“This is splendid historical writing…Darnton [has] a well-justified reputation as one of the most original contributors to our understanding of life in pre-revolutionary Paris.” —New York Review of Books

Robert Darnton introduces us to the shadowy world of pirate publishers, garret scribblers, under-the-cloak book peddlers, smugglers, and police spies that composed the literary underground of the Enlightenment.

Here are the ambitious writers who crowded into Paris seeking fame and fortune within the Republic of Letters, but who instead sank into the miserable world of Grub Street—victims of a closed world of protection and privilege. Venting their frustrations in an illicit literature of vitriolic pamphlets, libelles, and chroniques scandaleuses, these “Rousseaus of the gutter” desecrated everything sacred in the social order of the Old Regime. Here too are the workers who printed their writings and the clandestine booksellers who distributed them.

While censorship, a monopolistic guild, and the police contained the visible publishing industry within the limits of official orthodoxies, a prolific literary underworld disseminated a vast illegal literature that conveyed a seditious ideology to readers everywhere in France. Covering their traces in order to survive, the creators of this eighteenth-century counterculture have virtually disappeared from history. By drawing on an ingenious selection of previously hidden sources, such as police ledgers and publishers’ records, Robert Darnton reveals for the first time the fascinating story of that forgotten underworld.

The activities of the underground bear on a broad range of issues in history and literature, and they directly concern the problem of uncovering the ideological origins of the French Revolution. This engaging book illuminates those issues and provides a fresh view of publishing history that will inform and delight the general reader.

The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin.

The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘Underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture.

The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht).

Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity. 

Written Here, Published There offers a new perspective on the role of underground literature in the Cold War and challenges us to recognize gaps in the Iron Curtain. The book identifies a transnational undertaking that reinforced détente, dialogue, and cultural transfer, and thus counterbalanced the persistent belief in Europe's irreversible division.

It analyzes a cultural practice that attracted extensive attention during the Cold War but has largely been ignored in recent scholarship: tamizdat, or the unauthorized migration of underground literature across the Iron Curtain. Through this cultural practice, I offer a new reading of Cold War Europe's history. Investigating the transfer of underground literature from the 'Other Europe' to Western Europe, the United States, and back illuminates the intertwined fabrics of Cold War literary cultures. Perceiving tamizdat as both a literary and a social phenomenon, the book focuses on how individuals participated in this border-crossing activity and used secretive channels to guarantee the free flow of literature.