Abstract
Following the trend towards authoritative ‘collected works’ and definitive ‘libraries of classics’ inaugurated in both Britain and the United States in the 1860s, publishers today tend to package old novels in a seamless, self-contained, visually uniform way which encourages readers to approach them in a rigidly consistent fashion.1 Indeed, these reading conventions are so powerful that, even as the rise of book history has sensitised literary scholars to the material contingencies of any text’s publication, circulation and reception, the centrality of ‘the book’ to this discipline has led to a continued privileging of the novel in its bound form. This often unconscious partiality is to some extent the legacy of a Romantic predilection for aesthetic wholeness and unity. Thus modern editions of many eighteenth- and nineteenth-century novels retrospectively elide the piecemeal nature of their original publication in order to achieve that ‘totality of effect’ which Poe deemed ‘a vital requisite in all works of art’.2 Precisely because the weekly or monthly instalments of serial novels are so embedded in their moment of production they cannot satisfy the Romantic desire for texts which stand outside society and transcend history. As Laurel Brake has put it, ‘these forms of serialisation are part of a popular pre-history of many … canonical nineteenth-century book texts, which have been disciplined and stripped out to resemble the comparatively austere volume form of reading material….
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Notes and references
See for example M. Hammond (2006) Reading, Publishing and the Formation of Literary Taste in England, 1880–1914 (Aldershot: Ashgate), pp. 85–116,
and T. Lacy (2008) ‘Dreams of a Democratic Culture: Revising the Origins of the Great Books Idea, 1869–1921’, Journal of the Gilded Age, VII, 397–442.
E. A. Poe (1984) ‘The Philosophy of Composition’, in G. R. Thompson (ed.) Essays and Writings (New York: Library of America), p. 15.
L. Brake (2001) ‘Star Turn? Magazine, Part-Issue, Serialization’, Victorian Periodicals Review, XXXIV, 208.
R. L. Patten (2000) ‘Dickens as Serial Author: A Case of Multiple Identities’, in L. Brake, B. Bell and D. Finkelstein (eds) Nineteenth-Century Media and the Construction of Identities (Basingstoke and New York: Palgrave — now Palgrave Macmillan), pp. 137, 140.
See E. Hughes and M. Lund (1991) The Victorian Serial (Charlottesville: University of Virginia Press).
Anon. (1787) ‘Amelia; or The Faithless Briton’, Columbian Magazine, I, 677.
Anon. (1798) Amelia; or The Faithless Briton (Boston: William Spotswood and C. P. Wayne), p. 1. In order more clearly to distinguish between the different forms in which the early American novel appeared I have chosen to denote serial texts using quotation marks and book texts using italics; thus here ‘Amelia’ refers to the magazine version, while Amelia refers to the book version.
See R. Kielbowicz (1989) News in the Mail: The Press, Post Office, and Public Information, 1700–1860s (Westport, CT: Greenwood Press).
R. Winans (1975) ‘The Growth of a Novel-Reading Public in Late Eighteenth-Century America’, Early American Literature, IX, 270,
and F. L. Mott (1930) A History of American Magazines, 1741–1850 (New York: Appleton), p. 33.
H. H. Brackenridge (1770) ‘Introduction’, United States Magazine, I, 9. See also D. P. Nord (1988) ‘A Republican Literature: A Study of Magazine Reading and Readers in Late Eighteenth-Century New York’, American Quarterly, XL, 42–64.
B. Franklin (1993) Autobiography, ed. Ormond Seavey (New York: Oxford University Press), p. 16.
Anon. (1799) ‘For the Weekly Magazine’, Weekly Magazine, III, 163.
N. Webster (1788) ‘Acknowledgements’, American Magazine, I, 130.
Anon. (1786) ‘The Prince of Brittany, a New Historical Novel’, Boston Magazine, III, 27; Anon. (1788) ‘To Correspondents’, Columbian Magazine, II, n.p.
R. Hagedorn (1995) ‘Doubtless to be Continued: A Brief History of Serial Narrative’, in R. C. Allen (ed.) To Be Continued: Soap Operas Around the World (New York: Routledge), p. 28.
See for example M. McKeon (2002) The Origins of the English Novel, 1600–1740 (Baltimore: Johns Hopkins University Press),
and L. Davis (1983) Factual Fictions: The Origins of the English Novel (New York: Columbia University Press).
See N. Armstrong and L. Tennenhouse (1992) ‘The American Origins of the English Novel’, American Literary History, IV, 386–410;
Michelle Burnham (1996) ‘Between England and America: Captivity, Sympathy, and the Sentimental Novel’, in D. Lynch and W. B. Warner (eds) Cultural Institutions of the Novel (Durham: Duke University Press), pp. 47–72;
C. Castiglia (1996) Bound and Determined: Captivity, Culture-Crossing, and White Womanhood from Mary Rowlandson to Patty Hearst (Chicago: University of Chicago Press), pp. 106–37.
S. Black (2008) ‘The Spectator in the History of the Novel’, Media History, XIV, 341.
Anon. (1804) ‘On Novel Writing’, Literary Magazine and American Register, II, 697.
W. Fluck (2000) ‘From Aesthetics to Political Criticism: Theories of the Early American Novel’, in K. Schmidt and F. Fleischmann (eds) Early America Re-Explored: New Readings in Colonial, Early National and Antebellum Culture (New York: Peter Lang), p. 225.
A. Cowie (1951) The Rise of the American Novel (New York: American Book Co.), p. 11.
D. L. Clark (1952) Charles Brockden Brown: Pioneer Voice of America (Durham: Duke University Press), p. 181.
D. Cohen (1986) ‘Arthur Mervyn and His Elders: The Ambivalence of Youth in the Early Republic’, William and Mary Quarterly, XLIII, 363.
W. Dunlap (1815) Life of Charles Brockden Brown, Volume II (Philadelphia: J. Parke), p. 29.
See for example C. Ostrowski (2004) ‘Fated to Perish by Consumption: The Political Economy of Arthur Mervyn’, Studies in American Fiction, XXXII, 3–20,
and J. Baker (2005) Securing the Commonwealth: Debt, Speculation, and Writing in the Making of Early America (Baltimore: Johns Hopkins University Press), pp. 119–37.
J. Gardner (2000) ‘The Literary Museum and the Unsettling of the Early American Novel’, ELH, LXVII, 743–71 (748).
B. Waterman (2003) ‘Arthur Mervyn’s Medical Repository and the Early Republic’s Knowledge Industries’, American Literary History, XV, 213–47 (216).
For more on the ‘fragment’ see M. A. Isani (1981) ‘The “Fragment” as Genre in Early American Literature’, Studies in Short Fiction, XVIII, 17–26,
and M. Cody (2004) Charles Brockden Brown and the ‘Literary Magazine’: Cultural Journalism in the Early Republic (Jefferson: McFarland), pp. 127–54.
C. B. Brown (1798) ‘Arthur Mervyn; or, Memoirs of the Year 1793’, Weekly Magazine, III, 105.
C. B. Brown (1800) ‘Memoirs of Stephen Calvert’, Monthly Magazine and American Review, II, 423.
See D. Hall (1996) Cultures of Print (Amherst: University of Massachusetts Press).
Anon. (1793) ‘Hints on Reading’, Lady’s Magazine and Repository of Entertaining Knowledge, I, 173.
Anon. (1800) ‘Note on Stephen Calvert’, Monthly Magazine and American Review, II, 172.
Anon. (1796) ‘Margaret — A Fragment’, New York Weekly Magazine, I, 275.
Anon. (1806) ‘Essay on Method’, Boston Anthology and Monthly Review, III, 123.
C. B. Brown (1799) ‘Memoirs of Stephen Calvert’, Monthly Magazine and American Review, I, 191.
J. Hayward (1997) Consuming Pleasures: Active Audiences and Serial Fictions from Dickens to Soap Opera (Lexington: University Press of Kentucky), p. 4.
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Pethers, M. (2014). The Early American Novel in Fragments: Writing and Reading Serial Fiction in the Post-Revolutionary United States. In: Parrinder, P., Nash, A., Wilson, N. (eds) New Directions in the History of the Novel. Palgrave Macmillan, London. https://doi.org/10.1057/9781137026989_4
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DOI: https://doi.org/10.1057/9781137026989_4
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