This chapter explores the reception of David Hume’s Essays in eighteenth-century Britain by linking computational methods of text reuse detection with more traditional approaches to the history of ideas. We find that many of Hume’s essays were frequently reprinted individually, in whole and in part, including in anthologies, grammars, style guides, and collections such as The Philosophical Dictionary, where editors often moulded for their readers what they took Hume’s message to be. As the century drew to a close, Hume’s essays were firmly integrated into the diverse landscape of eighteenth-century British literary culture. We reveal which essays underwent the most extensive reuse, carefully analysing them based on their respective collections and as individual titles. We find that, just because Hume ‘withdrew’ an essay from his collection, it did not necessarily mean it was withdrawn from the public eye. Several essays by Hume experienced evolving life cycles, and numerous authors incorporated his texts discreetly, some without explicitly acknowledging their use. Taking Hume’s essays as a whole, the range of topics and venues involved in the history of their eighteenth-century reuses is striking. Our story includes not only prominent political and economic thinkers, historians, philosophers, lawyers and clergy but also scores of hack writers, anonymous authors and a range of publishers, editors and compilers. The chapter demonstrates how a more comprehensive grasp of the reception of Hume’s Essays in eighteenth-century Britain accommodates all these facets.

Is there philosophy in Hume’s Essays? In this contribution, I argue that the form of the Essays implies an ongoing philosophical project with a significant sceptical difference from the systemic form of Hume’s Treatise of Human Nature. There is evidence in the Essays that Hume thought of himself thinking philosophically in these works, even if philosophy is narrowly conceived as the search for general principles associated with the ‘abstruse philosophy’ of the Treatise and Enquiries. The distinction between the forms of the Essays and the form of the Treatise indicates, however, that the Essays are not merely continuing the Treatise’s project. The pedagogy of the Essays, revealed in their form, teaches that philosophy is an ongoing project, a sceptical search that is sceptical even about its limits, rather than the system that the young Hume was confident could be completed within the boundaries of a treatise. There is not philosophy in the Essays. The Essays are philosophy.

The role of France in David Hume’s intellectual biography is difficult to overestimate. He visited that country three times, wrote the Treatise in La Flèche, and reached the peak of his success during the years he spent in Paris (1763–66), where he was welcomed as a highly valuable member of the Republic of Letters. He cared greatly about the circulation of his writings in France, and actually succeeded in establishing his reputation across the Channel. The History of England made him an outstanding historian, the Natural History of Religion an authoritative esprit fort, but it was the Essays that confirmed him as a subtle political thinker and, what he cared about most, as a profound philosopher in the eyes of his French readers. Before and besides being translated in the form of collections, many of Hume’s essays were translated, summarised, commented on, reviewed, and discussed individually, giving rise to a complex and divergent reception. The present chapter provides an overview of this reception, based on first-hand research on eighteenth-century French translations, reviews, commentaries and criticisms of the Essays.

Haitian writers produced a broad array of compelling texts during the nineteen years their country was under direct US rule. Today, it has become commonplace to identify Haitian literary production during that time as one of resistance. However, Haiti’s occupation-era literature is incredibly diverse. Many works from the period do not engage with the occupation at all, focusing instead on historical events, domestic dramas, or romance. In addition to thematic diversity, texts of this period reflect a variety of genres and forms. Some poets chose to experiment formally whereas others chose to create within the confines of fixed forms such as sonnets. Essayists displayed diverse ideological and political positions. This chapter offers a brief overview of Haitian literary works published during the US occupation of the country, from 1915 to 1934.

This chapter traces the history of the essay against the backdrop of changing theories of distraction in the long eighteenth century. As the population of urban centres grew, readers’ seemingly waning attention spans had to counter a barrage of auditory and visual stimuli. Everyday diversions were compounded by literary ones: falling paper costs led to an explosion of print material, forcing the periodical essay to compete with a dizzying array of prose fiction, poems, sermons, and histories. Focusing on a series of prominent eighteenth-century and Romantic essayists, particularly Samuel Johnson, Leigh Hunt, and Charles Lamb, we argue that the essay form is powerfully shaped by its engagement with the wandering mind. Debates over distraction that began in the Enlightenment continue to shape the genre today, as modern essay forms – New York Times essays, blogs, Twitter feeds – continue to structure themselves around assumptions about short attention spans.

Twentieth-century critics have opposed the supposed objectivity of the essay to the letter and diary as private, self-expressive, and autobiographical genres. But this was a modern development. From Michel de Montaigne to the early nineteenth century, the essay, the letter, and the diary were more alike and far more closely aligned than they later became, particularly with regard to representations of the self and notions of publicity. For instance, they were all considered forms of address, and means of presenting one’s intellectual physiognomy to others that were likely to be read aloud, shared, and discussed. This chapter therefore explores now-forgotten family resemblances among these genres both in form and function and concludes by showing where they were fused or embedded in one another.

The coincidence between the events on 9/11 in Santiago in 1973 and New York in 2001, earlier observed by Ariel Dorfman, lends itself to an analysis of the spiral of Bolaño’s oeuvre from the trauma of the 1970s Chilean dictatorship to the neo-globalizing moment that overlapped with the world dissemination of Bolaño’s work. Bolaño is nostalgic for the Allende era in Chile when meaningful social change seemed possible. Yet he is conscious that it was the authoritarian force and neoliberal economics of the Pinochet regime that was truly prophetic of the future. The nostalgic and the counterfactual, the elegiac and recursive, intertwine as Bolaño looks back on his generation’s odyssey and sees analogies for its trauma in the femicides of 2666. A nodal point of this intertwining is the tenth anniversary of the coup on September 11, 1983, where a group of “masochistic Chileans” meet in Paris in The Savage Detectives, poised between a past they never knew and a future they can scarcely envision. Bolaño knows he has to face the necropolitics of the then-present and not the nostalgia of the deferred past; yet the dream of the Allende era is never entirely renounced in his oeuvre.

Roth’s nonfiction was recently collected in The Library of America’s final volume on his body of work; the collection is called, appropriately, Why Write? As this chapter will discuss, the majority of Roth’s nonfiction attempts to answer this question in some way, commenting on the various challenges faced by the novelist.