This book deals with changing conditions and conceptions of authorship in the long eighteenth century, a period often said to have witnessed the birth of the modern author. It focuses not on authorial self-presentation or self-revelation but on an author’s interactions with booksellers, collaborators, rivals, correspondents, patrons, and audiences. Challenging older accounts of the development of authorship in the period as well as newer claims about the “public sphere” and the “professional writer,” it engages with recent work on print culture and the history of the book. Methodologically eclectic, it moves from close readings to strategic contextualization. The book is organized both chronologically and topically. Early chapters deal with writers – notably Milton and Dryden – at the beginning of the long eighteenth century, and later chapters focus more on writers -- among them Johnson, Gray, and Gibbon -- toward its end. Looking beyond the traditional canon, it considers a number of little-known or little-studied writers, including Richard Bentley, Thomas Birch, William Oldys, James Ralph, and Thomas Ruddiman. Some of the essays are organized around a single writer, but most deal with a broad topic – literary collaboration, literary careers, the republic of letters, the alleged rise of the “professional writer,” and the rather different figure of the “author by profession.”

Product Description: Swift and Pope were lifelong friends and fellow satirists with shared literary sensibilities. But there were significant differences - demographic, psychological, and literary - between them: an Anglican and a Roman Catholic, an Irishman and an Englishman, one deeply committed to politically engaged poetry, and the other reluctant to engage in partisanship and inclined to distinguish poetry from politics...read more

Product Description: This book explores the way in which Milton's poems served as a rich and fruitful resource for the English poets of the eighteenth century. It refutes the old argument about Milton's allegedly 'bad influence' and challenges suggestions that great writers generally inhibit or oppress their successors...read more

Product Description: Walter Burley Griffin (1876-1937) was a distinguished modernist American architect, landscape architect and town planner. His work attracted world-wide attention in 1912 when he won the international competition to design a new capital city for Australia...read more

Product Description: Before the development of a full-blown literary "market" in which an author might hope to make an independent living, books were brought to readers with considerable assistance from patronage. Dustin Griffin offers the first comprehensive study of the system of literary patronage in early modern England...read more

" Here is the ideal introduction to satire for the student and, for the experienced scholar, an occasion to reconsider the uses, problems, and pleasures of satire in light of contemporary theory. Satire is a staple of the literary classroom. Dustin Griffin moves away from the prevailing moral-didactic approach established thirty some years ago to a more open view and reintegrates the Menippean tradition with the tradition of formal verse satire. Exploring texts from Aristophanes to the moderns, with special emphasis on the eighteenth century, Griffin uses a dozen figures -- Horace, Juvenal, Persius, Lucian, More, Rabelais, Donne, Dryden, Pope, Swift, Blake, and Byron -- as primary examples. Because satire often operates as a mode or procedure rather than as a genre, Griffin offers not a comprehensive theory but a set of critical perspectives. Some of his topics are traditional in satire criticism: the role of satire as moralist, the nature of satiric rhetoric, the impact of satire on the political order. Others are new: the problems of satire and closure, the pleasure it affords readers and writers, and the socioeconomic status of the satirist. Griffin concludes that satire is problematic, open-ended, essayistic, and ambiguous in its relationship to history, uncertain in its political effect, resistant to formal closure, more inclined to ask questions than provide answers, and ambivalent about the pleasures it offers.