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Pictorial Illusionism
Steele MacKaye (1842-1894) was a major North American theatre artist - a director, actor, inventor, painter, theorist, and writer - best known for advancing a unified vision of pictorial illusionism, the central aesthetic of late nineteenth-century drama, by transforming grand theatres into jewel-boxes for gilded society. Pictorial Illusionism is the first full-length critical study of MacKaye's life's work.
Science-fiction, the Early Years
In this volume the author describes more than 3000 short stories, novels, and plays with science fiction elements, from earliest times to 1930. He includes imaginary voyages, utopias, Victorian boys' books, dime novels, pulp magazine stories, British scientific romances and mainstream work with science fiction elements. Many of these publications are extremely rare, surviving in only a handful of copies, and most of them have never been described before.
American Fiction, 1901-1925
A 1997 bibliography of American fiction from 1901-1925.
Benton MacKaye
MacKaye's seminal ideas on outdoor recreation, wilderness protection, land-use planning, community development, and transportation have inspired generations of activists, professionals, and adventurers seeking to strike a harmonious balance between human need and the natural environment.".
Representative Plays by American Dramatists: 1856-1911: Paul Kauvar; or, Anarchy
"Representative Plays by American Dramatists: 1856-1911: Paul Kauvar; or, Anarchy" by Steele MacKaye James Morrison Steele MacKaye was an American playwright, actor, theater manager and inventor. Paul Kauvar was one of his most famous works. A dramatic story of anarchy and the complex road life takes, often when you least expect it. None of Steele Mackaye's dramas were written with any idea of being read. They were all constructed by one fully alive to the theatre and its demands. Thus, they are so descriptive in nature, they paint a picture as if you wee watching it on stage.
Book Buyer
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Colonialism and the Emergence of Science Fiction
This groundbreaking study explores science fiction's complex relationship with colonialism and imperialism. In the first full-length study of the subject, John Rieder argues that the history and ideology of colonialism are crucial components of science fiction's displaced references to history and its engagement in ideological production. With original scholarship and theoretical sophistication, he offers new and innovative readings of both acknowledged classics and rediscovered gems. Rider proposes that the basic texture of much science fiction—in particular its vacillation between fantasies of discovery and visions of disaster—is established by the profound ambivalence that pervades colonial accounts of the exotic “other.” Includes discussion of works by Edwin A. Abbott, Edward Bellamy, Edgar Rice Burroughs, John W. Campbell, George Tomkyns Chesney, Arthur Conan Doyle, H. Rider Haggard, Edmond Hamilton, W. H. Hudson, Richard Jefferies, Henry Kuttner, Alun Llewellyn, Jack London, A. Merritt, Catherine L. Moore, William Morris, Garrett P. Serviss, Mary Shelley, Olaf Stapledon, and H. G. Wells.
The Book Buyer
A review and record of current literature.
The Morning Glory Club
This absorbing fiction beautifully depicts social life and customs in a small town in America. It revolves around a newly found women's club in Manville, known as "The Morning Club." Filled with amusing characters and a gripping plot, this work makes an interesting read. Social life and customs, Fiction, American literature, Women, Villages, New England, Societies, and clubs Excerpt from " ""Ezra, this is a morning long to be remembered," said Mrs. Tweedie, as she looked up from the undulating top of a huge cake which, with the skill of a professional plasterer, she was bedaubing with a dark brown paste. "I hope so, my dear," her husband replied, smilingly, as he put his paper aside. "Sometime this house may bear a tablet of bronze," continued Mrs. Tweedie, "on which, in effect, will be graven that here was founded by the women of Manville an organization that startled the community." "My only regret is that I shall not be here to see it—I mean the tablet, of course," said Ezra.
Scribner's Magazine
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