This chapter focuses attention on covert or unattributable propaganda conducted in India by the Foreign Office’s Information Research Department. Between the outbreak of the Sino-Indian border war in 1962, and the Indian general election of 1967, IRD operations in the subcontinent peaked. At the time, the Indian government welcomed British support in an information war waged against Communist China. However, cooperation between London and New Delhi quickly waned. Britain’s propaganda initiative in India lacked strategic coherence and cut across the grain of local resistance to anti-Soviet material. The British Government found itself running two separate propaganda campaigns in the subcontinent: one openly focused on Communist China; and a second, secret programme, targeting the Soviet Union. Whitehall found it difficult to implement an integrated and effective anti-communist propaganda offensive in India. The chapter also recovers the importance of nonaligned nations in the story of Cold War covert propaganda and reveals that India was never a passive player in the propaganda Cold War.

The radical Right’s initiatives have not been confined to the realm of ideas. Armed with a specific understanding of the deep cultural and social foundations of the liberal hegemonic order, they have diligently embarked on a Gramscian war of position: a patient counter-hegemonic struggle to change the predominant ‘common sense’ and produce ‘organic intellectuals’ who can critique the existing order and provide alternatives to it. We focus on the Right’s often overlooked efforts to capture the traditional institutions of cultural and political domination via academic publishing, universities, and policy institutes. These initiatives seek to create a new legitimacy and acceptability for radical Right ideas, explicitly re-writing intellectual history from a radical conservative perspective and reclaiming it from the academic mainstream. Through new universities and think tanks, their aim is to replace the liberal, woke, managerial, globalist elite with a Right elite, schooled in the critique of managerialism and critical of the over-reach of international institutions and liberal powers and think tanks.

In and of itself, the category of the bestseller presumes neither literary status nor political consensus. As Ruth Miller Elson remarks, “bestselling books… offer clues to the world view of that mythical creature—the average American.” LGBT bestsellers likewise offer clues about the average queer American—and a perspective on dominant trends and themes in queer culture and consumption since the 1970s. This chapter charts the history of the LGBT bestseller alongside a broader history of LGBT culture in the post-Stonewall era. It traces a shift in popular LGBT literature and publishing from separatism to assimilation, from its roots in the independent gay presses of the 1970s through the peak of the AIDS epidemic to the post-AIDS bestsellers popular with both queer and straight readerships. Texts considered include Rita Mae Brown’s Rubyfruit Jungle (1973), Larry Kramer’s Faggots (1978), Armistead Maupin’s Tales of the City (1978-2014), Michael Cunningham’s The Hours (1999), Alison Bechdel’s Fun Home (2006), and Hanya Yanagihara’s A Little Life (2015).

This chapter introduces the so-called ‘profession of letters’ during Swift’s lifetime: an idealised mode of study that included reading and conversing as much as publishing. Like his friend Alexander Pope, Swift defined his writing against a culture of production dependent on cheap popularity, the machinations of booksellers, and government bribery. Swift took aim against this culture in A Tale of a Tub (1704), which bristles with paratexts parodying standard-issue front matter. Unlike Pope, who implicitly acknowledged his status within the commercial print culture of the early eighteenth century, Swift, this chapter argues, always maintained ambivalence towards the literary marketplace.

This chapter provides a helpful primer to Swift’s relationship with the early eighteenth-century book trade. The first section focuses on the formats, sizes, prices, and lengths of Swift’s works, most of which were first published separately and not in anthologies. The second section examines imprints, in particular those of ‘trade publishers’, and how these imprints could be used as cover for anonymous and risky publications. The third and final section looks at the issue of copyright and how it shaped Swift’s decisions when publishing in London and Dublin. As the chapter shows, Swift showed loyalty to book-trade members who showed loyalty to him, including those in Ireland.

The chapter charts the topography of English imaginative writing in the period leading up the publication of Gulliver’s Travels in 1726. A substantial opening section focuses on works for which Swift’s literary circle were responsible, including works by his fellow Scriblerians as well as Matthew Prior, Joseph Addison, and Richard Steele. The three following sections focus, respectively, on significant publications in prose, poetry, and drama that Swift would have noticed.

This chapter provides an overview of the Irish literary scene during the late seventeenth and early eighteenth centuries. There was a growing demand for literature of all kinds and the work of local poets, songwriters, playwrights, and pamphleteers appeared alongside printed material imported from London; local verses and satires circulated widely in manuscript. As a boy, Swift was immersed in this material and in later life he contributed to it. The easy availability of books and pamphlets made Dublin, at least for its better-educated and more affluent citizens, an attractive place to live.

Rather than focusing on dramaturgical or thematic developments in the post-war era, this chapter traces the changes experienced by playwrights in their practical working conditions. It begins by disputing widespread arguments against the prominence of playwriting in British theatre (that it is literary, logocentric, and individualistic). It then explores changes in play publishing, which helped raise the cultural profile of the playwright while also forming a new kind of dramatic canon; the industrial conditions in which playwrights have worked, which were precarious for the first thirty years since 1945 but were decisively transformed in the late seventies by an effective campaign of unionisation and collective bargaining; and the growing culture of play development, which has had mixed results, but which, at its best, helps demystify playwriting as a cultural practice, making it more accessible and helping to shepherd new plays and playwrights into being.

The Young Englishman’, Edward, aged nineteen, arrived in London destined for the law. Living as a student on a meagre allowance, he observed London society from its fringes and began to write a periodical and fiction for publication. He was greatly influenced by the debates over taste and its civilizing effects. The Seven Years War mobilized patriotism, anti-French feeling and reflections on the distinctive characteristics of Englishness. Faced with the untimely death of his father in 1757 and the news of his modest inheritance, the advice Edward received was to head for Jamaica where he might hope to secure a fortune.

In the 1980s, a theoretical turn in African American literary criticism helped institutionalize the study of African American literature by insisting on its formal complexity and distinctiveness. The racial text could no longer be read as reducible to its social context. In that same decade, a materialist line of inquiry sought to reconcile formal and contextual analysis by examining the ways black-authored books were published by major companies and received by the critical establishment. Drawing on methods from book history and print culture studies, a sociology of African American literature developed as the academic field of study took shape around canon-building projects. Two approaches to African American literary sociology emerged out of the 1990s: skepticism about the book’s capacity to represent racial experience, and optimism about the commercial success of diverse authors. Over time, these approaches merged into general studies of the racial text’s shifting status in the literary marketplace. With that expanded focus, the sociology of African American literature today sheds light on the way culture and commerce intersect in the making, selling, and reading of black-authored books.

The chapter examines the state publishing sector’s recall and pulping of printed materials from the Cultural Revolution years. Targeting works linked to the “Gang of Four,” this process constituted an intrinsic part of the broader reckoning with the Maoist legacy and was therefore intimately connected with the political machinations of the immediate post-Mao era. Publishers and bookstores, cleansing their backlists and stockrooms of problematic titles, strengthened the idea that the second half of the 1970s would be years of sociopolitical course correction. Retrospectively altering the bibliographic record engendered many perils and uncertainties: This chapter analyzes the difficulties faced in an environment where official narratives concerning the Gang and the Cultural Revolution were constantly in flux. At the same time, the chapter draws attention to the sheer destructiveness and material cost of the process, with tens of millions of books gradually caught in the dragnet. The marriage between politics, print, and the state had never been stronger.

This chapter considers the music publishing industry in Puccini’s Italy, with a particular focus on Puccini’s principal publisher, the Casa Ricordi. The chapter examines the role that publishers played within the wider operatic industry, which by Puccini’s time included managing contracts between composers and opera houses and influencing casting, as well as the more traditional business of printing, publishing, and promoting scores. The particular musical specialisms of the Sonzogno and Ricordi publishing houses are discussed. The author shows how Ricordi elevated Puccini to the position of national-composer-elect towards the end of Verdi’s lifetime and constructed a ‘Puccini myth’. Expensive, sophisticated publicity tools and marketing strategies were used to promote Puccini’s works, not only in Italy but in territories across the globe. The chapter discusses how Puccini’s relationship with the firm changed as a result of the succession of power from Giulio to Tito Ricordi upon the former’s death, as well as the firm’s management of Puccini’s works after his own death.

The introduction to this part of the book briefly describes the state of play in Australia when I entered the profession of book editing in 1989. Although there was much discussion among members of the local society of editors about the role of the editor as “gatekeeper”, to my knowledge few publicly discussed social injustice as a lived experience. But as a fledgling editor, the dawning of understanding about what that editorial gatekeeper role meant virtually gave me wings! I soon realised that if I could establish myself as an editor in good standing I would have the power to influence virtually every single reader of the books I was editing, including their authors. That was a powerful moment. I had never before in my life felt as though I held any real power – in any sphere.

The Mao years were also the time of the pattern book, a characteristic genre of publishing in the Mao years. Pattern books were core to the dissemination of skills needed for the making of the clothing worn in the New China ushered into being by the Communist Party. Privately published, crudely illustrated publications produced largely for sewing schools in the early 1950s gradually gave way later in the decade to increasingly standardized works written by research groups or, later, revolutionary committees, produced in ever greater print runs in cities across China. They made available a view of contemporary clothing in which the foreground was occupied by the Zhongshan suit.