THE CHRISTIAN YEAR (1827), BY THE ANGLICAN priest and poet John Keble, is known to scholars of nineteenth-century British literature for being hardly read today but avidly reread throughout the nineteenth century. A series of devotional lyrics organized around the Book of Common Prayer, The Christian Year was the century's poetic blockbuster, going through 158 editions before its copyright expired in 1873 and setting what might be a world record for the number of editions produced in its author's lifetime; 1 by the century's end, at least half a million copies had been sold and nearly every literate Victorian household would have had one (Tennyson 226-27). Allegedly read by members of all classes, The Christian Year appealed to many readers outside the Anglican Church, and abundant citations in novels, poems, letters, and essays indicate that it was impressed into the memory of nearly every nineteenth-century author. 2 Yet why might The Christian Year have been so well received? And how might this astounding reception relate to Keble's design of the collection? In answer to the first question, Kirstie Blair has noted that The Christian Year, in "the decisiveness of its formal, measured" affirmation of faith, offered great spiritual "security" to generations of Victorians ("The Rhythm of Faith" 147). Indeed, the religiously soothing, reassuring effect of Keble's poems was widely praised in the nineteenth century. 3 As for Keble's design of the volume, critics have most often focused on questions of theology and aesthetics, affirming or questioning the poetry's agreement with Tractarian ideals and poetics that Keble later explicated in his lectures and essays. 4 Here I take another approach to these questions about the intent and influence of The Christian Year by analyzing the collection's intervention in nineteenthcentury print culture. In this, I build upon recent work by scholars such as William R. McKelvy, who have persuasively argued for Keble's participation through The Christian Year in contemporary discussions about "the promise and peril of becoming a nation of independent readers" (142). The immense popularity and wide reception of The Christian Year, I argue, are in part explained by the fact that to a degree unrivalled by any other single collection of poetry, it provided a means for imagining private and domestic acts of reading as ways of participating in a print-mediated, national religious community. The Christian Year