Dickens and Empire offers a reevaluation of Charles Dickens's imaginative engagement with the British Empire throughout his career. Employing postcolonial theory alongside readings of Dickens's novels, journalism and personal correspondence, it explores his engagement with Britain's imperial holdings as imaginative spaces onto which he offloaded a number of pressing domestic and personal problems, thus creating an entangled discourse between race and class. Drawing upon a wealth of primary material, it offers a radical reassessment of the writer's stance on racial matters. In the past Dickens has been dismissed as a dogged and sustained racist from the 1850s until the end of his life; but here author Grace Moore reappraises The Noble Savage, previously regarded as a racist tract. Examining it side by side with a series of articles by Lord Denman in The Chronicle, which condemned the staunch abolitionist Dickens as a supporter of slavery, Moore reveals that the tract is actually an ironical riposte. This finding facilitates a review and reassessment of Dickens's controversial outbursts during the Sepoy Rebellion of 1857, and demonstrates that his views on racial matters were a good deal more complex than previous critics have suggested. Moore's analysis of a number of pre- and post-Mutiny articles calling for reform in India shows that Dickens, as their publisher, would at least have been aware of the grievances of the Indian people, and his journal's sympathy toward them is at odds with his vitriolic responses to the insurrection. This first sustained analysis of Dickens and his often problematic relationship to the British Empire provides fresh readings of a number of Dickens texts, in particular A Tale of Two Cities. The work also presents a more complicated but balanced view of one of the most famous figures in Victorian literature.

The first volume devoted to literary pirates in the nineteenth century, this collection examines changes in the representation of the pirate from the beginning of the nineteenth century through the late Victorian period. Gone were the dangerous ruffians of the eighteenth-century novel and in their place emerged a set of brooding and lovable rogues, as exemplified by Byron's Corsair. As the contributors engage with acts of piracy by men and women in the literary marketplace as well as on the high seas, they show that both forms were foundational in the promotion and execution of Britain's imperial ambitions. Linking the pirate's development as a literary figure with the history of piracy and the making of the modern state tells us much about race, class, and evolving gender relationships. While individual chapters examine key texts like Treasure Island, Dickens's 1857 'mutiny' story in Household Words, and Peter Pan, the collection as a whole interrogates the growth of pirate myths and folklore throughout the nineteenth century and the depiction of their nautical heirs in contemporary literature and culture.

Beginning with Victoria's enthronement and an exploration of sensationalist accounts of attacks on the Queen, and ending with the notorious case of a fin-de-siecle killer, Victorian Crime, Madness and Sensation throws new light on nineteenth-century attitudes toward crime and 'deviance'. The essays, which draw on both canonical and liminal texts, examine the Victorian fascination with criminal psychology and pathology, engaging with real life cases alongside fictional accounts by writers as diverse as Ainsworth, Stevenson, and Stoker. Among the topics are shifting definitions of criminality and the ways in which discourses surrounding crime changed during the nineteenth century, the literal and social criminalization of particular sex acts, and the gendering of degeneration and insanity. As fascinated as they were with criminality, the Victorians were equally concerned with solving crime, and this collection also focuses on the forces of law enforcement and nineteenth-century attempts to "read" the criminal body as revealed in Victorian crime fiction and reportage. Contributors engage with the detective figure and his growing professionalization, while examining the role of science and technology - both at home and in the Empire - in solving cases.

The first volume devoted to literary pirates in the nineteenth century, this collection examines changes in the representation of the pirate from the beginning of the nineteenth century through the late Victorian period. Gone were the dangerous ruffians of the eighteenth-century novel and in their place emerged a set of brooding and lovable rogues, as exemplified by Byron's Corsair. As the contributors engage with acts of piracy by men and women in the literary marketplace as well as on the high seas, they show that both forms were foundational in the promotion and execution of Britain's imperial ambitions. Linking the pirate's development as a literary figure with the history of piracy and the making of the modern state tells us much about race, class, and evolving gender relationships. While individual chapters examine key texts like Treasure Island, Dickens's 1857 'mutiny' story in Household Words, and Peter Pan, the collection as a whole interrogates the growth of pirate myths and folklore throughout the nineteenth century and the depiction of their nautical heirs in contemporary literature and culture.

Beginning with Victoria's enthronement and an exploration of sensationalist accounts of attacks on the Queen, and ending with the notorious case of a fin-de-siecle killer, Victorian Crime, Madness and Sensation throws new light on nineteenth-century attitudes toward crime and 'deviance'. The essays, which draw on both canonical and liminal texts, examine the Victorian fascination with criminal psychology and pathology, engaging with real life cases alongside fictional accounts by writers as diverse as Ainsworth, Stevenson, and Stoker. Among the topics are shifting definitions of criminality and the ways in which discourses surrounding crime changed during the nineteenth century, the literal and social criminalization of particular sex acts, and the gendering of degeneration and insanity. As fascinated as they were with criminality, the Victorians were equally concerned with solving crime, and this collection also focuses on the forces of law enforcement and nineteenth-century attempts to "read" the criminal body as revealed in Victorian crime fiction and reportage. Contributors engage with the detective figure and his growing professionalization, while examining the role of science and technology - both at home and in the Empire - in solving cases.

Dickens and Empire offers a reevaluation of Charles Dickens's imaginative engagement with the British Empire throughout his career. Employing postcolonial theory alongside readings of Dickens's novels, journalism and personal correspondence, it explores his engagement with Britain's imperial holdings as imaginative spaces onto which he offloaded a number of pressing domestic and personal problems, thus creating an entangled discourse between race and class. Drawing upon a wealth of primary material, it offers a radical reassessment of the writer's stance on racial matters. In the past Dickens has been dismissed as a dogged and sustained racist from the 1850s until the end of his life; but here author Grace Moore reappraises The Noble Savage, previously regarded as a racist tract. Examining it side by side with a series of articles by Lord Denman in The Chronicle, which condemned the staunch abolitionist Dickens as a supporter of slavery, Moore reveals that the tract is actually an ironical riposte. This finding facilitates a review and reassessment of Dickens's controversial outbursts during the Sepoy Rebellion of 1857, and demonstrates that his views on racial matters were a good deal more complex than previous critics have suggested. Moore's analysis of a number of pre- and post-Mutiny articles calling for reform in India shows that Dickens, as their publisher, would at least have been aware of the grievances of the Indian people, and his journal's sympathy toward them is at odds with his vitriolic responses to the insurrection. This first sustained analysis of Dickens and his often problematic relationship to the British Empire provides fresh readings of a number of Dickens texts, in particular A Tale of Two Cities. The work also presents a more complicated but balanced view of one of the most famous figures in Victorian literature.

This collection will draw attention to new ideas in both Victorian studies and in the emerging area of literature and the environment. Adopting a broad interpretation of the term 'environment' the work aims to draw together new approaches to Victorian texts and cultures that conceptualise and are influenced by environments ranging from rural to urban, British to Antipodean, and from the terrestrial to the aquatic.With the pressures of industrialism and the clustering of workers in urban centres, the Victorians were acutely aware that their environment was changing. Torn between nostalgia for a countryside that was in jeopardy and exhilaration at the rapidity with which their surroundings altered, the literature and culture produced by the Victorians reflects a world undergoing radical change. Colonization and assisted emigration schemes expanded the scope of the environment still further, pushing the boundaries of the 'home' on an unprecedented scale and introducing strange new worlds. These untamed physical environments enabled new freedoms, but also posed challenges that invited attempts to control, taxonomize and harness the natural world. Victorian Environments draws together leading and emerging international scholars for an examination of how various kinds of environments were constructed, redefined, and transformed, in British and colonial texts and cultures, with particular attention to the relationship between Australia and Britain.

This book introduces students to the Victorian novel and its contexts, teaching strategies for reading and researching nineteenth-century literature. Combining close reading with background information and analysis it considers the Victorian novel as a product of the industrial age by focusing on popular texts including Dickens's Oliver Twist, Gaskell's North and South and Hardy's The Mayor of Casterbridge. The Victorian Novel in Context examines the changing readership resulting from the growth of mass literacy and the effect that this had on the form of the novel. Taking texts from the early, mid and late Victorian period it encourages students to consider how serialization shaped the nineteenth-century novel. It highlights the importance of politics, religion and the evolutionary debate in 'classic' Victorian texts. Addressing key concerns including realist writing, literature and imperialism, urbanization and women's writing, it introduces students to a variety of the most important critical approaches to the novels. Introducing texts, contexts and criticism, this is a lively and up-to-date resource for anyone studying the Victorian novel.

YOURE ONLY HUMAN ONCE DOUBLEDAY, DORAN CO., INC., GARDEN CITY, N. Y. 1944 To those best friends my husband, my mother, and my father who put up with me offstage, and to those countless thousands on the other side of the footlights who have been the inspiration for this life. I Prelude and Fugitive Thoughts i II By the Old Mill Stream But Not for Long 12 III From Black Gat to Broadway 34 IV The First Time I Saw Paris 57 V Music Boxes and Round Tables 82 VI Good-by, Broadway, Hello, France 101 VII The Metropolitan 125 VIII The Provincial Circuit 144 IX Sing a Song of Hollywood, a Pocket Full of Wry 160 X Love-Is-a-Beautiful-Thing Department 178 XI Celluloid Fame 197 XII A Cooks Concert Tour 215 XIII Louise AuVoir 243 XIV Far Away Meadows 262 YOURE ONLY HUMAN ONCE EVERY PRIMA DONNA has to write her memoirs. Its part of the tradition. It is also a very human wish-fulfillment. Who hasnt thought, when the world kicked too hard, If I could only write a book There, in repressed defiance, lies the natural instinct to tell the world where to get off an instinct, alas, that too often takes itself out in the tardy retort framed sotto voce, or the year-in, year-out threat mumbled to oneself, Just wait till I write that book Now here, with the retort courteous and the quip modest, is the book Ive darkly hinted at writing. Most prima donnas ride herd on their memories at a ripe old age when no one can say them nay. Then, when the career is all finished and left safely behind in the past, a woman can be as sentimental as she will about her own day and age, giving scorn and damnation to the present. The voices that flourished in the good old days There was no dancer like Taglioni. No coloratura untoPattL No champagne, no diamonds, no audiences like those that existed you know when. The hell with that. It will be a big surprise to me if I ever get old, but if I do I want to sit back and relax. I want my ringside seat to be a comfortable rocking chair from which I dont have to strain to see shadows in the wings. If, at that time, I come around to reminiscing that students unhitched the horses from my car riage and drove me through the streets in triumph let me, but strictly for home consumption. Now, while I can still wade through my mistakes and while I can still hear the echo of the boys in camp saying Come on, Grace, come on, encore, encore 2 Youre Only Human Once I want to satisfy this peculiar human and prima-donna-ish itch to scribble my memoirs. After all, ones public, wherever and whatever It may be, certainly sees ones mistakes. They can still say, Gee, wasnt Grace Moore off last night And they can stiU say, Wasnt she wonderful And they certainly do say, Why does she do such damn things I dont have to throw dust in the public eye with tales of unhitched horses and hosannas in the streets. The praise is in the current record so is the blame. Fve been hotheaded, ambitious, and Irish lace curtains one day, the curse of the banshees the next. But I can say a lot about the good fun Ive had the frolic of an era thats quickly burning itself out on a dozen battlefields. I started as a star, and having been one now for twenty years, I look back on a fine stretch of time. In it the whole scope of opera has changed. During that period, those two Frankensteins of the Machine Age, the moving pictures and the radio, have in turn first isolated living music from its great public and thenreturned it with a vigor and robustness unprecedented in musical history. Twenty years ago opera had dwindled down to two dominating centers, the Metropolitan in New York and the Chicago Opera Association, with the provinces taking what it could from the annual jaunts of the Hammerstein and Gallo opera companies. Now you can hear Carmen, Tramata, Boheme, Figcuro in Newark, Hartford, San Francisco, St. Louis, Rochester, and Philadelphia...

This book introduces students to the Victorian novel and its contexts, teaching strategies for reading and researching nineteenth-century literature. Combining close reading with background information and analysis it considers the Victorian novel as a product of the industrial age by focusing on popular texts including Dickens's Oliver Twist, Gaskell's North and South and Hardy's The Mayor of Casterbridge. The Victorian Novel in Context examines the changing readership resulting from the growth of mass literacy and the effect that this had on the form of the novel. Taking texts from the early, mid and late Victorian period it encourages students to consider how serialization shaped the nineteenth-century novel. It highlights the importance of politics, religion and the evolutionary debate in 'classic' Victorian texts. Addressing key concerns including realist writing, literature and imperialism, urbanization and women's writing, it introduces students to a variety of the most important critical approaches to the novels. Introducing texts, contexts and criticism, this is a lively and up-to-date resource for anyone studying the Victorian novel.