across centuries, continents, and cultures. While Ryan Coogler and Janelle Monáe may have helped bring the genre into contemporary pop consciousness, it in fact extends back to the writing of eighteenth-century poet Phyllis Wheatley and has continued in the work of Samuel R. Delany, Octavia E. Butler, N. K. Jemisin, and many others. In examining this heritage, contributors in this volume question generic boundaries, recover lost artists and introduce new ones, and explore how the meteoric rise of a new, pan-African speculative literary tradition may or may not connect with Afrofuturism. Additionally, the editors have marshaled some of today's most exciting writers for a roundtable discussion of the genre: Bill Campbell, Minister Faust, Nalo Hopkinson, N. K. Jemisin, Chinelo Onwualu, Nisi Shawl, and Nick Wood. Pioneering author and editor Sheree R. Thomas limns how black women have led new developments in contemporary Afrofuturism, and artist Stacey Robinson's illustrations orient readers to the spirited themes of this enduring and consequential literary tradition.

Doing the Right Thing examines the use of extraordinary legislative procedures in four cases in the U.S. Congress to accomplish policy objectives that many political scientists would argue are impossible to achieve. It not only shows that Congress is capable of imposing parochial costs in favor of general benefits but it argues that Congress is able to do so in a variety of policy areas through the use of very different kinds of procedural mechanisms that are underappreciated.The book opens by developing a theory of procedural choice to explain why Congress chooses to delegate in differing degrees in dealing with similar kinds of policy problems. The theory is then applied to four narrative case studies-military base closures, the Yucca Mountain Project, NAFTA, and the Tax Reform Act of 1986-that both show the variety of factors that impact procedural choice and highlight how our national legislature was able to "do the right thing."The book concludes by pointing to the variety of ways in which Congress will be confronted with similar policy problems in the coming years and offering some lessons from these cases about what kinds of procedures and policy outcomes we might expect. In short, Congress is remarkably adept at "doing the right thing," even under difficult circumstances, but only when legislators are willing to manipulate procedures in all the necessary ways.

Paper Money Men: Commerce, Manhood, and the Sensational Public Sphere in Antebellum America by David Anthony outlines the emergence of a "sensational public sphere" in antebellum America. It argues that this new representational space reflected and helped shape the intricate relationship between commerce and masculine sensibility in a period of dramatic economic upheaval. Looking at a variety of sensational media-from penny press newspapers and pulpy dime novels to the work of well-known writers such as Irving, Hawthorne, and Melville-this book counters the common critical notion that the period's sensationalism addressed a primarily working-class audience. Instead, Paper Money Men shows how a wide variety of sensational media was in fact aimed principally at an emergent class of young professional men. "Paper money men" were caught in the transition from an older and more stable mercantilist economy to a panic-prone economic system centered on credit and speculation. And, Anthony argues, they found themselves reflected in the sensational public sphere, a fantasy space in which new models of professional manhood were repeatedly staged and negotiated. Compensatory in nature, these alternative models of manhood rejected fiscal security and property as markers of a stable selfhood, looking instead toward intangible factors such as emotion and race in an effort to forge a secure sense of manhood in an age of intense uncertainty.

"The burden of the past" invoked by any discussion of eclecticism is a familiar aspect of modernity, particularly in the history of literature. The Age of Eclecticism: Literature and Culture in Britain, 1815-1885 by Christine Bolus-Reichert aims to reframe that dynamic and to place it in a much broader context by examining the rise of a manifold eclecticism in the nineteenth century. Bolus-Reichert focuses on two broad understandings of eclecticism in the period-one understood as an unreflective embrace of either conflicting beliefs or divergent historical styles, the other a mode of critical engagement that ultimately could lead to a rethinking of the contrast between creation and criticism and of the very idea of the original. She also contributes to the emerging field of transnational Victorian studies and, in doing so, finds a way to talk about a broader, post-Romantic nineteenth-century culture.By reviving eclecticism as a critical term, Bolus-Reichert historicizes the theoretical language available to us for describing how Victorian culture functioned-in order to make the terrain of Victorian scholarship international and comparative and create a place for the Victorians in the genealogy of postmodernism. The Age of Eclecticism gives Victorianists-and other students of nineteenth-century literature and culture-a new perspective on familiar debates that intersect in crucial ways with issues still relevant to literature in an age of multiculturalism and postmodernism.

Missionary Cosmopolitanism in Nineteenth-Century British Literature explores the notion that missionaries, often perceived as only evangelically motivated in the British imperial project, were also spurred on by cosmopolitan ideals. Winter Jade Werner makes this surprising connection in order to write against standard understandings of missionary work as well as typical understandings of cosmopolitanism as a deeply secular project.Missionary Cosmopolitanism identifies the nineteenth-century novel as thematically and formally attuned to the tension between missionaries' cosmopolitan values and the moral impoverishment of their imperialist and expansionist practices. Werner's chapters interact with canonical works such as Charlotte Brontë's Jane Eyre and Charles Dickens's Bleak House, along with lesser-known works by Robert Southey and Sydney Owenson. Ultimately, Missionary Cosmopolitanism demonstrates that nineteenth-century literature both illustrated and helped define missionary discourses regarding cosmopolitan ideas, showing how global evangelicalism continues to tap into the "new cosmopolitanisms" of today.

How did Mary Shelley's Frankenstein give rise to the iconic green monster everyone knows today? In 1823, only five years after publication, Shelley herself saw the Creature come to life on stage, and this performance shaped the story's future. Suddenly, thousands of people who had never read Shelley's novel were participating in its cultural animation. Similarly, early adaptations magnified the reception and renown of all manner of nineteenth-century literary creations, from Byron and Keats to Dickens and Tennyson and beyond. Yet, until now, adaptation has been seen as a largely modern phenomenon. In Transmedia Adaptation in the Nineteenth Century, Lissette Lopez Szwydky convincingly historicizes the practice of adaptation, drawing on multiple disciplines to illustrate narrative mobility across time, culture, and geography. Case studies from stage plays, literature, painting, illustration, chapbooks, and toy theaters position adaptation as a central force in literary history that ensures continued cultural relevance, accessibility, and survival. The history of these forms helps to inform and put into context our contemporary obsessions with popular media. Finally, in upending a traditional understanding of canon by arguing that adaptation creates canon and not the other way around, Szwydky provides crucial bridges between nineteenth-century literary scholarship, adaptation studies, and media studies, thus identifying new stakes for all.