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In Front Lines , Miguel Martínez documents the literary practices of imperial Spain's common soldiers. Against all odds, these Spanish soldiers produced, distributed, and consumed a remarkably innovative set of works on war that have been almost completely neglected in literary and historical scholarship. The soldiers of Italian garrisons and North African presidios , on colonial American frontiers and in the traveling military camps of northern Europe read and wrote epic poems, chronicles, ballads, pamphlets, and autobiographies—the stories of the very same wars in which they participated as rank-and-file fighters and witnesses. The vast network of agents and spaces articulated around the military institutions of an ever-expanding and struggling Spanish empire facilitated the global circulation of these textual materials, creating a soldierly republic of letters that bridged the Old and the many New Worlds of the sixteenth and seventeenth centuries. Martínez asserts that these writing soldiers played a key role in the shaping of Renaissance literary culture, which for its part gave to them the language and forms with which to question received notions of the social logic of warfare, the ethics of violence, and the legitimacy of imperial aggression. Soldierly writing often voiced criticism of established hierarchies and exploitative working conditions, forging solidarities among the troops that often led to mutiny and massive desertion. It is the perspective of these soldiers that grounds Front Lines , a cultural history of Spain's imperial wars as told by the common men who fought them.

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Working with the technologies of pen and paper, scissors and glue, naturalists in early modern England, Scotland, and Wales wrote, revised, and recombined their words, sometimes over a period of many years, before fixing them in printed form. They built up their stocks of papers by sharing these materials through postal and less formal carrier services. They exchanged letters, loose notes, drawings and plans, commonplace books, as well as lengthy treatises, ever-expanding repositories for new knowledge about nature and history as it accumulated through reading, observation, correspondence, and conversation. These textual collections grew alongside cabinets of natural specimens, antiquarian objects, and other curiosities—insects pinned in boxes, leaves and flowers pressed in books, rocks and fossils, ancient coins and amulets, and drafts of stone monuments and inscriptions. The goal of all this collecting and sharing, Elizabeth Yale claims, was to create channels through which naturalists and antiquaries could pool their fragmented knowledge of the hyperlocal and curious into an understanding and representation of Britain as a unified historical and geographical space. Sociable Knowledge pays careful attention to the concrete and the particular: the manuscript almost lost off the back of the mail carrier's cart, the proper ways to package live plants for transport, the kin relationships through which research questionnaires were distributed. The book shows how naturalists used print instruments to garner financing and content from correspondents and how they relied upon research travel—going out into the field—to make and refresh social connections. By moving beyond an easy distinction between print and scribal cultures, Yale reconstructs not just the collaborations of seventeenth-century practitioners who were dispersed across city and country, but also the ways in which the totality of their exchange practices structured early modern scientific knowledge.

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Generations of scholars have meditated upon the literary devices and cultural meanings of The Song of Roland . But according to Andrew Taylor not enough attention has been given to the physical context of the manuscript itself. The original copy of The Song of Roland is actually bound with a Latin translation of the Timaeus . Textual Situations looks at this bound volume along with two other similarly bound medieval volumes to explore the manuscripts and marginalia that have been cast into shadow by the fame of adjacent texts, some of the most read medieval works. In addition to the bound volume that contains The Song of Roland , Taylor examines the volume that binds the well-known poem «Sumer is icumen in» with the Lais of Marie de France , and a volume containing the legal Decretals of Gregory IX with marginal illustrations of wayfaring life decorating its borders. Approaching the manuscript as artifact, Textual Situations suggests that medieval texts must be examined in terms of their material support—that is, literal interpretation must take into consideration the physical manuscript itself in addition to the social conventions that surround its compilation. Taylor reconstructs the circumstances of the creation of these medieval bound volumes, the settings in which they were read, inscribed, and shared, and the social and intellectual conventions surrounding them.

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John Locke described the mind as a cabinet; Robert Hooke called it a repository; Joseph Addison imagined a drawer of medals. Each of these philosophers was an avid collector and curator of books, coins, and cultural artifacts. It is therefore no coincidence that when they wrote about the mental work of reason and imagination, they modeled their powers of intellect in terms of collecting, cataloging, and classification. The Mind Is a Collection approaches seventeenth- and eighteenth-century metaphors of the mind from a material point of view. Each of the book's six chapters is organized as a series of linked exhibits that speak to a single aspect of Enlightenment philosophies of mind. From his first chapter, on metaphor, to the last one, on dispossession, Sean Silver looks at ways that abstract theories referred to cognitive ecologies—systems crafted to enable certain kinds of thinking, such as libraries, workshops, notebooks, collections, and gardens. In doing so, he demonstrates the crossings-over of material into ideal, ideal into material, and the ways in which an idea might repeatedly turn up in an object, or a range of objects might repeatedly stand for an idea. A brief conclusion examines the afterlife of the metaphor of mind as collection, as it turns up in present-day cognitive studies. Modern cognitive theory has been applied to the microcomputer, and while the object is new, the habit is as old as the Enlightenment. By examining lived environments and embodied habits from 1660 to 1800, Silver demonstrates that the philosophical dualism that separated mind from body and idea from thing was inextricably established through active engagement with crafted ecologies.

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In the early nineteenth century, London publishers dominated the transatlantic book trade. No one felt this more keenly than authors from Ireland, Scotland, and the United States who struggled to establish their own national literary traditions while publishing in the English metropolis. Authors such as Maria Edgeworth, Sydney Owenson, Walter Scott, Washington Irving, and James Fenimore Cooper devised a range of strategies to transcend the national rivalries of the literary field. By writing prefaces and footnotes addressed to a foreign audience, revising texts specifically for London markets, and celebrating national particularity, provincial authors appealed to English readers with idealistic stories of cross-cultural communion. From within the messy and uneven marketplace for books, Joseph Rezek argues, provincial authors sought to exalt and purify literary exchange. In so doing, they helped shape the Romantic-era belief that literature inhabits an autonomous sphere in society. London and the Making of Provincial Literature tells an ambitious story about the mutual entanglement of the history of books and the history of aesthetics in the first three decades of the nineteenth century. Situated between local literary scenes and a distant cultural capital, enterprising provincial authors and publishers worked to maximize success in London and to burnish their reputations and build their industry at home. Examining the production of books and the circulation of material texts between London and the provincial centers of Dublin, Edinburgh, and Philadelphia, Rezek claims that the publishing vortex of London inspired a dynamic array of economic and aesthetic practices that shaped an era in literary history.

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Poetry occupied a complex position in the social life of nineteenth-century America. While some readers found in poems a resource for aesthetic pleasure and the enjoyment of linguistic complexity, many others turned to poems for spiritual and psychic wellbeing, adapted popular musical settings of poems to spread scandal and satire, or used poems as a medium for asserting personal and family memories as well as local and national affiliations. Poetry was not only read but memorized and quoted, rewritten and parodied, collected, anthologized, edited, and exchanged. Michael C. Cohen here explores the multiplicity of imaginative relationships forged between poems and those who made use of them from the post-Revolutionary era to the turn of the twentieth century. Organized along a careful genealogy of ballads in the Atlantic world, The Social Lives of Poems in Nineteenth-Century America demonstrates how the circulation of texts in songs, broadsides, letters, and newsprint as well as in books, anthologies, and critical essays enabled poetry to perform its many different tasks. Considering the media and modes of reading through which people encountered and made sense of poems, Cohen traces the lines of critical interpretations and tracks the emergence and disappearance of poetic genres in American literary culture. Examining well-known works by John Greenleaf Whittier and Walt Whitman as well as popular ballads, minstrel songs, and spirituals, Cohen shows how discourses on poetry served as sites for debates over history, literary culture, citizenship, and racial identity.

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Fragile Minds and Vulnerable Souls investigates the creation of «obscene writings and images» as a category of print in nineteenth-century Germany. Sarah L. Leonard charts the process through which texts of many kinds—from popular medical works to stereoscope cards—were deemed dangerous to the intellectual and emotional lives of vulnerable consumers. She shows that these definitions often hinged as much on the content of texts as on their perceived capacity to distort the intellect and inflame the imagination. Leonard tracks the legal and mercantile channels through which sexually explicit material traveled as Prussian expansion opened new routes for the movement of culture and ideas. Official conceptions of obscenity were forged through a heterogeneous body of laws, police ordinances, and expert commentary. Many texts acquired the stigma of immorality because they served nonelite readers and passed through suspect spaces; books and pamphlets sold by peddlers or borrowed from fly-by-night lending libraries were deemed particularly dangerous. Early on, teachers and theologians warned against the effects of these materials on the mind and soul; in the latter half of the century, as the study of inner life was increasingly medicalized, physicians became the leading experts on the detrimental side effects of the obscene. In Fragile Minds and Vulnerable Souls , Leonard shows how distinctly German legal and medical traditions of theorizing obscenity gave rise to a new understanding about the mind and soul that endured into the next century.

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Concealed in rows of carefully restored volumes in rare book libraries is a history of the patterns of book collecting and compilation that shaped the literature of the English Renaissance. In this early period of print, before the introduction of commercial binding, most published literary texts did not stand on shelves in discrete, standardized units. They were issued in loose sheets or temporarily stitched—leaving it to the purchaser or retailer to collect, configure, and bind them. In Bound to Read , Jeffrey Todd Knight excavates this culture of compilation—of binding and mixing texts, authors, and genres into single volumes—and sheds light on a practice that not only was pervasive but also defined the period's very ways of writing and thinking. Through a combination of archival research and literary criticism, Knight shows how Renaissance conceptions of imaginative writing were inextricable from the material assembly of texts. While scholars have long identified an early modern tendency to borrow and redeploy texts, Bound to Read reveals that these strategies of imitation and appropriation were rooted in concrete ways of engaging with books. Knight uncovers surprising juxtapositions such as handwritten sonnets collected with established poetry in print and literary masterpieces bound with liturgical texts and pamphlets. By examining works by Shakespeare, Spenser, Montaigne, and others, he dispels the notion of literary texts as static or closed, and instead demonstrates how the unsettled conventions of early print culture fostered an idea of books as interactive and malleable. Though firmly rooted in Renaissance culture, Knight's carefully calibrated arguments also push forward to the digital present—engaging with the modern library archives where these works were rebound and remade, and showing how the custodianship of literary artifacts shapes our canons, chronologies, and contemporary interpretative practices.

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New England Puritan sermon culture was primarily an oral phenomenon, and yet its literary production has been understood mainly through a print legacy. In Jeremiah's Scribes , Meredith Marie Neuman turns to the notes taken by Puritan auditors in the meetinghouse in order to fill out our sense of the lived experience of the sermon. By reconstructing the aural culture of sermons, Neuman shifts our attention from the pulpit to the pew to demonstrate the many ways in which sermon auditors helped to shape this dominant genre of Puritan New England. Tracing the material transmission of sermon texts by readers and writers, hearers and notetakers, Jeremiah's Scribes challenges the notion of stable authorship by individual ministers. Instead, Neuman illuminates a mode of textual production that pervaded communities and occurred in the overlapping media of print, manuscript, and speech. Even printed sermons, she demonstrates, bore the traces of their roots in the oral culture of the meetinghouse. Bringing material considerations to bear on anxieties over the perceived relationship between divine and human language, Jeremiah's Scribes broadens our understanding of all Puritan literature. Neuman examines the controlling logic of the sermon in relation to nonsermonic writing—such as conversion narrative—ultimately suggesting the fundamental permeability among disparate genres of Puritan writing.

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