In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys' adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.
The Parisian Communards fought for a vision of internationalism, radical democracy and economic justice for the working masses that cut across national borders. Its eventual defeat resonated far beyond Paris. Literature and Revolution examines how authors in Britain projected their hopes and fears in literary representations of the Commune.
1895. Chambers, American artist and writer, later turned to writing romantic fiction to earn a living. According to some estimates, Chambers had one of the most successful literary careers of his period, with a few of his works achieving bestseller status. The book begins: All Englishmen are pigs observed a young man who stood swaying in the doorway of the Cafe Cardinal. Nobody replied to this criticism. The cafe was full. The young man advanced unsteadily to the center of the long room and looked about for a seat. His lusterless eyes traveled from table to table until they became fixed on a group of people in the embrasure of one of the windows which opened on the rue des Ecoles. Toward these people he shuffled, but when he laid a heavy hand on the shoulder of one, a woman, she cried out and shrank away. A man sitting beside her started up angrily, but sat down again when he saw who it was, and resumed his jaunty air. See other titles by this author available from Kessinger Publishing William Chambers (May 26, 1865 - December 16, 1933) was an American artist and writer. According to some estimates, Chambers was one of the most successful literary careers of his period, his later He was born in Brooklyn, New York, to William P. Chambers (1827-1911), a notable corporate and bankruptcy lawyer, and Caroline Smith Boughton (1842-1913). His parents met when Caroline was twelve years old and William P. was interning with her father, Joseph Boughton, a prominent corporate lawyer. Eventually the two formed the law firm of Chambers and Boughton which continued to prosper even after Joseph's death in 1861. Robert's great-grandfather, William Chambers (birth unknown), a lieutenant in the British Royal Navy, was married to Amelia Saunders, (1765-1822), the great grand daughter of Tobias Saunders, of Westerly, Rhode Island. The couple moved from Westerly, to Greenfield, Massachusetts and then to Galway, New York, where their son, also William Chambers, (1798-1874) was born. The second William graduated from Union College at the age of 18, and then went to a college in Boston, where he studied to be a doctor. Upon graduating he and his wife, Eliza P. Allen, (1793-1880) a direct descendant of Roger Williams, [1] the founder of Providence, Rhode Island were among the first settlers of Broadalbin, New York. His brother was architect Walter Boughton Chambers. Robert was first educated at the Brooklyn Polytechnic Institute, and then entered the Art Students' League at around the age of twenty, where the artist Charles Dana Gibson was his fellow student. Chambers studied at the Ecole des Beaux-Arts, and at Academie Julian, in Paris from 1886 to 1893, and his work was displayed at the Salon as early as 1889. On his return to New York, he succeeded in selling his illustrations to Life, Truth, and Vogue magazines. Then, for reasons unclear, he devoted his time to writing, producing his first novel, In the Quarter (written in 1887 in Munich). His most famous, and perhaps most meritorious, effort is The King in Yellow, a collection of Art Nouveau short stories published in 1895. This included several famous weird short stories which are connected by the theme of a fictitious drama of the same title, which drives those who read it insane. E. F. Bleiler described The King in Yellow as one of the most important works of American supernatural fiction. It was also strongly admired by H. P. Lovecraft and his circle. Chambers returned to the weird genre in his later short story collections, The Maker of Moons, The Mystery of Choice, and The Tree of Heaven, but none earned him as much success as The King in Yellow."
Essays on nineteenth-century American fiction writers that suggest a depth and richness marked by both national expansion and regional division. Includes coverage of neglected writers, marking the first meaningful assessment of their lives and roles inthe literary and cultural history of the United States. Contains discussions of two genres, the detective story and the supernatural tale.
What a whimsical book!! The book is not one continuous story but jumps from one person to a completely different person, rather like a string of short stories. I just went into the book and sat fishing alongside the Count who escaped to America. Beautiful times!: ) (Shilpa) About the author: Robert William Chambers (May 26, 1865 - December 16, 1933) was an American artist and fiction writer, best known for his book of short stories titled The King in Yellow, published in 1895. Chambers was first educated at the Brooklyn Polytechnic Institute, and then entered the Art Students' League at around the age of twenty, where the artist Charles Dana Gibson was a fellow student. Chambers studied in Paris at the École des Beaux-Arts and the Académie Julian from 1886 to 1893, and his work was displayed at the Salon as early as 1889. On his return to New York, he succeeded in selling his illustrations to Life, Truth, and Vogue magazines. Then, for reasons unclear, he devoted his time to writing, producing his first novel, In the Quarter, written in 1887 in Munich. His most famous, and perhaps most meritorious, effort is The King in Yellow, a collection of Art Nouveau short stories published in 1895. This included several famous weird short stories which are connected by the theme of a fictitious drama of the same title, which drives those who read it insane. E. F. Bleiler described The King in Yellow as one of the most important works of American supernatural fiction. It was also strongly admired by H. P. Lovecraft and his circle. Chambers's main work of historical fiction was a series of novels set during the Franco-Prussian War. These novels were The Red Republic (1895, centring on the Paris Commune), Lorraine (1898), Ashes of Empire (1898) and Maids of Paradise (1903). Chambers wrote Special Messenger (1909), Ailsa Paige (1910) and Whistling Cat (1932), novels set during the American Civil War. Chambers also wrote Cardigan (1901), a historical novel for younger readers, set at the outbreak of the American Revolution. Chambers later turned to writing romantic fiction to earn a living. According to some estimates, Chambers had one of the most successful literary careers of his period, his later novels selling well and a handful achieving best-seller status. Chambers' romance novels often featured intimate relationships between "caddish" men and sexually willing women, resulting in some reviewers accusing Chambers' works of promoting immorality. Many of his works were also serialised in magazines. (wikipedia.org)
