By Susanna Ashton
Collaborators in Literary the US, 1870-1920 argues that the collaborative novels of the nineteenth and twentieth centuries have been singularly instrumental to the evolving nature of authorship and its courting to the trendy literary market. greater than only a gimmick, those novels (there have been numerous hundred released on the flip of the century), have been a major try to paintings throughout the anxieties authors confronted in an ever extra aggressive and businesslike marketplace. Deeply contextualized inside e-book background and hard work practices, the problems surrounding collaborative construction of such idiosyncratic writers as Henry James, Mark Twain, and William Dean Howells, exhibit that during union there has been energy.
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Extra info for Collaborators in Literary America, 1870-1920
In order to distribute and profit from some sales and yet avoid alienating their subscribers, companies would need to suggest the books were illegal bargains. Indeed, the books would have to perform their own corruption in order to persuade buyers that they were getting an exclusive deal on a cut-rate volume; one hitherto only available to subscribers. 14 The upshot of all of this is not simple irony. The American Publishing Company was engaged in a wholesale corporate scam that was designed to look like the result of an individual agent’s corruption.
Twain’s interest in Shakespeare manifested itself in many incarnations—from the speeches of Duke and King to his musings over Shakespeare’s authorship—yet few people are aware of how his concerns about bookselling and Shakespeare’s authorship came together in his unpublished and unfinished skit of 1881—a burlesque Hamlet. Well before Tom Stoppard’s Rosencrantz and Guildenstern are Dead, Twain conceived the notion of rewriting Hamlet to include another character. Twain wanted a character who could be on stage throughout all five scenes participating and commenting on the action to the best of his ability, yet being totally ignored by the central characters.
Sergio Perosa, in American Theories of the Novel: 1793–1903 (1985), notes that the last part of the nineteenth century marked a period in which a uniquely American formulation of the novel developed. Perosa argues that American theorizing of that period had a practical and empirical bias and that this bias justifies his scholarly attention to the poetics and practice of novel making rather than to pure theory. Similarly, American theories of authorship were in marked contrast to their European counterparts.