Cover -- Half-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Introduction -- THE ROMANCE AS POPULAR MODERNISM -- THE CURRENCY OF GOTHIC -- THE 'REVIVAL OF ROMANCE' -- THE MARKET, THE ROMANCE AND MODERNISM -- THE CULTURAL WORK OF THE ROMANCE -- DEFINING AN ERA -- CHAPTER 1 Incorporated bodies: Dracula and professionalism -- THE POWER OF COMBINATION -- THE RISE OF PROFESSIONALISM -- THE VAMPIRE AS FIGURE -- CHAPTER 2 The imperial treasure hunt: The Snake's Pass and the limits of romance -- THE POLITICS OF MARRIAGE -- 'JOYCE COUNTRY' -- THE CELTIC TWILIGHT -- ENGLISHMEN ABROAD -- AN ENDING, IF NOT A CONCLUSION -- CHAPTER 3 'Mummie is become merchandise': the mummy story as commodity theory -- STAGING EGYPT -- MERCHANDISE AS MUMMY -- COMMODITY STORIES -- IMPERIAL FIGURES -- THE NATIONAL COLLECTION -- HOMES AND HOLMES -- THE COLLECTOR'S PASSION -- OBJECTS OF DESIRE -- DREAMS OF EMPIRE -- CHAPTER 4 Across the great divide: modernism, popular fiction and the primitive -- I -- II THE REDUNDANT DETECTIV E AND THE STOCKING: THE CASE OF SYNGE -- III CANNED GOODS, THE CULTURE INDUSTRY AND PRIMITIVIST MAGIC -- ROMANTIC MODERNISM -- Afterword: the long goodbye -- A NEW MEDIUM FOR ROMANCE -- THE PRISON-HOUSE OF DREAMS -- ROMANCE AND THE RISE OF NARRATIVE FILM -- POSTMODERN ROMANCE? -- Notes -- INTRODUCTION -- 1 INCORPORATED BODIES: DRACULA AND PROFESSIONALISM -- 2 THE IMPERIAL TREASURE HUNT: THE SNAKE'S PASS AND THE LIMITS OF ROMANCE -- 3 'MUMMIE IS BECOME MERCHANDISE': THE MUMMY STORY AS COMMODITY THEORY -- 4 ACROSS THE GREAT DIVIDE: MODERNISM, POPULAR FICTION AND THE PRIMITIVE -- AFTERWORD: THE LONG GOODBYE -- Index.