This chapter focuses on Haiti’s twentieth-century periodicals, and more specifically on the literary magazine. By bringing to light the complex stories of literary revue culture during key historical moments I show how these specific forms of publications, which played a major role in Caribbean countries, have influenced Haiti’s sociopolitical and intellectual life. At its core, this chapter addresses the tension between the aesthetics and politics of several literary revues by highlighting, first, literary and/or socially engaged magazines predominantly concerned with the development of Haiti’s literature and culture, and, second, those with a clear political agenda, some of which were infused with an explicit objective: the forging of a Haitian national voice.

Haitian writers produced a broad array of compelling texts during the nineteen years their country was under direct US rule. Today, it has become commonplace to identify Haitian literary production during that time as one of resistance. However, Haiti’s occupation-era literature is incredibly diverse. Many works from the period do not engage with the occupation at all, focusing instead on historical events, domestic dramas, or romance. In addition to thematic diversity, texts of this period reflect a variety of genres and forms. Some poets chose to experiment formally whereas others chose to create within the confines of fixed forms such as sonnets. Essayists displayed diverse ideological and political positions. This chapter offers a brief overview of Haitian literary works published during the US occupation of the country, from 1915 to 1934.

A period of significant demographic, social, and political transformation produced essays marked by a deep seriousness of tone and a sense of weighty purpose that departed sharply from the playful quality of the periodical tradition and the lighter touch of the Romantic familiar essay. Essayists in criticism of this period (Matthew Arnold, Walter Pater, William Morris, Oscar Wilde) were deeply engaged in defining ideas of culture that could encompass an increasingly diverse and fragmented society. This chapter reflects on the publication contexts that shaped some of the best-known examples of the Victorian critical essay; examines Victorian critics’ emphasis on specific capacities in perception as a ground for pedagogical exposition with the aim of achieving social coherency; and highlights the deep historicism and awareness of mediation that informs the Victorian essayist’s approach to cultural criticism.

This chapter explores the range of essayistic writing in nineteenth-century newspapers: leaders (political and topical in focus and the principal genre of the Victorian daily and weekly press), middles (a shorter version of the leader and characteristic of some weeklies), correspondence columns from journalists at home and abroad, and reviews of both books and theatre. It charts the expansion of the press at mid-century following the abolition of the ‘Taxes on Knowledge’ and an influx of literary talent that raised the quality of newspapers, and it notes the transformation of newspapers at the end of the century with the creation of literary pages, supplements, and special features (following the demise of many quarterly reviews and monthly magazines). The second half of the chapter examines the newspaper writing of John Stuart Mill, Charles Dickens, and George Eliot, and argues that each made a unique contribution to the newspapers of their day.

This chapter explores how the essay, with its unlimited subject matter and the flexibility to address diverse audiences and ideas, provides public intellectuals with an invaluable and effective means of educating and challenging readers. It takes George Orwell as the model of the modern British public intellectual, someone whose interactive development as an intellectual and an essayist was fostered through numerous intellectual periodicals and magazines. It shows how four more recent essayists – Christopher Hitchens, Tony Judt, Tariq Ali, and Mary Beard – adapt the Orwellian approach as polemicist and outsider. In distinct ways, public intellectuals extend and enliven the contemporary public sphere, ensuring that the essay remains critical to the collective exchange of opinion.

This chapter traces the development of the essay in the context of a world of early eighteenth-century sociability constituted by coffee shops, periodicals, and a variety of informal clubs and societies. Never simply a reflection of a prior social reality, the periodical essay developed as part of a self-consciously created mythos of ‘polite literature’ designed to regulate manners in the inchoate and often contentious social world from which it represented itself as emerging. In the skilful hands of Joseph Addison and Richard Steele, among others, the polite essay shaped values of agreeableness, conversability, and formal equality that helped define a remarkably durable idea of polite literary culture still in play – if increasingly represented as passing away – for essayists like William Hazlitt and Leigh Hunt writing a century later.

This chapter considers the role of the essay in debates over the ‘rise of English’ in the nineteenth century. It firstly explores the crossover between academia and publishing, focusing on David Masson and George Saintsbury, whose well-regarded literary essays led to professorial appointments at London and Edinburgh. It then considers how University Extension lecturer John Churton Collins turned to periodical essays to garner support for the introduction of English literature at Oxford and Cambridge. Collins’s diatribes argued that the literary essay itself was at risk of extinction if journalists and critics continued to be deprived of professional training. Finally, this chapter considers the inclusion of essayists on English literature syllabuses during the fin de siècle. Figures such as Joseph Addison, William Hazlitt, and John Dryden, along with later writers including Matthew Arnold, Walter Pater, and Charles Lamb were prominently featured, suggesting that essayists were regarded as the sine qua non of literary study at that time.

How would our understanding of the history of literary theory change if we focused on the seminal essays, rather than the monumental books and monographs? It would surely seem more variegated and provisional, less finished and definitive, more of a process of trying out ideas and defending interests, more motley, confusing, and elusive, a bit like the essay form itself. This chapter examines the rise and fall of theory in the UK inside and outside the academy, beginning with its origins in the British New Left, which looked to continental Europe for intellectual sustenance. It traces the institutional influences and pressures exerted on the essay form as it migrates across the Channel, arguing that while critique could be amenable to the norms of tough-minded knowledge acquisition, the more oblique and personal voice that we associate with essayism has, until recently, often been eschewed in universities.

How does an essay change when it appears in a newspaper, aimed at a mass reading public that includes people of varied class backgrounds? This chapter takes up how periodical publication shaped nineteenth-century essays, looking at the effects of serialisation, republication through excerpting, and the intertextual nature of Victorian journals and papers. It explores how the political journalism and social protest movements of the 1830s and 1840s influenced the essay, in contrast to the notion that political campaigning is opposed to the contemplative and reflective values associated with the genre. Focusing on Thomas Carlyle’s response to the social movements of his time, the chapter argues that not only did Carlyle engage ideologically with popular protest but that the writing he encountered in the radical press shaped his style by encouraging an oratorical mode, melodramatic language and rhetorical excesses.

This chapter discusses the importance of periodicals in the development of Australian poetry. It discusses the centrality of the Bulletin to an emergent nationalist tradition, before considering the Vitalist movement through Vision and the encouragement of modernism in Stream and Angry Penguins. It argues that the academic journal Southerly reinforced an early canon of Australian poetry in the 1940s while the establishment of Overland and Quadrant represented differing political poles in the 1950s. It maps a growing sense of regional diversity through magazines like Westerly, Island, and LINQ, which would supplement Meanjin’s early focus. The chapter then outlines the support of a new generation of writers in the 1970s through Poetry Magazine, later New Poetry, and Poetry Australia. While arguing for Scripsi’s crucial role in the 1980s, the chapter points to the emergence of specialist little magazines around work, multiculturalism, and feminism. The chapter discusses how this diversity would be strengthened in the 1990s, while the emergence of online journals like Jacket and Cordite Poetry Review provided renewed vibrancy and global recognition for Australian poetry.

Charles Darwin is often presented as the person who “discovered” evolution, sometimes along Alfred Russel Wallace. In some cases, references are made to the writings of Jean Baptiste Lamarck or Darwin’s grandfather Erasmus, but these are quickly dismissed as speculative. It is thus Darwin who is left as the single individual who figured out that species emerge from natural evolutionary processes, rather than special creation. However, this is far from accurate. The history of the study of evolution before Darwin not only includes Lamarck but a much wider intellectual community in Europe that discussed the stability of species and produced many different views on the subject. The European scientific scene from the late eighteenth century to the mid-nineteenth century was complex, and debates about the transformation of species had already occurred around 1800. This milieu extended beyond naturalists in England and France to Italian geologists and botanists, German naturalists and anatomists, and Russian paleontologists and zoologists. This chapter calls attention upon  a number of authors and readers engaging in  broadly “evolutionary” conversations.

This chapter considers civic newspaper poetry in Persian and Azerbaijani Turkic as a site for the establishment of a new radical politics and poetics of representation during and after the entangled Russian, Iranian, and Ottoman revolutions of 1905–1911. In the historiography of Persian and Central Asian literature, these revolutions are generally considered to be catalysts for a literary modernity engaged with European models and genres. This chapter shows how the poetics of new modes of political representation came to be articulated in classical and folk verse forms (qasida, ghazal, lullaby) that had preexisting repertories of tools for establishing, negotiating, and contesting claims to representational legitimacy. Surveying the main types of periodicals (newspaper, literary journal, satirical journal), the chapter shows how poets developed different styles for different venues, focusing on ‘Ali-akbar Sabir, lead poet of the Azerbaijani satirical journal Mulla Nasreddin. The chapter next considers how poets reworked court panegyric to glorify the parliaments and revolutionary parties that contested royal sovereignty, focusing on the newspaper verse of the Iranian poets Abu al-Qasim Lahuti and Adib al-Mamalik. Lastly, the chapter follows the transfer of the allegorical patriotic lullaby from Azerbaijan to Iran, focusing on the role of the Iranian publisher Nasim-i Shumal.

This chapter shows how the two most influential periodicals of Queen Annes reign, The Tatler and The Spectator, reacted to the perceived threat posed by the sometimes chaotic representation of contemporary battles in the newspapers, by offering readers fictionalised and idealised alternatives. This strategy was compatible with the attempts of their authors (mostly Richard Steele and Joseph Addison) to encourage politeness. War is seen to encourage disinterested sociability while the career of soldiering is seen to promote good manners. In the face of growing criticism of the bellicose aspect of European cultural heritage, the periodicals attempt to distinguish morally useful representations of violence from aristocratic codes of honour and from sensational barbarism.

Focussing on the 1820s and 30s, traditionally seen as transitional decades when many leading Romantic writers passed away, Chapter Fifteen analyses the effects of politics and of the cultural marketplace on literary production, arguing for a late-Romantic episteme recognisable in Britain, Germany, France, Spain, and Italy. After discussing some of problems inherent in the concept of late Romanticism, the author defines it as a series of cultural practices including improvisation, speculation, and performance that reflect the transitory nature of the period. This has been alternately labelled in German literary history as Spätromantik, Biedermeier, and Vormärz, none of which perfectly correspond. Informed by recent research in book and media history, the chapter discusses periodicals’ role in shaping the literary field, in particular Costumbrismo in Spain. These new forms of experimental and ephemeral writing reflect the period’s intense commercialism and consciousness of time, which contrast with the Romantic desire for transcendence. E. T. A. Hoffmann’s last story, ‘Des Vetters Eckfenster’ [My Cousin’s Corner Window], Walladmor, a satirical hoax in imitation of Walter Scott, and Balzac’s Colonel Chabert, serve as examples of late-Romantic tendencies.

This chapter considers the music publishing industry in Puccini’s Italy, with a particular focus on Puccini’s principal publisher, the Casa Ricordi. The chapter examines the role that publishers played within the wider operatic industry, which by Puccini’s time included managing contracts between composers and opera houses and influencing casting, as well as the more traditional business of printing, publishing, and promoting scores. The particular musical specialisms of the Sonzogno and Ricordi publishing houses are discussed. The author shows how Ricordi elevated Puccini to the position of national-composer-elect towards the end of Verdi’s lifetime and constructed a ‘Puccini myth’. Expensive, sophisticated publicity tools and marketing strategies were used to promote Puccini’s works, not only in Italy but in territories across the globe. The chapter discusses how Puccini’s relationship with the firm changed as a result of the succession of power from Giulio to Tito Ricordi upon the former’s death, as well as the firm’s management of Puccini’s works after his own death.

The nineteenth-century Australian novel has predominantly been understood in terms of the dominance of Britain, both as the place where most books were published and as the source of literary traditions. But this account presumes and maintains the status of the book as the primary vehicle for transmission of literature, whereas the vast majority of Australian novels were serialised (either before or after book publication) and a great many were only ever published in serial form. A history of the early Australian novel that recognises the vital role of serialisation, as distinct from but also in relation to book publication, brings to light new trends in authorship, publication, circulation and reception. This history also uncovers new Australian novelists as well as previously unrecognised features of their fiction. In particular, a number of literary historians argue that early Australian novelists replicated the legal lie of terra nullius in excluding Aboriginal characters from their fiction. Considering fiction serialised in Australian newspapers indicates that these characters were actually widely depicted and suggests the need for a new account of the relationship between nineteenth-century Australian novels and colonisation.

The work and lives of modernist writers were extensively chronicled by the mass media, enabling Americans to develop an active interest in even the most radical literary developments in the first half of the twentieth century. This chapter examines the careers of F. Scott Fitzgerald, Gertrude Stein, and Ernest Hemingway and the cultural developments that enabled their success in specific decades. All were American celebrities. The lives of each were profiled in periodicals, their style was parodied, their faces graced the covers of popular magazines, and all had relationships with Hollywood and filmmaking. Other modernists were subject to this public interest as well, including Faulkner, Eliot, Woolf, and Joyce. None were immune to the broad changes in the marketing and promotion of books and authors that facilitated a lively, robust mainstream knowledge of writers as popular as Hemingway or as difficult as Gertrude Stein, blurring distinctions between low-, middle-, and highbrow writers.

Although best known today as an influential early novelist and a controversial satirist, Daniel Defoe was recognized by his contemporaries, first and foremost, as a prolific journalist. Defoe seems to have principally written, edited, or contributed to perhaps two dozen periodicals during his varied career, and his journalistic output between about 1690 and 1730 amounts to many millions of words on a wide range of topics, including, reflexively, ’News-Writers’. Defoe played a formative role in the development of the periodical press in the early eighteenth century, not least because his body of work makes a sustained argument for what journalism could be and do in modern Britain. Defoe’s journalism is about journalism – about irresponsible newsmongers, credulous news readers, and the tension between ’Matters of Fact’ and what he repeatedly derides in the Review as ’false News’. This chapter surveys the broad range of Defoe’s meta-journalism in order to account for both his theory of conscientious journalism and the public perception of ’Mr. Review’ as ’Correct-General of all the News-Papers, excepting his own’.