Eighteenth-Century Poetry and the Rise of the Novel Reconsidered begins with the brute fact that poetry jostled up alongside novels in the bookstalls of eighteenth-century England. Indeed, by exploring unexpected collisions and collusions between poetry and novels, this volume of exciting, new essays offers a reconsideration of the literary and cultural history of the period. The novel poached from and featured poetry, and the "modern" subjects and objects privileged by "rise of the novel" scholarship are only one part of a world full of animate things and people with indistinct boundaries. Contributors: Margaret Doody, David Fairer, Sophie Gee, Heather Keenleyside, Shelley King, Christina Lupton, Kate Parker, Natalie Phillips, Aran Ruth, Wolfram Schmidgen, Joshua Swidzinski, and Courtney Weiss Smith.

Why was eighteenth-century English culture so fascinated with the things its society discarded? Why did Restoration and Augustan writers such as Milton, Dryden, Swift, and Pope describe, catalog, and memorialize the waste matter that their social and political worlds wanted to get rid of--from the theological dregs in "Paradise" Lost to the excrements in "The Lady's Dressing Room" and the corpses of A "Journal of the Plague Year?" In "Making Waste," the first book about refuse and its place in Enlightenment literature and culture, Sophie Gee examines the meaning of waste at the moment when the early modern world was turning modern.

Gee explains how English writers used contemporary theological and philosophical texts about unwanted and leftover matter to explore secular, literary relationships between waste and value. She finds that, in the eighteenth century, waste was as culturally valuable as it was practically worthless--and that waste paradoxically revealed the things that the culture cherished most.

The surprising central insight of "Making Waste" is that the creation of value always generates waste. Waste is therefore a sign--though a perverse one--that value and meaning have been made. Even when it appears to symbolize civic, economic, and political failure, waste is in fact restorative, a sign of cultural invigoration and imaginative abundance. Challenging the conventional association of Enlightenment culture with political and social improvement, and scientific and commercial progress, "Making Waste" has important insights for cultural and intellectual history as well as literary studies.

London, 1711. As the rich, young offspring of the city's most fashionable families ll their days with masquerade balls and clandestine court-ships, Arabella Fermor and Robert, Lord Petre, lead the pursuit of pleasure. Beautiful and vain, Arabella is a clever coquette with a large circle of beaus. Lord Petre, seventh Baron of Ingatestone, is a man-about-town with his choice of mistresses. Drawn together by an overpowering attraction, the two begin an illicit affair.

Alexander Pope, sickly and nearly penniless, is peripheral by birth, yet his uncommon wit and ambition gain him unlikely entrance into high society. Once there, privy to every nuance and drama, he is a ruthless observer. He longs for the success that will cement his place in society; all he needs is one poem grand enough to make his reputation.

As the forbidden passion between Arabella and Lord Petre deepens, an intrigue of a darker nature threatens to overtake them. Fortunes change and reputations -- even lives -- are imperiled. In the aftermath, Pope discovers the idea for a daring poem that will catapult him to fame and fortune.

A hideous crime is committed at a fashionable London society gathering. The victim is the beautiful, innocent Belinda, her attacker is the dastardly Baron, and his weapon of choice is a pair of scissors. A hilarious mock epic, this is the sharp and witty tale of the most famous bad hair day in the history of literature, complete with Aubrey Beardsley's beautiful illustrations.