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An innovative study of the history of standardization that draws on both technical documents and novels.

Jonathan H. Grossman’s elegant analysis of standardization approaches the topic by exploring how institutions create standards. Grossman tracks how published standards documents became the dominant means of homogenizing durable objects during the nineteenth century’s industrialization of manufacturing, including printing. Examining these documents as a genre, he reconstructs the nineteenth-century history of published standards documents and shows how they evolved to produce uniformity across manufactured objects.

Shifting focus from the standardized creation of objects to their use by subjects, Grossman then probes how people reimagined, through print, the ways in which their subjectivity combined with identical, interchangeable manufactured objects. To understand that relation, he looks to nineteenth-century novels by Charles Dickens, Mark Twain, and Elizabeth Gaskell, revealing how these books depicted the interchangeability of the subjects implied by this production of identical objects. The novels do not merely observe the interplay between subjects and standardized objects; they materialize it in the assemblage of readers holding their industrially manufactured, print copy.  

Uncovers human histories, cultures, and politics on the ocean floor.

While often characterized as an alien realm, the seabed has long been fundamental to human life. As new technologies offer ever greater access to this environment, the bottom of the ocean is key to debates about our future—and yet we are poorly equipped to understand our relation to it.

The Seabed plumbs the ocean’s depths to reveal a rich and complex history of human activity at the seafloor, a history that extends from the classical world to the present. Jimmy Packham and Laurence Publicover highlight the literary significance of the seabed, examining works by writers including Aphra Behn, Anton Chekhov, Euripides, Herman Melville, M. NourbeSe Philip, William Shakespeare, Derek Walcott, and H. G. Wells, as well as lesser-known authors who have imagined this dark and mysterious realm. Putting these in dialogue with the science writing of Rachel Carson, Sylvia Earle, and others, and with visual art, politics, and historical case studies, they show how imaginative speculations concerning the ocean floor have influenced, and continue to inform, human activity on the seabed itself. Through chapters that explore sea burial and seafloor memorials, scientific exploration, deep-sea infrastructure, salvage from the seabed, and deep-sea extraction, the book reveals that the ocean floor’s cultural visibility has fluctuated over time. But longstanding visions of the seabed continue to shape our relationship with this place, a site for undersea cables and—in the near future—deep-sea mining.

The bottom of the ocean is closer than we think. Understanding our history there is crucial to assessing the present and imagining our future.

Taking the form of fact-filled travelogues, stunt-writing spectaculars, or genre-blurring imaginative works, travel writing has never been more popular than it is today. But beyond the self-conscious literary artistry of today’s narratives lies a rich and well-documented history of travel writing, stretching back over several thousand years and incorporating the work of mariners and missionaries, diplomats and dilettantes alike.

A history of human rights that places writers and their ideas at its center.

At Amnesty International’s headquarters in London hangs a large copy of Seamus Heaney’s “From the Republic of Conscience,” a poem that touches on neither imprisonment nor torture but instead suggests that acts of literary creation are themselves a form of human rights work, important for bringing new things into the world rather than removing evil from it. Why does a poem about the power of creation stand at the center of an organization known for publicizing atrocity? What can it tell us about human rights?
 
Hadji Bakara’s Writing for Dark Times tells the story of the writer’s distinct place in the history of human rights. It argues that the relationship between the creative work of writing and the pursuit of universal rights is an important but misunderstood dimension of both literary and human rights history over the past century. Following a diverse cast of writers from the First World War through the end of the Cold War, including Bertolt Brecht, Anna Seghers, Archibald MacLeish, Albert Camus, Czeslaw Milosz, Ngũgĩ wa Thiong’o, Seamus Heaney, Nadine Gordimer, and J.M. Coetzee, Bakara shows how their efforts to theorize and support human rights were bound up with changing ideas about the place of their own work in the world––the work of writing. And across the twentieth century, the book reveals, two central ideas about writing took shape around the politics of human rights. Writing creates something new and inspires the will for change.

For those who study human rights, Writing for Dark Times offers both an archive and a method for better understanding the influence of writers on the historical development of the concept. For those in literary studies, the book provides a new account of how human rights shaped the politics of twentieth-century literature. Few books have made as vivid a case for literature’s relevance to our most exalted ideals and institutions.