"Frenzied Fiction" by Stephen Leacock is a collection of short stories from the comedic Canadian writer. The volume contains: My Revelations as a Spy, Father Knickerbocker: A Fantasy, The Prophet in Our Midst, Personal Adventures in the Spirit World, The Sorrows of a Summer Guest, To Nature and Back Again, The Cave-Man as He is, Ideal Interviews, The New Education, The Errors of Santa Claus, Lost in New York, This Strenuous Age, The Old, Old Story of How Five Men Went Fishing, Back from the Land, The Perplexity Column as Done by the Jaded Journalist, Simple Stories of Success, or How to Succeed in Life, In Dry Toronto, and Merry Christmas.

DigiCat Publishing presents to you this special edition of "Nonsense Novels" by Stephen Butler Leacock. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

During the economic depression of the 1890s and the speculative frenzy of the following decade, Wall Street, high finance, and market crises assumed unprecedented visibility in the United States. Fiction writers published scores of novels that explored this new cultural phenomenon. In Panic, David A. Zimmerman studies how American novelists and their readers imagined--and in one case, incited--market crashes and financial panics.Panic examines how Americans' understandings of and attitudes toward securities markets, popular investment, and financial catastrophe were entangled with their conceptions of gender, class, crowds, and history. Blending literary, historical, and cultural analysis, Zimmerman investigates how writers turned to fledgling research in mob psychology, psychic investigations, and conspiracy discourse to understand how mass acts of reading and popular participation in the corporate transformation of the American economy could trigger financial disaster and cultural chaos. In addition, Zimmerman shows how writers, by experimenting with sensationalism, sympathy, the sublime, melodrama, and naturalism, explored the limits of fiction's aesthetic, economic, and ethical capacities in their portrayals of markets in crisis. With readings of canonical as well as lesser-known novelists, Zimmerman provides an original and wide-ranging analysis of the relation between fiction and financial modernity.