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Exploring works by Walter Scott, Harriet Martineau, Charlotte Brontë, Charles Dickens, and their lesser-known contemporaries, Romances of Free Trade historicizes globalization as it traces the perception of dissolving borders and declining national sovereignty back into the nineteenth century. The book offers a new account of the cultural work of romance in nineteenth-century Britain. Çelikkol argues that novelists and playwrights employed this genre to represent a radically new historical formation: the emergence of a globalized free-market economy. In previous centuries, the British state had pursued an economic policy that chose domestic goods over foreign ones. Through the first half of the nineteenth century, liberal economists maintained that commodity traffic across national borders should move outside the purview of the state, a position and practice that began to take hold as the century progressed. Amid the transformation, Britons pondered the vertiginous effects of rapidly accelerating economic circulation. Would patriotic attachment to the homeland dissolve along with the preference for domestic goods? How would the nation and the empire fare if commerce became uncontrollable? The literary genre of romance, characterized by protagonists who drift in lawless spaces, played a meaningful role in addressing such pressing questions. From the figure of the smuggler to the episodic plot structure, romance elements in fiction and drama narrated and made tangible the sprawling global markets and fluid capital that were reshaping the world. In addition to clear-eyed close readings of nineteenth-century novels and plays, Çelikkol draws on the era's major economic theorists, figures like Adam Smith and Thomas Malthus, to vividly illustrate the manifold ways the romance genre engaged with these emerging financial changes.
This is the annotated edition including the rare biographical essay by Edwin E. Slosson called "H. G. Wells - A Major Prophet Of His Time". Tono-Bungay is not, to be sure, with its four hundred and fifty pages, a short story; but it contains chapters that might serve as short stories. It is plainly a romance, with much else besides. Mr. Wells himself calls it a novel; there are critics who will tell you it is a sociological essay. It is in truth a very omnibus of fiction. Victorian romance, near the entrance; tragedy—take the elevator, top floor; comedy, in the basement; science and sociology, on the bargain counter; a tempting display of realism in the drug department. Tono-Bungay is—need it be explained ?—a patent medicine. Its inventor, the great Edward Ponderevo, and his nephew and aide, the narrator of the veracious chronicle, struggle with varying fortunes for the position of hero. To match them there are two heroines—perhaps more. But heroines and their affairs are, in the language of commerce, mere bye-products. To modern industry and finance the big volume is dedicated. In the symphonic development of this great theme lies whatsoever appearance of unity the book can boast.
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