Stage women, 1900–50

This novel is a designedly political document. Written at the time of the Hastings impeachment and set in the period of Hastings’s Orientalist government, Hartly House, Calcutta (1789) represents a dramatic delineation of the Anglo-Indian encounter. The novel constitutes a significant intervention in the contemporary debate concerning the nature of Hastings’s rule of India by demonstrating that it was characterised by an atmosphere of intellectual sympathy and racial tolerance. Within a few decades the Evangelical and Anglicising lobbies frequently condemned Brahmans as devious beneficiaries of a parasitic priestcraft, but Phebe Gibbes’s portrayal of Sophia’s Brahman and the religion he espouses represent a perception of India dignified by a sympathetic and tolerant attempt to dispel prejudice.

Can reading make us better citizens? This book sheds light on how the act of reading can be mobilised as a powerful civic tool in service of contemporary civil and political struggles for minority recognition, rights, and representation in North America. Crossing borders and queering citizenship reimagines the contours of contemporary citizenship by connecting queer and citizenship theories to the idea of an engaged reading subject. This book offers a new approach to studying the act of reading, theorises reading as an integral element of the basic unit of the state: the citizen. By theorising the act of reading across borders as a civic act that queers citizenship, the book advances an alternative model of belonging through civic readerly engagement. Exploring work by seven US, Mexican, Canadian, and Indigenous authors, including Gloria Anzaldúa, Dorothy Allison, Gregory Scofield, Guillermo Gómez-Peña, Erín Moure, Junot Díaz, and Yann Martel, the book offers sensitive interpretations of how reading can create citizenship practices that foreground and value recognition, rights, and representation for all members of a political system.

This book is about Thomas Hood, a nineteenth-century writer and illustrator whose work is characterized by play. It argues that looking closely at Hood illuminates three areas of nineteenth-century cultural production that modern scholarship has yet fully to explore: the output of the years 1824-40; comic poetry; and the grotesque. These three areas of discomfort are linked, each of them threatens boundaries that are convenient for literary criticism. The book explores Hood's early career at the London Magazine, restoring the dynamic context in which he began experimenting with voice and genre. It examines the connection between the London's liberal politics and its culture of play. The book concerns with the effects of Hood's remarkably pluralistic approach to words, texts, and readers, both as material entities and as imaginative projections. It considers Hood's puns, their effects, their detractors, and the cultural politics of punning in the nineteenth century. The book examines the politics of Hood's play in relation to nineteenth-century debate about labour and leisure. Hood's work in relationship to the so-called 'minor' or 'illegitimate' theatre of the 1820s and 1830s is analyzed. Hood's work plays out the possibilities of an emergent cultural democracy: his poetry is practically and ideologically allied with the forms, subjects, and modes of illegitimate theatre. Hood's upbringing in a changing print culture makes him unsually alert to and appreciative of the play of language, the serendipitous intertextuality of the street where signs are in constant dialogue with one another.