The modern idea of Victorians is that they were emotionless prudes, imprisoned by sexual repression and suffocating social constraints; they expressed love and affection only within the bounds of matrimony—if at all. And yet, a wealth of evidence contradicting this idea has been hiding in plain sight for close to a century. In Manly Love, Axel Nissen turns to the novels and short stories of Victorian America to uncover the widely overlooked phenomenon of passionate friendships between men. Nissen’s examination of the literature of the period brings to light a forgotten genre: the fiction of romantic friendship. Delving into works by Mark Twain, Henry James, William Dean Howells, and others, Nissen identifies the genre’s unique features and explores the connections between romantic friendships in literature and in real life. Situating love between men at the heart of Victorian culture, Nissen radically alters our understanding of the American literary canon. And with its deep insights into the emotional and intellectual life of the period, Manly Love also offers a fresh perspective on nineteenth-century America’s attitudes toward love, friendship, marriage, and sex.

This collection of the works of Emily, Anne and Charlotte Brontë includes the following novels: Jane Eyre by Charlotte Brontë, published in 1847 Shirley by Charlotte Brontë, published in 1849 Villette by Charlotte Brontë, published in 1853 The Professor by Charlotte Brontë, was published after her death in 1857 Emma by Charlotte Brontë (unfinished), she wrote only 20 pages of the manuscript which was published in 1860. Wuthering Heights by Emily Brontë, published in 1848 Agnes Grey by Anne Brontë, published in 1847 The Tenant of Wildfell Hall by Anne Brontë, published in 1848 The Brontë Sisters (1818-1855), Charlotte, Emily and Anne Brontë were sisters and writers whose novels have become classics. Before writing novels, the sisters first published a volume of poetry in 1846. Many novels of the Charlotte, Emily, and Anne are based on women in Victorian England and the difficulties that they faced like few employment opportunities, dependence on men in the families for support, and social expectations.

Reprint of the original, first published in 1873.

Modern critics and contemporary readers familiar with the field of Whitman criticism may find surprising an analysis of the structure of Leaves of Grass that concerns itself with Whitman as the poet-prophet and the identification of Whitman (or of his persona in the poem) with Christ. Early twentieth-century criticism has tended to exalt the early Whitman at the expense of the later one and to regard as poetically inferior the image of the national and democratically prophetic Whitman as expressed in the later editions. Thomas Edward Crawley, in full knowledge of the contemporary currents of Whitman criticism, chooses to revert to this older view, through which he sheds new light on Whitman’s artistic achievement. The basic premise of this study is that Walt Whitman’s Leaves of Grass is a unified work, lyrical, yet epic in quality, design, and spirit. Crawley’s purpose is to demonstrate the basis of this unity: its origin and operation and the nature of its realization. He demonstrates that an aesthetically maturing Whitman, in this work, was finally able to harmoniously bring together his individual and social subject matter. Crawley defines the unifying spirit of Leaves of Grass in terms of Whitman’s concept of the poet-prophet and the poet-reader relationship. This concept is conveyed primarily through the development of the Christ- symbol, the dominant image in the poem. Through a careful analysis of Whitman’s handling of the simultaneous development of the poet-prophet and the nation, his masterful fusion of the personal element and the national element, an understanding of the complex structure of Leaves of Grass emerges. Crawley presents an analysis of Whitman’s final and carefully arrived at grouping of the lyrics in the 1881 edition according to a definite, distinguishable pattern—a pattern revealed in Whitman’s use of allusions, in his transitional poems and passages, and, most important, in his thematic handling of imagery. The cumulative effect of these devices is emphasized. The organic development of Leaves of Grass, made possible by Whitman’s faith in and careful adherence to his concept of the organic theory of art, is substantiated. Crawley concludes his analysis with a detailed examination of the growth of Leaves of Grass as reflected in the various editions leading up to the 1881 volume, the last to be revised and published by Whitman.

Over the last twenty years, much critical discussion of Thomas Mann has highlighted his homosexuality. This not only is presented as a dynamic underlying Mann’s creative work, but also is the supposed reason for the theme of guilt and redemption that grew ever stronger in Mann’s fiction, and for his panic in 1933 that his early diaries would fall into the hands of the Nazis. Michael Maar mounts a devastating forensic challenge to this consensus: Mann was remarkably open about his sexual orientation, which he saw as no reason for guilt. But sexuality in Mann’s work is inextricably bound up with an eruption of violence. Maar pursues this trail through Mann’s writings and traces its origins back to Mann’s second visit to Italy, during which the Devil appeared to him in Palestrina. Something happened to the twenty-one-year-old Thomas Mann in Naples that marked him for life with a burdensome sense of guilt...but what exactly was it?

"In this important and accessible book, a prominent expert on constitutional law examines these and other issues concerning the American jury system. Randolph N. Jonakait describes the historical and social pressures that have driven the development of the jury system; contrasts the American jury system to the legal process in other countries; reveals subtle changes in the popular view of juries; examines how the news media, movies, and books portray and even affect the system; and discusses the empirical data that show how juries actually operate and what influences their decisions.

Shortlisted for the Modernist Studies Assocation Book Prize Statue-fondlers, wanderlusters, sex magicians, and nymphomaniacs: the story of these forgotten sexualities—what Michel Foucault deemed “minor perverts”—has never before been told. In The Book of Minor Perverts, Benjamin Kahan sets out to chart the proliferation of sexual classification that arose with the advent of nineteenth-century sexology. The book narrates the shift from Foucault’s “thousand aberrant sexualities” to one: homosexuality. The focus here is less on the effects of queer identity and more on the lines of causation behind a surprising array of minor perverts who refuse to fit neatly into our familiar sexual frameworks. The result stands at the intersection of history, queer studies, and the medical humanities to offer us a new way of feeling our way into the past.