A landmark study of the illustrations that originally accompanied now-classic works of American literary realism
 
Though today we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.
 
Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created.
 
Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.
 

Popular culture remembers the settling of the Midwest as a golden era of unbounded opportunity, a time when every farm was a family farm and every farmer glowed with health. Pioneers in nineteenth-century Iowa, however, had to battle a formidable host of diseases during this golden era—malaria was endemic, smallpox and dysentery occurred in widespread epidemics, and typhoid, cholera, scarlet fever, and diphtheria had their seasons. Physicians in the growing Hawkeye State had little of the status and skill they command today, and herbalists, hydropaths, eclectics, Thomsonians, and homeopaths competed with purveyors of home remedies and patent medicines for their services.

The druggists of pioneer Iowa were artisan producers who compounded and prescribed botanical and chemical medicines, sold a variety of other merchandise from perfumes to paints, and dispensed the secret concoctions known as patent medicines, guaranteed to cure any condition, however alarming. In this compelling study, Lee Anderson tells the story of these early pharmacists and their hard-fought quest to legitimize their profession. While he confronts the politics of professionalism and the purpose of the pharmaceutical science and education, he also illuminates the mutual role of physicians and pharmacists in frontier health care.

With skill and humor, Anderson recreates an exciting time in midwestern history and provides insights into national issues of professionalism in medicine. His study will appeal to scholars in the history of medicine, pharmacy, and professionalism and to everyone interested in the history of the Midwest.