Professor Mayer’s book is an insightful, eye-opening exploration of the emergence of a new type of literary celebrity at the beginning of the nineteenth century based on close readings of Walter Scott’s correspondence. Considered by Byron himself as “the first man of his time,” Scott is an ideal case study due to the immense popularity he enjoyed during his lifetime as a result of his poetic and novelistic output, especially the Waverley cycle. Beautifully contextualized through comparisons with predecessors such as Pope and Johnson, contemporaries such as Wordsworth, Southey, and Byron, and successors such as Dickens, Hardy, and Hemingway, this study sheds considerable light on the evolution of literary celebrity in general and on the brand of celebrity that Walter Scott embodied in the public consciousness of his time in particular.
“What’s the use of an exhibition catalog,” Alice might well have said to herself, “if it doesn’t have beautiful pictures and brilliant essays?” This catalog of the McLoughlin Brothers’ more than sixty years of publishing children’s books, games, and toys surely would have delighted little Alice. The first third of the book consists of three well-written informative essays and the last two thirds make up the illustrated exhibition catalog itself. The items were drawn primarily from the holdings of the American Antiquarian Society with help from private collectors Linda F. and Julian L. Lapides, Richard Cheek, and the George M. Fox Collection at the San Francisco Public Library. ☛ ☞
‘War Girls: Youthful Soldiers and Writers in the Age of Modern War’ (provisional title) The explosive popularity of recent films…
Phillips divides the book into three sites of social reading: the church, the school, and the home, primarily in English society of the 18th and 19th Century. The church was a place of social identity where hymns were sung. James Martineau, a British Unitarian compiler and hymnist, recorded in his hymn book the dates that hymns were sung. In schools, the hymn book was a way of teaching reading to children. The hymn, “When I Can Read My Title Clear” was one of the most popular family hymns that helped children to read (106). The home was the place of the “private hymnbook” (185). A title such as Hymns for Mothers and Children traveled from one family to another because of its large size and many illustrations. Today, we would probably call this a coffee table book. Phillips points out that his chapters may be read separately or chronologically to give a sense of history. ☛ ☞
Nearly every rare book library has at least one extra-illustrated book; many archives hold hundreds of them. Yet the polarizing eighteenth- and nineteenth-century practice of extra-illustration has rarely been studied in its own right. Instead it is generally mentioned only briefly as part of larger arguments about marginalia, book use, and private libraries. Lucy Peltz’s extravagantly illustrated and extraordinarily well-researched Facing the Text: Extra-Illustration, Print Culture, and Society in Britain 1769-1840 offers a strikingly new approach as it both defines extra-illustration against similar “bibliographic activities” (5) and traces the rise and fall of what might be called its golden age. ☛ ☞