H Rider Haggard On The Imperial Frontier

"This is the first book-length study of H. R. H.'s African fiction. It revised the image of Rider Haggard (1836-1925) as a mere writer of adventure stories, a brassy propagandist for British imperialism. Professor Monsman places Haggard's imaginative works both in the context of colonial fiction writing and in the framework of subsequent postcolonial debates about history and its representation."--BOOK JACKET.

"H. Rider Haggard on the Imperial Frontier, the first book-length study of H.R.H.'s African fiction, revises the image of Rider Haggard (1856-1925) as a mere writer of adventure stories, a brassy propagandist for British imperialism. Professor Monsman places Haggard's imaginative works both in the context of colonial fiction writing and in the framework of subsequent postcolonial debates about history and its representation. Like Olive Schreiner, Haggard was an Anglo-African writer straddling the moral divide of mixed allegiances--one empathetically African, the other quite English. The context for such Haggard tales as King Solomon's Mines and She was a triad of extraordinary nineteenth-century cultures in conflict--British, Boer, and Zulu. Haggard mined his characters both from the ore of real-life Africa and from the depths of his subconscious, giving expression to feelings of cultural conflict, probing and subverting the dominant economic and social forces of imperialism. Monsman argues that Haggard endorses native religious powers as superior to the European empirical paradigm, celebrates autonomous female figures who defy patriarchal control, and covertly supports racial mixing. These social and political elements are integral to his thrilling story lines charged with an exoticism of lived nightmares and extraordinary ordeals. H. Rider Haggard on the Imperial Frontier will be of interest to readers of imperial history and biography, "lost race" and supernatural literature, tales of terror, and heroic fantasies. The book's unsettling relevance to contemporary issues will engage a wide audience, and the groundbreaking biographical account of Haggard's close contemporary Bertram Mitford in the appendix will add appeal to specialists."--Publisher's website.

Aggressive policy, enthusiastic news coverage and sensational novelistic style combined to create a distinctive image of Britain's Empire in late-Victorian print media. The New Journalism, the New Imperialism and the Fiction of Empire, 1870-1900 traces this phenomenon through the work of editors, special correspondents and authors.

In Rider Haggard and the Imperial Occult, Simon Magus explores the occult world of H. Rider Haggard through an analysis of his literary engagement with ancient Egypt, Romanticism and Theosophy.

imperial history and politics, as well as to readers of Haggard. --Book Jacket.

Melodrama is often seen as a blunt aesthetic tool tainted by its reliance on improbable situations, moral binaries, and overwhelming emotion, features that made it a likely ingredient of British imperial propaganda during the late nineteenth century. Yet, through its impact on many late-Victorian genres outside of the theater, melodrama developed a complicated relationship with British imperial discourse. Melodramatic Imperial Writing positions melodrama as a vital aspect of works that underscored the contradictions and injustices of British imperialism. Beyond proving useful for authors constructing imperialist fantasies or supporting unjust policies, the melodramatic mode enabled writers to upset narratives of British imperial destiny and racial superiority. Neil Hultgren explores a range of texts, from Dickens’s writing about the 1857 Sepoy Rebellion to W. E. Henley’s imperialist poetry and Olive Schreiner’s experimental fiction, in order to trace a new and complex history of British imperialism and the melodramatic mode in late-Victorian writing.

This book looks at Rider Haggard from a different standpoint, his own. It carries a selection of critical appraisals of Haggard's work by his contemporaries up until the early 1950s.

Across Ethiopia and beyond, Sherlock Holmes encounters both the hideous and the divine, ripping asunder the fragile veil separating us from worlds unknown-all while in the company of the renowned Allan Quatermain. The last of Allan Quatermain's true African adventures to appear, The Treasure of the Lake, was published nearly a century ago in 1926. Those who lusted to vicariously accompany Quatermain on new perilous treks into the vast reaches of the "Dark Continent" (as they had done to King Solomon's Mines) had no choice but to remain disappointed. UNTIL NOW! Recently found amongst some obscure papers at Brown University, this new manuscript chronicles a complex and inspired quest headed by Quatermain deep into the earthquake- and volcano-ripped Danakil Desert of Ethiopia in 1872 accompanied by his devoted aide-de-camp Hans and a host of the nineteenth century's most prodigious luminaries, including astronomer Maria Mitchell, volcanologist Axel Lindenbrock, and Gunnery Sergeants Daniel Dravot and Peachy Carnehan. Along the way, this ragtag troop is brutally attacked in the desert by its trophy-hunting denizens, and then they discover a 2,000-year-old lost city. Yet Holmes' and Quatermain’s quest is not merely one of surviving in Ethiopia’s beautiful yet tortuous landscapes; they must confront horror and overcome it. As the tale unfolds, readers will be swallowed by a maelstrom of concepts, relentlessly pulled headlong, descending into a scholarly labyrinth of interwoven writings. In point of fact, Quatermain encounters no less than the very essence of the meaning of life, which he then discounts as a wizard's trick!