Reviewed by: The Earth on Show: Fossils and the Poetics of Popular Science, 1802–1856 Michael Freeman (bio) The Earth on Show: Fossils and the Poetics of Popular Science, 1802–1856, by Ralph O'Connor; pp. xiii + 541. Chicago and London: The University of Chicago Press, 2007, $45.00, £26.50. Ralph O'Connor's The Earth on Show taps into an already vigorous stream of research and writing on nineteenth-century engagements with the prehistoric world. Martin Rudwick, James Secord, and a host of others have, within the last two decades, rescued twentieth-century narratives of geology and palaeontology from dry-as-dust moulds of presentation. They have put in their place exciting new interpretative perspectives that demonstrate the measure by which emerging discoveries about earth history in the nineteenth century were accommodated within an exceptionally broad spectrum of cultural production, covering literature, poetry, and art, not to mention all manner of popular cultural expression. The publisher's dust-jacket evaluation describes O'Connor's book as an "innovative blend of the history of science, literary criticism, book history, and visual culture." Anne Barton, Emerita Professor of English at the University of Cambridge, adds to this endorsement by remarking how O'Connor writes with wit and verve to produce an enthralling story, constructed around the relationship between science and imagination in the period. There is further praise from other scholars on the rear of the dust-jacket. Nigel Leask, for example, remarks upon O'Connor's brilliance in applying "techniques of literary and visual exegesis to the heterogeneous body of early-nineteenth-century writings and images of antediluvian worlds." The Earth on Show is a hefty tome, running to 450 or so pages of text, copiously referenced and with a very substantial index. It bears all the familiar hallmarks of painstaking scholarship and reveals a wide body of primary investigation. In turn, and following the pattern of many of the University of Chicago Press's publications, the book is extensively illustrated with numerous half-tones, together with a small selection of colour plates. The book's structure splits into two parts. The first aims at "building [End Page 384] the story," the second at "staging the show." O'Connor rehearses Gideon Mantell's observation that the literary productions of some nineteenth-century geologists and palaeontologists had the power to exceed in allure the fiction of romance. In tandem, many such productions were performances, "rhetoric of spectacular display," to use Secord's apt phrase (Victorian Sensation [2001] 439). O'Connor closes his absorbing introduction by describing early-nineteenth-century literature on earth history as verging towards a "single cosmic pageant" (27), blending human, sacred, and natural history into a kind of seamless confection. On the face of it, then, this is a volume that has a tantalizing attraction. As one dips further within it, however, some readers will register shades of disappointment. The illustrations are the first to sow seeds of doubt. The vast majority are incredibly familiar. One picks up almost immediately the range of existing modern published works from which the ideas for illustration appear to have been garnered. Then there are the chapter heads and sub-heads: they offer a "cast" that rather dampens the publisher's claim that this is an innovative work. Part 1, for instance, has the following checklist: "Enter the Mammoth"; "William Buckland: Antiquary and Wizard"; "Lizards and Literalists"; "Lyell Steps In." The sequence is predictable almost to the point of tedium, and a proportion of the content suffers likewise. To be fair, O'Connor does, in places, offer the reader important and clever insights. One sees the merit of some of the powerful endorsements on the dust-jacket. Equally, the handling of source materials is almost everywhere sensitive and reflexive. Chapter 7, on time travel and virtual tourism in the age of the apocalyptic painter John Martin, forms a fascinating essay and could almost stand on its own. The problem, though, lies with the broader canvas. The promises of the dust-jacket and the introduction of an innovative framework of analysis are only partially realized. One component of this difficulty may have to do with the somewhat arbitrary time frame that O...