Reviewed by: The Dynastic Imagination: Family and Modernity in Nineteenth-Century Germany by Adrian Daub Joseph D. O'Neil Adrian Daub. The Dynastic Imagination: Family and Modernity in Nineteenth-Century Germany. Chicago: University of Chicago Press, 2021. 247 pp. + index. Adrian Daub's comprehensive reimagining of German literary and cultural history is a worthy follow-up to his 2012 Uncivil Unions, as if the off-kilter marriages and other unions had gone on to spawn equally out-of-sync offspring. Like the earlier book, The Dynastic Imagination revises a mostly canonical literary history by focusing on a master figure, this time the idea of ancestry, descent, inheritance, and lineage, in order to produce a new story. This story is told in terms of the uncanny recurrence of dynastic figures of kinship in spite of the revolutionary and Romantic critique of dynasty and its putative replacement in the nineteenth century by the bourgeois nuclear family. In this context, dynasty becomes a critical tool to overcome bourgeois strictures and the confines of "nuclearity," the opposite pole to the dynastic. Over eight chapters plus an introduction and an epilogue, Daub charts the fate of dynastic figures of thought in works by the usual German and Austrian suspects, from Goethe and Hegel through Stifter to Freud and George. His study also includes English and French authors—Mary Shelley, Émile Zola, Marcel Proust—Schelling and Young Hegelians, and Richard Wagner plus his dynasty. Goethe, for example, charts a pattern of regression, failed development, and generations out of sync vis-à-vis the Romantic generation he largely outlived, at least in terms of their creative energies. The reading of Hegel in the context of German feminism with its shifting relationship to the dynastic imagination before and after 1848 is perhaps the book's most novel contribution, as it brings Bettina von Arnim into conversation with Louise Dittmar and Henriette Goldschmidt across the year of revolutions, mapping the fates of Hegelianism in unexpected ways. While these early chapters revise our understanding of what the figure of dynasty means and does in the prenational period, Daub's virtuosic reading of Wagner includes the Ring cycle, the Wagner family and their physiognomy, Wagner's essays, Parsifal, Schopenhauer's views on marriage, and Wagner's son-in-law, Houston Stewart Chamberlain, without failing to mention the Wagnerian nose. The following chapter on naturalism displays the comparative approach, which is one of the real strengths of this book. While his treatment of Mary Shelley's The Last Man in chapter 3 is sandwiched between readings of Schelling [End Page 185] and Goethe (Faust II) with abundant injections of Hegel, chapter 6 is almost exclusively French, with a reading of several parts of the vast Rougon-Macquart cycle that situates Germinal and the other stories of the two intertwined families firmly in Daub's dynastic paradigm. A pleasantly surprising change on first reading, it is, upon reflection, hard to imagine how the book could have been written without it. A brief coda on Proust ends this chapter with an exclamation mark, the queering of the dynastic imagination in "a lineage that does not follow necessity but rather constitutes itself in and through breaks from what's necessary and probable," as will be the case in decadence and early modernism for Wilde, Mann, Wedekind, et al. Proust reemerges in the final chapter as an interlocutor for the queer poetics of dynasty in Stefan George and his forms of poetic family and legacy. As with the elective Schicksal Daub expounds and advocates in his reading of the Hungarian-Jewish psychoanalyst Léopold Szondi—the coda to a chapter on Freud and the awful C. G. Jung—the queer turn affirms the power of lineages and forms of kinship that are created and affirmed over against naturalized and nationalized versions of identity and community. If "the dynasty represents a caput mortuum of modernity"—the residue of an alchemical experiment or a "terminal moraine," the land thrown up at the end of a glacier's path—it is at least a felicitous coincidence that, by analogy, so much meaning is packed into these brief chapter ends. Daub has a deft touch with language. The book is jargon...