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The Infamous King Of The Comstock
William Sharon was one of the most colorful scoundrels in the nineteenth-century mining West. He epitomized the robber barons of the nation’s Gilded Age and the political corruption and moral decay for which that period remains notorious; yet he was also a visionary capitalist who controlled more than a dozen of the greatest mines on Nevada’s mighty Comstock Lode, built the Virginia & Truckee Railroad, manipulated speculation and prices on the San Francisco Stock Exchange, and revived the collapsed Bank of California. One enemy called him “a thoroughly bad man—a man entirely void of principle,” while a Comstock neighbor called him “one of the best men that ever lived in Virginia ...
Blue Book
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Literary Industries
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Women, Money, and the Law
Did 19th-century American women have money of their own? To answer this question, Women, Money, and the Law looks at the public and private stories of individual women within the context of American culture, assessing how legal and cultural traditions affected women's lives, particularly with respect to class and racial differences, and analyzing the ways in which women were involved in economic matters. Joyce Warren has uncovered a vast, untapped archive of legal documents from the New York Supreme Court that had been expunged from the official record. By exploring hundreds of court cases involving women litigants between 1845 and 1875--women whose stories had, in effect, been erased from h...
Byron at the Theatre
Byron at the Theatre is a collection of essays by a wide spectrum of European scholars, dealing with Byron’s dramas in a variety of ways. It starts with a long and detailed introduction on Byron and Drury Lane, incorporating much recent research done on the riotous and squalid conditions of the theatre in Regency London – conditions which go far towards explaining Byron’s distaste for the idea of theatrical success. There follows a chapter about the influence on Byron of Vittorio Alfieri, a vital subject which has not been written about thoroughly for over a century, and which goes far to explain what motivated Byron’s experiments in classical drama. The main body of the essays discuss Byron’s plays from thematic perspectives, and examine Byron himself as a figure in the dramas of Goethe and Stoppard. There is a chapter on Rudolph Nureyev’s little-known Manfred ballet, and another on Byron himself as a dramatic performer. Byron at the Theatre is a vital book for anyone interested in this much-discussed but little-understood aspect of Byron’s life and work.
