The romance genre was a popular literary form among writers and
readers in the nineteenth and early twentieth centuries, but since
then it has often been dismissed as juvenile, unmodern, improper,
or subversive. In this study, William J. Scheick seeks to recover
the place of romance in fin-de-siecle England and America; to
distinguish among its subgenres of eventuary, aesthetic, and
ethical romance; and to reinstate ethical romance as a major mode
of artistic expression. Scheick argues that the narrative maneuvers
of ethical romance dissolve the boundary between fiction and fact.
In contrast to eventuary romances, which offer easily consumed
entertainment, or aesthetic romances, which urge upon readers a
passive appreciation of a wondrous work of art, ethical romances
potentially disorient and reorient their readers concerning some
metaphysical insight hidden within the commonplace. They prompt
readers to question what is real and what is true, and to ponder
the wonder of life and the text of the self, there to detect what
the reader might do in the art of his or her own life The authors
whose works Scheick discusses are Nathaniel Hawthorne, H. Rider
Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John
Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis,
Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson,
Mary Cholmondeley, and Rudyard Kipling. This wide selection expands
the canon to include writers and works that highly merit re-reading
by a new generation.
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