Drawing on an ethnographic study of novel readers in Denmark and the UK during the Covid-19 pandemic, this book provides a snapshot of a phenomenal moment in modern history. The ethnographic approach shows what no historical account of books published during the pandemic will be able tocapture, namely the movement of readers between new purchases and books long kept in their collections. The book follows readers who have tuned into novels about plague, apocalypse, and racial violence, but also readers whose taste for older novels, and for re-reading novels they knew earlier intheir lives, has grown. Alternating between chapters that analyse single texts that were popular (Albert Camus's The Plague, Ali Smith's Summer, Charlotte Bronte's Jane Eyre) and others that describe clusters of, for example, dystopian fiction and nature writing, this work brings out the diversequality of the Covid-19 bookshelf.Time is of central importance to this study, both in terms of the time of lockdown and the temporality of reading itself within this wider disrupted sense of time. By exploring these varied experiences, this book investigates the larger question of how the consumption of novels depends on and shapespeople's experience of non-work time, providing a specific lens through which to examine the phenomenology of reading more generally.This timely work also negotiates debates in the study of reading that distinguish theoretically between critical reading and reading for pleasure, between professional and lay reading. All sides of the sociological and literary debate must be brought to bear in understanding what readers tell usabout what novels have meant to them in this complex historical moment.

Reading Novels During the Covid-19 Pandemic

Literature & Fiction

Davies, Ben

Lupton, Christina

Gormsen Schmidt, Johanne

History & Criticism

Oxford University Press

"He began to feel the danger of paying Elizabeth too much attention." Pride and Prejudice , one of the most famous love stories of all time, has also proven itself as a treasured mainstay of the English literary canon. With the arrival of eligible young men in their neighbourhood, the lives of Mr. and Mrs. Bennet and their five daughters are turned inside out and upside down. Pride encounters prejudice, upward-mobility confronts social disdain, and quick-wittedness challenges sagacity. Misconceptions and hasty judgements bring heartache and scandal, but eventually lead to true understanding, self-knowledge, and love. It's almost impossible to open Pride and Prejudice without feeling the pressure of so many readers having known and loved this novel already. Will you fail the test - or will you love it too? As a story that celebrates more unflinchingly than any of Austen's other novels the happy meeting-of-true-minds, and one that has attracted the most fans over the centuries, Pride and Prejudice sets up an echo chamber of good feelings in which romantic love and the love of reading amplify each other.

Pride and Prejudice (Oxford World's Classics)

Children's Books

Austen., Jane

Education & Reference

The eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. In Knowing Books Lupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that "know" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative.
Knowing Books introduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them.
Rather than a historical study of print technology, Knowing Books offers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makes Knowing Books at once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.

Knowing Books: The Consciousness of Mediation in Eighteenth-Century Britain (Material Texts)

British & Irish

University of Pennsylvania Press

It-narratives are prose fictions that take as their central characters animals or inanimate objects. This four-volume reset collection includes numerous examples of narratives in different forms, including short stories, excerpts from novels, periodical fiction and serialized works.

British It-Narratives, 1750–1830, Volume 1

Bellamy, Liz

Blackwell, Mark

Keenleyside, Heathe

Routledge

British It-Narratives, 1750–1830, Volume 2

British It-Narratives, 1750–1830, Volume 3

British It-Narratives, 1750–1830, Volume 4

How did eighteenth-century readers find and make time to read?
Books have always posed a problem of time for readers. Becoming widely available in the eighteenth century―when working hours increased and lighter and quicker forms of reading (newspapers, magazines, broadsheets) surged in popularity―the material form of the codex book invited readers to situate themselves creatively in time. Drawing on letters, diaries, reading logs, and a range of eighteenth- and early nineteenth-century novels, Christina Lupton’s Reading and the Making of Time in the Eighteenth Century concretely describes how book-readers of the past carved up, expanded, and anticipated time.
Placing canonical works by Elizabeth Inchbald, Henry Fielding, Amelia Opie, and Samuel Richardson alongside those of lesser-known authors and readers, Lupton approaches books as objects that are good at attracting particular forms of attention and paths of return. In contrast to the digital interfaces of our own moment and the ephemeral newspapers and pamphlets read in the 1700s, books are rarely seen as shaping or keeping modern time. However, as Lupton demonstrates, books are often put down and picked up, they are leafed through as well as read sequentially, and they are handed on as objects designed to bridge temporal distances. In showing how discourse itself engages with these material practices, Lupton argues that reading is something to be studied textually as well as historically.
Applying modern theorists such as Niklas Luhmann, Bruno Latour, and Bernard Stiegler, Lupton offers a rare phenomenological approach to the study of a concrete historical field. This compelling book stands out for the combination of archival research, smart theoretical inquiry, and autobiographical reflection it brings into play.

Reading and the Making of Time in the Eighteenth Century

Johns Hopkins University Press

British It-Narratives, 1750–1830

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