Abstract
That Frederick Gleason, one of America’s foremost publishers of serialized fiction during the antebellum era, was a native of Hamburg, Germany, has been generally overlooked by scholars. They consequently view his story paper The Flag of Our Union and his illustrated Gleason’s Pictorial Drawing-Room Companion within the contexts of American nationalism and manifest destiny. Yet because Gleason maintained ties to Europe after immigrating, kept abreast of publishing trends there, and took an interest in continental political movements, his output was inevitably marked by cosmopolitanism and cultural hybridity. This chapter argues that given Gleason’s tremendous impact upon US periodical publishing, American-authored serialized fiction was not unfailingly informed by nationalism, but, instead, was receptive to global influences.
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Notes
- 1.
Gleason pointed to the Flag’s first issue’s “mainly original” content and maintained that “[n]o engravings except those expressly designed for this paper, will ever appear in its columns” (“Our Purpose”). By 1854, content was “entirely original” (Gleason, “Tenth Volume”).
- 2.
A WorldCat search shows that the publishing house’s name first appeared in 1845.
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Zboray, R.J., Zboray, M.S. (2019). Between Hamburg and Boston: Frederick Gleason and the Rise of Serial Fiction in the United States. In: Stein, D., Wiele, L. (eds) Nineteenth-Century Serial Narrative in Transnational Perspective, 1830s−1860s. Palgrave Studies in Nineteenth-Century Writing and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15895-8_7
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