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British General Sir Allan Cunningham was appointed in 1945 as high commissioner of Palestine, and served in this capacity until the end of the British mandate on May 15, 1948. The three years of Cunningham’s tenure were tremendously complex politically: players included the British government in London, the British army, the British administration in Jerusalem, and diverse military forces within the Zionist establishment, both Jew and Arab. Golani revisits this period from the perspective of the high commissioner, examining understudied official documents as well as Cunningham’s letters, notes, and cables. He emphasizes especially the challenges of navigating Jewish and Arab terrorists, on the one hand, and the multiple layers of British institutional bureaucracies, on the other, and does an excellent job of establishing Sir Allan’s daily trials within the broad frame of the collapse of the British Empire following World War II.

As African and Caribbean nations gained independence from Britain in the 1950s and 1960s, many young musicians, students, and professionals crossed the Atlantic in search of new opportunities and built vibrant communities. Pan-African Resonance: Music, Migration, and Everyday Practice in London and Accra traces these journeys from Ghana, Trinidad and Tobago, Jamaica, Saint Lucia, Barbados, and Guyana, exploring how migrants practiced pan-Africanism through music across continents and generations. Drawing on musical recordings, newspapers, oral histories, and government documents from six countries, Alison Okuda demonstrates that pan-African solidarity thrived through the everyday creation and enjoyment of popular music. The book unfolds in two parts. Starting in the 1950s, it examines how Ghanaian highlife and Trinidadian calypso brought together musicians and young members of the independence generation, first in London and later in Accra. Even amid cultural tensions, Ghanaian and Caribbean communities expressed aspirations for freedom and unity in nightclubs, recording studios, private homes, and public streets. Before Ghana’s 1966 coup d’état, Ghanaians and diasporic Africans collaborated to shape an independent African-Atlantic world. Although the coup disrupted formal Pan-Africanist organizing, in the second part of the book Okuda shows that in the 1970s a new generation sustained dynamic networks of solidarity through highlife, reggae, and other popular styles—heard in recordings, radio broadcasts, live performances, and community events. Influenced by generational change and musical fluidity, African diasporic unity has remained central to popular music, migration, and politics in Ghana and the wider African-Atlantic world into the twenty-first century. Offering a rich interdisciplinary approach, Pan-African Resonance will appeal to readers interested in popular culture, transnational history, diaspora studies, and modern African history.

Partitioning Palestine is the first history of the ideological and political forces that led to the idea of partition—that is, a division of territory and sovereignty—in British mandate Palestine in the first half of the twentieth century. Inverting the spate of narratives that focus on how the idea contributed to, or hindered, the development of future Israeli and Palestinian states, Penny Sinanoglou asks instead what drove and constrained British policymaking around partition, and why partition was simultaneously so appealing to British policymakers yet ultimately proved so difficult for them to enact. Taking a broad view not only of local and regional factors, but also of Palestine’s place in the British empire and its status as a League of Nations mandate, Sinanoglou deftly recasts the story of partition in Palestine as a struggle to maintain imperial control. After all, British partition plans imagined space both for a Zionist state indebted to Britain and for continued British control over key geostrategic assets, depending in large part on the forced movement of Arab populations. With her detailed look at the development of the idea of partition from its origins in the 1920s, Sinanoglou makes a bold contribution to our understanding of the complex interplay between internationalism and imperialism at the end of the British empire and reveals the legacies of British partitionist thinking in the broader history of decolonization in the modern Middle East.

In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.

 

Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.

 

Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

Today, Percy Bysshe Shelley is an emblem of the Romantic movement and one of the lights of English culture—his poems memorized by schoolchildren, his life honored with a memorial in Westminster Abbey’s Poets’ Corner. That wasn’t always the case, however. In his own day, Shelley was widely loathed, seen as an immoral atheist and a traitor to his class for his revolutionary politics. His work was damned as well, receiving scathing reviews rooted as much in disapproval of his politics and personal life as in the verse itself. That’s the Shelley that Jacqueline Mulhallen brings to life in this accessible, political biography: the Shelley who, though writing when the working class was in its infancy, clearly grasped—and wanted to change—the system of oppression under which laborers and women lived. The revolutionary Shelley, Mulhallen shows, has long served as an inspiration to figures from Karl Marx to W. B. Yeats to the poets and writers of today, and for popular movements like the Chartists and the suffragettes, even as his public image and poetry became part of the establishment.
 
An engaging look at one of English history and literature’s most compelling, complicated, and talented figures, Percy Bysshe Shelley will be a valuable contribution to our understanding of the man and his work.

From 1810 to 1811, the English stonemason and amateur naturalist George Perry published a lavishly illustrated magazine on natural history. The Arcana or Museum of Nature ran to 22 monthly parts, with 84 extraordinary hand-colored plates and over 300 text pages describing mammals, birds, reptiles, fish, mollusks, echinoderms, insects, trilobites and plants, alongside travelogues from far-off lands. It presented the first published illustration of the koala and many new genera and species, but astonishingly was then largely forgotten for nearly two hundred years. Perry’s work was deliberately ignored by his contemporaries in England, as he was a supporter of Lamarck rather than of Linnaeus, and the Arcana’s rarity—only thirteen complete copies are known to have survived—has helped maintain its shroud of mystery.

Now at last this neglected gem has been revived for scientists, students, and aficionados of natural history. New scholarship is combined with modern digital reproduction techniques to do full justice to the beautiful plates. An up-to-date account of all the species is given, along with a full collation and extensive notes, by the eminent natural historian Richard E. Petit.

The Arcana is technically interesting too, as its glowing plates were printed with variously colored inks to suppress their outlines. Its appeal will extend not only to academic libraries and scholars specializing in various branches of natural history and the history of science, but also to collectors of beautiful natural history books and enthusiasts of Regency Britain.

The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents.

          

 Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.

The Victorians were image obsessed. The middle decades of the nineteenth century saw an unprecedented growth in the picture industry. Technological advances enabled the Victorians to adorn with images the pages of their books and the walls of their homes. But this was not a wholly visual culture. Pictorial Victorians focuses on two of the most popular mid-nineteenth-century genres—illustration and narrative painting—that blurred the line between the visual and textual.

Illustration negotiated text and image on the printed page, while narrative painting juxtaposed the two media in its formulation of pictorial stories. Author Julia Thomas reassesses mid-nineteenth-century values in the light of this interplay. The dialogue between word and image generates meanings that are intimately related to the Victorians' image of themselves. Illustrations in Victorian publications and the narrative scenes that lined the walls of the Royal Academy reveal the Victorians' ideas about the world in which they lived and their notions of gender, class, and race.

Pictorial Victorians surveys a range of material, from representations of the crinoline, to the illustrations that accompanied Harriet Beecher Stowe’s novel Uncle Tom's Cabin and Tennyson's poetry, to paintings of adultery. It demonstrates that the space between text and image is one in which values are both constructed and questioned.

Coinciding with the extraordinary expansion of Britain's overseas empire under Queen Victoria, the invention of photography allowed millions to see what they thought were realistic and unbiased pictures of distant peoples and places. This supposed accuracy also helped to legitimate Victorian geography's illuminations of the "darkest" recesses of the globe with the "light" of scientific mapping techniques.

But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren.

Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.

This study of colonialism and art examines the intersection of visual culture and political power in late-eighteenth-century British painting. Focusing on paintings from British America, the West Indies, and India, Beth Fowkes Tobin investigates the role of art in creating and maintaining imperial ideologies and practices—as well as in resisting and complicating them.
Informed by the varied perspectives of postcolonial theory, Tobin explores through close readings of colonial artwork the dynamic middle ground in which cultures meet. Linking specific colonial sites with larger patterns of imperial practice and policy, she examines paintings by William Hogarth, Benjamin West, Gilbert Stuart, Arthur William Devis, and Agostino Brunias, among others. These works include portraits of colonial officials, conversation pieces of British families and their servants, portraits of Native Americans and Anglo-Indians, and botanical illustrations produced by Calcutta artists for officials of the British Botanic Gardens. In addition to examining the strategies that colonizers employed to dominate and define their subjects, Tobin uncovers the tactics of negotiation, accommodation, and resistance that make up the colonized’s response to imperial authority. By focusing on the paintings’ cultural and political engagement with imperialism, she accounts for their ideological power and visual effect while arguing for their significance as agents in the colonial project.
Pointing to the complexity, variety, and contradiction within colonial art, Picturing Imperial Power contributes to an understanding of colonialism as a collection of social, economic, political, and epistemological practices that were not monolithic and inevitable, but contradictory and contingent on various historical forces. It will interest students and scholars of colonialism, imperial history, postcolonial history, art history and theory, and cultural studies.

In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication.

A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity.

Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.

Despite constant calls for reform, policing in the United States and Britain has changed little over the past thirty years. In Policing Contingencies, Peter K. Manning draws on decades of fieldwork to investigate how law enforcement works on the ground and in the symbolic realm, and why most efforts to reform the way police work have failed so far.

Manning begins by developing a model of policing as drama—a way of communicating various messages to the public in an effort to enforce moral boundaries. Unexpected outcomes, or contingencies, continually rewrite the plot of this drama, requiring officers to adjust accordingly. New information technologies, media scrutiny and representations, and community policing also play important roles, and Manning studies these influences in detail. He concludes that their impacts have been quite limited, because the basic structure of policing—officer assessments based on encounters during routine patrols—has remained unchanged. For policing to really change, Manning argues, its focus will need to shift to prevention.

Written with precision and judiciously argued, Policing Contingencies will be of value to scholars of sociology, criminology, information technology, and cultural theory.

Policy Debates on Reprogenetics takes an in-depth look at recent public policy debates over stem cell research and therapeutic cloning in Great Britain and Germany in order to determine the effect of such debates on the progress of scientific knowledge. Svea Luise Herrmann argues that debates about government policy do not tend to lead to more societal and political control over scientific research; rather, the discussions, when framed as questions of ethics, allow societies to air anxieties without retarding or challenging scientific progress. As our understanding of genetics continues to grow, this volume will be a useful resource for scientists and policy makers alike.

The turn to political concerns in Renaissance studies, beginning in the 1980s, was dictated by forms of cultural materialism that staked their claims against the aesthetic dimension of the work. Recently, however, the more robustly political conception of the aesthetic formulated by theorists such as Theodor Adorno and Jacques Rancière has revitalized literary analysis generally and early modern studies in particular. For these theorists, aesthetics forms the crucial link between politics and the most fundamental phenomenological organization of the world, what Rancière terms the “distribution of the sensible.”

Taking up this expansive conception of aesthetics, Political Aesthetics in the Era of Shakespeare suggests that the political stakes of the literary work—and Shakespeare’s work in particular—extend from the most intimate dimensions of affective response to the problem of the grounds of political society. The approaches to aesthetic thought included in this volume explore the intersections between the literary work and the full range of concerns animating the field today: political philosophy, affect theory, and ecocritical analysis of environs and habitus.

Historians of science have long noted the influence of the nineteenth-century political economist Thomas Robert Malthus on Charles Darwin. In a bold move, Piers J. Hale contends that this focus on Malthus and his effect on Darwin’s evolutionary thought neglects a strong anti-Malthusian tradition in English intellectual life, one that not only predated the 1859 publication of the Origin of Species but also persisted throughout the Victorian period until World War I. Political Descent reveals that two evolutionary and political traditions developed in England in the wake of the 1832 Reform Act: one Malthusian, the other decidedly anti-Malthusian and owing much to the ideas of the French naturalist Jean Baptiste Lamarck.            
           
These two traditions, Hale shows, developed in a context of mutual hostility, debate, and refutation. Participants disagreed not only about evolutionary processes but also on broader questions regarding the kind of creature our evolution had made us and in what kind of society we ought therefore to live. Significantly, and in spite of Darwin’s acknowledgement that natural selection was “the doctrine of Malthus, applied to the whole animal and vegetable kingdoms,” both sides of the debate claimed to be the more correctly “Darwinian.” By exploring the full spectrum of scientific and political issues at stake, Political Descent offers a novel approach to the relationship between evolution and political thought in the Victorian and Edwardian eras.

Why a Gazette? When one stops to think about it, Times or News is easy to understand, but why do some newspapers have strange names such as Jimplecute or Bazoo? And not to be picayune, but why Picayune?

            Word sleuth Jim Bernhard stopped to consider such questions and began a quest that resulted in the only book-length account of the history of newspaper titles. Cataloging names from the most common to the most bizarre, Porcupine, Picayune, & Post explores the history and etymology of newspapers’ names—names that, by their very peculiarity, cry out for explanation.

Bernhard focuses on printed general-interest English-language dailies and weeklies, from the Choteau (Montana) Acantha to the Moab (Utah) Zephyr, with everything in between—including the Gondolier of Venice, Florida, and the Iconoclast of Crawford, Texas. He explains why there are more Heralds, Journals, Posts, and Tribunes than you can shake a typestick at. He also goes beyond America’s borders to consider such oddities as the Banbury Cake in England and the Gawler Bunyip in Australia.

            As Bernhard shows, the reasons for newspaper names vary: sometimes their origins are political or historical, sometimes personal or simply whimsical. Many names have lost their original purposes over time but were chosen with care to symbolize a philosophy or mission or else were created by word association with the paper’s location or community role.

This book is bursting with little-known facts that will delight anyone who picks up a daily paper: how the Oil City Derrick in Pennsylvania got its name from a seventeenth-century English hangman, why a Londoner printed a newspaper on calico and named it the Handkerchief, and what meaning lurks behind the Unterrified Democrat of Linn, Missouri. There’s even a chapter on noteworthy fictional newspapers, from Superman’s Daily Planet to Lake Wobegon’s Herald-Star.

            With the naming of newspapers fast becoming a lost art, Porcupine, Picayune, & Post tells what’s behind the banners we see each day but probably never stop to think about. Thanks to Bernhard, we may never see them in the same way again. 

 

Vita Sackville-West, novelist, poet, and biographer, is best known as the friend of Virginia Woolf, who transformed her into an androgynous time-traveler in Orlando. The story of Sackville-West's marriage to Harold Nicolson is one of intrigue and bewilderment. In Portrait of a Marriage, their son Nigel combines his mother's memoir with his own explanations and what he learned from their many letters. Even during her various love affairs with women, Vita maintained a loving marriage with Harold. Portrait of a Marriage presents an often misunderstood but always fascinating couple.

The early twentieth century was a time when steamships, international postal services and the telephone were setting the pace of an early wave of globalisation in Europe. In this increasingly international scenario, what role did language play? To address the geopolitical problem of cross-border linguistic (mis)understanding, international auxiliary languages like Esperanto were created. But what happened to a constructed language when it travelled to different places?

This book tackles these questions by exploring the letters, postcards and activities of John Beveridge (1857–1943) and his family. This Scottish clergyman was a proficient Esperanto speaker, translator and co-founder of several Esperanto organisations. His long-standing engagement with the language left a unique archive that reveals how many Esperanto speakers exchanged letters across borders, produced literature for an international readership, organised congresses and used this language as an entry point into modernity and globalisation from their ‘marginal’ positions in the world.

By tracing this language-based form of grassroots internationalism, the book uncovers wide-reaching networks connecting a corner of Scotland with rural settings and villages in Finland, Bulgaria and Brazil. Ultimately, it asks: what do we learn about international communication and globalisation through the lens of Esperanto and postcards? Focusing on a constructed language and communication technologies that preceded the dominance of global English and social media, this book offers an alternative vantage point on the history of international communication.

Explores how cultural exchange after World War II produced twentieth-century British and Italian architecture.
 
In the aftermath of World War II’s devastation, Italy and the United Kingdom reimagined urban space. Post-war Architecture Between Italy and the UK explores how architects, urbanists, and historians in both countries collaborated around the shared need to rebuild. The authors discuss the far-reaching effects of this cultural exchange, including the influence of historic Italian town centers on British public space and the origin of postmodernism in clashes between British critics and Italian architects. Drawing on a wealth of archival materials, this volume offers new insights into architectural history in post-war Europe.
 

Michael C. Schoenfeldt here offers the first major exploration of the connections between George Herbert's devotional poetry and the social practices and political discourse of his day. Viewing The Temple and The Country Parson as part of the larger "civilizing process" of Western Europe, Schoenfeldt shows how Herbert discovers in the discourses of courtesy and theology a common vocabulary of authority, selfhood, petition, and discipline.

Before entering the priesthood, Herbert nourished contacts in court, was elected University Orator at Cambridge, and served in Parliament. In turning to God, Schoenfeldt argues, Herbert did not simply turn away from the secular world but also turned its language, particularly the language of courtesy, into the medium for his lyric worship of God. The confluence of courtesy and spirituality in Herbert's poetry provides a fascinating insight into a society searching for an appropriate discourse of reverence in a time of baffling change. The first five chapters investigate the manifold ways in which Herbert's life and works exemplify the interdependence of social and religious behavior in the English Renaissance. The sixth and final chapter extends this investigation into the nervous eroticism of Herbert's poems.

Considering The Temple as well as Herbert's letters, speeches, Latin poems, collections of foreign proverbs, translations, The Country Parson, and less familiar lyrics, Schoenfeldt offers a thorough and detailed reading of Herbert's rich and conflicted corpus. Prayer and Power is not only a bold redefinition of the accomplishment of one of the finest poets of the English Renaissance but also the first sustained study to advance a cultural poetics of the religious lyric.

Victorian Britain, with its maritime economy and strong links between government and scientific enterprises, founded an office to collect meteorological statistics in 1854 in an effort to foster a modern science of the weather. But as the office turned to prediction rather than data collection, the fragile science became a public spectacle, with its forecasts open to daily scrutiny in the newspapers. And meteorology came to assume a pivotal role in debates about the responsibility of scientists and the authority of science.

Studying meteorology as a means to examine the historical identity of prediction, Katharine Anderson offers here an engrossing account of forecasting that analyzes scientific practice and ideas about evidence, the organization of science in public life, and the articulation of scientific values in Victorian culture. In Predicting the Weather, Anderson grapples with fundamental questions about the function, intelligibility, and boundaries of scientific work while exposing the public expectations that shaped the practice of science during this period.

A cogent analysis of the remarkable history of weather forecasting in Victorian Britain, Predicting the Weather will be essential reading for scholars interested in the public dimensions of science.

Meet Netley Lucas, Prince of Tricksters—royal biographer, best-selling crime writer, and gentleman crook. In the years after the Great War, Lucas becomes infamous for climbing the British social ladder by his expert trickery—his changing names and telling of tales. An impudent young playboy and a confessed confidence trickster, he finances his far-flung hedonism through fraud and false pretenses. After repeated spells in prison, Lucas transforms himself into a confessing “ex-crook,” turning his inside knowledge of the underworld into a lucrative career as freelance journalist and crime expert. But then he’s found out again—exposed and disgraced for faking an exclusive about a murder case. So he reinvents himself, taking a new name and embarking on a prolific, if short-lived, career as a royal biographer and publisher. Chased around the world by detectives and journalists after yet another sensational scandal, the gentleman crook dies as spectacularly as he lived—a washed-up alcoholic, asphyxiated in a fire of his own making.

The lives of Netley Lucas are as flamboyant as they are unlikely. In Prince of Tricksters, Matt Houlbrook picks up the threads of Lucas’s colorful lies and lives. Interweaving crime writing and court records, letters and life-writing, Houlbrook tells Lucas’s fascinating story and, in the process, provides a panoramic view of the 1920s and ’30s. In the restless times after the Great War, the gentlemanly trickster was an exemplary figure, whose tall tales and bogus biographies exposed the everyday difficulties of knowing who and what to trust. Tracing how Lucas both evoked and unsettled the world through which he moved, Houlbrook shows how he prompted a pervasive crisis of confidence that encompassed British society, culture, and politics.

Taking readers on a romp through Britain, North America, and eventually into Africa, Houlbrook confronts readers with the limits of our knowledge of the past and challenges us to think anew about what history is and how it might be made differently.

Privatising Justice takes a broad historical view of the role of the private sector in the British state, from private policing and mercenaries in the eighteenth century to the modern rise of the private security industry in armed conflict, policing and the penal system. 

The development of the welfare state is seen as central to the decline of what the authors call 'old privatisation'. Its succession by neoliberalism has created the ground for the resurgence of the private sector. The growth of private military, policing and penal systems is located within the broader global changes brought about by neoliberalism and the dystopian future that it portends.

The book is a powerful petition for the reversal of the increasing privatization of the state and the neoliberalism that underlies it.