"[Markovits] leaves us wanting, in the most delicious way, more." —Kirsty Gunn, The Observer Lord Byron was the greatest writer and the most notorious, scandalous lover of his age—an irresistible attraction for a sheltered, bookish, and passionate young woman like Eliza Esmond. Eliza believes she’s met Byron on the doorstep of his publisher, and that her dreams have come true when he arranges to meet her in secret. But what if the man she believes to be Byron is someone else—a look-alike named John Polidori, who once toured Europe as Byron’s doctor?
This book deals with the exposing of various impostors and hoaxes. One of Bram Stoker's last works, it is a survey of various charlatans, rogues, and other practitioners of make-believe. With a cheerfully withering eye for their cons, Stoker introduces us to many famous fakers including: royal pretenders (such as Perkin Warbeck, who claimed King Henry VII's throne), the Wandering Jew, John Law, Arthur Orton, women masquerading as men, hoaxers, Chevalier D'eon, the Bisley Boys, and others.
Gillman (English, University of Cal., Santa Cruz) challenges the widely held assumption that Twain's concern with identity is purely biographical and argues that what has been regarded as a problem of individual psychology must be located instead within American society around the turn of the century. Paper edition available at $12.95. Annotation copyrighted by Book News, Inc., Portland, OR
MAN BOOKER PRIZE NOMINEE • From the acclaimed author of Outlaws • For decades, Enric Marco was revered as a veteran of the Spanish Civil War, a crusader for justice, and a Holocaust survivor. But in May 2005, at the height of his renown, he was exposed as a fraud. Marco was never in a Nazi concentration camp. And perhaps the rest of his past was fabricated, too, a combination of his delusions of grandeur and his compulsive lying. In this hypnotic narrative, which combines fiction and nonfiction, detective story and war story, biography and autobiography, Javier Cercas sets out to unravel Marco’s enigma. With both profound compassion and lacerating honesty, Cercas probes one man’s gigantic lie to explore the deepest, most flawed parts of our humanity.
“Miller takes us on an exciting tour of postcolonial and world literature, guiding us through the literary maze of the real and the pretenders to the real.” —Ngugi wa Thiong’o, author of Wizard of the Crow Writing a new page in the surprisingly long history of literary deceit, Impostors examines a series of literary hoaxes, deceptions that involved flagrant acts of cultural appropriation. This book looks at authors who posed as people they were not, in order to claim a different ethnic, class, or other identity. These writers were, in other words, literary usurpers and appropriators who trafficked in what Christopher L. Miller terms the “intercultural hoax.” In the United States, such hoaxes are familiar. Forrest Carter’s The Education of Little Tree and JT LeRoy’s Sarah are two infamous examples. Miller’s contribution is to study hoaxes beyond our borders, employing a comparative framework and bringing French and African identity hoaxes into dialogue with some of their better-known American counterparts. In France, multiculturalism is generally eschewed in favor of universalism, and there should thus be no identities (in the American sense) to steal. However, as Miller demonstrates, this too is a ruse: French universalism can only go so far and do so much. There is plenty of otherness to appropriate. This French and Francophone tradition of imposture has never received the study it deserves. Taking a novel approach to this understudied tradition, Impostors examines hoaxes in both countries, finding similar practices of deception and questions of harm. “In this fascinating study of intercultural literary hoaxes, Christopher L. Miller provides a useful, brief history of American literary impostures as a backdrop for his investigation of France’s literary history of ‘ethnic usurpation.’” —Henry Louis Gates, Jr., New York Times–bestselling author
The last piece of a literary puzzle falls into place in the final novel of Benjamin Markovits’s Byron trilogy. When his former colleague Peter Sullivan dies, Ben Markovits inherits unpublished manuscripts about the life of Lord Byron—including the novels Imposture and A Quiet Adjustment. Ben’s own literary career is in the doldrums, and he tries to revive it by publishing and writing about his dead friend, whose reimagining of Byron’s lost memoirs—titled Childish Loves—may provide a key to Sullivan’s own life and tarnished reputation. Acting as a literary sleuth, Ben sorts through boxes of Sullivan’s writing; reads between the lines of his scandalous, Byron-inspired stories; meets with the Society for the Publication of the Dead; and tracks down people from Peter’s past in an effort to untangle rumor from reality. In the process, he crafts a masterful story-within-a-story that turns on uncomfortable questions about childhood and sexual awakening, innocence and attraction, while exploring the lives of three very different writers and their brushes with success and failure in both literature and life.
A startling, shape-shifting book of prose and images that draws on an unexpected pair of inspirations—the poetry of Fernando Pessoa and the history of air disasters—to investigate con men, identity politics, failures of leadership, the privilege of ineptitude, the slave trade, and the nature of consciousness. Early in 2017, on a plane from Cape Verde to Lisbon, author and visual artist James Hannaham started reading Pessoa & Co., Richard Zenith's English translation of Fernando Pessoa's selected poetry. This was two months after Trump's presidential election; like many people, ideas about unfitness for service and failures of leadership were on his mind. Imagine his consternation upon discovering the first line of the first poem in the book: "I've never kept sheep/But it's as if I did." The Portuguese, Hannaham had been musing, were responsible for jump-starting colonialism and the slave trade. Pessoa published one book in Portuguese in his lifetime, Mensagem, which consisted of paeans to European explorers. He also invented about seventy-five alter egos, each with a unique name and style, long before aliases and avatars became a feature of modern culture. Hannaham felt compelled to engage with Pessoa's work. Once in Lisbon, he began a practice of reading a poem from Zenith's anthology and responding in whatever mode seemed to click. Even before his trip, however, he had become fascinated by Air Disasters, a TV show that tells the story of different plane crashes in each of its episodes. These stories—as well as the textures and squares of the city he was visiting—began to resonate with his concerns and Pessoa’s, and make their way into the book. Through its inspirations and juxtapositions and its agile shifts of voice and form—from meme to fiction to aphorism to screenshot to lyric—the book leads us to reckon with the most universal questions. What is the self? What holds the self—multiple, fragmented, performative, increasingly algorithmically controlled, constantly under threat of death—intact and aloft?
A comprehensive biography of the Treatise of the Three Impostors, a controversial nonexistent medieval book. Like a lot of good stories, this one begins with a rumor: in 1239, Pope Gregory IX accused Frederick II, the Holy Roman Emperor, of heresy. Without disclosing evidence of any kind, Gregory announced that Frederick had written a supremely blasphemous book—De tribus impostoribus, or the Treatise of the Three Impostors—in which Frederick denounced Moses, Jesus, and Muhammad as impostors. Of course, Frederick denied the charge, and over the following centuries the story played out across Europe, with libertines, freethinkers, and other “strong minds” seeking a copy of the scandalous text. The fascination persisted until finally, in the eighteenth century, someone brought the purported work into actual existence—in not one but two versions, Latin and French. Although historians have debated the origins and influences of this nonexistent book, there has not been a comprehensive biography of the Treatise of the Three Impostors. In The Atheist’s Bible, the eminent historian Georges Minois tracks the course of the book from its origins in 1239 to its most salient episodes in the seventeenth and eighteenth centuries, introducing readers to the colorful individuals obsessed with possessing the legendary work—and the equally obsessive passion of those who wanted to punish people who sought it. Minois’s compelling account sheds much-needed light on the power of atheism, the threat of blasphemy, and the persistence of free thought during a time when the outspoken risked being burned at the stake.
In the third book of the Nebula Award–nominated Arcadia Project series, which New York Times bestselling author Seanan McGuire called “exciting, inventive, and brilliantly plotted,” Millie Roper has to pull off two impossible heists—with the fate of the worlds in the balance. Three months ago, a rift between agents in London and Los Angeles tore the Arcadia Project apart. With both fey Courts split down the middle—half supporting London, half LA—London is putting the pieces in place to quash the resistance. But due to an alarming backslide in her mental health, new LA agent Mille Roper is in no condition to fight. When London’s opening shot is to frame Millie’s partner, Tjuan, for attempted homicide, Millie has no choice but to hide him and try to clear his name. Her investigation will take her across the pond to the heart of Arcadia at the mysterious and impenetrable White Rose palace. The key to Tjuan’s freedom—and to the success of the revolution—is locked in a vault under the fey Queen’s watchful eye. It’s up to Millie to plan and lead a heist that will shape the future of two worlds—all while pretending that she knows exactly what she’s doing…
