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This article proposes a new literary history of British Asia that examines its earliest communities and cultural institutions in translocal and regional registers. Combining translocalism and regionalism redefines Anglo‐Indian writing as constituted by multisited forces, only one of which is the reciprocal exchange between Britain and its colonies that has been the prevailing emphasis of literary criticism about empire. I focus on the eighteenth century's overlooked military men and lowlevel colonial administrators who wrote newspaper verse, travel poetry, and plays. I place their compositions in an institutional chronicle defined by the “cultural company‐state,” the British East India Company, which patronized and censored Anglo- India's multilingual reading publics. In the process of arguing for Anglo‐Indian literature as a local and regional creation, I consider the how the terms British and anglophone should function in literary studies of colonialism organized not by hybridity or creolization but by geographic relations of distinction. (JM)

Many accounts that describe the procedures of academic writing focus on how authors can attract publishers by revising their dissertations so that they have appeal beyond their more narrow academic audiences. Few of these accounts, however, consider what happens when that process succeeds -that is, what happens to a manuscript after a publisher accepts it. This essay follows up on my 2011 JSP article, 'What I've Learned about Revising a Dissertation,' by considering those issues that arise during the production process of academic publishing. These stages are crucial for the success of a book, and they are avowedly collaborative in ways that differ from revising a dissertation. This process is often perceived as mere manufacturing when in fact it necessitates answering crucial conceptual questions. Furthermore, the customs and conventions of publishing are not a typical part of most academic training. In this essay, I draw from my own experience of publishing a title with an academic press to offer practical as well as theoretical reflections on how to select a publisher, write a book proposal, submit a manuscript, respond to readers' reports, think about copy-editing and proofreading, design a book jacket, and market a book after its physical publication.

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For decades scholars have relied on the concept of circulation to explain the operation of texts and to animate the significance of literary studies. Its overuse has elided differences in the virtual relationships created by reading and has blurred empirical details about the production and consumption of texts. Circulation has been turned into a “widespread cultural ideal” and remains one of the least examined stipulations of literary study. For these reasons, reconsidering its role in literary study is essential. The eighteenth century was a vital period for the creation of a modern definition of circulation, so this essay returns to one especially pertinent case from that period, Helenus Scott’s it-narrative The Adventures of a Rupee (1782), which describes the movements of a rupee coin in the world economy. Attending to the linguistic form and publication history of Scott’s novel offers a model of circulation that emphasizes coagulation and stasis rather than liquidity, mobility, and flows. This model explains how texts repeat while altering preexisting forms of circulation, which has consequences for understanding how reading publics arise and reproduce themselves.