In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers. Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city's vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists' accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers. Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city's vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists' accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

Illegal. Underground. Deadly. August 1, 1875, Toronto: The naked body of a young woman is discovered in a pine box, half-buried in a ditch along Bloor Street. So begins Jeannie's Demise, a real-life Victorian melodrama that played out in the bustling streets and courtrooms of "Toronto the Good," cast with all the lurid stock characters of the genre. Historian Ian Radforth brings to life an era in which abortion was illegal, criminal proceedings were a spectator sport, and coded advertisements for back-alley procedures ran in the margins of newspapers. At the centre of the story is the elusive and doomed Jeannie Gilmour, a minister's daughter whose independent spirit can only be glimpsed through secondhand accounts and courtroom reports. As rumours swirl about her final weeks and her abortionists stand trial for their lives, a riveted public grapples with questions of guilt and justice, innocence and intent. Radforth's intensive research grounds the tragedy of Jeannie's demise in sharp historical analysis, presenting over a dozen case studies of similar trials in Victorian-era Canada. Part gripping procedural, part meticulous autopsy, Jeannie's Demise opens a rare window into the hidden history of a woman's right to choose.

In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls.

In "Royal Spectacle," Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners.

Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, "Royal Spectacle" contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.