This chapter describes some of the salient characteristics of the ‘preface essay’, a form with a long history that has not received sustained critical attention. With reference to existing theories of the preface by Gérard Genette and Jacques Derrida as well as important examples of the form by authors mainly in the English literary tradition, ranging from John Dryden, through William Wordsworth, Joseph Conrad, Henry James, and to Zadie Smith, this chapter provides a conceptual framework for authorial preface essays, their generic characteristics, and what they reveal about the relationship between the prefatorial and the essayistic. It will argue that the preface essay is a space of authorial self-crafting that attains durability and literary value by combining aspects of the prefatorial, such as its dependence on the work it prefaces and its occasionality, with the essayistic movement from the specific to the general, and the particular to the abstract.

A period of significant demographic, social, and political transformation produced essays marked by a deep seriousness of tone and a sense of weighty purpose that departed sharply from the playful quality of the periodical tradition and the lighter touch of the Romantic familiar essay. Essayists in criticism of this period (Matthew Arnold, Walter Pater, William Morris, Oscar Wilde) were deeply engaged in defining ideas of culture that could encompass an increasingly diverse and fragmented society. This chapter reflects on the publication contexts that shaped some of the best-known examples of the Victorian critical essay; examines Victorian critics’ emphasis on specific capacities in perception as a ground for pedagogical exposition with the aim of achieving social coherency; and highlights the deep historicism and awareness of mediation that informs the Victorian essayist’s approach to cultural criticism.

Using the essays of John Stuart Mill and other classical utilitarians as touchstones, this essay tracks some of the most politically charged shifts in the Victorian political essay, underscoring the significance of issues of racism and imperialism for coming to terms with the genre. The first two sections provide introductory historical background on the cultural and literary significance of the utilitarians, and detail some important ethical and political dimensions of Mill’s philosophical framework. The remaining sections analyse two singularly revealing essayistic encounters: Mill’s exchanges with Thomas Carlyle over the so-called ‘Negro’ question, and Henry Sidgwick’s assessment of the work of Charles Henry Pearson on national life and character. The striking difference between the political essaying of Mill and that of his utilitarian disciple Sidgwick on matters of imperialistic racism is indicative of some of the evasive literary tactics that have been all too influential, from their era to ours.

This chapter explores the range of essayistic writing in nineteenth-century newspapers: leaders (political and topical in focus and the principal genre of the Victorian daily and weekly press), middles (a shorter version of the leader and characteristic of some weeklies), correspondence columns from journalists at home and abroad, and reviews of both books and theatre. It charts the expansion of the press at mid-century following the abolition of the ‘Taxes on Knowledge’ and an influx of literary talent that raised the quality of newspapers, and it notes the transformation of newspapers at the end of the century with the creation of literary pages, supplements, and special features (following the demise of many quarterly reviews and monthly magazines). The second half of the chapter examines the newspaper writing of John Stuart Mill, Charles Dickens, and George Eliot, and argues that each made a unique contribution to the newspapers of their day.

From the outset, food and the essay have shared a kinship, given that one of the original senses of the word ‘essai’ meant the ritual of tasting the French king’s food and drink. From metaphor to content, food has permeated the essay form; in turn, the essay became the vehicle for the emerging field of gastronomy. This chapter constellates several important moments of interaction between literal and literary taste, consumption and appetite, cultural criticism and culinary knowledge in essays by Michel Montaigne, Alexandre-Balthazar-Laurent Grimod de La Reynière, Jean-Anthelme Brillat-Savarin, William Kitchiner, Launcelot Sturgeon, Charles Lamb, William Makepeace Thackeray, and Elizabeth Robins Pennell. As cosmopolitan practices of discretionary dining became more widespread, these gastronomic essayistic writers often satirised the burgeoning bourgeoisie and their cultural milieu. Given its flexibility, the essay remains paramount to food writing, in its many forms and genres.

This chapter examines the pioneering role of Getrudis Gómez de Avellaneda as a transatlantic intellectual; as the initiator of what became the long-lasting trope among Cuban writers of lejanía [distance] or imagining Cuba from afar; and as a precursor of modern feminism whose persistent interweaving of race and gender, the chapter argues, constitutes the writer’s signature contribution to Cuban literature. Devoting much of the essay to Gómez de Avellaneda’s fiction, including Sab, Dos mujeres, Guatimozín, and El artista barquero o los cuatro cinco de junio, the chapter teases out this body of work’s exemplification of both early abolitionism and a feminist consciousness, tracing the latter to Gómez de Avellaneda’s essay on Mercedes Merlin, which established the first female genealogy of Cuban literature.

Across sub-Saharan Africa, South Asia, and the Caribbean, the English-language essay engages with colonialism and postcolonial reality to embody forms of life writing that grapple with the provocative confluences of English education, local context, and migrant desire. While conflicts between colonial legacy, postcolonial liberation, and creative imagination assume urgency with pioneers such as V.S. Naipaul and Chinua Achebe, linguistic limits on ethical and political values emerge as defining concerns for apartheid-riven writers such as Nadine Gordimer and Zoë Wicomb, while the scope and constraints of postcolonial representation energise the essays of Shashi Deshpande and Amit Chaudhuri. The fluid and constantly changeable identity of the postcolonial subject that drives the aspirations of the postcolonial essay finds language in its promiscuous texture and heterogeneous structure, its dalliance with analysis, narrative, and image, and its perpetually wandering and unfinished form.

This chapter defines ‘criticism’, adapting John Dryden and Samuel Johnson, as a judicative, explicative, and appreciative encounter with literature. And in doing so, it sorts the seventeenth- and eighteenth-century ‘essay’ into three rough groupings: (1) digressive essays in the manner of Montaigne; (2) treatise essays like Dryden’s Of Dramatick Poesie; and (3) periodical essays like The Tatler and The Spectator. Following a thread of allusions to Cato the Younger through the works of Montaigne, Addison, Pope, and Elizabeth Montagu, I show how an important feature of modern close reading, the grammatically integrated quotation, grows out of the eighteenth-century critical essay.

This chapter examines the British essay in the age of the Internet, a period which has radically reshaped literary culture. Online magazines and journals now outnumber their print precursors, vastly increasing the venues available to budding essayists. But this transformation was predated by a more pivotal online trend: blogging. Beginning in the early years of the new millennium, and ending, effectively, with the rise of social media, the golden age of blogging allowed a wave of self-published writers to revolutionise literary criticism and cultural theory. Free from professional aims and ambitions, experimental and avidly personal, their essays left a lasting impression on both literary journalism and the academy. This chapter explores the underacknowledged possibilities and legacies of blogging, surveying the ways in which prominent bloggers reimagined the essay form.

This chapter examines how essayistic personae enabled writers and readers to understand personhood as a means of making a unity out of multiplicity. It draws on Thomas Hobbes’s theory of the person to track how essayistic personae both depicted corporate personhood and themselves served as corporate persons, allowing many writers, real or imagined, to write as one. It also uses Locke’s theory of personhood to show how essayistic personae present conscious persons as contingent unities imposed upon multitudinous thoughts and experiences. Essayistic personae not only extended personhood to non-human beings, such as corporations and animals, they also drew attention to the limited nature of personhood for many human beings, including married women and enslaved people.

From Francis Bacon to Zadie Smith, British essayists have played a crucial role in defining and interrogating the idea of transatlantic essayism. Not to be confused with its American form, which has been central to the promotion of exceptionalist cultural ideology in the United States from the Puritans to the present, British transatlantic essayism came into its own in the early twentieth century. Beginning with an account of D.H. Lawrence’s essays and their critical engagement with Americanness, this chapter explores the development of transatlantic essayism in the work of key essayists for whom the Anglo-American context has been of central importance, including W.H. Auden, Christopher Hitchens, Pico Iyer, Martin Amis, and Zadie Smith. What emerges is both a history of British transatlantic essayism and an account of the ways in which it continues to complicate our sense of the modern essay’s development on both sides of the Atlantic and beyond.

This chapter considers the ekphrastic essay in British history, from nineteenth-century art writing to twentieth and early twenty-first-century writing about photography and experimental essay films. If ekphrasis is the attempt to render visual representations in verbal form, the ekphrastic essay can also register the limits of that representation in our inability fully to depict or describe such experiences as strife, pain, and human suffering. Ekphrastic essays, this chapter suggests, take the problem of bearing witness as part of their formal logic, using the doubt and critical force of the essay form to trace the image of suffering. From Walter Pater’s meditations on the quiet despair of Botticelli’s Madonnas, to John Akomfrah’s three-screen examinations of climate change and colonial violence and John Smith’s small-scale films that challenge representations of the ‘War on Terror’, ekphrastic essays compel us to notice what we cannot so easily see.

This chapter analyzes the work of Havana-born José Martín Félix de Arrate, often regarded as Cuba’s first historian and deemed the most representative Enlightenment writer of the island’s emergent criollo elite. The chapter focuses particularly on Arrate’s Llave del Nuevo Mundo, antemural de las Indias Occidentales: La Habana descripta (1761), a detailed historical account of Havana as the “key” to the entire New World and its antemural, or rampart. Grounded in in an emergent Cuban consciousness nurtured in exceptionalism, the chapter argues, Arrate showcased the island’s military value; the commercial and economic potential of its environmental and geographical attributes, natural resources, and excellent ports; and the emergent cultural prestige of Havana as a site of reason, while also connoting a race-based hierarchy, typical of the Enlightenment era, of the island’s human potential for labor and defense.

This chapter examines the configurations of Latin Americanism enacted by the renowned and enduring cultural organism Casa de las Américas, established shortly after the Cuban Revolution’s triumph in 1959. The chapter provides a detailed overview of the diverse thematics and functions in the purview of Casa, which positioned itself as a beacon for José Martí’s hemispheric vision of the Americas, encompassing the Caribbean, Mexico, Central America, and South America. The chapter examines Casa’s relationship to emancipatory thought in opposition to capitalist and imperialist visions, exploring its role as cultural producer and disseminator, with an emphasis on particular genres such as the testimonio and theater and through the prestigious Casa de las Américas awards for Latin American writers (1960–); a publishing house; theater festivals; the journals Casa de las Américas (1960–) and Conjunto (1964–); the organization of multiple international events focusing on literature, music, theater, and visual arts; and, toward the end of the twentieth century and the beginning of the twenty-first, in new research centers related to cultural studies.

Following the chronological contours of Virgilio Piñera’s biography, this chapter explores his initial involvement with the Grupo Orígenes writers and his subsequent rejection of the group’s esthetics; his poetry, particularly his inventive long poem La isla en peso; his pioneering satirical and absurdist plays; the acerbic humor, nonconformist characters, and existential despair characterizing his short stories; the convention-shattering treatment of sexuality and homoeroticism in his novels; and his literary-journalistic writing. Noting Piñera’s enthusiastic initial embrace of the revolution and engagement in its artistic projects, the chapter also details his subsequent arrest, ostracism by the state, and censorship of his work until his death in 1979; the official Cuban resurrection of his legacy beginning in the 1980s; and international recognition of his work into the twenty-first century.

This chapter explores the relationship of the adult essay with the ‘theme’, which was the name for school-essays until the mid-nineteenth century. Themes were, mostly, short prose pieces, focused on a moral subject which was also called a theme, written almost exclusively in Latin until English themes began to emerge in the late eighteenth century. The chapter argues that in the nineteenth century, the modern pedagogical essay emerged out of the Erasmian theme, combining many of its structures with the Baconian essay’s priority on individual experience and ideas. Meanwhile, the Romantic essayists, Charles Lamb and Thomas De Quincey, chief among them, created the modern literary essay by carrying forward the priority the theme assigned to rhetoric over experience, while on the other hand imitating Montaigne’s play with the oratorical structures of the theme, and with its subject (also called a ‘theme’).