Though his father had faced bankruptcy, James Clarke Hook (1819–1907) nevertheless managed to paint himself into country-gentlemanhood, becoming famous for his landscapes of British coastal scenes and his ability to evoke not just the sights but also the sounds and even the smell of the sea. James Clarke Hook, Juliet McMaster’s lively biography of the brilliant but underappreciated Victorian painter, brings the reader through Hook’s rigorous training at the Royal Academy Schools, his travelling studentship in Florence and Venice, and his work as a historical painter, to the discovery of his métier as a painter of contemporary rural and coastal scenes. Part of the secret of Hook’s success was his resolution to paint the final large canvas of his seascapes onsite, braving wind and weather – for which he invented an easel that was adaptable to uneven terrain. McMaster’s research led her to retrace the painter’s footsteps to the rocky headlands and sheltered bays where, over a hundred years ago, Hook had set up his easel to capture the tang of sea. McMaster connects Hook, an academician for half a century, with the major figures and movements of Victorian art – including the Pre-Raphaelites John Everett Millais and Holman Hunt, the etcher Samuel Palmer, and the painter and sculptor G.F. Watts. James Clarke Hook worked alongside the fishermen and rural families who populate and enliven his canvases; this book reinvigorates our understanding of his artistic process and unique sense of place.

In her lively and accessibly written book, Juliet McMaster examines Jane Austen's acute and frequently uproarious juvenile works as important in their own right and for the ways they look forward to her novels. Exploring the early works both collectively and individually, McMaster shows how young Austen's fictional world, peopled by guzzlers and unashamed self-seekers, operates by an ethic of energy rather than the sympathy that dominates the novels. A fully self-conscious artist, young Jane experimented freely with literary modes - the epistolary, the omniscient, the drama. Early on, she developed brilliantly pointed dialogue to match her characters. Literary parody impels her creativity, and McMaster's sustained study of Love and Friendship shows the same intricate relation of the parody to the work it parodies that we later see with Northanger Abbey and the Gothic novel. As an illustrator herself, McMaster is especially attuned to the explicit and sometimes hilarious descriptions of bodies that preceded Austen's famous reticence about physicality. Rather than focusing on the immaturities of the juvenilia, McMaster maps the gradual shifts in tone and emphasis that signpost Austen's journey as a writer. She shows, for instance, how the shameless husband-hunting in The Three Sisters and the vigorous partisanship of The History of England lead on to Pride and Prejudice. Her book will appeal to Austen's critics and to passionate general readers, as well as to scholars working in the fields of juvenilia, children's literature, and childhood studies.

In her lively and accessibly written book, Juliet McMaster examines Jane Austen's acute and frequently uproarious juvenile works as important in their own right and for the ways they look forward to her novels. Exploring the early works both collectively and individually, McMaster shows how young Austen's fictional world, peopled by guzzlers and unashamed self-seekers, operates by an ethic of energy rather than the sympathy that dominates the novels. A fully self-conscious artist, young Jane experimented freely with literary modes - the epistolary, the omniscient, the drama. Early on, she developed brilliantly pointed dialogue to match her characters. Literary parody impels her creativity, and McMaster's sustained study of Love and Friendship shows the same intricate relation of the parody to the work it parodies that we later see with Northanger Abbey and the Gothic novel. As an illustrator herself, McMaster is especially attuned to the explicit and sometimes hilarious descriptions of bodies that preceded Austen's famous reticence about physicality. Rather than focusing on the immaturities of the juvenilia, McMaster maps the gradual shifts in tone and emphasis that signpost Austen's journey as a writer. She shows, for instance, how the shameless husband-hunting in The Three Sisters and the vigorous partisanship of The History of England lead on to Pride and Prejudice. Her book will appeal to Austen's critics and to passionate general readers, as well as to scholars working in the fields of juvenilia, children's literature, and childhood studies.

This collection of essays examines Austen in relation to her business. Many of these essays, including those by Julia Prewitt Brown, Margaret Drabble, Jan Fergus, Isobel Grundy, Gary Kelly, and Elaine Showalter, were first delivered as papers at the Lake Louise conference on "Persuasion". The collection's culmination is a short story by Margaret Drabble that aims to bring Austen's "Elliots of Kellynch Hall" into the 20th century.

This novel is published under the auspices of the Trollope Society.

Jane Austen's stock in the popular marketplace has never been higher, while academic studies continue to uncover new aspects of her engagement with her world. This fully updated edition of the acclaimed Cambridge Companion offers clear, accessible coverage of the intricacies of Austen's works in their historical context, with biographical information and suggestions for further reading. Major scholars address Austen's six novels, the letters and other works, in terms accessible to students and the many general readers, as well as to academics. With seven new essays, the Companion now covers topics that have become central to recent Austen studies, for example, gender, sociability, economics, and the increasing number of screen adaptations of the novels.

Here we come to know Jane Austen by the company she keeps: her predecessors Fielding, Sterne, Lennox, and Burney, her contemporary Scott, and her successors Waugh and Amis--comic novelists all. And comedy is the connection between these twelve elegant essays by the distinguished academic Bruce Stovel, who most lovingly engages Austen herself through his studies of her comic novels, her art of conversation, her pleasure principle, and her prayers. Edited by Nora Foster Stovel, the collection includes an introduction by Juliet McMaster and an afterword by Isobel Grundy.

Jane Austen's stock in the popular marketplace has never been higher, while academic studies continue to uncover new aspects of her engagement with her world. This fully updated edition of the acclaimed Cambridge Companion offers clear, accessible coverage of the intricacies of Austen's works in their historical context, with biographical information and suggestions for further reading. Major scholars address Austen's six novels, the letters and other works, in terms accessible to students and the many general readers, as well as to academics. With seven new essays, the Companion now covers topics that have become central to recent Austen studies, for example, gender, sociability, economics, and the increasing number of screen adaptations of the novels.

In this highly original collection leading scholars address the largely overlooked genre of childhood writings by major authors, and explore the genesis of genius. The book includes essays on the first writings of Jane Austen, Byron, Elizabeth Barrett, Charlotte and Branwell Bronte, Louisa May Alcott, George Eliot, John Ruskin, Lewis Carroll and Virginia Woolf. All began writing for pleasure as children, and later developed their professional ambitions. In bursts of creative energy, these young authors, as well as those like Daisy Ashford, who wrote only as a child, produced prose, verse, imitation and parody, wild romance and down-to-earth daily records. Their juvenile writings are fascinating both in themselves, and for the promise of greater works to come. The volume includes an invaluable and thorough annotated bibliography of juvenilia, and will stimulate many directions for research in this lively and fascinating topic.

In this highly original collection leading scholars address the largely overlooked genre of childhood writings by major authors, and explore the genesis of genius. The book includes essays on the first writings of Jane Austen, Byron, Elizabeth Barrett, Charlotte and Branwell Bronte, Louisa May Alcott, George Eliot, John Ruskin, Lewis Carroll and Virginia Woolf. All began writing for pleasure as children, and later developed their professional ambitions. In bursts of creative energy, these young authors, as well as those like Daisy Ashford, who wrote only as a child, produced prose, verse, imitation and parody, wild romance and down-to-earth daily records. Their juvenile writings are fascinating both in themselves, and for the promise of greater works to come. The volume includes an invaluable and thorough annotated bibliography of juvenilia, and will stimulate many new directions for research in this lively and fascinating topic.