IMITATION FICTION: PIRATE CITINGS IN ROBERT LOUIS STEVENSON'S TREASURE ISLAND

Abstract

When Charles Dickens tried to lobby for American support of an international copyright agreement during his wildly popular 1842 tour of the United States, the English author was famously shocked to find himself lambasted as an elitist who dared expect payment for what Americans believed they had the right to read for free (McGill 109–40; Claybaugh 71; Pettitt 152). Dickens encountered in the practice of literary piracy, or what was called in the United States, the culture of reprinting, a deep fissure in capitalist democratic culture between individual ownership and public access, an ideological divide that forms the backdrop for the creation and circulation of nineteenth-century print. If the legal privatization of intellectual property hovered in the imagination of so many Victorian writers, it formed the happy ending of a long nineteenth-century struggle over literary piracy, a contention of goods that shaped the Victorian stage as we well as the transatlantic literary marketplace.