This volume examines the anxieties that caused many nineteenth-century writers to insist on literature as a laboured and labouring enterprise. Following Isaac D'Israeli's gloss on Jean de La Bruyere, it asks, in particular, whether writing should be 'called working'. Whereas previous studies have focused on national literatures in isolation, this volume demonstrates the two-way traffic between British and French conceptions of literary labour. It questions assumed areas of affinity and difference, beginning with the labour politics of the early nineteenth century and their common root in the French Revolution. It also scrutinises the received view of France as a source of a 'leisure ethic', and of British writers as either rejecting or self-consciously mimicking French models. Individual essays consider examples of how different writers approached their work, while also evoking a broader notion of 'work ethics', understood as a humane practice, whereby values, benefits, and responsibilities, are weighed up.

Rather than focus on the well-known 'dignity of literature' debate, whereby authors such as Dickens sought to establish authorship as a middle-class profession, The Work of Words considers the alternative path of middle-class writers who re-presented literature as a manual craft. Unlike many works in the field, it extends beyond the mid-Victorian novel as a generic and historical focus, to address its aesthetic and political afterlife right up to the periods of Guild Socialism, modernism and European fascism. Given the tilt of world trade towards China, and more recent supply chain shocks, it is not just writers who are haunted by a lost world of material production, but much of the de-industrialised West. By studying the Victorian attempt to make composition (and related mental processes) palpable, this book takes the long view on questions that still trouble us, and responds to recent concerns, whether as manifested through the revival of craft and workshop culture, or debates about the visibility, weight and worth of the humanities.

It is commonly argued that William Morris's notion of the good society is uniquely tolerant - a claim which this book tests, asking whether Victorian medievalism and the associated ideal of hospitality offered Morris the resources to develop a new conception of utopia, characterized by openness rather than classical exclusivity. This central theme is addressed across a range of artistic and intellectual contexts, from Victorian neo-feudalism to socialism and the Arts and Crafts Movement, and drawing from work in literature, architecture, anthropology, political theory, law, art history and translation. Together with an analysis of the roots and legacy of Morris's work, the book offers a detailed survey of his many projects. Dr MARCUS WAITHE lectures in Victorian Literature at the University of Sheffield.