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Author: Alison Morgan

This book is the first edited collection of poems and songs written in the immediate aftermath of the Peterloo Massacre in 1819. Of the seventy or so poems included in the anthology, many were published as broadsides and almost half were published in radical periodicals, such as the moderate Examiner and the ultra-radical Medusa with many from the Manchester Observer. Although I have provided headnotes and footnotes to support the reading of the texts, I intend them to stand alone, conveying as much of the original publication as possible, in order not to dilute the authenticity.

Following an introduction outlining the events before, during and after the massacre as well as background information on the radical press and broadside ballad, the poems are grouped into six sections according to theme, rather than chronologically or by publication because I want the reader to note the similarity between so many of the poems. Grouped in this manner, one cannot avoid the voices echoing down the centuries, speaking to us of the horrors of the time in texts that can no longer be ignored. Shelley’s Masque of Anarchy is included as an appendix in acknowledgement of its continuing significance to the representation of Peterloo.

This book is primarily aimed at students and lecturers of Romanticism and social history. With the bicentenary of the massacre in 2019 and Mike Leigh’s forthcoming film, I envisage the potential for a wider readership of people interested in learning more about one of the most seminal events in English history.

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Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

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Alison Morgan

a statement may be regarded as hyperbolic, this identification of the importance of the moment is shared by the periodicals and reflected in the urgency of their style and extravagance of their rhetoric. Radical periodicals The 1790s and the 1810s saw the proliferation of radical periodicals, spurred on by the ideals of the French Revolution in the 1790s and by the dire circumstances of life under the Liverpool administration in the second half of the 1810s. The French Revolutionary Wars (1793–1802) and Napoleonic Wars (1803–15) fostered waves of patriotism

in Ballads and songs of Peterloo
Lucy Robinson

), download-834-radical-zines-from-a-new-online-archive.html, accessed October 2016; James Romenesko, ‘The Zine Explosion’, American Journalism Review, 14 (1993), 39–43. 22 Romenesko, ‘The Zine Explosion’, 39–43. 23 Henry Black, ‘Radical Periodicals and their Place in the Library’, Progressive Librarian, 17:2 (2000), 58–69. 24 Vito Russo, The Celluloid Closet: Homosexuality in the Movies (London: Harper Collins, 1987). -52- Going underground 25 Elaine Showalter, ‘Family Secrets and Domestic Subversion: Rebellion in the Novels of the

in Ripped, torn and cut
Rob Breton

foregoing observations was, after all, but partially acquainted with England, what did he know, for instance, of the factory system? Evidently nothing. His delineation of the state of the Irish is by no means overcharged – it is pathetically true: but had he been acquainted with such scenes as are detailed in the ‘Memoirs of Robert Blincoe’, he would have been one of the last to speak in so unqualified language of the invariable happiness which awaits the denizen of England. 52 In fact, some issues of the Annals have more in common with radical periodicals, or at

in The penny politics of Victorian popular fiction
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Guns, bombs, spooks and writing the revolution
Jak Peake

. According to Justice Department officials, The Crusader ’s publishing of McKay’s ‘If We Must Die’ – which was ubiquitous within black radical periodicals – served as shorthand for the magazine’s dangerous radicalism. To make its point, the report quotes The Crusader ’s use of the sonnet in full alongside Andy Razafkeriefo’s poem ‘Don’t Tread on Me’. 42 What was most offensive about The Crusader according to Palmer’s report was its use of an ‘obnoxious’ cartoon in its November issue

in Revolutionary lives of the Red and Black Atlantic since 1917
Melodrama and politics in late Georgian England
Robert Poole

themes of drama were understood and applied by their audiences. Meanwhile, songs, printed texts, radical periodicals and popular literature propagated melodramatic themes and language to audiences who Melodrama and politics in late Georgian England had never seen the inside of a theatre. The melodramatic mode extended to the movement for parliamentary reform, where it had a tangible influence on political behaviour. The theatre of politics The radical reform movement of 1816–17 was nothing if not theatrical. There were various risings and attempted risings: the Spa

in Politics, performance and popular culture
Paul Routledge and Andrew Cumbers

1 ATTAC stands for Association pour la Taxation des Transactions Financieres pour l’aide aux Citoyens and was originally created by French journalists from the radical periodical Le Monde Diplomatique in 1998. Subsequently it has become an international network of around 30,000 activists in over 30 countries, campaigning specifically for a global tax on international currency speculation to be used to fund development in the ‘Global South’, but more generally against neoliberalism. 2 While Livingston has been an arch critic of the Iraq war and western foreign

in Global justice networks
Malcolm Chase

Catholic states, he concluded, proved Roman Catholicism was not incompatible with liberty and reform. This argument Carlile then used to castigate further the iniquities of the British political and religious establishment. ‘Falsehood’s minions dare, / My bleeding country’s vitals tear’, ran a poetic contribution to the liveliest of radical periodicals around this time, Black Dwarf, but Where superstition long had dwelt, And man to haughty tyrants knelt; Spain rises, awful and sublime, O’er slavery, error, woe, and crime.32 The apparently decisive role of standing

in The Cato Street Conspiracy
Barbara Korte

Boy’s Own Magazine, January 1863, pp. 63‒6; or ‘Adventures of Sir Francis Drake’, Boy’s Own Magazine, 17 May 1879, p. 283. A far more critical debate about the navy and its heroisations marks articles from early Victorian radical periodicals. See, for example, the Chartist Northern Star’s article about Greenwich Pensioners who were obliged to beg under the new Nelson’s Column, 4 November 1843, p. 4. 21 ‘Sir Walter Raleigh’, Chambers’s Journal, 16 May 1868, pp. 308–11. 22 See, for example, ‘Fleets and Navies – England’, Blackwood’s Edinburgh Magazine, September 1859

in A new naval history