Felicity James – författare

In December 2015 a novel by Elizabeth Hays (c. 1765-1825) that has eluded scholars of women novelists of the 1790s for more than a century was finally discovered in the British Library. Fatal Errors was written in the late 1790s by the sister of Mary Hays, but not published until 1819 under her married name, Lanfear, and has therefore been completely overlooked until now. There has been considerable interest in the missing novel, since we know that Mary Wollstonecraft read and commented on a version of the manuscript in 1796, but it was presumed never to have been published. Now this missing piece of the conversation of the Hays-Wollstonecraft-Godwin circle has been located this modern critical edition of Fatal Errors contributes both to our knowledge of this network of radical writers and thinkers, and to our understanding of the trajectory of women’s fiction and the Jacobin novel.

In December 2015 a novel by Elizabeth Hays (c. 1765-1825) that has eluded scholars of women novelists of the 1790s for more than a century was finally discovered in the British Library. Fatal Errors was written in the late 1790s by the sister of Mary Hays, but not published until 1819 under her married name, Lanfear, and has therefore been completely overlooked until now. There has been considerable interest in the missing novel, since we know that Mary Wollstonecraft read and commented on a version of the manuscript in 1796, but it was presumed never to have been published. Now this missing piece of the conversation of the Hays-Wollstonecraft-Godwin circle has been located this modern critical edition of Fatal Errors contributes both to our knowledge of this network of radical writers and thinkers, and to our understanding of the trajectory of women’s fiction and the Jacobin novel.

A diary entry, begun by a wife and finished by a husband; a map of London, its streets bearing the names of forgotten lives; biographies of siblings, and of spouses; a poem which gives life to long-dead voices from the archives. All these feature in this volume as examples of ‘writing lives together’: British life writing which has been collaboratively authored and/or joins together the lives of multiple subjects. The contributions to this book range over published and unpublished material from the late eighteenth to the late nineteenth centuries, including biography, auto/biographical memoirs, letters, diaries, sermons, maps and directories. The book closes with essays by contemporary, practising biographers, Daisy Hay and Laurel Brake, who explain their decisions to move away from the single subject in writing the lives of figures from the Romantic and Victorian periods. We conclude with the reflections and work of a contemporary poet, Kathleen Bell, writing on James Watt (1736–1819) and his family, in a ghostly collaboration with the archives. Taken as a whole, the collection offers distinctive new readings of collaboration in theory and practice, reflecting on the many ways in which lives might be written together: across gender boundaries, across time, across genre. This book was originally published as a special issue of Life Writing.

This inspiring collection of over 60 images will encourage readers to be creative and to develop their colouring skills. The artworks include landscapes, animals and flowers as well as intricate patterns and mandalas. Each line drawing is numbered so that readers can follow the key to produce a stunning colour artwork.

ABOUT THE SERIES: The bestselling Arcturus Colour by Numbers Collection features peaceful and enchanting designs from an array of artists, printed on thick, high-quality paper and including a handy flip-out colour key.