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Rag paper is a common denominator for many Romantic‐era medial forms. The term "media ecology" has become increasingly accepted in media theory, and its spatial and ecological affinities connect it to the urgent topic of climate change. Media ecology invites book historians to consider the labor as well as the origins of the materials that underwrite our culture. This consideration of paper recasts the literary archive as an accretion of physical as well as intellectual labor. The physical labor necessary for the making of rag paper included increasingly industrialized agricultural work and textile production, as well as rag collecting and sorting, as many period authors were aware. At the inception of the Bank Restriction Period (1797–1821), the introduction of low‐denomination paper banknotes changed the London media ecology in ways that had a devastating effect on the English poor, including the very orders of agricultural and textiles workers, rag collectors, and papermill rag‐room women who had a hand in paper making. The Bank of England investigated and prosecuted hundreds, resulting in poverty, transportation, imprisonment, and executions. Paper notes and their forgeries invited considerations of other forms of cultural value and circulation, including literary authorship, and the article ends with the Bank of England's current celebration of Jane Austen as a literary icon by including her portrait on the polymer £10 note. [ABSTRACT FROM AUTHOR]

The article discusses the Great Britain Court of Appeal's ruling in the 2013 case Sergio Barreiros Azevedo and another v. Imcopa Importacao, Exportacao E Industria De Oleos Ltda. and others which deals with the legality of consent payments to noteholders under English law. Financial restructuring and courts in England are addressed, along with the Bank of New York (now Bank of New York Mellon), trust deeds, and the pari passu legal principle.