The Nineteenth Century Revis(it)ed: The New Historical Fiction

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Cover Half Title Series Page Title Page Copyright Page Contents Acknowledgments 1. History, Fiction, and the USA 1.1. The New American Historical Fiction 1.2. A Brief History of the Historical Novel 1.3. Nineteenth-Century Historical Romance as National Literature 1.4. The Fact/Fiction Dichotomy 1.5. Master Narrative vs. Micro Narrative 1.6. Academic History vs. Pop History 1.7. The Illusion of Veracity 1.8. Nostalgia, Escapism, or Historical Lesson? 1.9. The Appeal of the Nineteenth Century 1.10. Historical Fiction, Memory, and Genre 1.11. The Neoconservative, the Liberal, the Identitarian, and the Postmodern 1.12. Is All New Historical Fiction Historiographic Metafiction? 1.13. How Neo-Victorian Is It? 1.14. Revis(it)ing the Past 2. Historical Crime Fiction 2.1. Theoretical Conceptions 2.2. Caleb Carr's The Alienist (1994) 2.3. Matthew Pearl's The Dante Club (2003) 2.4. Erik Larson's The Devil in the White City (2003) 3. Multi-Time-Level Historical Fiction 3.1. Theoretical Groundwork 3.2. Valerie Martin's The Great Divorce (1994) 3.3. Michael Cunningham's Specimen Days (2005) 3.4. David Ebershoff's The 19th Wife (2008) 4. Historical Biofiction 4.1. Theoretical Foundations 4.2. Lauren Belfer's City of Light (1999) 4.3. Diane Glancy's Stone Heart (2003) 4.4. John May's Poe & Fanny (2004) 5. Reanimated Classics 5.1. Theoretical Framework 5.2. Christopher Bigsby's Hester (1994) 5.3. Alice Randall's The Wind Done Gone (2001) 5.4. Geraldine Brooks's March (2005) 6. Revis(it)ing History and Fiction 7. Works Cited Index