• i carry your heart with me(i carry it in by E.E. Cummings Acknowledgments Prologue: Journey into Romancelandia
• 1. Find Your One True Love: Book Lovers and the Romance Story
• 2. Going Native: When the Academic is (also) the Fan
• 3. Notes from the Imagination: Reading Romance Writing: Wherein Catherine Roach and Catherine LaRoche, in Feisty Dialogue, Comment upon LaRoche's Fiction
• 4. Sex: Good Girls Do, Or, Romance Fiction as Sex-Positive Feminist Mommy Porn
• 5. Notes from the Field: Romance Writers of America
• 6. Love: Bondage and the Conundrum of Erotic Love
• 7. Notes from the Writing: "Between the Sheets" and Other Moments toward Romance Novelist
• 8. Happily Ever After: The Testament of Erotic Faith Epilogue: Lessons from Romancing the Academic Notes Bibliography Index.
• (source: Nielsen Book Data)

Find your one true love and live happily ever after." The trials of love and desire provide perennial story material, from the Biblical Song of Songs to Disney's princesses, but perhaps most provocatively in the romance novel, a genre known for tales of fantasy and desire, sex and pleasure. Hailed on the one hand for its women-centered stories that can be sexually liberating, and criticized on the other for its emphasis on male/female coupling and mythical happy endings, romance fiction is a multi-million dollar publishing phenomenon, creating national and international societies of enthusiasts, practitioners, and scholars. Catherine M. Roach, alongside her romance-writer alter-ego, Catherine LaRoche, guides the reader deep into Romancelandia where the smart and the witty combine with the sexy and seductive to explore why this genre has such a grip on readers and what we can learn from the romance novel about the nature of happiness, love, sex, and desire in American popular culture.
(source: Nielsen Book Data)

• i carry your heart with me(i carry it in by E.E. Cummings Acknowledgments Prologue: Journey into Romancelandia
• 1. Find Your One True Love: Book Lovers and the Romance Story
• 2. Going Native: When the Academic is (also) the Fan
• 3. Notes from the Imagination: Reading Romance Writing: Wherein Catherine Roach and Catherine LaRoche, in Feisty Dialogue, Comment upon LaRoche's Fiction
• 4. Sex: Good Girls Do, Or, Romance Fiction as Sex-Positive Feminist Mommy Porn
• 5. Notes from the Field: Romance Writers of America
• 6. Love: Bondage and the Conundrum of Erotic Love
• 7. Notes from the Writing: "Between the Sheets" and Other Moments toward Romance Novelist
• 8. Happily Ever After: The Testament of Erotic Faith Epilogue: Lessons from Romancing the Academic Notes Bibliography Index.
• (source: Nielsen Book Data)

Find your one true love and live happily ever after." The trials of love and desire provide perennial story material, from the Biblical Song of Songs to Disney's princesses, but perhaps most provocatively in the romance novel, a genre known for tales of fantasy and desire, sex and pleasure. Hailed on the one hand for its women-centered stories that can be sexually liberating, and criticized on the other for its emphasis on male/female coupling and mythical happy endings, romance fiction is a multi-million dollar publishing phenomenon, creating national and international societies of enthusiasts, practitioners, and scholars. Catherine M. Roach, alongside her romance-writer alter-ego, Catherine LaRoche, guides the reader deep into Romancelandia where the smart and the witty combine with the sexy and seductive to explore why this genre has such a grip on readers and what we can learn from the romance novel about the nature of happiness, love, sex, and desire in American popular culture.
(source: Nielsen Book Data)

• Introduction: "Let us have poison . . ." women
• Part 1. The romantic poisoner
• The British lamia
• The American lamia
• Part 2. The democratic poisoner
• The partisan poisoner
• The humbug poisoner
• Epilogue: The avenging poisoner.

The nineteenth century was, we have been told, the "century of the poisoner, " when Britain and the United States trembled under an onslaught of unruly women who poisoned husbands with gleeful abandon. That story, however, is only half true. While British authorities did indeed round up and execute a number of impoverished women with minimal evidence and fomented media hysteria, American juries refused to convict suspected women and newspapers laughed at men who feared them. This difference in outcome doesn't mean that poisonous women didn't preoccupy Americans. In the decades following Andrew Jackson's first presidential bid, Americans buzzed over women who used poison to kill men. They produced and devoured reams of ephemeral newsprint, cheap trial transcripts, and sensational "true" pamphlets, as well as novels, plays, and poems. Female poisoners served as crucial elements in the literary manifestos of writers from Nathaniel Hawthorne and Edgar Allan Poe to George Lippard and the cheap pamphleteer E. E. Barclay, but these characters were given a strangely positive spin, appearing as innocent victims, avenging heroes, or engaging humbugs. The reason for this poison predilection lies in the political logic of metaphor. Nineteenth-century Britain strove to rein in democratic and populist movements by labeling popular print "poison" and its providers "poisoners, " drawing on centuries of established metaphor that negatively associated poison, women, and popular speech or writing. Jacksonian America, by contrast, was ideologically committed to the popular-although what and who counted as such was up for serious debate. The literary gadfly John Neal called on his fellow Jacksonian writers to defy British critical standards, saying, "Let us have poison." Poisonous Muse investigateshow they answered, how they deployed the figure of the female poisoner to theorize popular authorship, to validate or undermine it, and to fight over its limits, particularly its political, gendered, and racial boundaries. Poisonous Muse tracks the progress of this debate from approximately 1820 to 1845. Uncovering forgotten writers and restoring forgotten context to well-remembered authors, it seeks to understand Jacksonian print culture from the inside out, through its own poisonous language.
(source: Nielsen Book Data)

• Introduction : Reading, pedagogy, and tainted lit / Janet G. Casey
• "You will observe ..." : letting Lippard teach / Melissa Gniadek
• "Canons of nineteenth-century American literature" : how to use literature circles to teach popular, underrepresented, and canonical literary traditions / Randi Lynn Tanglen
• "One would die rather than speak ... about such subjects" : exploring class, gender, and hegemony in Anya Seton's Dragonwyck / Kathleen M. Therrien
• Sneaking it in at the end : teaching popular romance in the liberal arts classroom / Antonia Losano
• Chick lit and Southern studies / Jolene Hubbs
• "A right to be hostile" : black cultural traffic in the classroom / Richard Schur
• Teaching Bad romance : Poe's women, the Gothic, and Lady Gaga / Derek McGrath
• Crossing the barrier : an active-text approach to teaching Pet Sematary / Alissa Burger
• The literature of attractions : teaching popular fiction of the 1890s through early cinema / Michael Devine --Thomas Chalmers Harbaugh's dime novel westerns and video game narratives / Lisa Long
• Appendix : Supplement to Tanglen essay
• Notes.

Popular American fiction has now secured a routine position in the higher education classroom despite its historic status as culturally suspect. This newfound respect and inclusion have almost certainly changed the pedagogical landscape, and Teaching Tainted Lit explores that altered terrain. If the academy has historically ignored, or even sneered at, the popular, then its new accommodation within the framework of college English is noteworthy: surely the popular introduces both pleasures and problems that did not exist when faculty exclusively taught literature from anestablished "high" canon. How, then, does the assumption that the popular matters affect teaching strategies, classroom climates, and both personal and institutional notions about what it means to study literature? The essays in this collection presume that the popular is here to stay and that its instructive implications are not merely noteworthy, but richly nuanced and deeply compelling. They address a broad variety of issues concerning canonicity, literature, genre, and theclassroom, as its contributors teach everything from Stephen King and Lady Gaga to nineteenthcentury dime novels and the 1852bestseller Uncle Tom's Cabin. It is no secret that teaching popular texts fuels controversies about the value of cultural studies, the alleged relaxation of aestheticstandards, and the possible "dumbing down" of Americans. By implicitly and explicitly addressing such contentious issues, these essays invite a broader conversation about the place of thepopular not only in higher education but in the reading lives of all Americans.
(source: Nielsen Book Data)

• Prefácio / Zenir Campos Reis
• Apresentação
• Um recorte saliente do folheto
• Do desafio aos folhetos de desafio
• Arma de cantador
• Alma de lutador
• Almálgama
• O forrobodó
• Matutando
• Referências.

• Contexts of popular romance, 1885-1925
• Mary Ward's romances and the literary field
• Marie Corelli and the discourse of romance
• The women's romance and the ideology of form
• The imperial erotic romance
• Modernism and the romance of interiority.

Today's mass-market romances have their precursors in late Victorian popular novels written by and for women. In Modernism and the Women's Popular Romance Martin Hipsky scrutinizes some of the best-selling British fiction from the period 1885 to 1925, the era when romances, especially those by British women, were sold and read more widely than ever before or since. Recent scholarship has explored the desires and anxieties addressed by both "low modern" and "high modernist" British culture in the decades straddling the turn of the twentieth century. In keeping with these new studies, Hipsky offers a nuanced portrait of an important phenomenon in the history of modern fiction. He puts popular romances by Mrs. Humphry Ward, Marie Corelli, the Baroness Orczy, Florence Barclay, Elinor Glyn, Victoria Cross, Ethel Dell, and E. M. Hull into direct relationship with the fiction of Virginia Woolf, Katherine Mansfield, James Joyce, and D. H. Lawrence, among other modernist greats.
(source: Nielsen Book Data)

• Introduction: Hellenism and heresy
• Victorian Medea : from sensationalism to subjectivity
• Fragments of genius : Charlotte Brontë and the discourse of popular Greek
• Heretical humanism : Romola and Hellenism's distaff legacy
• The Daimon archives : Jane Harrison and the afterlife of dead languages
• Afterword: The First World War and the death of heresy.

The prevailing assumption regarding the Victorians' relationship to ancient Greece is that Greek knowledge constituted an exclusive discourse within elite male domains. "Heretical Hellenism: Women Writers, Ancient Greece, and the Victorian Popular Imagination" challenges that theory and argues that while the information women received from popular sources was fragmentary and often fostered intellectual insecurities, it was precisely the ineffability of the Greek world refracted through popular sources and reconceived through new fields of study that appealed to women writers' imaginations.Examining underconsidered sources such as theater history and popular journals, Shanyn Fiske uncovers the many ways that women acquired knowledge of Greek literature, history, and philosophy without formal classical training. Through discussions of women writers such as Charlotte Bronte, George Eliot, and Jane Harrison, "Heretical Hellenism" demonstrates that women established the foundations of a heretical challenge to traditional humanist assumptions about the uniformity of classical knowledge and about women's place in literary history." Heretical Hellenism" provides a historical rationale for a more expansive definition of classical knowledge and offers an interdisciplinary method for understanding the place of classics both in the nineteenth century and in our own time.
(source: Nielsen Book Data)

• Introduction. Fraud at home : the private life of capitalism
• Genre trouble : the Tichborne claimant, popular narrative, and the dangerous pleasures of domestic fraud
• Brinks jobs : servants, thresholds, and portable property
• Dangerous provisions: Victorian food fraud
• Speculating on marriage : fraud, narrative, and the business of Victorian wedlock
• Conclusion. Child rearing, time bargains, and the modern life of fraud.

Between the two world wars, American publishing entered a "golden age" characterized by an explosion of new publishers, authors, audiences, distribution strategies, and marketing techniques. The period was distinguished by a diverse literary culture, ranging from modern cultural rebels to working-class laborers, political radicals, and progressive housewives. In "America the Middlebrow", Jaime Harker focuses on one neglected mode of authorship in the interwar period - women's middlebrow authorship and its intersection with progressive politics. With the rise of middlebrow institutions and readers came the need for the creation of the new category of authorship. Harker contends that these new writers appropriated and adapted a larger tradition of women's activism and literary activity to their own needs and practices. Like sentimental women writers and readers of the 1850s, these authors saw fiction as a means of reforming and transforming society. Like their Progressive Era forebears, they replaced religious icons with nationalistic images of progress and pragmatic ideology. In the interwar period, this mode of authorship was informed by Deweyan pragmatist aesthetics, which insisted that art provided vicarious experience that could help create humane, democratic societies. Drawing on letters from publishers, editors, agents, and authors, "America the Middlebrow" traces four key moments in this distinctive culture of letters through the careers of Dorothy Canfield, Jessie Fauset, Pearl Buck, and Josephine Herbst. Both an exploration of a virtually invisible culture of letters and a challenge to monolithic paradigms of modernism, the book offers fresh insight into the ongoing tradition of political domestic fiction that flourished between the wars.
(source: Nielsen Book Data)

• Introduction
• A note on the text
• The female warrior
• Magdalena, the beautiful Mexican maid / Ned Buntline
• Bel of Prairie Eden / George Lippard
• A thrilling and exciting account of the sufferings and horrible tortures inflicted on Mortimer Bowers and Miss Sophia Delaplain
• The prisoner of La Vintresse / Mary A. Denison.

Mid-nineteenth-century American literature teems with the energy and excitement characteristic of the nation's era of expansion. It also reveals the intense anxiety and conflict of a country struggling with what it will mean, socially and culturally, to incorporate previously held Spanish territories. This critical anthology includes some of the most popular and sensational writings published before the Civil War. It is a collection of transvestite adventures, forbidden love, class conflict, and terrifying encounters with racial "others." Most of the accounts, although widely distributed in nineteenth-century newspapers, pamphlets, or dime store novels, have long been out of print. Reprinted here for the first time are novelettes by two superstars of the cheap fiction industry, Ned Buntline and George Lippard. Also included are selections from one of the first dime novels as well as the narratives of Leonora Siddons and Sophia Delaplain, both who claim in their autobiographical pamphlets to have cross-dressed as men and participated in the Texas rebellion and Cuban filibustering. Originally written for entertainment and enormously popular in their day, these sensational thrillers reveal for today's audiences how the rhetoric of empire was circulated for mass consumption and how imperialism generated domestic and cultural instability during the period of the American literary renaissance.
(source: Nielsen Book Data)

In this innovative study, Daniel A. Cohen explores a major cultural shift embodied in hundreds of early New England crime publications. Tracing the declining authority of Puritan ministers, he shows how the arbiters of an increasingly pluralistic literary marketplace gradually supplanted pious execution sermons with last-speech broadsides, gallows verses, criminal autobiographies, trial reports, newspaper stories, and romantic docudramas. "Pillars of Salt, Monuments of Grace" probes the forgotten origins of our modern mass media's pre-occupation with crime and punishment.
(source: Nielsen Book Data)

This volume gives attention to a popular literary phenomenon that defies modern conventional understandings of literary culture. Claiming to educate young gentlemen in the social arts, miscellanies were booklets that circulated widely in early modern England. They bundled together writing from diverse sources - plat texts, song books, educational tracts, poetry collections - but rarely acknowledged authorship. The material, which was frequently altered from the original, was of a Royalist bent and often celebrated drinking and carousing. reading could learn about courtship, however, through poetry, word games, sample love letters and even romantic one-liners. Who produced and who actually read miscellanies are among many questions explored in this in-depth study. Rejecting traditional authorcentric approaches, Adam Smyth instead draws upon research into the early modern cultures of manuscript and print. He begins with a consideration of the literary traditions from which printed miscellanies emerged and the functions the booklets proposed to serve. Through his analysis of marginalia in extant copies of these booklets Smyth constructs a profile of miscellany readers and shows how their readings often differed from those prescribed by the texts. Smyth also addresses textual transmission, emphasizing the fluidity of the publication process. Finally, the author examines the politics of printed miscellanies.
(source: Nielsen Book Data)