How might we read Paul Laurence Dunbar as a poet of place and landscape? Dunbar wrote his poetry in an era where local color, regionalism, and realism were dominant forces in American literature, and his poetry engages in complex ways with these generic traditions. At the same time, Dunbar’s poetry, particularly his writing in non-dialect verse, is deeply influenced by his lifelong study of and engagement with British Romantic and Victorian poetic traditions, and the modes of environmental representation through apostrophe, lyric meditation, and balladic narrative central to these traditions. I read Dunbar’s explorations of place and landscape in dialogue with these intersecting influences, in and through which Dunbar develops a sustained reflection on struggle, displacement, violence, and unfreedom as the fundamental conditions of Black experience in the post-Reconstruction era United States. Less oriented by local specificity or realist detail, evocations of landscape and place in Dunbar’s work engender abstract and self-reflexive meditations on terrains of anti-Black violence and pain as well as sites of retreat and resilience in the face of these conditions.

Chapter 1 assesses the evidence beyond the charter corpus for literary activity in Kent, Mercia and Wessex in the mid-ninth century. This evidence comprises five categories: surviving manuscripts with contemporary English provenances, letters, inscribed objects, the events of the 850s, and Asser’s account of King Alfred’s childhood engagement with books. The importance of understanding survival patterns and the nature of the evidence is stressed, particularly because attempts were rarely made to preserve letters for posterity, and because different ways of engaging with books and inscribed objects generated varyingly large fingerprints for twenty-first-century eyes. Asser’s famous account, furthermore, needs to be approached with caution, though it does in several ways align with the impression of literary activity that one gets from mid-ninth-century sources. A good deal remains unknown about many of the contexts in which literary activity took place, but it is nonetheless clear that the written word was conspicuous in many mid-ninth-century social settings, despite the likelihood that in some contexts resources for new literary productions were limited. Much of this literary culture was fundamentally social, and it was often inspired by international exchange.

Chapter 1 offers an overview of the larger themes addressed by the book, focusing on the question of contingency and how letters can be considered as literary ‘works’. The chapter argues that chance or happenstance itself governs letters and letter-writing both in material and in affective or conceptual ways. It proposes that the ‘radical contingency’ of letters can be said to set them apart from literary works more specifically conceived, in the sense that the latter do not generally and in principle hold a primary or formative connection with the specific events surrounding their composition. The chapter argues that the question of contingency connects with Keats’s governing ideas about life – with what he repeatedly refers to in his letters as life’s ‘circumstances’, ‘chance’, or ‘accidents’.

Romanticism Bewitched concludes with a discussion of Joanna Baillie’s Gothic tragedy, Witchcraft, written as a response to what she believed to be a missed opportunity by Scott in his novel, The Bride of Lammermoor, to explore the psychological and social dimensions of the rise of witchcraft. The first section outlines the similarities between Scott’s novel and Macbeth. Both Scott’s novel and Shakespeare’s tragedy take place in Scotland in a politically precarious moment with squabbling factions and dwindling confidence in the central authority of the government. In the second section, Baillie argues that the decidedly unsympathetic treatment of the female supernatural by Scott and others perpetuates damaging stereotypes and diverts our attention from the real problem – a social structure founded on inequity. Baillie’s tragedy explores the outbreak of accusations of witchcraft as the consequence of a diseased patriarchy and the abdication of the responsibilities of fathers, literally within the family unit and figuratively as the representatives of the authority of church and state.