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Contributors. Michael Cowan, James M. Cox, Susan Gillman, Myra Jehlen, Wilson Carey McWilliams, George E. Marcus, Carolyn Porter, Forrest Robinson, Michael Rogin, John Carlos Rowe, John Schaar, Eric Sundquist

Before Mark Twain became a national celebrity with his best-selling The Innocents Abroad, he was just another struggling writer perfecting his craft—but already “playin’ hell” with the world. In the first book in more than fifty years to examine the initial phase of Samuel Clemens’s writing career, James Caron draws on contemporary scholarship and his own careful readings to offer a fresh and comprehensive perspective on those early years—and to challenge many long-standing views of  Mark Twain’s place in the tradition of American humor.

Tracing the arc of Clemens’s career from self-described “unsanctified newspaper reporter” to national author between 1862 and 1867, Caron reexamines the early and largely neglected writings—especially the travel letters from Hawaii and the letters chronicling Clemens’s trip from California to New York City. Caron connects those sets of letters with comic materials Clemens had already published, drawing on all known items from this first phase of his career—even the virtually forgotten pieces from the San Francisco Morning Call in 1864—to reveal how Mark Twain’s humor was shaped by the sociocultural context and how it catered to his audience’s sensibilities while unpredictably transgressing its standards.

Caron reveals how Sam Clemens’s contemporaries, notably Charles Webb, provided important comic models, and he shows how Clemens not only adjusted to but also challenged the guidelines of the newspapers and magazines for which he wrote, evolving as a comic writer who transmuted personal circumstances into literary art. Plumbing Mark Twain’s cultural significance, Caron draws on anthropological insights from Victor Turner and others to compare the performative aspects of Clemens’s early work to the role of ritual clowns in traditional societies

Brimming with fresh insights into such benchmarks as “Our Fellow Savages of the Sandwich Islands” and “Jim Smiley and His Jumping Frog,” this book is a gracefully written work that reflects both patient research and considered judgment to chart the development of an iconic American talent. Mark Twain, Unsanctified Newspaper Reporter should be required reading for all serious scholars of his work, as well as for anyone interested in the interplay between artistic creativity and the literary marketplace.

Majumdar examines three broad developments related to the modernity of arranged marriage: the growth of a marriage market, concomitant debates about consumption and vulgarity in the conduct of weddings, and the legal regulation of family property and marriages. Drawing on matrimonial advertisements, wedding invitations, poems, photographs, legal debates, and a vast periodical literature, she shows that the modernization of families does not necessarily imply a transition from extended kinship to nuclear family structures, or from matrimonial agreements negotiated between families to marriage contracts between individuals. Colonial Bengal tells a very different story.

In 1875 Mary Lincoln, the widow of a revered president, was committed to an insane asylum by her son, Robert. The trial that preceded her internment was a subject of keen national interest. The focus of public attention since Abraham Lincoln's election in 1860, Mary Lincoln had attracted plentiful criticism and visible scorn from much of the public, who perceived her as spoiled, a spendthrift, and even too much of a Southern sympathizer. Widespread scrutiny only increased following her husband's assassination in 1865 and her son Tad's death six years later, after which her overwhelming grief led to the increasingly erratic behavior that led to her being committed to a sanitarium. A second trial a year later resulted in her release, but the stigma of insanity stuck. In the years since, questions emerged with new force, as the populace and historians debated whether she had been truly insane and subsequently cured, or if she was the victim of family maneuvering.

In this volume, noted Lincoln scholar Jason Emerson provides a documentary history of Mary Lincoln's mental illness and insanity case, evenhandedly presenting every possible primary source on the subject to enable a clearer view of the facts. Beginning with documents from the immediate aftermath of her husband's assassination and ending with reminiscences by friends and family in the mid-twentieth century, Mary Lincoln's Insanity Case: A Documentary History compiles more than one hundred letters, dozens of newspaper articles, editorials, and legal documents, and the daily patient progress reports from Bellevue Place Sanitarium during Mary Lincoln's incarceration. Including many materials that have never been previously published, Emerson also collects multiple reminiscences, interviews, and diaries of people who knew Mary Lincoln or were involved in the case, including the first-hand recollection of one of the jurors in the 1875 insanity trial.

Suggesting neither accusation nor exoneration of the embattled First Lady, Mary Lincoln's Insanity Case: A Documentary History gives scholars and history enthusiasts incomparable access to the documents and information crucial to understanding this vexing chapter in American history.

Mashairi Ya Vita Vya Kuduhu is a presentation and discussion of both manuscript and published versions of poems written by Lamu poets around the time of the Battle of Kuduhu. The poetic dialogue studied in this volume has played a significant role in the history of Swahili poetry, and its primary concern is to inform continued work in this area. The poems contained in this work were transmitted and preserved by speakers of Kiswahili and later collected and preserved by scholars. Chapter One contains the edited poems; Chapter Two consists of the translations. Subsequent chapters include accounts of the Battle of Kuduhu, editing and translating practices, and annotated poems and source versions. This work is presented as an example of the importance of research, fieldwork, and the consideration of available versions and alternative styles of presentation in the study of Swahili poetry.

Why did the Victorians hate and fear Roman Catholics so much? This question has long preoccupied literary and cultural scholars alike. Masked Atheism: Catholicism and the Secular Victorian Home by Maria LaMonaca begins with the assumption that anti-Catholicism reveals far more about the Victorians than simple theological disagreements or religious prejudice. An analysis of anti-Catholicism exposes a host of anxieties, contradictions, and controversies dividing Great Britain, the world’s most powerful nation by the mid-nineteenth century.

Noting that Catholicism was frequently caricatured by the Victorians as “masked atheism”—that is, heathenism and paganism masquerading as legitimate Christianity—LaMonaca’s study suggests that much anti-Catholic rhetoric in Victorian England was fueled by fears of encroaching secularism and anxieties about the disappearance of God in the modern world. For both male and female writers, Catholicism became a synonym for larger, “ungodly” forces threatening traditional ways of life: industrialization, rising standards of living, and religious skepticism.

LaMonaca situates texts by Charlotte Brontë, George Eliot, Christina Rossetti, Elizabeth Barrett Browning, Michael Field, and others against a rich background of discourses about the growing visibility of Anglo and Roman Catholicism in Victorian England. In so doing, she demonstrates the influence of both pro- and anti-Catholic sentiment on constructs of Victorian domesticity, and explores how writers appropriated elements of Catholicism to voice anxieties about the growing secularization of the domestic sphere: a bold challenge to sentimental notions of the home as a “sacred” space. Masked Atheism will contribute a fresh perspective to an ongoing conversation about the significance of Catholicism in Victorian literature and culture.

Until recently, print media was the dominant force in American culture. The power of the paper was especially true in minority communities. African Americans and European immigrants vigorously embraced the print newsweekly as a forum to move public opinion, cohere group identity, and establish American belonging.

Mediating America explores the life and work of T. Thomas Fortune and J. Samuel Stemons as well as Rev. Peter C. Yorke and Patrick Ford—respectively two African American and two Irish American editor/activists in the late nineteenth and early twentieth centuries. Historian Brian Shott shows how each of these “race men” (the parlance of the time) understood and advocated for his group’s interests through their newspapers. Yet the author also explains how the newspaper medium itself—through illustrations, cartoons, and photographs; advertisements and page layout; and more—could constrain editors’ efforts to guide debates over race, religion, and citizenship during a tumultuous time of social unrest and imperial expansion. 

Black and Irish journalists used newspapers to recover and reinvigorate racial identities. As Shott proves, minority print culture was a powerful force in defining American nationhood.

The emergence of photography in the mid-nineteenth century transformed ideas about how the self and nature could be pictured. Although the autobiographical potential of photography seems self-evident today, Sean Meehan takes us back to the birth of the medium when some of America’s preeminent authors began to think about photography’s implications for the representation of identity and the nature of autobiographical writing.

Both photography and autobiography involve a tension between disclosing and concealing their means of production: a chemical process for one, the writing process for the other. Meehan examines how four major authors—Ralph Waldo Emerson, Henry David Thoreau, Frederick Douglass, and Walt Whitman—were well aware of this tension and explored it in their work. By examining the implications of early photography in their writings, he shows how each engaged the new visual medium, how photography mediated their conceptions of self-representation, and how their appropriation of photographic thinking created a new kind of autobiography.

Examining the metonymic nature of photography, Meehan explores how the new medium influenced conceptions of visual and verbal representation. He intertwines these four writers’ reflections on photography—in Emerson’s Representative Men, Thoreau’s journals, Douglass’s narratives of slavery, and Whitman’s Specimen Days—with theories of photography as expounded by its inventors and observers, from Louis Daguerre and William Talbot in Europe to Oliver Wendell Holmes and Marcus Root in America.

As the first book to focus on the emergence of this new visual medium during the American Renaissance, Mediating American Autobiography shows us what photography means for American literature in general and for the genre most closely linked to it in particular. Because the engagement of these writers with photography has been neglected in previous scholarship, Meehan’s work provocatively bridges the study of two media and illuminates an important aspect of American thought and culture at the dawn of the technological era.

“A work of great breadth, originality, and distinction.  Rarely do we see such a successful marriage between historical demography and the history of medicine.  The interconnections between population increase, migration and immigration on the one hand, and disease and the development of medicine on the other in antebellum America are brilliantly presented.”—Irvine Loudon, Bulletin of the History of Medicine