Edinburgh Studies in Transatlantic Literatures

Winner of the 2014 British Association for American Studies Book Prize

Explores the interaction of literature and music in the Atlantic world in the age of Enlightenment and Romanticism

This new study looks at the relationship of rhetoric and music in the era’s intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson, William Billings and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.

Key Features

• The first study devoted to literature and music in the Atlantic world
• Includes detailed examination of works by canonical and lesser known eighteenth- and nineteenth-century American writers and composers
• Shows the intertwining of European and American cultural forms
• Integrates the history of music and the history of subjectivity

The first book devoted to Coleridge’s influence on Emerson and the development of American Transcendentalism

As Samantha C. Harvey demonstrates, Samuel Taylor Coleridge’s thought galvanized Emerson at a pivotal moment in his intellectual development in the years 1826-1836, giving him new ways to harmonize the Romantic triad of nature, spirit, and humanity. Emerson did not think about Coleridge: he thought with Coleridge, resulting in a unique case of assimilative influence. In addition to examining his specific literary, philosophical, and theological influences on Emerson, this book reveals Coleridge’s centrality for Boston Transcendentalism and Vermont Transcendentalism, a movement which profoundly affected the development of modern higher education, the national press, and the emergence of Pragmatism.

Key Features

• Illuminates how the emerging field of transatlantic studies has opened new circulatory spaces to reconsider the relationship between Coleridge and Emerson
• Asserts Coleridge as the single most important influence on Emerson’s early essays
• Examines the centrality of nature in the dynamic context of Transatlantic Romanticism
• Highlights the essential but overlooked legacy of Coleridge’s dynamic principles of method for Emerson and for Boston and Vermont Transcendentalism

A transnational study of the American Renaissance which explores the literary circulation of Middle Eastern translations of 19th-century U.S. literature

In a pioneering approach to classic U.S. Literature, Jeffrey Einboden traces the global afterlives of literary icons from Washington Irving to Walt Whitman and analyses 19th-century American authors as they now appear in Arabic, Hebrew and Persian translation. Crossing linguistic, cultural and national boundaries, Middle Eastern renditions of U.S. texts are interrogated as critical readings and illuminating revisions of their American sources. Why does Moby-Dick both invite and resist Arabic translation? What are the religious and aesthetic implications of re-writing Leaves of Grass in Hebrew? How does rendering The Scarlet Letter into Persian transform Hawthorne's infamous symbol? Uncovering the choices and changes made by prominent Middle Eastern translators, this study is the first to reveal the significance of 'orienting' American classics, demonstrating how such a process offers a valuable lens for reconsidering U.S. literary origins, accenting and amplifying facets of the American Renaissance customarily hidden.

Key Features

• Advances Transatlantic Studies through expanding the field's critical perspective and methods, revealing the Middle East as a significant region for American literary receptions, and translation as an instructive lens for re-evaluating U.S. classics
• Provides vital transnational readings of Washington Irving, Henry Wadsworth Longfellow, Nathaniel Hawthorne, Herman Melville and Walt Whitman previously unacknowledged in American Studies
• Develops and promotes a theory of global literary circulation, situating the American Renaissance as a pivotal movement, reaching back to ancient Middle Eastern sources, and forward to developing Middle Eastern transmissions.

Provides an alternative account of the modernist transatlantic

Transatlantic Avant-Gardes offers a revisionary account of the evolution of twentieth-century modernism. Complimenting recent studies of modernist expatriates, Eric White explores new points of contact between European and American avant-gardes to place ‘located’ figures such as William Carlos Williams, Marianne Moore, Wallace Stevens, Jean Toomer, and Alfred Kreymborg back into the 'global design' of literary modernism. Focusing on artist-run 'little magazines' (including Others, Contact, The Little Review, Blast, The Dial, Fire!!, and Pagany) and selected fine press publications and mainstream periodicals, White also reconsiders the boundaries that traditionally divide modernist literature into 'exile' and 'localist', or 'regionalist' and 'cosmopolitan', factions. Thus, the book proposes a version of localist modernism that prioritises issues of geographic and textual 'location' to deliver a 'networked' approach to American modernism in the transatlantic context. Combining literary-historical, textual, and cultural criticism, Transatlantic Avant-Gardes provides a new reading of the specialised literary networks that interrogated the relationship between geographic place, textual space and national identity in the modernist transatlantic.

Key Features:

• Provides a new account of the literary avant-gardes that questioned the relationship between geographic place, textual space and national identity
• Complements modernist studies of American expatriates
• Combines literary-historical, textual, and cultural criticism to deliver a ‘networked’ reading of American modernism in the transatlantic context
• Proposes a version of ‘localist modernism’ that prioritises issues of geographic and textual ‘location’ in transnational literary studies

By looking beyond the page and into the extraordinary lives of Walt Whitman, Henry Wadsworth Longfellow, Grace Greenwood, Ralph Waldo Emerson, Margaret Fuller and Frederick Douglass, this book uncovers their startling contributions to transatlantic culture and makes the argument that literature is dependent upon other modes of professional creativity in order to thrive.

Leslie Elizabeth Eckel shows how these six figures shaped their careers in the fields of education, journalism, public lecturing and editing in productive relation to their development as imaginative writers. To see Walt Whitman co-producing foreign editions of his work with British poets while exuberantly breaking free from verse strictures on the page, or to witness Margaret Fuller reporting from the battle ground in revolutionary Rome as well as writing her country’s first feminist treatise is to comprehend more deeply the ways in which these writers acted in the transatlantic sphere. By practicing Atlantic citizenship, they were able to achieve critical distance from the United States and, paradoxically, to catalyse its ongoing growth.

Key Features

• Questions the American" identity of representative authors, even as they test the moral and geographical limits of American nationality
• Demonstrates the political and commercial power of transatlantic networking
• Illuminates literature’s dependence upon other modes of professional creativity
• Examines archival documents alongside familiar literary works

Transnationalism in Practice brings together fourteen essays written by Paul Giles between 1994 and 2009 on the subjects of American studies, literature and religion.

In an introduction written especially for the collection, Giles traces the evolution of critical transnationalism as it developed through the 1980s and 1990s. The volume includes Reconstructing American Studies" (1994), one of the first articles to address the field from a transnational perspective, along with other pieces on methodological and practical issues surrounding the internationalization of American studies.

The essays on American literature contain work on Theodore Dreiser, Henry James and the critic F. O. Matthiessen, along with a new study of Jamaica Kincaid in relation to postcolonialism. The section on religion traces the circulation of secularized forms of Catholicism in U.S. culture, from nineteenth-century slave narratives to the musical performances of Bruce Springsteen.

Transnationalism in Practice ranges widely, from the culture of colonial America to the novels of Robert Coover and Kathy Acker, while also encompassing a broad range of interdisciplinary topics, from the presidency of George W. Bush to the role of religion in American society. This book will be of interest to all of those concerned with the place of U.S. culture in the world today.

In Mercenaries in British and American Literature, 1790-1830, Erik Simpson proposes the mercenary as a meeting point of psychological, national, and ideological issues that connected the severed nations of Britain and America following the American Revolution.

When writers treat the figure of the mercenary in literary works, the general issues of incentive, independence, and national service become intertwined with two of the well-known social developments of the period: an increased ability of young people to choose their spouses and the shift from patronage to commercial, market-based support of authorship. While the slave, a traditional focus of transatlantic studies, troubles the rhetoric of liberty through a lack of autonomy and consent, the mercenary raises questions about liberty by embodying its excess. Simpson argues that the mercenary of popular imagination takes monstrous advantage of modern freedoms by contracting away the ostensibly natural and foundational bonds of civil society.

Substantial primary research underpins an argument with suggestive metaphorical and symbolic implications traced through a range of writing by Charles Brockden Brown, Charlotte Smith, Walter Scott, Lord Byron, and James Fenimore Cooper. These writers present mercenary action with unusual complexity and self-awareness, reaching beyond propaganda to explore the problematic nature of the mercenary at the nexus of fighting, writing, and marrying for money.

Robert Southey did not exaggerate when he described the England of his day as "South American mad." As Spain's hold on its colonies progressively weakened during the late eighteenth and early nineteenth centuries, thousands of British scientists, soldiers, entrepreneurs, and settlers rushed to take advantage of the enticing opportunities Spanish America offered. Britain's fascination with the region displayed itself in poems, plays, operas, political tracts, news reportage, travel narratives, and stock market quotations. Creole patriots such as Francisco de Miranda and Andrés Bello gathered in London to solicit aid for their revolutions while ministers debated tactics for liberating both the peoples and the untapped wealth of Spain's colonies.

Through critical reconsiderations of both canonical and lesser-known Romantic texts, from Helen Maria Williams's Peru to Samuel Rogers's The Voyage of Columbus and Byron's The Age of Bronze, Heinowitz reveals the untold story of Romantic-era Britain's Spanish American obsession. Although historians have traditionally characterized Britain's relationship with Spanish America as commercial rather than colonial, this book explores the significant rhetorical overlap between formal and informal strategies of rule. In the absence of a coherent imperial policy regarding Spain's colonies, Britain struggled to justify its actions by means of the problematic assertion that British primacy was authorized by a political, cultural, ethical, and even historical identification with the peoples of Spanish America. By examining the ways in which this discourse of British-Spanish American similitude was deployed and increasingly strained throughout the late eighteenth and early nineteenth centuries, Heinowitz demonstrates that British writing about Spanish America redefines the anxieties, ambivalences, and contradictions that characterize Romantic Imperialism.

Cultural Authority in the Age of Whitman deals with narratives of cultural legitimation in nineteenth-century US literature, in a transatlantic context. Exploring how literary professionalism shapes romantic and modern cultural space, Leypoldt traces the nineteenth-century fusion of poetic radicalism with cultural nationalism from its beginnings in transatlantic early romanticism, to the poetry and poetics of Walt Whitman, and Whitman's modernist reinvention as an icon of a native avant-garde.

Whitman made cultural nationalism compatible with the rhetorical needs of professional authorship by trying to hold national authenticity and literary authority in a single poetic vision. Yet the notion that his 'language experiment' transformed essential democratic experience into a genuine American aesthetics also owes much to Whitman's retrospective canonization. What Leypoldt calls Whitmanian authority is thus a transatlantic and transhistorical discursive construct that can be approached from four angles: this book begins with an overview of transatlantic contexts such as the 19th-century literary field (Bourdieu) and the romantic turn to expressivism (Taylor); a detailed analysis of how Whitman's positions develop from the intellectual habitus and cultural criticism of Ralph Waldo Emerson follows, and in a third section Whitmanian authority is located within three conceptual fields that function as contact zones for European and American theories of culture: romantic notions of national style as a kind of music; place-centered concepts of national aesthetics; and traditional ideas about the aesthetic effects of democratic institutions. The final section, on Whitman's reinvention between the 1870s and the 1940s, discusses how the heterogeneous nineteenth-century perceptions of Whitman's work were streamlined into a modernist version of Whitman's nationalist program.

Transatlantic Women's Literature is a valuable contribution to the evolving debate surrounding Transatlantic Studies and transatlantic literature. Its originality and importance lie in its focus on 20th-century women's narratives of travel and adventure, and its deliberate expansion of the Transatlantic concept beyond the familiar US–UK axis to include Canada, South America, the Caribbean, and Eastern Europe. The crisscrossing of the Atlantic is contested and problematised throughout. The book explores culturally resonant literature that imagines ‘views from both sides’ and examines the imaginary, ‘in-between’ space of the Atlantic. It offers a considered exploration of the way in which the space of the Atlantic and women's space work together in the construction of meaning in transatlantic texts.

Focusing on contemporary literature, this book engages with a range of texts, from novellas and novels to essays, memoirs, and travel literature. Nella Larsen's Quicksand is read alongside Bharati Mukherjee's Jasmine in relation to constructions of the exotic; Eva Hoffman's Lost in Translation is explored in relation to travel memoirs such as Jenny Diski's Skating to Antarctica and Stranger on a Train; and Anne Tyler's transatlantic novel The Accidental Tourist is read alongside her latest transpacific novel, Digging to America and Isabel Allende's Daughter of Fortune. Readers will gain an appreciation of the complexity of the transatlantic narrative and the ways in which these narratives are defined by and infused with gender considerations.

Heidi Slettedahl Macpherson's homepage

During the 19th century the U.S. and Britain came to share an economic profile unparalleled in their respective histories. This book suggests that this early high capitalism came to serve as the ground for a new kind of cosmopolitanism in the age of literary realism, and argues for the necessity of a transnational analysis based upon economic relationships of which people on both sides of the Atlantic were increasingly conscious. The nexus of this exploration of economics, aesthetics and moral philosophy is philanthropy.

Pushing beyond reductive debates over the benevolent or mercenary qualities of industrial era philanthropy, the following questions are addressed: what form and function does philanthropy assume in British and American fiction respectively? What are the rhetorical components of a discourse of philanthropy and in which cultural domains did it operate? How was philanthropy practiced and represented in a period marked by self-interest and rational calculation? The author explores the relationship between philanthropy and literary realism in novels by Charles Dickens, Nathaniel Hawthorne, George Eliot, and William Dean Howells, and examines how each used the figure of philanthropy both to redefine the sentiments that informed social identity and to refashion their own aesthetic practices.

The heart of this study consists of two comparative sections: the first contains chapters on contemporaries Hawthorne and Dickens; the second contains chapters on second-generation realists Eliot and Howells in order to examine the altruistic imagination at a culminating point in the history of literary realism.

This book identifies and interprets the longstanding ideological and aesthetic dialogue between the literary imaginations of Anglo-Ireland and the Anglo-American South.

It offers a rich comparative examination of nineteenth- and twentieth-century Irish and American Southern plantation literatures and their respective representations of race and nation, gender and sexuality, region and landscape, and the gothic imagination. Pairing major writers from both traditions, including Maria Edgeworth, William Faulkner, Oscar Wilde, Katherine Anne Porter and Elizabeth Bowen, the book shows how this transatlantic dialogue coalesced around questions of power, supremacy, and gentility: writers in Anglo-Irish and Anglo-Southern literary traditions recognized and spoke to each other through the discourse of aristocracy.

As the book demonstrates, from the early nineteenth-century onwards, Irish and Anglo-Southern writers conducted a sustained exploration into constructions of aristocracy through the figure of the dissipated, deviant gentleman (or lady): the dandy. By augmenting literary analysis with a variety of historical, biographical, archival and visual materials, including nineteenth-century trade cards, original letters, and twentieth-century photographic portraits, the book offers readers a wide-ranging, interdisciplinary illumination of transatlantic modernism.

This study takes as its point of departure an essential premise: that the widespread phenomenon of expatriation in American modernism is less a flight from the homeland than a dialectical return to it, but one which renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are traditionally seen as providing. In this framework, similarly totalising notions of cultural authenticity are seen to govern both exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' At the same time, cosmopolitanism, translation, and multilingualism become often eroticised tropes of violation of this model, and in consequence, simultaneously courted and abhorred, in a movement which, if crystallised in expatriate modernism, continued to make its presence felt beyond.

Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialised aesthetic of Spicer’s peer, John Ashbery. Through an emphasis on modernism as a space of generalized interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism, and modernism.

Challenges critical assumptions about the way Aestheticism responded to anxieties about nationality, sexuality, identity, influence, originality and morality

This book, the first fully sustained reading of Henry James’s and Oscar Wilde’s relationship, reveals why the antagonisms between both authors are symptomatic of the cultural oppositions within Aestheticism itself. The book also shows how these conflicting energies animated the late nineteenth century’s most exciting transatlantic cultural enterprise.Richly illustrated and historically detailed, this study of James’s and Wilde’s intricate, decades-long relationship brings to light Aestheticism’s truly transatlantic nature through close readings of both authors’ works, as well as nineteenth-century art, periodicals and rare manuscripts. As Mendelssohn shows, both authors were deeply influenced by the visual and decorative arts, and by contemporary artists such as George Du Maurier and James McNeill Whistler. Henry James, Oscar Wilde and Aesthetic Culture offers a nuanced reading of a complex relationship that promises to transform the way in which we imagine late nineteenth-century British and American literary culture.

Key Features

• The first study devoted exclusively to Wilde and James, who are the most important Irish and American nineteenth-century authors
• Rewrites standard assumptions about James's and Wilde's relationship and traces its implications for British and American Aestheticism
• Redefines Aestheticism and offers full re-readings of late nineteenth-century literature, visual and material culture, theatre, as well as psychology and sexual identity
• Refers to several previously unpublished letters by Henry James

Longlisted for the Wales Book of the Year 2007

Writing in 1903, W. E. B. Du Bois suggested that the goal for the African-American was 'to be a co-worker in the kingdom of culture'.

He was evoking 'culture' as a solution to the divisions within society, thereby adopting, in a very different context, an idea that had been influentially expressed by Matthew Arnold in the 1860s. Du Bois questioned the assumed universality of this concept by asking who, ultimately, is allowed into the 'kingdom of culture'? How does one come to speak from a position of cultural authority?

This book adopts a transatlantic approach to explore these questions. It centres on four Victorian 'men of letters' - Matthew Arnold, William Dean Howells, W. B. Yeats and W. E. B. Du Bois - who drew on notions of ethnicity as a basis from which to assert their cultural authority. In comparative close readings of these figures Daniel Williams addresses several key areas of contemporary literary and cultural debate. The book questions the notion of 'the West' as it appears and re-appears in the formulations of postcolonial theory, challenges the widespread tendency to divide nationalism into 'civic' and 'ethnic' forms, and forces its readers to reconsider what they mean when they talk about 'culture', 'identity' and 'national literature'.

Key Features

• Offers a substantial, innovative intervention in transatlantic debates over race and ethnicity
• Uses 4 intriguing authors to explore issues of national identity, racial purity and the use of literature as a marker of 'cultural capital'
• A unique focus on Celtic identity in a transatlantic context
• Sets up a dialogue between writers who believe in national identity and those who believe in cultural distinctiveness