William Delisle Hay's The Doom of the Great City (1880) is relatively unknown today, even among scholars who specialize in Victorian literature. There is little scholarship on the novella, and it’s not commonly taught in high school or college classrooms. Our hope is that this critical edition will change that. Doom's engagement with nineteenth-century science, environmental concerns, and the post-apocalyptic genre lend it much relevancy in the twenty-first century.
A forgotten masterpiece, William Makepeace Thackeray’s first novel, Catherine, has languished in obscurity, in part due to its author’s own unhappiness with it. He had set out to write a satire of the Newgate novels of the 1830’s with their glorification of criminals, but instead turned out a tale of a roguish heroine much in the mould of the equally roguish heroine of Vanity Fair: Becky Sharp. Also like Vanity Fair, this novel provides some wry social commentary through the mouth of its cynical narrator.
“The Portrait of Mr W. H.” was first published in Blackwood's Magazine in 1889 as a short story dealing with forgery, literary interpretation, and Shakespeare’s Sonnets. After its initial publication, Wilde drafted an expanded version that would have been entitled The Incomparable and Ingenious History of Mr W.H; however, it was lost for over twenty years following his bankruptcy sale. The manuscript came to light when it was published by Mitchell Kennerley in 1921 as The Portrait of Mr W.H., now doubled in size.
Set in the aftermath of Chartism, the European revolutions of 1848, and the bursting of the railway bubble, William North’s The City of the Jugglers; or, Free-Trade in Souls: A Romance of the “Golden” Age (H. J, Gibbs, 1850) is constructed around the rise and fall of an audacious commercial speculation in human souls, and, with it, England’s reactionary social order. Punctuated by Carlylean statements of moral outrage, self-regarding authorial footnotes, diverting speculations on matters ranging from monetary policy to the state of modern cookery, repeated panegyrics on the versatile excellence of men-of-letters, and at least three doubled secondary plot lines, the book repeatedly transgresses and thereby calls attention to the formal conventions of the Victorian novel. This edition of The City of the Jugglers seeks to make this deliberately problematic text both available and accessible to a twenty-first-century audience of students and scholars. Freed from the market that it excoriates, hopefully North’s self-described “mythical history, magnetic revelation, dream of poetic vanity, incomprehensible cartoon, or whatever else it turn out to be in the eyes of men or angels” can speak to a new generation of “defenders of the people, which we, and we only, represent, in this age of transitions.”
The short story originally published as “Strange Event in the Life of Schalken the Painter. Being a Seventh Extract from the Legacy of the Late Francis Purcell, P.P. of Drumcoolagh” in Dublin University Magazine (May 1839) is widely recognized as the earliest masterpiece by the Irish novelist, short story writer, and journalist Joseph Sheridan Le Fanu (1814-1873).
Robert Louis Stevenson cherished the 1866 penny dreadful A Mystery in Scarlet, written by his "genuine influence" Malcolm J. Errym, the pseudonym of "Sweeney Todd" creator James Malcolm Rymer (1814-84) and illustrated by the celebrated "Phiz" (Hablot K. Browne, 1815-82).
Clemence Housman invented her gothic story to entertain the women in her wood-engraving class in London in 1884. She first published "The Were-Wolf" in the 1890 Christmas number of Atalanta, where it was illustrated by Everard Hopkins. In 1896 she collaborated with her brother, Laurence Housman, to produce an illustrated edition of The Were-Wolf for John Lane at The Bodley Head. In addition to authoring the text, Clemence Housman wood-engraved the 6 illustrations, decorated title page, and illuminated initial designed by her brother, Laurence Housman.
Thomas Carlyle once described Sartor Resartus as “a Satirical Extravaganza on Things in General,” and the book has both inspired and confounded readers since its initial publication in 1833-34. Engaging with philosophy, theology, political economy, aesthetics, history, and science, Sartor Resartus in many ways defies classification.
This edition of EBB’s sonnet, most widely known under the title of “On a Portrait of Wordsworth, by R. B. Haydon,” is the first effort to create what we are calling an “omnibus edition” of a literary work. The edition brings together three tools that have been created for The COVE: an annotation tool, a timeline-builder, and a geospatial map-builder.