The specific course of the Reformation in England in the 16th-17th centuries brought about interest in the Jewish Bible, i.e. the Old Testament, and the emergence of a self-image held by the British that they constitute a people of the Book, beside the Jews. This, in turn, gave rise to philosemitism, which marked British culture from the days of Cromwell to those of Churchill, being tinged in various tones, from millenarianism to philo-Zionism. However, the tradition of philosemitism in England was accompanied by manifestations of antisemitism; the same people who extolled the Jews opposed their admission to Parliament; people who defended Jewish rights in the 18th-19th centuries often shared anti-Jewish stereotypes of their time; and leaders who sympathized with Zionism could believe in a Jewish conspiracy against Christian civilization. Ch. 4 (pp. 83-117), "Fictional Heroes and Heroines", deals with 19th-century literature and shows how some writers (e.g. Walter Scott, Dickens, Trollope) could combine philosemitic and antisemitic motifs in their literary works.

"Lola Bensky is a nineteen-year-old rock journalist who irons her hair straight and asks a lot of questions. A high-school dropout, she's not sure how she got the job - but she's been sent by her Australian newspaper right to the heart of the London music scene at the most exciting time in music history: 1967. Lola spends her days planning diets and interviewing rock stars. In London, Mick Jagger makes her a cup of tea, Jimi Hendrix (possibly) propositions her and Cher borrows her false eyelashes. At the Monterey International Pop Festival, Lola props up Brian Jones and talks to Janis Joplin about sex. In Los Angeles, she discusses being overweight with Mama Cass and tries to pluck up the courage to ask Cher to return those false eyelashes. Lola has an irrepressible curiosity, but she begins to wonder whether the questions she asks these extraordinary young musicians are really a substitute for questions about her parents' calamitous past that can't be asked or answered. As Lola moves on through marriage, motherhood, psychoanalysis and a close relationship with an unexpected pair of detectives, she discovers the question of what it means to be human is the hardest one for anyone-including herself-to answer. "--

Helene Moglen offers a revisionary feminist argument about the origins, cultural function, and formal structure of the English novel. While most critics and historians have associated the novel's emergence and development with the burgeoning of capitalism and the rise of the middle classes, Moglen contends that the novel principally came into being in order to manage the social and psychological strains of the modern sex-gender system. Rejecting the familiar claim that realism represents the novel's dominant tradition, she shows that, from its inception in the eighteenth century, the English novel has contained both realistic and fantastic narratives, which compete for primacy within individual texts.

From the author of The Last Testament comes the true love of Bonnie Prince Charlie, her adventures in America and her lasting legacy. In the page-turning popular genre trail-blazed by Antonia Fraser and Phillippa Gregory, The Pretender’s Lady , Alan Gold’s meticulously researched novel, accurately opens history’s pages on a peerless woman who helped change the course of history and whose legend lives on in Scotland today—Flora MacDonald. She was the most famous Scotswoman of her day, single handedly saving Bonnie Prince Charlie. This is her fictionalized life story—her relations with the Prince, her flight to America, Ben Franklin’s influence, and her return to Britain to lobby for peace But what’s hidden from history, revealed now for the first time in Gold’s dazzling new work of fiction, is the result of Flora’s and Charlie’s love: a beautiful and talented boy raised on an American farm. But only she knows his true heritage and his claim to the world’s greatest throne. And only the genius of Ben Franklin understands how to use this naïve boy to change the history of America. Skyhorse Publishing, as well as our Arcade, Yucca, and Good Books imprints, are proud to publish a broad range of books for readers interested in fiction—novels, novellas, political and medical thrillers, comedy, satire, historical fiction, romance, erotic and love stories, mystery, classic literature, folklore and mythology, literary classics including Shakespeare, Dumas, Wilde, Cather, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent. Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores - works of psychoanalysis, sexology, fiction, and poetry - emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.