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This book examines the life of popular Victorian-era writer Mary Edwards Bryan up to publication of her first novel Manch. Its purpose is twofold. First, it aims to document the fascinating story of Bryan’s first forty years, an experience that ran significantly counter to much of what generally is understood about her background and influences. Second, it attempts to underscore Bryan’s remarkable talents as a southern writer, who, although know for mass-market Victorian fiction, craved the opportunity to express herself realistically. The book contains an introduction, twelve chapters, and an afterword. They cover her family origins, her birth in 1839, and each year following to 1880. The chapters are organized chronologically. Each but one is divided between biographical material and Bryan’s own writings treating the featured period in her life.

Ordinary Masochisms argues for literary alternatives to pervasive dictatorial norms about masochism that first surface in Victorian literature, reach their pioneering pinnacle in the modernist moment, and are expressly mourned in post-modern texts. In particular, the literary works discussed all challenge the more popular term “sadomasochism” as a conglomerate form of perversion that was named and studied in the late nineteenth century. Underscoring close textual analyses with modern theories of masochism as empowering, this book argues that Charlotte Brontë Villette (1853), George Moore’s A Drama in Muslin (1886), D.H. Lawrence’s The Rainbow (1915), and Jean Rhys’s Quartet (1928) all experiment with masochistic relationships that extend far beyond reductive early readings of inherently feminine or sexually aberrant masochism. Ordinary Masochisms begins with a historical and theoretical examination of masochism’s treatment during the nineteenth, twentieth, and twenty-first centuries before moving to an examination of the Biblical tale of Samson and Delilah in conjunction with Leopold von Sacher-Masoch’s Venus in Furs (1870), from which masochism garners its name. An intermediary chapter treats Octave Mirbeau’s The Torture Garden (1903) as a case study transitioning between sexological and psychoanalytical discourses of the nineteenth and twentieth centuries, while the conclusion about Ian McEwan’s The Comfort of Strangers (1981) addresses masochism’s seeming inability to recuperate itself from categories of deviance, despite the success of contemporary popular culture representations. The book closes with a brief consideration of masochistic reading, a subtle undercurrent of the project as a whole.

Although “snail mail” may seem old fashioned and outdated in the twenty-first century, this book argues that the creation of the Penny Post in Victorian England was just as revolutionary in its time as e-mail and text messages are today. Until Queen Victoria instituted the Postal Reform Act of 1839, mail was a luxury affordable only by the rich. Allowing anyone, from any social class, to send a letter anywhere in the country for only a penny had multiple and profound cultural impacts. The author demonstrates how cheap postage — which was quickly adopted in other countries — led to a postal “network” that can be viewed as a forerunner of computer-mediated communications. Indeed, the revolution in letter writing of the nineteenth century led to blackmail, frauds, unsolicited mass mailings, and junk mail — problems that remain with us today.

The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.

Henry David Thoreau, one of America's most prominent environmental writers, supported himself as a land surveyor for much of his life, parceling land that would be sold off to loggers. This book analyzes this seeming contradiction to show how the best surveyor in Concord combined civil engineering with civil disobedience. Placing Thoreau's surveying in historical context, the book explains the cultural and ideological implications of surveying work in the mid-nineteenth century. It explains the ways in which Thoreau's environmentalist disposition and philosophical convictions asserted themselves, even as he reduced the land to measurable terms and acted as an agent for bringing it under proprietary control. The book also describes in detail Thoreau's 1846 survey of Walden Pond. By identifying the origins of Walden in—of all places—surveying data, the book re-creates a previously lost supporting manuscript of this American classic.