Nineteenth Century Revis(it)ed

<p>The Nineteenth Century Revis(it)ed: The New Historical Fiction explores the renaissance of the American historical novel at the turn of the twenty-first century. The study examines the revision of nineteenth-century historical events in cultural products against the background of recent theoretical trends in American studies. It combines insights of literary studies with scholarship on popular culture. The focus of representation is the long nineteenth century – a period from the early republic to World War I – as a key epoch of the nation-building project of the United States. The study explores the constructedness of historical tradition and the cultural resonance of historical events within the discourse on the contemporary novel and the theory formation surrounding it. At the center of the discussion are the unprecedented literary output and critical as well as popular success of historical fiction in the USA since 1995. An additional postcolonial and transatlantic perspective is provided by the incorporation of texts by British and Australian authors and especially by the inclusion of insights from neo-Victorian studies. The book provides a critical comment on current and topical developments in American literature, culture, and historiography. </p> <p><strong>1. History, Fiction, and the USA</strong></p><p>The New American Historical Fiction</p><p>A Brief History of the Historical Novel</p><p>Nineteenth-Century Historical Romance as National Literature</p><p>The Fact/Fiction Dichotomy</p><p>Master Narrative vs. Micro Narrative</p><p>Academic History vs. Pop History</p><p>The Illusion of Veracity</p><p>Nostalgia, Escapism, or Historical Lesson?</p><p>The Appeal of the Nineteenth Century</p><p>Historical Fiction, Memory, and Genre </p><p>The Neoconservative, the Liberal, the Identitarian, and the Postmodern</p><p>Is All New Historical Fiction Historiographic Metafiction?</p><p>How Neo-Victorian is It?</p><p>Revis(it)ing the Past</p><p><strong>2. Historical Crime Fiction</strong></p><p>Theoretical Conceptions</p><p>Caleb Carr's <i>The Alienist</i> (1994)</p><p>Matthew Pearl's <i>The Dante Club</i> (2003)</p><p>Erik Larson's <i>The Devil in the White City</i> (2003)</p><p><strong>3. </strong><strong>Multi-time-level Historical Fiction</strong></p><p>Theoretical Groundwork</p><p>Valerie Martin's <i>The Great Divorce</i> (1994)</p><p>Michael Cunningham's <i>Specimen Days</i> (2005)</p><p>David Ebershoff's <i>The 19th Wife</i> (2008)</p><p><strong>4. Historical Biofiction</strong></p><p>Theoretical Foundations</p><p>Lauren Belfer's <i>City of Light</i> (1999)</p><p>Diane Glancy's <i>Stone Heart</i> (2003)</p><p>John May's <i>Poe & Fanny</i> (2004)</p><p><strong>5. Reanimated Classics</strong></p><p>Theoretical Framework</p><p>Christopher Bigsby's <i>Hester</i> (1994)</p><p>Alice Randall's <i>The Wind Done Gone</i> (2001)</p><p>Geraldine Brooks's <i>March</i> (2005)</p><p><strong>6. Revis(it)ing History and Fiction</strong></p><p><strong>Works Cited</strong></p><p><strong>Index</strong></p>