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Fictions and Fakes: Forging Romantic Authenticity, 1760-1845 - Cambridge Studies in Romanticism (Paperback)
  • Fictions and Fakes: Forging Romantic Authenticity, 1760-1845 - Cambridge Studies in Romanticism (Paperback)
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Fictions and Fakes: Forging Romantic Authenticity, 1760-1845 - Cambridge Studies in Romanticism (Paperback)

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£28.99
Paperback 280 Pages / Published: 19/11/2009
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British Romantic literature descends from a line of impostors, forgers and frauds. Through a series of case-studies - beginning with the golden age of forgery in the late eighteenth century and continuing through canonical Romanticism and its aftermath - Margaret Russett demonstrates how Romantic writers distinguished their fictions from the fakes surrounding them. This 2006 book examines canonical and lesser-known Romantic works alongside fakes such as Thomas Chatterton's medieval poems and 'Caraboo', the impostor-princess. Through original readings of works by Wordsworth, Coleridge, Byron, Walter Scott, John Clare, and James Hogg, as well as chapters on impostors in popular culture, Russett's interdisciplinary and wide-ranging study offers a major reinterpretation of Romanticism and its continuing influence today.

Publisher: Cambridge University Press
ISBN: 9780521123549
Number of pages: 280
Weight: 420 g
Dimensions: 229 x 152 x 16 mm


MEDIA REVIEWS
Review of the hardback: '... a stimulating and varied compendium which illuminates, though it does not fully explore, a fundamentally important aspect of Romantic literature.' The Times Literary Supplement
Review of the hardback: '... one of the most stimulating books in studies in British Romanticism to have appeared in recent years. Margaret Russett succeeds in refocusing the general field of late eighteenth- and early nineteenth-century writing around the topic of literary and cultural fakes, forgeries, plagiarisms and hoaxes, which she locates at the heart of the Romantic project.' Studies in Hogg and his World
"Fictions and Fakes is a provocative meditation on how textual bastardy pervaded all aspects of Romanticism, from the high-culture concern with poetic voice as the je ne sais quoi that defined something supposedly circumscribable in law, to the low-culture concern with early celebrities, either rising on delusive hopes, such as the Maid of Buttermere, or through determined imposture, such as the Princess Caraboo." -Robert Miles, University of Victoria

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