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1 SHARP News Volume 23 Number 2 Artile 1 Spring 2014 Volume 23, Number 2 Follow this and additional works at: Reommended Citation (2014) "Volume 23, Number 2," SHARP News: Vol. 23: No. 2. Available at: This Artile is brought to you for free and open aess by SholarWorks@UMass Amherst. It has been aepted for inlusion in SHARP News by an authorized editor of SholarWorks@UMass Amherst. For more information, please ontat sholarworks@library.umass.edu.

2 et al.: Volume 23, Number 2 SHARP News Volume 23, Number 2 Spring 2014 Exhibition Reviews Home Front: Daily Life in the Civil War North Newberry Library, Chiago 27 September Marh 2014 Unlike many exhibits ommemorating the 150 th anniversary of the Amerian Civil War, the Newberry exhibit foused less on senes from battles and soldier life and more on Northerners general view of their world. This exhibition s urators strove to present a wide range of items that would depit the printed and painted stimuli Northerners viewed during the war, espeially items that don t reeive as muh attention in popular retellings of the Civil War. The exhibit makes abundant use not only of the Newberry s vast holdings of nineteenth-entury newspaper engravings from Frank Leslie s Illustrated Newspaper, Harper s Weekly, and Vanity Fair but also other print materials suh as musi sores, books, pamphlets, maps, stereograph ards, letters, and even non-printed items suh as paintings from the Terra Foundation. Curators also oasionally paired texts by well-known authors suh as Emily Dikinson (from the olletions edited by Mabel Loomis Todd and T. W. Higginson) and Walt Whitman (inluding an 1865 Drum Taps) with exhibit ontent. One part of the exhibit explored depitions of the South and slavery for Northern audienes. For example, one display ontrasted depitions of ontraband slaves in stereographs and in popular newspaper illustrations; the stereographs emphasized slaves three-dimensional humanity when observed through the viewer, whereas many newspaper engravings reverted to stereotyped, often minstrel-ized, images of slaves, whih trivialized slave suffering. In addition to plantation maps of the lower Mississippi and illustrations of the otton prodution proess, there were also several editions of Harriet Beeher Stowe s Unle Tom s Cabin, most opened to engravings of Eliza s rossing of the Ohio, one of the novel s most ioni senes. Emphasizing the importane of less popular histories of the Civil War, another part of the exhibit examined the impat of the Civil War on Native Amerians. This setion displayed illustrations of native violene whih Northern audienes would have viewed, inluding extreme engravings of reported massares ourring in northwestern and western territories. One illustration from Harper s poignantly aptured the newspaper s patronizing stane on native issues: a sene in whih a boy survivor of the Minnesota massare identifies Indian murderers provides an ironi visual for Harper s subtitle Journal of Civilization. Another sobering engraving depited the publi exeution of 38 Sioux Indians in Mankato, Minnesota. This setion also ontained what may have been the most distintive item in the exhibit a depition of the Sand Creek Massare hand-drawn and olored on a sheet of paper by one of the only Cheyenne survivors. Popular ulture and domesti life at the home front featured in the exhibit as well: a triolor newspaper print depited Chiago adets in one of the popular Zoave-style regiments, whih adopted lothing styled after Frenh fores in Northern Afria suh as fezzes and short ut oats with tasseled edging. Nearby was a woman s dress whih had, in turn, been influened by the soldiers Zoave uniform styles. This setion also examined depitions of women working in artridge fatories stuffing bullets into gunpowder artridges. Like many other setions, the exhibit display text turned a ritial eye to its materials, noting that Harper s elebratory illustrations of women paking the artridges elided the terrible dangers of the work. Of partiular signifiane to Chiagoans was a part whih displayed illustrations, badges, and newspaper lippings related to the Chiago Sanitary Fairs of 1863 and 1865, the latter of whih was overshadowed by Linoln s assassination. The exhibit even examined unusual speimens of visual ulture from shortly after the Civil War. The most fasinating of these was Milton Bradley s Myrioption, a history of the war in 22 olor pitures on one ontinuous sroll in a igar box whih readers would have viewed by srolling from left to right with two wooden knobs. Beside this was another series of five stereographs of slave life from the Oliver Barrett olletion, whih visitors were able to manipulate and experiene using stereograph viewers. These two objets served as a produtive ontrast between the stylized popular military histories of the Civil War, and the stark realisti photographs of what life was like for many whose lives were diretly affeted by the war. This exhibit was useful not only to sholars of the Amerian Civil War but also to those more broadly interested in the printed and visual ulture of the nineteenth entury. Book historians and those with even a asual interest in the Civil War also found a wide array of objets to surprise and interest them. The urators, Peter John Brownlee and Daniel Greene, joined fores with three olleagues for a ompanion volume: Peter John Brownlee, et al. Home Front: Daily Life in the Civil War North. Chiago: University of Chiago Press, ISBN X. 219 pp. 90 olor plates. $35. Zah Marshall University of Wisonsin, Madison Contents Exhibition Reviews 1 The Prez Speaks 3 Book Reviews 4 Exhibition Reviews Cont. 14 Conferene Reviews 17 Sholarship Report 19 The SHARP End 19 Bibliography 20 Published by SholarWorks@UMass Amherst,

3 2 Spring 2014 SHARP News, Vol. 23, No. 2 [2014], Art. 1 SHARP News Vol. 23, no. 2 SHARP News Editor Sydney Shep, Wai-te-ata Press Vitoria University of Wellington PO Box 600, Wellington, New Zealand 6140 editor@sharpweb.org Editorial Assistant 23.2 Sara Bryan Publiation Assistant, Wai-te-ata Press Review Editors Joanna Howe, Books Europe Bath Spa University, UK reviews_europe@sharpweb.org Millie Jakson, Books Amerias University of Alabama, AL, USA reviews_usa@sharpweb.org Susann Liebih, Books Australasia/Paifi James Cook University, QLD, AUS reviews_ap@sharpweb.org Abhijit Gupta, Books South Asia Jadavpur University, Kolkata, India offog1@gmail.om Lisa Pon, Exhibitions Southern Methodist University, TX, USA reviews_exhibs@sharpweb.org Bibliographer Ceile M. Jagodzinski Bloomington, IN, USA bibliographer@sharpweb.org Subsriptions The Johns Hopkins University Press Journals Publishing Division PO Box 19966, Baltimore, MD membership@sharpweb.org SHARP News [ISSN ] is the quarterly newsletter of the Soiety for the History of Authorship, Reading and Publishing, In.. The Soiety takes no responsibility for the views asserted in these pages. Copyright of ontent rests with ontributors; design opyright rests with the Soiety. Set in Adobe Garamond with Wingdings. COPY DEADLINES: 1 Marh, 1 June, 1 September, 1 Deember SHARP WEB: The Human Comedy: Chroniles of Nineteenth-Century Frane Allen Memorial Art Museum, Oberlin, Ohio 3 September 22 Deember 2013 Intrepid print lovers are in for a treat on the seond floor of the Allen Memorial Art Museum in Oberlin, Ohio. Frenh satirial prints, lithographs to be preise, skethed and printed by Honoré Daumier, Paul Gavarni, and other Frenh artists, adorn the walls of the Ripin Gallery. Oberlin is well known for its art olletion and this exhibit is no exeption. The urators of this exhibit bring together a seletion of the museum s nineteenth-entury prints fousing on the human omedy, à la Honoré de Balza and Émile Édouard Charles Antoine Zola. Contemporary drypoint ethings, engravings, haroal or graphite drawings, and woodut prints are also inluded in the exhibition. Here and there albumen and silver print photographs are hung alongside prints portraying similar topis. Politial events and everyday life are aptured in the pen strokes, prints, and within photographi emulsions. Groupings of prints by topi are introdued in short paragraphs disussing the artists, the times, and the subjets. Eah print is aompanied by text that sets the image into ultural and politial ontext. Frenh aptions are translated into English for easy omprehension. As the viewer enters the gallery, he or she sees external walls and exhibition ases holding lithographs. The inner walls are adorned with photographs and other prints with subjets that eho the lithographs they fae. Subdued lighting and quiet ambiene are juxtaposed with the subjets of the lithographs originally printed and distributed through newspapers. The viewer might expet street sounds, laughter, and noisy onversation while experiening the humorous artoons, whih were originally read in noisy afés and outdoor offee houses, rather than the hushed gallery in the museum. Daumier, Gavarni and the other artists omment upon the times using ariature and graphi satire as a means of onvey their views of Frenh life. These artists poked fun at manners, ustoms, and fashion; railed against taxes, poverty and prosperity; reated ariatures of intellets, fools and politiians, blue-stokings, and even photographers. No one and nothing is safe from their sharp pens and sharper wit. Matted and framed, the lithographs are haunted by shadows of text showing through from the verso of their supports. These shadows are a reminder for viewers that these lithographs were part of everyday life, not reated for the few but for the masses. Just a few of the lithographs on display were printed as part of a numbered series for individual sale. Desribed by print sholar Peter C. Marzio as demorati art, the lithographs were reated for a mass audiene and were available to anyone who read or saw the newspapers. Unlike Amerian ontemporary artists Currier and Ives, best know for their olored lithographs that were sold to the masses, almost all the images in this exhibition are blak line and shading on newsprint. Color lithographs by Henri de Toulouse-Lautre, Pierre Bonnard, and others are a treat amidst the more subtle grey tones. This exhibition is urated by Libby Murphy, assoiate professor of Frenh at Oberlin College, with assistane from AMAM Curatorial Assistant Sara Green and Curator of European and Amerian Art Andaleeb Badiee Banta. The urators fous the exhibit aptions on ontent and graphis, not on the lithographi proess itself. There are no examples of printing plates or partially ompleted drawings. Eah image is omplete unto itself. Nevertheless, the evolution of the lithograph, as both politial ommentary and ephemeral objet, is evident to the observant student of prints. Historians of print hoping to study the lithographs after the exhibit loses (when they will again be available in the researh rooms of the museum) will be disappointed that the exhibition laks a atalog of images and aptions. The museum website desribes the exhibit using a stati image by Daumier. While there is no virtual olletion, the online atalog of the Allen Memorial Art Museum prints and paintings is available at < allenartolletion.oberlin.edu/emuseum/>, and ontains images of the artists from the show, inluding 122 lithographs from Daumier and 236 from Gavarni. The lithographs of Daumier and Gavarni open nineteenth entury Frenh life to historians, politial sientists, and Frenh literary sholars and students. Historians of printing and newspaper publishing will appreiate the skill of the lithographi artists and printers of this period who oneived of and omposed these ephemeral ommentaries on everyday life. Miriam Kahn Kent State University, Ohio 2

4 SHARP News Vol. 23, no. 2 et al.: Volume 23, Number 2 Spring 2014 d 3 The Prez Speaks Bak in July 2012, the Exeutive Counil (that is, SHARP s eleted offiers), and the Board of Diretors jointly agreed to establish a Futures ommittee to draw up a strategy for the Soiety s next deade. SHARP has beome a mature, robust, and suessful organization, but it is faing many hallenges tehnologial, disiplinary, geographi, linguisti, demographi, bureaurati, and finanial. These hallenges, as the ommittee s terms of referene outlined, need to be assessed, opportunities identified, priorities agreed, and strategies developed. Strategi planning is, of ourse, nothing new for any large organization. Nonetheless, it is ruial that in thinking about our future, we don t lose sight of our priorities and ahievements as an organization. To that end, the ommittee omprised a seletion of present and past offiers of the Soiety alongside urrent members from a range of bakgrounds and disiplines. We also irulated a survey to the membership as a whole. Eah ommittee member and all the urrent offiers produed a short paper based on their own experienes of SHARP; these, along with the responses from the membership, formed the basis of a day-long strategy meeting held in Washington, DC, just before last summer s Philadelphia onferene. The outome of that meeting was a single doument whih identified what the ommittee felt were SHARP s priorities for the next deade and inluded a number of speifi areas and topis for the Soiety to onsider. This doument was irulated first to those unable to attend that ommittee meeting, then to the Exeutive Counil and the Board of Diretors, and is now being shared with the whole membership for further omment. The doument is available as a Google doument: < Anyone following this link an view and omment without signing in. Comments an be left anonymously or an be signed; bear in mind, though, that omments will be visible to other visitors. Comments should be made by 31 May. Rather than reprodue the whole doument here, I exerpt the ommittee s main observations: A Global Organization. We reognize that SHARP aspires to be a global, diverse and interdisiplinary organization. SHARP should support members and their ativities wherever they are in the world and in whatever language. Conferenes. We believe that SHARP s annual onferene is our flagship produt; we also value the loal harater of all SHARP events. However, we believe that SHARP needs to sustain a high intelletual standard and exemplify the most advaned work in the field. SHARP should find ways of enhaning our onferene quality and extending our onferene offerings. Sholarship and aess. We reognize the responsibility of SHARP to engage with the hallenges and opportunities attendant upon new forms of sholarly dissemination and interation in the digital age. We welome Johns Hopkins University Press s Green Open Aess poliy as far as Book History is onerned and will seek further advie on the pratialities of this poliy. SHARP should also explore hybrid modes of prodution and dissemination for urrent and antiipated publiations. Administration. We reognize the onsiderable unpaid labor of SHARP s volunteers. However, there are advantages (ontinuity, professionalization, aountability) to re-alloating ertain tasks and ativities to professional staff. We also enourage SHARP to explore ways of improving demorati proesses, inluding transpareny and ommuniation. Membership. We explored possibilities for improved reruitment and retention of members. Pedagogy. We believe that teahing and learning omplement and enhane SHARP s urrent emphasis on researh and publiation. We reognise too that pedagogy enompasses a range of strategies from transmission to inquiry-led teahing. Advoay. We feel that SHARP should take on a more ative advoay role in the publi arena. This may inlude the establishment of speial interest groups and the enouragement of member-initiated ativities. Affiliation. We welome opportunities to raise the visibility of the organization and its work through affiliations with appropriate institutions, inluding sholarly soieties, libraries and arhives, as well as ommerial partnerships. We envisage that greater disursive ross-fertilization an be ahieved through inter-organizational ontat. I urge all members to read the full doument and to offer omments. One the ommenting period is over, the Futures ommittee will ollate all the responses and begin turning those observations and reommendations into a strategy that an then be formally presented to the membership. As many of you will know, we have reently appointed Greg Barnhisel (Duquesne University) and Beth le Roux (University of Pretoria) to join Jonathan Rose as editors of Book History many ongratulations to them both. The field of andidates was a partiularly strong one, and I m very grateful to our appointments ommittee Claire Squires, Fiona Blak, Jason Ensor, Abhijit Gupta, Barbara Hohman, Bob Patten, and Miha Kova for their areful and onsidered deliberation. The appointment of new editors has also provided us with the opportunity to adopt a new online management system for handling all submissions to Book History. We re still at the evaluation stage but a new system should be in plae ome the summer. Meraud Ferguson Hand and Kathy Harris have reently stepped down from their duties as bibliographer and e-resoure reviews editor for SHARP News respetively on behalf of the Soiety, I d like to thank them both for their hard work over the past several years. Finally, our Membership Seretary, Eleanor Shevlin, has been tirelessly exploring ways of making our individual memberships go further. Members an now laim disounts from Ashgate, from the University of Massahusetts Press for their Studies in Print Culture and the History of the Book series, and from Oxford University Press for their reent History of Oxford University Press. We have also negotiated a 50% disount for JPASS whih allows individual subsriptions to JSTOR. And there are more disounts in the pipeline Ian Gadd, Bath Spa University April 2014 <president@sharpweb.org> Published by SholarWorks@UMass Amherst,

5 4 Spring 2014 SHARP News, Vol. 23, No. 2 [2014], Art. 1 SHARP News Vol. 23, no. 2 Book Reviews Paddy Bullard and James MLaverty, eds. Jonathan Swift and the Eighteenth-Century Book. Cambridge: Cambridge University Press, xvi, 304p., ill. ISBN / US $95 (hardbak). Jonathan Swift and the Eighteenth-Century Book ontains the kind of detailed sholarly work that one hopes to see emerge as a by-produt of a projet suh as the new seventeen-volume Cambridge Edition of the Works of Jonathan Swift. Close examination of Swift s works by the Cambridge volume editors has thrown up many matters that an only be hinted at in volume introdutions but that an be expanded into valuable essays in their own right. In matters of book history, this is partiularly apposite for a writer like Swift who was fasinated, all his life, with the book trade as it developed rapidly around him between his first publiation in 1690 and his withdrawal from publi life in the 1740s. Swift loved exploiting the new forms of print, using them to unmask greedy astrologers, hak writers, grandiloquent (if nominally modest ) projetors, orrupt politiians and all those taken in by the follies of Whig ulture (banks, paper money, exploration, the need for modern warfare and so on). Beause it onentrates on the writings of one man, this book has a unity laking in many ontemporary book-history volumes; the fat that all the ontributors have original things to say about Swift and the book trade and that most of the essays are based on textual or doumentary researh makes this partiularly valuable. The book is in three parts: the first part onsiders Swift s books and their environment, with essays by Stephen Karian on Swift as manusript poet, Ian Gadd on Swift and the London book trade, and Paddy Bullard on What Swift did in Libraries. The three essays all add substantially to the work already published by these sholars and fous the mind learly on the physial book. In the seond setion, Pat Rogers writes illuminatingly about Swift and the misellany, while Marus Walsh and Abigail Williams expand the work eah has done for one of the Cambridge volumes Walsh on A Tale of a Tub and the mok-book and Williams on Swift s published orrespondene and letter-journals. Shef Rogers and James MLaverty ontribute valuable bibliographial essays, Rogers on Gulliver s Travels and MLaverty on George Faulkner, Swift s Dublin printer. The third part of the volume looks at Swift s books in a broader ontext: Claude Rawson writes on mok editions from Swift to modern times, and Daniel Cook on posthumous publiation of Swift s works; Ian Higgins onsiders the important topi of Swift and ensorship while Adam Roune looks at Swift s texts between Dublin and London. Swiftians and book-history addits will find something novel and stimulating in eah hapter of this enjoyable book; I an also highly reommend the introdution, by the joint editors James MLaverty and Paddy Bullard. This is a masterpiee of elegant, suint sholarship that indiates the relationship between the themes overed in the book, showing the range of original sholarship behind the Swift Works projet and the value of the textual editing even of well-known texts. The Swift who emerges from these pages obsessive maker of books, rafty manipulator of bookmen and publishing methods, mishievous exploiter of multiple authorial and editorial voies was a key figure in the burgeoning publishing ulture in England and Ireland in the early eighteenth entury. This beautifully-produed volume not only reminds one of his signifiane but, in itself, of the value of the original sholarship that underpins serious textual editing. Andrew Carpenter Royal Irish Aademy, Dublin Antonio Castillo Gómez. Leggere nella Spagna moderna: Erudizione, religiosità e svago. Bologna: Pàtron, p. ISBN (paperbak). Five of Antonio Castillo Gómez s essays, previously published as journal artiles, have been revised and translated into Italian for this publiation, supported by editor-inhief of the series Collana di arhivistia, bibliografia e biblioteonomia, Maria Gioia Tavoni. This book is an attempt to approah the history of reading by fousing exlusively on readership rather than on book ownership. This perspetive ditates the seletion of soures investigated by the author: rather than fousing on inventories, as is the usual path for studies on reading, Castillo Gómez instead onentrates on evidene emerging from other materials, suh as ontemporary images, devotional trats and manuals, and handwritten annotations on the books themselves. Through these, he offers an overview of readership in different ontexts and ommunities. The first hapter is an introdution to what reading meant in early modern Spain. Utilising quotations from sixteenth- and seventeenthentury authors, suh as Pedro Mexía, Diego de Cabranes, Juan de Zabaleta and Diego de Saavedra, Castillo Gómez resumes the ontemporary debate about the utility of books. On the basis of strit moral riteria, a book was onsidered to be a good one when it would lead individual readers to the truth: reading fitional literature or too many books was onsidered potentially dangerous. Useful reading is therefore the fous of hapter two, where the author stresses the differene between owning and reading a book and, moreover, atually understanding and remembering its ontent. The pratie of reading for study is radially distinguished from reading for fun or entertainment, and is seen as a funtional preparation for other ativities, suh as writing and preahing. Handwritten annotations and indexes, as a result of this both assimilative and reative proess, are amongst the soures referened in this hapter. The examination of different sorts of readers leads us, in hapter three, to meet some prisoners of the jails of the Spanish Inquisition and to find out whih books, in partiular ases, they would be allowed to read. The hapter also onsiders how books ould make their way into a prison and what reading meant for people living in aptivity. Chapter four is devoted to a few examples of olletive reading amongst popular audienes, underlining the role of the reader as mediator in suh irumstanes. These inlude the reading of Corano amongst Morisos and reading in ommunities of women, inluding a female religious order, where reading was regulated to a ertain extent by the rules of the order itself. The final hapter is devoted to the dissemination of texts through various hannels to reah the widest possible audiene, suh as broadsheets nailed to the ity walls and doors or in popular meeting plaes, or heap prints and single sheet items sold by pedlars. Suh texts irulated variously for different reasons: bulls, edits and ordinanes were read aloud in solemn eremonies, even before they were affixed in publi plaes, to make sure that everyone even illiterate members of the ommunity was aware of the law; pasquinades were displayed or delivered in publi plaes for propaganda, and irulated both in 4

6 SHARP News Vol. 23, no. 2 et al.: Volume 23, Number 2 Spring 2014 d 5 When Graham Law and I were drafting our hapter on The Serial Revolution for The Cambridge History of the Book in Britain, vol. 4 ( ), I instaned as one example of the radial hanges in publishing before WWI the history of Baroness Orzy s Sarlet Pimpermanusript and in printed form. Castillo Gómez states (38) that he gave up any intention of a detailed and omprehensive study of reading in early modern Spain to fous on a more in-depth piture of a few readers and their reading habits, stressing similarities shared by the groups that he examined. The result is a stimulating book, presenting some interesting ase-studies. Its episodi nature sometimes makes the author s overall plan more diffiult to follow, and the examples presented are not proposed as a representative sample. However, this fasinating approah to the topi raises a number of issues whih deserve new and areful onsideration in the panorama of studies on the history of reading. Flavia Bruni University of St Andrews, Fife Franes E. Dolan. True Relations: Reading, Literature, and Evidene in Seventeenth-Century England. Philadelphia: University of Pennsylvania Press, viii, 336p., ill. ISBN US $59.95 / 39 (hardbak). Early modern literary sholars, intelletual historians, and historians of siene have for some time been investigating testimony and witnessing as a means of establishing truth and the relationship between fat and fition. Franes E. Dolan s True Relations: Reading, Literature, and Evidene in Seventeenth-Century England is a welome addition to this body of work. Dolan fouses primarily on a body of texts, often titled True Relations, that dealt with monsters, disasters, traveller s reports, rimes, mirales, sientifi experiments, and observations. She examines the strategies by whih readers dealt with doubts and problems arising from the truth laims of suh reports, demonstrating how ontemporary evidentiary standards were onneted to those strategies. The book is organized around two themes. The first, Crises of Evidene, deals with a series of dramati events that beame the oasion for ontesting standards of evidene: the trial of Jesuit Henry Garnet, a series of withraft narratives and onventions, and aounts of the Great Fire of London. The seond portion, titled Genres of Evidene, features a disussion of trials, domesti advie books, and dramati texts. Eah hapter treats problems of interpretation related to the kinds of textual evidene that were available for a partiular genre. In several instanes Dolan onsiders the proess of omposing the relevant texts as well as the partiular interests they served. She suggests that plays, like other genres, were disassembled and reassembled by readers to suit their own purposes. The play is therefore treated as a proess or onjeture rather than a stable objet of analysis (203). Readers are ompared to weavers in their ability to link together various textual and non-textual materials, and today s ritis are advised to follow the path of early modern readers by imaginatively reonstruting the meaning of a text by bringing outside information to their reading of it (203). Dramati texts, like other texts, she argues, require a theory of relationships among different kinds of evidene and different kinds of truths (204). Using evidene from dramati texts involves the ability to omprehend new information by means of what one already knows. Both portions of the book engage with the work of historians and literary sholars who have attempted to understand and interpret similar texts or who have disussed problems relating to evidene and interpretation. Dolan ritiizes both for the ways in whih they have used dramati texts for evidentiary value and offers an alternate method of interpretation: texts are to be interpreted in the ontext of other texts and information. The interpreter or reader is thus viewed as ruial to the meaning of a text, and readers are haraterized as ative rather than passive when they engage in praties of seletion and onnetion. Both those interested in the history of reading praties and ontemporary literary theory will find Dolan s efforts interesting. Barbara Shapiro University of California, Berkeley Sally Dugan. Baroness Orzy s The Sarlet Pimpernel : A Publishing History. Ashgate Studies in Publishing History. Farnham, Surrey and Burlington VT: Ashgate, xviii, 296p. ill. ISBN ISBN (ebook). nel. The play, starring Ellen Terry s brother Fred, preeded publiation of the novel, and the series of novels, dramatizations, and films that sueeded made the native Hungarian Baroness a wealthy woman, with the singular identity of The Author of The Sarlet Pimpernel. We weren t sure my hunh that the Frenh Revolution adventures of Sir Pery Blakeney were a good example of the proliferating opportunities for serial writers at the turn of the entury was orret. Sally Dugan demonstrates in fulsome and admirable detail that indeed the history of the Sarlet Pimpernel league, resuing Frenh aristorats from the tumbril, provides an extensive view into a large set of interloking historial and ultural fores at play in the first half of the twentieth entury. This is an admirable study, noteworthy for the thoroughness of its researh and the sope of its undertaking. Dugan sets Orzy s initial efforts, magazine thrillers largely about middle-european revolutionaries, in a rih ontext of late-vitorian history, adventure stories, the Boer war, and Orzy s immigrant identifiation with British, later more speifially English, ivilization. In some ways this is more reeption history than book history. Reeption must, in this ase, be understood to inlude the Baroness Orzy s own absorption of (1) mythologial (primarily anient Greek), (2) hivalri (Arthurian romanes), (3) nationalist (the English gentleman, Baden-Powell s Souting for Boys), (4) literary/ historial (Carlyle, Dikens, Mihelet), (5) imperialist (siege of Mafeking, upper lasses, newspaper rivalries), (6) artisti (Franz Hals Laughing Cavalier, Orzy and her husband Montagu Barstow s arts training), and (7) detetive (Sherlok Holmes) predeessors, and the global response to her hero s exploits that reinterpreted him for modern times. She transformed the Polish nihilist of her earliest periodial thrillers into a Regeny gentleman, pluking traditional aristoray from the historial dustbin, as Len Platt puts it. Orzy then manages if only partially to ontrol the evolution of Sir Pery from a Regeny fop understood after Wilde as homosexual to a witty and resoureful English avalier, then on to the embodiment of British sang froid in wartime, and eventually, espeially in films, to a swordsman and pistol-paking international superman. The Sarlet Pimpernel was as muh a theatrial as a book phenomenon. Orzy and Barstow took her serial The Sign of the Shamrok, first published in the Daily... / 6 Published by SholarWorks@UMass Amherst,

7 6 Spring / 5 Express in the summer of 1903, and turned it from a European spy story into a historial drama about Marguerite St. Just, a Frenh aristorat hunted by Armand Chauvelin based on the original Marquis de Chauvelin, an assoiate of the Jaobins. She is resued and transported to England by Sir Pery Blakeney, who marries her but remains suspiious as she betrays his seret identity. But that misstep is leared up, and he enrolls her in his league of noble knights. (Gradually the leverest woman in Europe disappears from the sequels, until in the last, 1940, novel, her only assignment is to look after two orphans. After Orzy s death, C. Guy Clayton rehabilitated Marguerite in three novels where she impersonates both herself and her brother.) The unpublished drama was adapted in 1903 by Terry, who played Sir Pery opposite his wife Julia Nielson as Marguerite. It proved evergreen through their 2,000 performanes and unnumbered tweaks to the original sript. The first edition of the novel ame out two years after the theatrial premiere, in Costumes and props, espeially Sir Pery s quizzing glass, transferred to the sreen by the 1930s and marked the Sarlet Pimpernel as a type of upper-lass hero spare of effort, master of disguise, expert strategist, and srupulous intriguer. His elitist heirs, I suggest, inlude suh figures as Dorothy Sayers Lord Peter Death Bredon Wimsey (motto: as my Whimsy takes me ) and the younger son of a Visount, Albert Campion (real name Rudolph K----, sporting a flower pseudonym and horn-rimmed glasses), brainhild of Margery Allingham. Early on, Dugan notes that book historians don t neessarily adhere to hronologial exposition. She follows that preedent. After a substantial introdution overing all the themes of her study, she offers a hapter on the development of her protagonist from Polish anarhist to English knight. The germ of the Pimpernel series was the idea that the heroine would betray her beloved husband beause she believes he is a member of an anarhist league whose reognition sign is a flower (the red arnation, then the shamrok, before Marguerite [Fr. daisy], and pimpernel, a variety of English primrose). The rise of Sir Pery, the dilemma of Marguerite, a type of the New Woman bakdated a entury, and the reloation of nationalism to Britain, are all foreshadowed in the 1903 Daily Express serial, The Sign of the Shamrok. Next Dugan analyzes the original, and subsequent, stage produtions, and the metamorphosis of SHARP News, Vol. 23, No. 2 [2014], Art. 1 Sir Pery to swashbukling hero in sequels through Chapter four details Orzy s struggle to make her dandy resuing Frenh aristorats in the 1790s relevant to British valor during WWI, when Frane was an ally. This is a fasinating aount of refashioning a legend for ontemporary onsumption, and it is extended in a fifth hapter delving further into the ways the Sarlet Pimpernel helped reate an imagined ommunity for whih millions of non-british soldiers died. His upper lass privilege and values had to be rendered relevant and sympatheti to the other lasses. And in this hapter the Hungarian bakdrop reappears. Alexander Korda ( ), a Jew born in Hungary, founded, in 1932, London Films, whih produed a great hit with The Sarlet Pimpernel (1934), starring Leslie Howard. Himself the son of a Hungarian Jew, Howard gave the ioni portrayal of Sir Pery as an unflappable and unimpeahable high ulture Anglian who quotes John of Gaunt s speeh about This other Eden, demi paradise while on his way to meet death by a firing squad. (A sidebar: Howard turned his hero into an everyman when he produed, direted, and starred in Pimpernel Smith (1941). WWII made the patrioti onnetions among these Jewish emigrés even stronger: the movie inspired Raoul Wallenberg to resue Hungarian Jews from Nazi onentration ampus. Howard was killed in 1943 when the Germans targeted the plane flying him bak from war work in Portugal to England perhaps beause they believed Winston Churhill was on board; there is a further theory that Howard knew the flight was doomed and embarked anyway so that the Germans would not know their ode had been broken. Pimpernel to the end.) A final hapter traks the post-war reinvention of the Sarlet Pimpernel in everything from a Frank Wildhorn musial and Blakadder parodies to BBC produtions and a famous Warner Brothers artoon in whih Daffy Duk is the Sarlet Pumpernikel (1950). Nelson Mandela delighted in the journalists niknaming him the Blak Pimpernel for his anti-apartheid ampaign. The sholarship behind this study is exemplary. Dugan has explored arhives in Bristol, Oxford, London, New York, Evanston, Austin, and Chapel Hill. She has read over 200 of Orzy s publiations, ompared the manusript of her autobiography to its posthumously published book, reprodued numerous images of dust jakets, theatri- SHARP News Vol. 23, no. 2 al posters, and elebrity photographs, and traed through the various threads of her intriately woven tapestry insights by the major theorists of ulture and book history. She brings out the impat of many paratexts, inluding type fonts designed to modernize the Pimpernel mythology; she emphasizes the impat made by the various illustrations, wrappers, and over designs; and she loates Orzy in the line-ups of newspapers, publishers, olonial and shool editions (the original novel is a spoonful of sugar to students learning about the Frenh Revolution), and Lord Chamberlain s Plays Colletion. Above all, the breadth, depth, omplexity, and ultural resonanes of Orzy s Regeny hero that this study disloses make it a model of book history, more omprehensive and historially impated than most. Robert L. Patten University of London Konrad Eisenbihler. The Sword and the Pen: Women, Politis, and Poetry in Sixteenth Century Siena. Notre Dame, Indiana: University of Notre Dame Press, xiv, 378p. ISBN US $32 (paperbak). This book ontributes to the work of redisovery, now in proess, of the extensive partiipation of women in the literary ulture of sixteenth-entury Italy. This partiipation was on an entirely different sale to that of any other European ountry. In 1549, Siena was visited by the English nobleman Thomas Hoby, who noted in his diary that most of the women are well learned, and write exellentlie well both in prose and verse (161). Eisenbihler s book demonstrates that Hoby spoke no less than the truth. Sholars in the past have often assumed that women poets were learned maidens: by ontrast, these Sienese women were young married women. Noble matrons ould evidently aompany their husbands to literary oasions (evening meetings alled veglie). This explains how Hoby, as a foreign visitor with literary interests, enountered their verse. These women ould exhange and irulate verses with other poets (male as well as female) through literary networks; they were admired and reognised by ontemporaries, and nobody seems to have suggested that their publi profile in any way ompromised their soial identity as haste wives. Eisenbihler s first hapter is on five women who, together with three men, responded 6

8 SHARP News Vol. 23, no. 2 et al.: Volume 23, Number 2 Spring 2014 d 7 to a poem by Alessandro Piolomini on visiting Petrarh s tomb, an exhange whih survives in four manusripts. One of the poems, by Virginia Salvi, deplores her inability to travel and expresses envy of Piolomini s freedom, but though these women were physially irumsribed, they were evidently free to form literary friendships. The seond hapter is on the beautiful, short-lived, and muh-mourned patriian Aurelia Petrui, and the third on the interesting Laudomia Forteguerri, who hose to present herself as the Platoni admirer of Margaret of Austria. She was intelletually ambitious, aording to Alessandro Piolomini, and mourned her lak of knowledge of astronomy. Eisenbihler gives the impression that women were barred from sientifi study, but the Perugian astronomer Egnatio Danti aknowledges his aunt Teodora Danti as his teaher in mathematis and astronomy in his translation La Sfera di Messer Giovanni Saroboso (1571). It might be more appropriate to see both Piolomini s and Danti s translations as ontributions to a new vernaular literature of siene, aessible to women. The last hapter is on a politially-minded poet, Virginia Salvi, a foreful voie for the Sienese pro-frenh party. As Diana Robin showed in Publishing Women (2007), ontemporary noblewomen were irulating their verse and otherwise partiipating in the publi life of their loality in Naples, Venie, Rome, and Florene. This is a distintive feature of Italian ulture, but Siena was unusually open to friendships between men and women, arried on through literary disussion, debate and onversation. Robin devoted a hapter to them, but they well deserved a book of their own. Eisenbihler has larified his subjets biographies and their literary, soial and politial ontext. He also provides extensive translations. The writing is not always feliitous (terms suh as moniker (169) or politially savvy (8) sit strangely in a disussion of sixteenth-entury poetesses), but for all that, this is a useful volume and a worthy ontribution to the ongoing reovery of women s unusual plae in Italian publi life. Jane B. Stevenson University of Aberdeen Danielle Fuller and DeNel Rehberg Sedo. Reading Beyond the Book: The Soial Praties of Contemporary Literary Culture. New York and Oxon, Oxfordshire: Routledge, xix, 349p, ill. ISBN US $130 (hardbak). ISBN US $130 (ebook). Extensively researhed via surveys, fous groups, interviews, and observation aross the UK, the US, and Canada, and using Bourdieu s work on ultural prodution as a framework for interpretation, Fuller and Rehberg Sedo s ritial examination of mass reading events (MREs) ontributes to work on reading suh as Janie Radway s A Feeling for Books and Reading the Romane and Elizabeth Long s Women and the Uses of Reading in Everyday Life, and to work on publishing suh as John Thompson s Merhants of Culture, or Laura Miller s Relutant Capitalists: Bookselling and the Culture of Consumption. Reading Beyond the Book is an exellent addition to work on reading during the shift from print to digital formats, and on neoliberalism s impat on the shrinking book trade. Rather than just examining the publishing industry, the authors take a broader view, studying impats on the overarhing and enompassing reading industry. Chapters are organized around one-word titles, Reading, Television, Radio, Money, Worker, Reader, and Book, whih summarize the ontent, yet the boundaries of these ontainers are not as learly drawn as the table of ontents might have us believe. As reading goes digital, MREs obfusate the boundaries between television, radio, and book. Starting in 1996 with Oprah s Book Club, MREs broadast via television and radio presented new ways of studying readers and reading, and while these events are intended for everyone, not everyone wants to partiipate. Televised MREs, like Oprah s Book Club in the US or Rihard and Judy s Book Club in the UK, are hosted by non-professional reading guides presenting literary fition to the masses, and onstitute a shared entertainment experiene that is immersed in popular ulture and represents a way of doing of ulture. This reates onflit for serious readers who prefer not to be assoiated with a mass audiene seeking merely entertainment. By ontrast, in the Radio hapter, the authors disuss a radio show onsidered more upmarket than television equivalents: Canada Reads presents the omplexities of Canadian ommuniation systems, as this program forges a separate Canadian identity, emphasizes Canadian linguisti and ultural diversity, and reats against US ultural domination. The hapter on Money enompasses both how MREs are shaped, and how the profits they generate shape the reading industry. Corporations like the Ford Motor Company earn symboli apital for token sponsorship, suh as a donated ar. Compared to suh firms modes of partiipation in more lurative ultural industries like film or television, orporations inadvertently assign MREs to a sub-status within an overarhing field of ultural prodution. Yet unlike film or television, books are pakaged as speial ommodities. Partiipating readers and underpaid and overworked ultural workers (usually women) tend to fous more on the meaning assoiated with these events. These workers are motivated by their own beliefs in reading as a transformative experiene, as an agent for soial hange, and as an inherently valuable ultural ativity all values traditionally held by librarians and other reading experts. Some MREs ross into the realm of soial work; the authors desribe how the Get Into Reading program in Liverpool takes reading to populations not usually assoiated with literati, suh as the elderly, addits, and those with mental disabilities. Partiipants in MREs get to demonstrate their own intelletual apital as they engage in high-ulture ativities around books. By partiipating, readers gain ommunity membership and onnetions to authors. A signed book symbolially onnets reader to author via the materiality of the book, and as texts shift into new ontainers, the authors illuminate readers appreiation of physial books, whih illustrates why print books may extend beyond ever-hanging tehnologies around reading. Regardless of format, the authors fully expet shared readings to ontinue, and the book presents onvining arguments in support thereof. Marianne Martens Kent State University, Ohio Stephen Guy-Bray, Joan Pong Linton, and Steve Mentz, eds. The Age of Thomas Nashe: Text, Bodies and Trespasses of Authorship in Early Modern England. Farnham, UK and Burlington, VT: Ashgate, viii, 208p. ISBN: (hardbak). Thomas Nashe is inreasingly seen as a seminal figure in early modern literature. The editors of this new olletion sum up... / 8 Published by SholarWorks@UMass Amherst,

9 8 Spring / 7 his areer as that of a jobbing playwright, oasional poet, a man in print, a polemiist, an amateur theologian, and an enthusiasti pornographer (1), a list whih does not even inlude his more traditional titles: protojournalist, proto-novelist, and satirist. Nashe is situated at the overlap of print, stage, and manusript ultures (5), and his works are, among other things, restless enquiries into the status of the author and the pleasures of readership. For this reason, a new volume of essays on this hronially underrated figure deserves a warm welome. After a brief introdution by Steve Mentz, this volume onsists mainly of nine ritial essays. The first of them, by Georgia Brown, argues that Nashe plays a ruial role in unloking the ultural and politial potential of urbanization for his ontemporaries (21), relating his work to, in partiular, Ovid and The Taming of the Shrew in its exploration of the urban ondition. An exellent piee by Jonathan Crewe, This Sorrow s Heavenly: Christ s Teares and the Jews, offers an entirely fresh angle on Christ s Tears, reading the annibalisti Miriam as the Jewish ounterpart to Mary in a hyper-parodi Euharist (41), and arguing that in doing so she enats a Renaissane fantasy in whih Jewishness onsumes itself. Also highly stimulating is Steve Mentz s exploration of Lenten Stuff, in whih the limitless extra-urban eonomy of sea fishing (64) offers Nashe an esape from feminized narratives of romane. Mentz s piee is in dialogue with Jennifer Andersen s Blame-in-praise irony in Lenten Stuffe, whih offers an impressive amount of historiist fat in the ourse of arguing that the work is more hostile to the apitalist workings of the herring industry than has generally been reognized. Elsewhere, John V. Nane desribes Nashe as slashing through orthodoxy with the metiulous salpel of prose (116), an expression whih one might haritably hope to be deliberate atahresis, in the ourse of an attempt to identify the Cutwolfe of The Unfortunate Traveller with the figure of Vesalius. Karen Kettnih studies Nashe s relationship with the figure of Tarleton, and Melissa Hull Geil analyses images of monstrous birth in Nashe and the Marprelate pamphlets. Writing on Nashe and poverty, David Landreth makes the intriguing observation that Nashe is fasinated by voids, froths, and bubbles, as phenomena on the border between something and the nothing that C. S. Lewis saw as entral to Nashe s work. Corey MEleney SHARP News, Vol. 23, No. 2 [2014], Art. 1 onsiders Nashe s onstrutions of literary pleasure. The book onludes with a survey of Nashe s urrent profile in undergraduate and postgraduate teahing, based on a questionnaire onduted in The book ould oasionally benefit from more preision. For instane, when Nashe praises Homer s poem about frogs and mie, he is thinking not of the lost Margites but the extant Batrahomyomahia. Latin is a reurrent Ahilles heel (41, 112, 124, 184); ritis are misnamed (99, 126), or misquoted (130); in one or two ontributions, the Nashe quotations are startlingly inaurate, and even the titles of Nashe works are oasionally subjet to substantive misquotation (Have at You to Saffron Walden; Piere Pennilesse and his Suppliation to the Divell). This run of minor blemishes should not, however, detrat from the importane of the volume as a whole. These essays are a elebration of the rihness, omplexity, and ontinuing novelty of Nashe s works. Matthew Steggle Sheffield Hallam University Kai Lohsträter and Flemming Shok, eds. Die Gesammelte Welt: Studien zu Zedlers Universal-Lexion. Wiesbaden: Harrassowitz Verlag, viii, 332p., ill. ISBN (hardbak). Printed enylopedias are rapidly dying out and Wikipedia now dominates the market for universal knowledge. This development, however, has led to a heightened interest in the history of printed enylopedias. In the eighteenth entury, the Leipzig-based publisher Johann Friedrih Zedler ( ) established a Universal-Lexion (universal enylopedia; abbreviated as U-L here) for German readers a gargantuan projet, spanning over 20 years ( ) and ulminating in a 68-volume folio publiation with about 300,000 entries. The volume Die Gesammelte Welt the proeedings of a 2010 onferene on Zedler in Wolfenbüttel begins with an introdution by the editors, followed by 15 hapters that over impressive ground from metiulous ase studies of individual entries to more general observations on the representation of omplex topis in the U-L. This review will attempt to group the hapters aording to their fous to give an overview of the extensive ontent. The first two ontributions deal with the SHARP News Vol. 23, no. 2 framework for Zedler s projet. Ina Ulrike Paul makes general observations about the status of enylopedias during the eighteenth entury. Enylopedias had beome available to a wider publi, no longer published in Latin for the happy few. Kai Lohsträter disusses enylopedi publiations and their lose relationship with general interest periodials for Enlightenment readers. At the time, journals and periodials were ubiquitous, and they were valuable soures for the authors of enylopedia entries. There were probably more than 1,000 different periodials at the time an impressive number, though some had an extremely short lifespan. This ompares to an estimated 220 handbooks and enylopedias available in A third ontribution by Werner Telesko disusses the visual strategies employed in the U-L; sixteen full-page illustrations emphasize Telesko s point that the engravings stand alone, without a diret relationship with the text. Three ontributions deal with individual entries: Claire Gantet s lose reading of the entry dream offers insights into Enlightenment ideas at the University of Halle. Peter König analyzes the entry ruelty, a vie whih is given more attention than for instane greed or merilessness. The onluding artile of the volume by Jutta Nowosadtko is a metiulous study of the biographial entry on Theodore of Corsia ( ). The remaining nine ontributions deal with omplex onepts and their representation. Sabine Todt analyzes the representation of body image and sexuality throughout the enylopedia, offering lose readings of the entries self-maulation (masturbation) and body as mahine. Tobias Winnerling looks at Buddhism in the U-L, whereas Nathanael Riemer onsiders the portrayal of Jews, Judaism and other minority ultures. German Penzholz examines the U-L s rendering of peae through its entries on peae treaties. Florian Kershbaumer deliberates whether the U-L s desription of slavery an be interpreted as an apology for or an inditment of the slave trade. The arts and sienes are dealt with by Karsten Makensen (musi and its status as ars or sientia ), Ira Diedrih (the representation of literary authors), Sergio Nobre (mathematis), and Karol Sauerland (ameralism the German siene of administration). Just as the editors admit that an introdution and 15 hapters annot do justie to an enylopedia with 300,000 entries, this review 8