In Courtly and Queer, Charlie Samuelson casts queerness in medieval French texts about courtly love in a new light by bringing together for the first time two exemplary genres: high medieval verse romance, associated with the towering figure of Chrétien de Troyes, and late medieval dits, primarily associated with Guillaume de Machaut. In close readings informed by deconstruction and queer theory, Samuelson argues that the genres’ juxtaposition opens up radical new perspectives on the deviant poetics and gender and sexual politics of both. Contrary to a critical tradition that locates the queer Middle Ages at the margins of these courtly genres, Courtly and Queer emphasizes an unflagging queerness that is inseparable from poetic indeterminacy and that inhabits the core of a literary tradition usually assumed to be conservative and patriarchal. Ultimately, Courtly and Queer contends that one facet of texts commonly referred to as their “courtliness”—namely, their literary sophistication—powerfully overlaps with modern conceptions of queerness.

In 1401, Christine de Pizan (1365–1430?), one of the most renowned and prolific woman writers of the Middle Ages, wrote a letter to the provost of Lille criticizing the highly popular and widely read Romance of the Rose for its blatant and unwarranted misogynistic depictions of women. The debate that ensued, over not only the merits of the treatise but also of the place of women in society, started Europe on the long path to gender parity. Pizan’s criticism sparked a continent-wide discussion of issues that is still alive today in disputes about art and morality, especially the civic responsibility of a writer or artist for the works he or she produces.

In Debate of the “Romance of the Rose,” David Hult collects, along with the debate documents themselves, letters, sermons, and excerpts from other works of Pizan, including one from City of Ladies—her major defense of women and their rights—that give context to this debate. Here, Pizan’s supporters and detractors are heard alongside her own formidable, protofeminist voice.  The resulting volume affords a rare look at the way people read and thought about literature in the period immediately preceding the era of print.

The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.

Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life

The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.

What happens when a woman dares to imagine herself a hero? Questing, she sets out for unknown regions. Lighting a torch, she elicits from the darkness stories never told or heard before. The woman hero sails against the tides of great legends that recount the adventures of heroic men, legends deemed universal, timeless, and essential to our understanding of the natural order that holds us and completes us in its spiral. Yet these myths and rituals do not fulfill her need for an empowering self-image nor do they grant her the mobility she requires to imagine, enact, and represent her quest for authentic self-knowledge.

The Feminization of Quest-Romance proposes that a female quest is a revolutionary step in both literary and cultural terms. Indeed, despite the difficulty that women writers face in challenging myths, rituals, psychological theories, and literary conventions deemed universal by a culture that exalts masculine ideals and universalizes male experience, a number of revolutionary texts have come into existence in the second half of the twentieth century by such American women writers as Jean Stafford, Mary McCarthy, Anne Moody, Marilynne Robinson, and Mona Simpson, all of them working to redefine the literary portrayal of American women's quests. They work, in part, by presenting questing female characters who refuse to accept the roles accorded them by restrictive social norms, even if it means sacrificing themselves in the name of rebellion. In later texts, female heroes survive their "lighting out" experiences to explore diverse alternatives to the limiting roles that have circumscribed female development.

This study of The Mountain Lion, Memories of a Catholic Girlhood, Coming of Age in Mississippi, Housekeeping, and Anywhere but Here identifies transformations of the quest-romance that support a viable theory of female development and offer literary patterns that challenge the male monopoly on transformative knowledge and heroic action.

A new translation of two medieval Spanish versions of the tale of Apollonius, a story central to the premodern literary imagination and a source for Shakespeare’s Pericles.

Incest, riddling, piracy, prostitution, shipwreck, Lazarus-like resuscitation, and seductive musical performances—the story of King Apollonius and his wanderings, with its riveting plot twists, has been told and retold in many languages since its late antique composition. No conventional romance hero, Apollonius proves his mettle not on the battlefield but through study, sport, music, and courtliness. The equally studious and courtly heroines of the romance—Luciana and Tarsiana, Apollonius’s wife and daughter—embark on their own adventures before the family reunites. Throughout, the king’s trials are cast as a Christian allegory of fortune.

Two Castillian versions are included in The Iberian Apollonius of Tyre. The thirteenth-century poem known as The Book of Apollonius, a creative adaptation by an unknown cleric, focuses on Apollonius as a pilgrim figure and Christianizes the narrative. The fifteenth-century prose Life and History of King Apollonius, a highly literal translation of the Latin Gesta Romanorum text by an anonymous Aragonese translator, is representative of vernacular humanism and linked with the genre of the short chivalric tale.

This volume presents new editions and English translations of these two complete, standalone medieval Spanish versions of the ancient legend.

Composed in Old French between about 1220 and 1240, the Lancelot-Grail Cycle is a group of five prose romances centered on the love affair between Lancelot and Guenevere. It consists of an immense central core, the Lancelot Proper, introduced by The History of the Holy Grail and The Story of Merlin and concluded by The Quest for the Holy Grail and The Death of Arthur.

This volume brings together thirteen essays by noted scholars from the first symposium ever devoted exclusively to the Lancelot-Grail Cycle. Exploring the cycle's evolution across the literatures of medieval France, Italy, Spain, Catalonia, and England, the authors take a variety of approaches that highlight a broad range of cultural, social, historical, and political concerns and offer a comparative and interdisciplinary vision of this great romance.

The appearance of David R. Slavitt’s translation of Orlando Furioso (“Mad Orlando”), one of the great literary achievements of the Italian Renaissance, is a publishing event. With this lively new verse translation, Slavitt introduces readers to Ariosto’s now neglected masterpiece—a poem whose impact on Western literature can scarcely be exaggerated. It was a major influence on Spenser’s Faerie Queene. William Shakespeare borrowed one of its plots. Voltaire called it the equal of the Iliad, the Odyssey, and Don Quixote combined. More recently, Italo Calvino drew inspiration from it. Borges was a fan. Now, through translations of generous selections from this longest of all major European poems, Slavitt brings the poem to life in ways previous translators have not.At the heart of Ariosto’s romance are Orlando’s unrequited love for the pagan princess Angelica and his jealous rage when she elopes. The action takes place against a besieged Paris, as Charlemagne and his Christian paladins defend the city against the Saracen king. The poem, however, obeys no geography or rules but its own, as the story moves by whim from Japan to the Hebrides to the moon; it includes such imaginary creatures as the hippogriff and a sea monster called the orc.Orlando Furioso is Dante’s medieval universe turned upside down and made comic. Characterized by satire, parody, and irony, the poem celebrates a new humanistic Renaissance conception of man in an utterly fantastical world. Slavitt’s translation captures the energy, comedy, and great fun of Ariosto’s Italian.

This study brings race and the literary tradition of romance into dialogue.

Race and Romance: Coloring the Past explores the literary and cultural genealogy of colorism, white passing, and white presenting in the romance genre. The scope of the study ranges from Heliodorus’ Aithiopika to the short novels of Aphra Behn, to the modern romance novel Forbidden by Beverly Jenkins. This analysis engages with the troublesome racecraft of “passing” and the instability of racial identity and its formation from the premodern to the present. The study also looks at the significance of white settler colonialism to early modern romance narratives. A bridge between studies of early modern romance and scholarship on twenty-first-century romance novels, this book is well-suited for those interested in the romance genre.