Can you get lost in a crowd? It is polite to stare at people walking past on the street? What differentiates the city of daylight and the nocturnal metropolis? What connects walking, philosophy and the big toe? Can we save the city - or ourselves - by taking the pavement? There is no such thing as the wrong step; every time we walk we are going somewhere. In a series of riveting intellectual rambles, Matthew Beaumont retraces a history of the walker from Charles Dicken's insomniac night rambles to wandering through the faceless, windswept monuments of the neoliberal city including Edgar Allen Poe, Andrew Breton, H G Wells, Virginia Woolf, Jean Rhys and Ray Bradbury. As the author shows, the act of walking is one of escape, self-discovery, disappearances and potential revolution, and explores the relationship between the metropolis and its pedestrian life.

You can tell a lot about someone by the way they walk. As Matthew Beaumont argues, the body holds the social traumas of race, history, and inequality. Our stride reflects our social and political experiences and inequalities, how we navigate, the necessary constant vigilance against city life. Through a series of portraits of major thinkers Beaumont explores the relationship between walking and race, freedom, capitalism, and the human body. Frantz Fanon, psychiatrist and leading thinker of liberation, was one of the first people to think about what happened when 'walking while black'. Beaumont also introduces us to Wilheilm Reich, who wrote that one could tell the truth of a person through their 'gait'. For Ernst Bloch, the ability to walk upright and with ease is a signal of one's freedom. Such questions raise the dilemma of how a person walks under capitalism? Can one ever find peace while putting one foot in front of the other? What is the relationship between one's stride and the places where we go? Thought-provoking and lyrical, Matthew Beaumont reimagines the canon of the literature on walking and presents a new perspective on the impact of class, race, and politics on our physical movements and raises important questions about the truth behind our stride.

G.K. Chesterton's The Man Who Was Thursday is a thrilling novel of deception, subterfuge, double-crossing and secret identities, and this Penguin Classics edition is edited with an introduction by Matthew Beaumont. The Central Anarchist Council is a secret society sworn to destroy the world. The council is governed by seven men, who hide their identities behind the names of the days of the week. Yet one of their number - Thursday - is not the revolutionary he claims to be, but a Scotland Yard detective named Gabriel Syme, sworn to infiltrate the organisation and bring the architects of chaos to justice. But when he discovers another undercover policeman on the Council, Syme begins to question his role in their operations. And as a desperate chase across Europe begins, his confusion grows, as well as his confidence in his ability to outwit his enemies, unravelling the mysteries of human behaviour and belief in a thrilling contest of wits. But he has still to face the greatest terror that the Council has: a man named Sunday, whose true nature is worse than Syme could ever have imagined ... In his introduction, Matthew Beaumont examines the book's themes of identity and confrontation, and explores its intriguing title. This edition also contains a chronology, notes and suggested further reading. G.K. Chesterton (1874-1938) attended the Slade School of Art, where he appears to have suffered a nervous breakdown, before turning his hand to journalism. A prolific writer throughout his life, his best-known books include The Napoleon of Notting Hill (1904), The Man Who Knew Too Much (1922) and the Father Brown stories. Chesterton converted to Roman Catholicism in 1922 and died in 1938. If you enjoyed The Man Who Was Thursday, you might enjoy Joseph Conrad's The Secret Agent, also available in Penguin Classics. 'The most thrilling book I have ever read' Kingsley Amis, author of Lucky Jim

There is no such thing as the wrong step; every time we walk we are going somewhere. Moving around the modern city becomes more than from getting from A to B, but a way of understanding who and where you are. In a series of riveting intellectual rambles, Matthew Beaumont, retraces a history of the walker. From Charles Dicken's insomniac night rambles to wandering through the faceless, windswept monuments of the neoliberal city, the act of walking is one of escape, self-discovery, disappearances and potential revolution. Pacing stride for stride alongside such literary amblers and thinkers as Edgar Allen Poe, Andrew Breton, H G Wells, Virginia Woolf, Jean Rhys and Ray Bradbury, Matthew Beaumont explores the relationship between the metropolis and its pedestrian life. He asks can you get lost in a crowd? It is polite to stare at people walking past on the street? What differentiates the city of daylight and the nocturnal metropolis? What connects walking, philosophy and the big toe? Can we save the city - or ourselves - by taking the pavement?

'art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake' In Studies in the History of the Renaissance (1873), a diffident Oxford don produced an audacious and incalculably influential defence of aestheticism. Through his highly idiosyncratic readings of some of the finest paintings, sculptures, and poems of the French and Italian Renaissance, Pater redefined the practice of criticism as an impressionistic, almost erotic exploration of the critic's aesthetic responses. At the same time, reclaiming the Hellenism that he saw as the most characteristic aspect of the Renaissance, he implicitly celebrated homoerotic friendship. Pater's infamous 'Conclusion', which forever linked him with the decadent movement, scandalized many with its insistence on making pleasure the sole motive of life, even as it charmed fellow aesthetes such as Oscar Wilde. This edition of Studies reproduces the text of the first edition, recapturing its initial impact, and the Introduction celebrates its doomed attempt to stand out against the processes of industrialization. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The metropolis is a site of endless making and unmaking. From the attempt to imagine a city-symphony to the cinematic tradition that runs from Walter Ruttmann to Terence Davies, Restless Cities traces the idiosyncratic character of the metropolitan city from the nineteenth century to the twenty-first-century megalopolis. With explorations of phenomena including nightwalking, urbicide, property, commuting and recycling, this wide-ranging new book identifies and traces the patterns that have defined everyday life in the modern city and its effect on us as individuals. Bringing together some of the most significant cultural writers of our time, Restless Cities is an illuminating, revelatory journey to the heart of our metropolitan world.

Ernest Ralph Gorse's heartlessness and lack of scruple are matched only by the inventiveness and panache with which he swindles his victims. With great deftness and precision Hamilton exposes how his dupes' own naivete, snobbery or greed make them perfect targets. These three novels are shot through with the brooding menace and sense of bleak inevitability so characteristic of the author. There is also vivid satire and caustic humour. Gorse is thought to be based on the real-life murderer Neville Heath, hanged in 1946.

'No person can be blamed for refusing to read another word of what promises to be a mere imposition upon his credulity.' Julian West, a feckless aristocrat living in fin-de-siecle Boston, plunges into a deep hypnotic sleep in 1887 and wakes up in the year 2000. America has been turned into a rigorously centralized democratic society in which everything is controlled by a humane and efficient state. In little more than a hundred years the horrors of nineteenth-century capitalism have been all but forgotten. The squalid slums of Boston have been replaced by broad streets, and technological inventions have transformed people's everyday lives. Exiled from the past, West excitedly settles into the ideal society of the future, while still fearing that he has dreamt up his experiences as a time traveller. Edward Bellamy's Looking Backward (1888) is a thunderous indictment of industrial capitalism and a resplendent vision of life in a socialist utopia. Matthew Beaumont's lively edition explores the political and psychological peculiarities of this celebrated utopian fiction. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book uncovers the historical preconditions for the explosive revival of utopian literature at the nineteenth-century fin de siecle, and excavates its ideological content. It marks a contribution not only to the literary and cultural history of the late-Victorian period, and to the expanding field of utopian studies, but to the development of a Marxist critique of utopianism. The book is particularly concerned with three kinds of political utopia or anti-utopia, those of 'state socialism', feminism, and anti-communism (the characteristic expression of this last example being the cacotopia). After an extensive contextual account of the politics of utopia in late-nineteenth century England, it devotes a chapter to each of these topics before developing an original reinterpretation of William Morris's seminal Marxist utopia, News from Nowhere.
About the AuthorMatthew Beaumont, D. Phil. (2000) in English Literature at the University of Oxford, is Lecturer in Nineteenth-Century Literature at University College London'
ReviewsUtopia Ltd. is remarkable for its detailed historical grasp of the late-nineteenth century. Beaumont operates at a high conceptual level, demonstrating a sophisitcated understanding of Marxist cultural theory, which is most effectively put to use as an explanatory framework. There is much impressvely original work here, both in terms of ideas and in the bringing to light of hitherto little-discussed texts. There is also a good balance between original research on the one hand, and, on the other, a fresh approach to more canonical works such as Morris's News from Nowhere. The book is full of illuminating insights, lucidly and coherently argued.' Terry Eagleton, Professor of Cultural Theory and John Rylands Fellow, University of Manchester.
'This is a very convincing, often original, and lucidly written reading of late-nineteenth century utopian literature that makes a fine contribution to the ever-growing field of fin-de-siecle studies.' Sally Ledger, Professor of Nineteenth-Century Literature, Birkbeck College, University of London.
'Utopia Ltd. presents us with a new constellation of the field under inquiry, or -- as one of Beaumont's masters of thought, Benjamin, would say -- with a dialectical image which on the one hand makes some common features of late-nineteenth century utopian literature stand out, and on the other does not neglect the single stars. I recommend it warmly.' Darko Suvin, Emeritus Professor of English and Comparitive Literature, McGill University.
'What I find particularly valuable about this book is the way in which it provides a new framework for understanding well-known texts such as Bellamy's Looking Backward, and especially Morris's News from Nowhere, by situating them in relation to the large output of utopian and "cacatopian" literature produced in the late nineteenth century. This phenomenon is an ideological episode worthy of attention in its own right, as a symptom of the widely-perceived crisis of bourgeois culture around the fin de siecle, and Beaumont does a convincing job of explaining it, thereby making it interesting to the reader. But I suspect that many on the left will be drawn to this study by the way it helps us towards a fuller understanding of Morris's News from Nowhere and issues around Marxist utopianism.' Andrew Hemingway, Professor of Art History, University College, London

"Cities, like cats, will reveal themselves at night," wrote the poet Rupert Brooke. Before the age of electricity, the nighttime city was a very different place to the one we know today - home to the lost, the vagrant and the noctambulant. Matthew Beaumont recounts an alternative history of London by focusing on those of its denizens who surface on the streets when the sun's down. If nightwalking is a matter of "going astray" in the streets of the metropolis after dark, then nightwalkers represent some of the most suggestive and revealing guides to the neglected and forgotten aspects of the city. In this brilliant work of literary investigation, Beaumont shines a light on the shadowy perambulations of poets, novelists and thinkers: Chaucer and Shakespeare; William Blake and his ecstatic peregrinations and the feverish ramblings of opium addict Thomas De Quincey; and, among the lamp-lit literary throng, the supreme nightwalker Charles Dickens. We discover how the nocturnal city has inspired some and served as a balm or narcotic to others. In each case, the city is revealed as a place divided between work and pleasure, the affluent and the indigent, where the entitled and the desperate jostle in the streets. With a foreword and afterword by Will Self, Nightwalking is a captivating literary portrait of the writers who explore the city at night and the people they meet.

The Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness. In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov's thought and asserting its continued relevance, the book's central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov's engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

A fascinating account of how the railway influenced more than a century of art in Europe and America Steam locomotives gripped the imagination when they first appeared in 19th-century Europe and America. Aboard these great machines, passengers traveled at faster speeds than ever before while watching the scenery transform itself and take on new forms. Common notions of time and space were forever changed. Through vivid illustrations and engaging texts, The Railway: Art in the Age of Steam captures both the fear and excitement of early train travel as it probes the artistic response to steam locomotion within its social setting. Featuring paintings, photography, prints, and posters, the book includes numerous masterpieces by 19th- and 20th-century artists, including J. M. W. Turner, Claude Monet, Camille Pissarro, Charles Sheeler, and Edward Hopper. With its wide variety of themes-landscape painting, the conquest of the West, Impressionism, issues of social class, Modernism, the aesthetics of the machine, and environmental concerns-this work promises an exhilarating journey for both train and art enthusiasts and for anyone interested in one of the industrial age's defining achievements. Published in association with The Nelson-Atkins Museum of Art, Kansas City, and Walker Art Gallery, National Museums Liverpool Exhibition Schedule: Walker Art Gallery, National Museums Liverpool (April 18 - August 10, 2008) The Nelson-Atkins Museum of Art, Kansas City (September 13, 2008 - January 18, 2009)

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th-century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Club of Queer Trades, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the 20th century.

'The man's become inhuman ... He has cut himself off from his kind. His blood be upon his own head.' One night in the depths of winter, a bizarre and sinister stranger wrapped in bandages and eccentric clothing arrives in a remote English village. His peculiar, secretive activities in the room he rents spook the locals. Speculation about his identity becomes horror and disbelief when the villagers discover that, beneath his disguise, he is invisible. Griffin, as the man is called, is an embittered scientist who is determined to exploit his extraordinary gifts, developed in the course of brutal self-experimentation, in order to conduct a Reign of Terror on the sleepy inhabitants of England. As the police close in on him, he becomes ever more desperate and violent. In this pioneering novella, subtitled 'A Grotesque Romance', Wells combines comedy, both farcical and satirical, and tragedy - to superbly unsettling effect. Since its publication in 1897, The Invisible Man has haunted not only popular culture (in particular cinema) but also the greatest and most experimental novels of the twentieth century.

G. K. Chesterton, London and Modernity is the first book to explore the persistent theme of the city in Chesterton's writing. Situating him in relation to both Victorian and Modernist literary paradigms, the book explores a range of theoretical and methodological approaches to address the way his imaginative investments and political interventions conceive urban modernity and the central figure of London. While Chesterton's work has often been valued for its wit and whimsy, this book argues that he is also a distinctive urban commentator, whose sophistication has been underappreciated in comparison to more canonical contemporaries. With chapters written by leading scholars in the field of 20th century literature, the book also provides fresh readings and suggests new contexts for central texts such as The Man Who Was Thursday, The Napoleon of Notting Hill and the Father Brown stories. It also discusses lesser-known works, such as Manalive and The Resurrection of Rome, drawing out their significance for scholars interested in urban representation and practice in the first three decades of the twentieth century.

Terry Eagleton occupies a unique position in the English-speaking world today. He is not only a productive literary theorist, but also a novelist and playwright. He remains a committed socialist deeply hostile to the zeitgeist. Over the last forty years his public interventions have enlivened an otherwise bland and conformist culture. His pen, as many colleagues in the academy including Harold Bloom, Gayatri Spivak and Homi Bhabha have learned, is merciless and unsparing. As a critic Eagleton has not shied away from confronting the high priests of native conformity as highlighted by his coruscating polemic against Martin Amis on the issue of civil liberties and religion. This comprehensive volume of interviews covers both his life and the development of his thought and politics. Lively and insightful, they will appeal not only to those with an interest in Eagleton himself, but to all those interested in the evolution of radical politics, modernism, cultural theory, the history of ideas, sociology, semantic inquiry and the state of Marxist theory.

Most research and writing on railway history has been undertaken in a way that disconnects it from the wider cultural milieu. Authors have been very effective at constructing specialist histories of transport, but have failed to register the railway's central importance in the representation and understanding of modernity. This book brings together contributions from a range of established scholars in a variety of disciplines with the central purpose of exploring the railway less as a transport technology than as a key signifier of capitalist modernity. It examines the complex social relations in which the railway became historically embedded, identifying it as a central problematic in the cultural experience of modernity. It avoids the limitations of both the close-sighted empiricism typical of many transport historians and the long-sighted generalizations of cultural commentators who view the railway merely as a shorthand for the concept of progress over the nineteenth and twentieth centuries. The book draws on a diverse range of materials, including literary and historical forms of representation. It is also informed by a creative application of various critical theories.

The Jewish philosopher Lev Shestov (1866-1938) is perhaps the great forgotten thinker of the twentieth century, but one whose revival seems timely and urgent in the twenty-first century. An important influence on Georges Bataille, Albert Camus, Gilles Deleuze and many others, Shestov developed a fascinating anti-Enlightenment philosophy that critiqued the limits of reason and triumphantly affirmed an ethics of hope in the face of hopelessness. In a wide-ranging reappraisal of his life and thought, which explores his ideas in relation to the history of literature and painting as well as philosophy, Matthew Beaumont restores Shestov to prominence as a thinker for turbulent times. In reconstructing Shestov's thought and asserting its continued relevance, the book's central theme is wakefulness. It argues that for Shestov, escape from the limits of rationalist Enlightenment thought comes from maintaining an insomniac vigilance in the face of the spiritual night to which his century appeared condemned. Shestov's engagement with the image of Christ remaining awake in the Garden of Gethsemane then, is at the core of his inspiring understanding of our ethical responsibilities after the horrors of the twentieth century.

In the late nineteenth century, a spectre haunted Europe and the United States: the spectre of utopia. This book re-examines the rise of utopian thought at the fin de siecle, situating it in the social and political contradictions of the time and exploring the ways in which it articulated a deepening sense that the capitalist system might not be insuperable after all. The study pays particular attention to Edward Bellamy's seminal utopian fiction, Looking Backward (1888), embedding it in a number of unfamiliar contexts, and reading its richest passages against the grain, but it also offers detailed discussions of William Morris, H.G. Wells and Oscar Wilde. Both historical and theoretical in its approach, this book constitutes a substantial contribution to our understanding of the utopian imaginary, and an original analysis of the counter-culture in which it thrived at the fin de siecle.

This collection of essays, by a number of established scholars and artists, proposes new directions for Marxist cultural theory and the criticism of modern visual culture. It addresses a diverse range of topics, including the state and revolution, Communist and post-Communist aesthetics, Situationist thought and the avant-garde, subjectivity and commodification, and the politics and problems of contemporary artistic practice. The contributions also consider several other pressing questions in the visual arts, from the practice of digital culture to appropriations of critical theory, from the relations of art and the spectacle to architecture in the age of global modernity. This book on Marxism and art is not offered in a spirit of nostalgia: on the contrary, it testifies to the continuing vitality and confidence of historical materialist thought in the field of cultural theory and practice in the 21st century.