The edited anthology Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan, 2018) is now available for purchase on the publisher’s website. I’m providing information here for potential readers, reviewers, and college and university librarians who may be interested in this book. If you wish to review this anthology for your publication, please contact James Rovira at email@example.com with your name, credentials, and the name of the publication for which you wish to review this work.
But I’d like to provide a bit of personal history before I get into details about the book: my introduction to English Romanticism (my first way in to the vast labyrinth that is “Romanticism”) occurred in two stages. First, through the song “William Blake” on the Daniel Amos album Vox Humana (1984). That song made me run to the local B. Dalton Booksellers (remember those?) to pick up a copy of The Viking Portable William Blake.
I read it through the first time, cover to cover, in a befuddled haze, but I loved it. Daniel Amos, “William Blake,” Vox Humana:
Next, when my undergraduate English Romantics professor at Rollins College, Dr. Roy Starling, wanted to explain to his students what the publication of Lyrical Ballads meant to the 1790s, he compared it to this moment in rock history, the moment when Bob Dylan the folk singer plugged in and went electric:
And that was how I first understood Romanticism as a literary phenomenon. Thank you, Dr. Starling. In both cases, my way in to Romanticism was rock music from the 1960s to the 1980s.
Yes, I have two anthologies with the main title Rock and Romanticism. The first is titled Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2. It was published early February 2018 by Lexington Books and was focused on Blake and Wordsworth and, very generally, the genre of classic rock.
This second book is Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan, late May 2018) and is focused just where the title implies: on the gothic or “dark Romanticism” as it is sometimes called and on its musical counterparts in rock. The first book states a thesis about the relationship between rock and roll and Romanticism. This book restates that thesis and then extends it to different genres of music and literature.
This page provides chapter descriptions and a lot more. If you liked the first book, you’ll like this one too: those interested in one really need to get both. If you’re drawn to this project, please consider requesting that your libraries order it. A more formal description of the project follows.
Because I’ve recently published two edited anthologies with the same top title, I’ve created this video explaining the origin of these books and the differences between the two:
Visit and like this book’s Facebook page.
Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and seventeenth- to nineteenth-century American and European Romanticisms in their literary, artistic, and musical expressions. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their seventeenth- through nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, Beethoven, and Hoffman are brought alongside the musical and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in its many varying forms and expressions. Book details:
Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms ~ James Rovira, ed. ~ Hardcover ISBN 978-3-319-72687-8 ~eBook ISBN 978-3-319-72688-5 ~ DOI10.1007/978-3-319-72688-5 ~ pp. 330 ~ hardcover: $109.00 (£80.00); ebook: $84.99 (£63.99). This collection is part of the series Palgrave Studies in Music and Literature, P. Lumsden and M. Katz Montiel, editors.
Chapters are listed below. Many and profuse thanks M. Katz Montiel for being a great series editor (he made every chapter better), to Palgrave Macmillan’s editorial team, and to Dr. Mark McCutcheon (see the Nick Cave chapter description) for his work assembling these playlists. After the Preface and Introduction, songs are arranged in the order in which they appear in the chapter.
I’ve created iTunes playlists for each chapter that are linked within chapter descriptions. Also check out the iTunes Master Playlist for this anthology that combines all available songs (over 200) and the Spotify Master Playlist.
Links to chapter titles below will lead you to full chapter descriptions that include links to all music and literature discussed in each chapter.
- Preface and Ch. 1, Introduction: “Theorizing Rock/Historicizing Romanticism” by James Rovira, Ph.D., Drew University. Check out his iTunes profile.
- Chapter 2: “Empathy for the Devil: The Origins of Mick Jagger’s Devil in John Milton’s London” (pp. 27-44) by Evan LaBuzetta, Ph.D., Cambridge University. Independent scholar, founder of Writing Language Consultants.
- Chapter 3: “‘Bliss was it in that shirt to be alive’: Connecting Romanticism and New Romanticism Through Dress” (pp. 45-59) by Emily Bernhard Jackson, Lecturer, University of Exeter. See the images discussed in this chapter on its own page.
- Chapter 4: “‘Crying Like a Woman ‘Cause I’m Mad Like a Man’: Chrissie Hynde, Gender, and Romantic Irony” (pp. 61-82) by Sherry R. Truffin, Associate Professor of English, Campbell University.
- Chapter 5: “A Northern ‘Ode on Melancholy’?—The Music of Joy Division” (pp. 83-100) by Caroline Langhorst, Ph.D Candidate, University of Mainz.
- Chapter 6: “‘Little crimeworn histories’: Nick Cave and the Roots-Raves-Rehab Story of Rock Stardom” (pp. 101-120) by Mark McCutcheon, Professor of Literary Studies, Athabasca University. Check out his blog.
- Chapter 7: “Postcards from Waterloo: Tom Verlaine’s Historical Constellations” (pp. 121-143) by Len von Morzé, Associate Professor of English, University of Massachusetts, Boston.
- Chapter 8: “Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of Frankenstein” (pp. 145-161) by Samuel Lyndon Gladden, Associate Dean of the School of Human Sciences and Humanities and Professor of Literature, University of Houston, Clear Lake.
- Chapter 9: “Tales of the Female Lover: the Poetics of Desire in To Bring You My Love and Is This Desire?” (pp. 163-181) by Catherine Girodet, Ph.D. candidate Université Paul Valéry–Montpellier, and faculty, English Department, Universitie De Creteil.
- Chapter 10: “Emocosms: Mind-Forg’d Realities in Emo(tional) Rock Music” (pp. 183-197) by Eike Träger, Ph.D. candidate, University of Cologne, Köln, Germany.
- Chapter 11: “‘I possess your soul, your mind, your heart, and your body’: External and Internal Gothic Hauntings in Eminem’s Relapse“ (pp. 199-213) by Christopher Stampone, Ph.D., Southern Methodist University.
- Chapter 12: “‘The Female Is Such Exquisite Hell’: The Romantic Agony of My Dying Bride” (pp. 215-233) by Matthew J. Heilman, Ph.D., Duquesne University.
- Chapter 13: “Ashes Against the Grain: Black Metal and the Grim Rebirth of Romanticism” (pp. 235-257) by Julian Knox, Assistant Professor of English, Georgia College.
- Bibliography (pp. 259-278)
- Discography (pp. 279-284)
- Index (pp. 285-302)
- Cover photo: Taylor Fickes.
Errata: if you see any errors on this page or in the book, please email James Rovira.