Jane Austen

Christina Lupton

James Kinsley

Pride and Prejudice

This compelling book stands out for the combination of archival research, smart theoretical inquiry, and autobiographical reflection it brings into play.

Reading and the Making of Time in the Eighteenth Century

'It is a clever, well-written book, and I often found myself underlining whole paragraphs as I read. ... wonderfully insightful. ... I've never read accounts of any of these texts that manage to be at once so searching and so wondrously concise, and Lupton made me want to go back to them all' Rachel Cooke, Observer 'Incandescent' Lara Feigel, Guardian 'A subversive, brilliant and beautifully written book about love, play and power in fiction and in the well-read life' - Sarah Moss, author of Summerwater 'A delicious combination of critical thought and passionate personal experience.' - Tanya Shadrick, author of The Cure for Sleep Romantic love was born alongside the novel, and books have been shaping how we experience and think about our most intimate stories ever since. But what do novels give us when our own lives diverge from the usual narrative paths? Christina is a professor used to examining stories with a critical eye; until one day in middle age she finds herself falling in love and leaving her marriage for a romance with another woman. This involves a familiar enough tale, but when her new partner suffers a stroke, Tina begins to reflect on the sorts of love that novels rarely capture. A heady mix of memoir, criticism and storytelling that draws on novels ranging from Pride and Prejudice to Price of Salt, Anna Karenina to Conversations with Friends, to illuminate the ways love and novels work, and show how some types of love, which don't race to a narrative end-point, might be the most important of all.

Life After Reading

Love and the Novel

Carsten Meiner

This collection features leading literary critics and explores the role of language in thinking about the ways in which the world might be otherwise, and the history of contingency as a longstanding literary concept. The defining feature of contingency lies in the suggestion that things that have already happened might have been otherwise. Central to late twentieth century European critical and sociological thinking, that argument is at the centre of this volume. The contributors to this volume explore subjects including how literature, philosophy and history all cope with contingency; the existence of contingency in genres as diverse as enlightenment fables, Aristotle, Hardy, Jane Austen, and post-war American literature; the contingency of old age and the poetics of contingency. As the chapters here illustrate, our efforts to understand each other involve a constant opening onto being otherwise; an enterprise in which the role of the literary critic remains key. Of interest to scholars across a range of literary genres, this volume would also have applications for philosophy researchers exploring the metaphysics of contingency. This book was originally published as a special issue of Textual Practice.

Literature and Contingency

Alexander Dick

Brings together scholars who use literary interpretation and discourse analysis to read 18th-century British philosophy in its historical context. This work analyses how the philosophers of the Enlightenment viewed their writing; and, how their institutional positions as teachers and writers influenced their understanding of human consciousness.

Writing Between Philosophy and Literature

Theory and Practice in the Eighteenth Century

The eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. In Knowing Books Lupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that "know" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative. Knowing Books introduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them. Rather than a historical study of print technology, Knowing Books offers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makes Knowing Books at once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.

Christina Lupton

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