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• W2778582761 abstract "Reviewed by: London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800–1850 by Joseph Rezek Jonathan Rose (bio) London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800–1850, Joseph Rezek; 286 pp. 286. Philadelphia: University of Pennsylvania Press, 2015, $59.95. Was Washington Irving a postcolonial author? How about Maria Edgeworth? Or for that matter Walter Scott, or James Fenimore Cooper? Perhaps they were, in the sense that each was caught in the gravitational pull of London, the metropolitan center of Anglophone publishing. Joseph Rezek, a scholar at Boston University, prefers the term provincial, but the point of departure for London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800–1850 is Pascale Casanova, that theorist of the postcolonial predicament. In The World Republic of Letters (2004), Casanova argues that the global literary marketplace is now dominated by New York, London, and Paris. There it is decided which authors from Africa, Asia, Latin America, and the rest of the world will be published, translated, reviewed, and celebrated. So while many non-Western writers insist that they are not writing for Western readers, inevitably they must do that to some extent. That means that, for example, Nairobi authors have to make some effort to explain Nairobi to New York readers, whereas New York novelists do not feel compelled to explain Manhattan to Nairobi readers. It is an unequal relationship, obviously, but Casanova offers no clear solution, and the problem will probably continue until the non-Western world develops major publishing industries with international reach. As Rezek shows, the situation is not new. In the early nineteenth century, Scottish, Irish, and American novelists faced much the [End Page 712] same quandary. Edgeworth, Irving, Cooper, and Scott all had to guide English readers through the unfamiliar territory of their fiction (2–3). Often they wrote authenticating prefaces, footnotes, and glossaries, and often they revised texts for London republication (3). Jane Austen felt no need to do the same for the benefit of non-English readers. In Pride and Prejudice (1813) she explains, It is not the object of this work to give a description of Derbyshire, nor any of the remarkable places through which [the] route thither lay: Oxford, Blenheim, Warwick, Kenelworth, Birmingham, &c. are sufficiently known (qtd. in Rezek 66). Such places were familiar to sophisticated home county audiences, and who else mattered? Irving set The Legend of Sleepy Hollow (1820) in a community universally and properly known by the name of Tarry Town (at least known to New Yorkers), but in the London edition he had to change the word universally (qtd. in Rezek 85). Americans broke free of the need to explain themselves only when the United States became a major literary power, sometime between the careers of Harriet Beecher Stowe and Ernest Hemingway. In the 1960s, Westerners recognized they were entering into a new kind of relationship with the recently liberated colonies, and that reading postcolonial literature might help them to understand what they were dealing with. Likewise, the union with Scotland (1707) and Ireland (1801), and recognition of American independence (1783), aroused English interest in all three provincial literatures. When Sydney Smith sneered, In the four quarters of the globe, who reads an American book? the simple answer was: just about everyone (qtd. in Rezek 9–10). Between 1800 and 1840, well before Uncle Tom's Cabin (1852), a minimum of six hundred American novels were republished in London, and they were widely reviewed and distributed all over the Anglosphere. In 1830, Cooper sold two novels to Henry Colburn for £1,300. And though Dublin's book industry was effectively wiped out by the Act of Union, over the next thirty years more than one hundred Irish novels were published in London. Likewise, most of the writing that we now associate with the Scottish Enlightenment either was published in London or else co-published in London and Edinburgh, and Archibald Constable paid Scott a cool £4,000 for Ivanhoe (1820). While London offered American, Irish, and Scottish authors a vast market, it also put them in a bind. Were they writing universal literature that..." @default.
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• W2778582761 title "London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800–1850 by Joseph Rezek (review)" @default.
• W2778582761 doi "https://doi.org/10.1353/vic.2017.a680261" @default.
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