regions of Germany to enforce their sense of what German character and morality should look like. Ritzheimer convincingly shows how this debate emphasizes the limits of German national identity. If there was a debate between Berlin and the rest of Germany over who better represented the German national character and values, could there really be such a thing as a German national character? Ritzheimer has written an important study that transcends the narrow scope of the 1920 and 1926 censorship laws. This work has opened new avenues for under- standing German legal and national history. There are two things that stand out as warranting criticism, though. The first is that the first few chapters would have benefited from engaging with H. Glenn Penny’s Kindred by Choice: Germans and American Indians since 1800 to better frame issues surrounding Buffalo Bill and Karl May. The second is that the work lacks pictures, which is particularly frus- trating for a work so tied to pulp fictions and film. The reader would have benefit- ted from seeing some of the imagery described in the work, particularly scenes from films and illustrations from pulp works to better understand what the anti- ‘Trash’ activists were concerned about. It is one thing to describe Josephine Baker’s banana skirt, it is quite another to see it. Overall, though, this is a well- written and researched work that makes several important contributions to our understanding of German history in the early twentieth century. Massimo Rospocher, Jeroen Salman and Hannu Salmi, eds, Crossing Borders, Crossing Cultures: Popular Print in Europe (1450–1900), De Gruyter Oldenbourg: Berlin, 2019; 296 pp., 13 b/w illus., 46 colour illus., 14 tables; 9783110639513, £82.00 (hbk); 9783110643541, £82.00 (ebook) Reviewed by: Martyn Lyons, University of New South Wales, Australia It is ironic that the cheap, mass-produced chapbooks of the early modern period are now hard to find, while fine editions with small print runs produced for bib- liophiles are well preserved in European libraries. Chapbook literature was crudely produced and it rapidly fell apart. Titles originally issued in thousands of copies now often survive in only one. And that unique copy may surface in a library very far from its place of publication. As Flavia Bruni emphasizes, about one third of French or Dutch vernacular editions of the sixteenth century can today only be found outside their country of origin. This is one good reason for historians to cross national frontiers in their search for the history of popular print in the early modern period. Such a pan-European perspective is the stated agenda of this collection of essays. The approach has already been promoted by Hans Lu¨sebrink (who is regrettably absent), while new European Union funding mechanisms supposedly facilitate research on pan-European topics. The collection under review emerged from the Dutch-funded EDPOP project (European Dimensions of Popular Print), Book Reviews 581