This Norton Critical Edition includes: The first British edition of the novel, published in 1886 by Longmans, Green, and Co., the only edition set directly from Stevenson's manuscript and for which he read and corrected proofs. Deborah Lutz's thorough introduction and detailed explanatory footnotes to the novel. Seven illustrations. A rich and relevant selection of background materials centered on the novel's composition, reception, and historical and cultural contexts, alongside seven of Stevenson's letters. Interpretative essays by Elaine Showalter, Jack Halberstam, Martin Danahay and Stephen Arata. A chronology and a selected bibliography. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format-annotated text, contexts and criticism-helps students to better understand, analyse and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

At the height of the Victorian era, a daring group of artists and thinkers defied the reigning obsession with propriety, testing the boundaries of sexual decorum in their lives and in their work. Dante Gabriel Rossetti exhumed his dead wife to pry his only copy of a manuscript of his poems from her coffin. Legendary explorer Richard Burton wrote how-to manuals on sex positions and livened up the drawing room with stories of eroticism in the Middle East. Algernon Charles Swinburne visited flagellation brothels and wrote pornography amid his poetry. By embracing and exploring the taboo, these iconoclasts produced some of the most captivating art, literature, and ideas of their day. As thought-provoking as it is electric, Pleasure Bound unearths the desires of the men and women who challenged buttoned-up Victorian mores to promote erotic freedom. These bohemians formed two loosely overlapping societies the Cannibal Club and the Aesthetes to explore their fascinations with sexual taboo, from homosexuality to the eroticization of death. Known as much for their flamboyant personal lives as for their controversial masterpieces, they created a scandal-provoking counterculture that paved the way for such later figures as Gustav Klimt, Virginia Woolf, and Jean Genet. In this stunning expose of the Victorian London we thought we knew, Deborah Lutz takes us beyond the eyebrow-raising practices of these sex rebels, revealing how they uncovered troubles that ran beneath the surface of the larger social fabric: the struggle for women s emancipation, the dissolution of formal religions, and the pressing need for new forms of sexual expression."

"For the classroom and for the general reader, there's no better way to experience the context in which Jane Eyre was written, illuminating modern commentary, and the novel itself in an authoritative text." Fred kaplan, Queens College and The Graduate Center, City University of New York

Nineteenth-century Britons treasured objects of daily life that had once belonged to their dead. The love of these keepsakes, which included hair, teeth, and other remains, speaks of an intimacy with the body and death, a way of understanding absence through its materials, which is less widely felt today. Deborah Lutz analyzes relic culture as an affirmation that objects held memories and told stories. These practices show a belief in keeping death vitally intertwined with life - not as memento mori but rather as respecting the singularity of unique beings. In a consumer culture in full swing by the 1850s, keepsakes of loved ones stood out as non-reproducible, authentic things whose value was purely personal. Through close reading of the works of Charles Dickens, Emily Bronte, Alfred Lord Tennyson, Thomas Hardy, and others, this study illuminates the treasuring of objects that had belonged to or touched the dead.

Nineteenth-century Britons treasured objects of daily life that had once belonged to their dead. The love of these keepsakes, which included hair, teeth, and other remains, speaks of an intimacy with the body and death, a way of understanding absence through its materials, which is less widely felt today. Deborah Lutz analyzes relic culture as an affirmation that objects held memories and told stories. These practices show a belief in keeping death vitally intertwined with life - not as memento mori but rather as respecting the singularity of unique beings. In a consumer culture in full swing by the 1850s, keepsakes of loved ones stood out as non-reproducible, authentic things whose value was purely personal. Through close reading of the works of Charles Dickens, Emily Bronte, Alfred Lord Tennyson, Thomas Hardy, and others, this study illuminates the treasuring of objects that had belonged to or touched the dead.

This book shows how authors in nineteenth-century Britain used the materials of writing (and of reading, drawing, and handicraft) for inspiration and creative composition. In doing so, it reshapes the sensory history of working on and with paper. These activities were many and varied: Charlotte Bronte composed poems and doodled in the margins of school books, George Eliot recorded writing ideas on her blotter, Elizabeth Barrett Browning sewed paper to paper to edit her poems, and Jane Austen employed straight pins to "cut and paste." Albums provided a playful space to collect and to produce text-and-collage gifts for friends, circumventing print culture for a more intimate book making, as Elizabeth Gaskell and Anna Atkins knew. Notebooks and commonplace books were vital to Eliot, Michael Field, and Emily Bronte as part of a writing process. Writers experimented with crafts and needlework to compose text without paper and ink, most notably in the case of samplers. What writing and drawing happened on-including bibles, sewing patterns, and walls-mattered, as related to, and generative of, the themes of the work. This expansive field of meanings that creativity with textual (and material) things could have was common to the Victorians, but the writers explored here were extravagant even among their self-reflexive contemporaries in their undoing, remaking, miniaturizing, encrypting, reusing, and transforming. The edge of the page, the width of the margin, the covers of the book, were limiting factors, but also provocations to push on further, be radical.

"I read 'Glenarvon, ' too, by Caro. Lamb....God damn " - Lord Byron

In 1812, Lady Caroline Lamb, wife of a prominent politician and future Prime Minister, began a tempestuous affair with Lord Byron, a liaison that shocked Lamb's contemporaries. Finally, when he became tired of Lamb, Byron cruelly broke off the relationship, and in "Glenarvon" (1816) Lamb sought revenge.

Set against the backdrop of the violent Irish Revolution of 1798, Glenarvon tells the story of the doomed love of the married Lady Calantha for the dashing revolutionary Lord Glenarvon. Though published anonymously, contemporary readers immediately recognised in Calantha and Glenarvon the counterparts of Lamb and Byron and in many of the minor characters satiric portraits of some of the leading lights of London high society. The novel became an instant success, going through numerous editions and resulting in Lamb's being blackballed from fashionable society.

The Valancourt Books edition includes the unabridged text of the first edition as well as Lamb's preface from the expurgated second edition. This edition also features a new introduction and notes by Deborah Lutz and an index to characters in "Glenarvon" and their real-life counterparts.