Women Writers in English 1350-1850 – serie

BLIncludes selections from The Gleaner, her major work, and other publicationsAs a novelist, essayist, dramatist, and poet, Judith Sargent Murray candidly and often humorously asserted her opinions about the social and political conditions of women in late eighteenth-century America. As a committed feminist, she urged American women to enter a `new era in female history', yet published her own writings under a man's name in the hopes of more widely disseminating her ideas.

Charlotte Smith's life was the stuff of romantic anguish; upon marriage she felt exiled in "personal slavery", and began publishing poems to earn money while in debtor's prison with her extravagant husband. They subsequently resided in France and lived on subscriptions to her poems and translation work, but she eventually left her husband, "fearing my life was not safe", and began publishing novels annually in order to provide for her children. Smith was the first English poet whom, in retrospect, we could call Romantic, and was particularly influential on Wordsworth's style and ideas. Her poetry, beginning with the first edition of Elegaic Sonnets in 1784, was well received by her contemporaries; her final masterpiece, Beachy Head, published posthumously in 1807, powerfully illustrates the impulse to resolve the self into nature. Today, Smith is known primarily as a novelist (her previously un-reprinted novel, The Banished Man, will appear in the series), but this volume will be the first complete collection of her poems. It promises to revolutionize our ideas about the development of English Romanticism. This unprecedented new series reintroduces women's writings of cultural and literary interest, from the Medieval period through the early nineteenth century, often for the first time since their original publication. Derived from the Brown University Women Writers Project, the series unearths a wide range of neglected gems, dispelling the myth that women wrote little of real value before the Victorian period. Each volume includes an introduction putting the work in its historical and literary context and helpful explanatory notes.

One of the earliest documentary novels, Fall River recounts the famous murder of a mill girl and the subsequent trial of a popular minister of the period. Compellingly written, it is not only a record of a sensational story of its times, but also a revealing embodiment of the social and cultural climate of early nineteenth century industrial America. The book is also an important landmark in the history of religion in American popular culture, with detailed descriptions of religious camp meetings in New England. Williams was urged by her readers to compose her account of these events, in order to correct what she called the "indecent manner" in which they had hitherto been reported. (David Kasserman's recent widely acclaimed sociological study Fall River Outrage is based on the events Williams describes.) This unprecedented new series reintroduces women's writings of cultural and literary interest, from the Medieval period through the early nineteenth century, often for the first time since their original publication. Derived from the Brown University Women Writers Project, the series unearths a wide range of neglected gems, dispelling the myth that women wrote little of real value before the Victorian period. Each volume includes an introduction putting the work in its historical and literary context and helpful explanatory notes.

The first edition of the collected poetry and prose of the Restoration feminist, Mary, Lady Chudleigh (1656-1710), this volume includes The Ladies Defence as well as her final prose meditations. New biographical and bibliographical information in the Introduction revises the existing accounts of her life and literary career. The volume makes available for the first time the complete range of Chudleigh's literary experiments and calls for a reassessment of the image of the woman writer of the Restoration. A friend of John Dryden and Mary Astell, Chudleigh experimented with a variety of literary forms, from satire to biblical paraphrase, but always maintained her belief in the importance of education for women and the necessity for self-determination.

Aemilia Lanyer (1569-1645) was the first woman poet in England who sought status as a professional writer. Her book of poems is dedicated entirely to women patrons. It offers a long poem on Christ's passion, told entirely from a woman's point of view, as well as the first country house poem published in England. Almost completely neglected until very recently, her work changes our perspective on Jacobean poetry and contradicts the common assumption that women wrote nothing of serious interest until much later. Mistress and friend of influential Elizabethan courtiers, Lanyer gives us a glimpse of the ideas and aspirations of a talented middle class Renaissance woman.

Rachel Speght (1597?-?) is the first Englishwoman to identify herself, unapologetically and by name, as a polemicist and critic of contemporary gender ideology. Her tract, A Mouzell for Melastomus (1617), is at once a spirited answer to Joseph Swetnam's very popular treatise attacking women (1617) and also a serious effort to stake women's claim to prevailing Protestant discourse of biblical exegesis, forcing it to yield a more expansive and more suitable concept of women's nature and role. Her volume of poetry, Mortalities Memorandum, with a Dreame Prefixed (1612), includes a long memento mori meditation and an allegorical dream vision that recounts her own rapturous encounter with learning. Both vigorously defend women's education and the encouragement of women's talent.

Rachel Speght (1597?-?) is the first Englishwoman to identify herself, unapologetically and by name as a polemicist and critic of contemporary gender ideology. Her tract, A Mouzell for Melastomus (1617), is at once a spirited answer to Joseph Swetnam's very popular treatise attacking women (1617) and also a serious effort to stake women's claim to prevailing Protestant discourse of biblical exegesis, forcing it to yield a more expansive and more suitable concept of women's nature and role. Her volume of poetry, Mortalities Memorandum, with a Dreame Prefixed (1612), includes a long memento mori mediation and an allegorical dream vision that recounts her own rapturous encounter with learning. Both vigorously defend women's education and the encouragement of women's talent.

Novelist, religious convert, political poet, and sometime Jacobite spy, Barker wrote prolifically on a remarkable variety of subjects. 'A Patch-Work Screen for the Ladies' (1723) and 'The Lining of the Patch-Work Screen' (1726) achieved immense popularity upon first appearance. Hybrid in genre, they include realistic stories, and romances interspersed with poems, hymns, odes, recipes, and religious and philosophical reflections that survey and critique the turbulent social, economic, and political scene of early eighteenth-century England.

Novelist, religious convert, political poet, and sometime Jacobite spy, Barker wrote prolifically on a remarkable variety of subjects. 'A Patch-Work Screen for the Ladies' (1723) and 'The Lining of the Patch-Work Screen' (1726) achieved immense popularity upon first appearance. Hybrid in genre, they include realistic stories, and romances interspersed with poems, hymns, odes, recipes, and religious and philosophical reflections that survey and critique the turbulent social, economic, and political scene of early eighteenth-century England.

When the midwife Jane Sharp wrote The Midwives Book in 1671, she became the first British woman to publish a midwifery manual. Drawing on works by her male contemporaries and weaving together medical information and lively anecdotes, she produces a book that is instructive, accessible, witty, and constantly surprising.

When the midwife Jane Sharp wrote The Midwives Book in 1671, she became the first British woman to publish a midwifery manual. Drawing on works by her male contemporaries and weaving together medical information and lively anecdotes, she produces a book that is instructive, accessible, witty, and constantly surprising.

Eleanor Davies was one of the most prolific women writing in early seventeenth-century England. This volume includes 38 of the sixty-odd tracts that she published. Inspired to prophecy by a visionary experience in 1625, the year of Charles I's accession to the throne, she devoted herself to warning her contemporaries that the Day of Judgement was imminent. Her zeal and her intricately constructed tracts confounded contemporaries who called her mad. She experienced repeated imprisonment and also confinement to Bedlam, London's mental hospital. The tracts tell her own story as woman and prophet. They offer an opportunity to study her experiences as wife, mother, and widow; they also exhibit her extraordinary intellect, extensive education, and her fascination with words. In showing how England's history was fulfilling the biblical prophecies in the book of Daniel and Revelation, she commented about the political and religious controversies of the turbulent period preceding and during the Englsih Civil War and Revolution.

Lady Arbella Stuart, claimant to the English throne, has traditionally been portrayed as either a hero or fool for marrying against King James's edict and attempting to flee from France. This is Stuart's story as she tells it in more than one hundred letters written to relatives, her husband, the royal family, public officials, and friends. Based largely on original manuscripts, this volume reveals a powerful personal and public drama, as Stuart's royal birth and demand for independence place her in conflict with Queen Elizabeth and King James. Verbally gifted, Stuart creates a fictional lover, maneuvers within the patronage network, and, after her marriage, applies her considerable rhetorical skills to solicit favour and freedom. Her own revisions, which are included, offer the reader unusual access to the thinking of a talented Renaissance writer as she shapes her prose. Sara Jayne Steen has transcribed, ordered, dated, annotated, and critically analysed the letters and drafts.

Anne Weamys's Arcadia is a woman's own contribution to one of the dominant genres of her sex's readership in the seventeenth century: the heroic romance. Part of the considerable power and appeal of this work is its reduction of the heroic romance to a smaller scale. In its shorter length and its comparatively direct style, it avoids the fustian and bloat of the form. At the same time, it elaborates on the genre's stronger points--its playfulness and fantasy, its explorations of the nuances of sensibility--while not sacrificing its capacity for political statement. Arcadia is an interesting and accessible story that can be read in a single sitting.

As a novelist, essayist, dramatist, and poet, Judith Sargent Murray candidly and often humorously asserted her opinions about the social and political conditions of women in late eighteenth-century America. As a committed feminist, she urged American women to enter a "new era in female history", yet published her own writings under a man's name in the hopes of more widely disseminating her ideas. This volume includes selections from The Gleaner, her major work, and other publications.

Although Eliza Haywood was one of the best known and most prolific writers in her own time, there is no modern edition of her works. This edition provides representative texts from Haywood's entire career, which overlaps that of Daniel Defoe, Samuel Richardson, Henry Fielding, and Tobias Smollett. The six fictions and two plays provided here illustrate the many kinds of writing Haywood produced, the ways she treated important themes and issues, and the contributions she made to the development of the English novel.

Although Eliza Haywood was one of the best known and most prolific writers in her own time, there is no modern edition of her works. This edition provides representative texts from Haywood's entire career, which overlaps that of Daniel Defoe, Samuel Richardson, Henry Fielding, and Tobias Smollett. The six fictions and two plays provided here illustrate the many kinds of writing Haywood produced, the ways she treated important themes and issues, and the contributions she made to the development of the English novel.

This new addition to the Women Writers in English series records Anne Askew's narrative of her imprisonment for heresy and her interrogation by officials of church and state in the last days of Henry VIII. As a spiritual autobiography, a historical document, and a carefully crafted polemic, the work provides insight into Reformation politics and society in England.

Not reprinted since its first edition, Mary Shelley's second novel is a major discovery of the Mary Shelley bicentenary of 1997. The novel's lack of success as a follow-up to Frankenstein was the result of its subject matter and unconventional approach to the genre of historical fiction, attributes that can only delight the twentieth-century reader. Shelley's mastery of the intricate details of thirteenth-century Tuscan politics is unique among women of her time, and her resolute filtering of the bloody heroics of the age through the sensibilities of two women who are destroyed by them reveals the feminist perspective missing so conspicuously from her first novel. The lastest addition to the acclaimed Women Writers in English series, this glittering novel from Romanticism's premier woman storyteller belongs on the shelves of all serious readers of English fiction.

Not reprinted since its first edition, Mary Shelley's second novel is a major discovery of the Mary Shelley bicentenary of 1997. The novel's lack of success as a follow-up to Frankenstein was the result of its subject matter and unconventional approach to the genre of historical fiction, attributes that can only delight the twentieth-century reader. Shelley's mastery of the intricate details of thirteenth-century Tuscan politics is unique among women of her time, and her resolute filtering of the bloody heroics of the age through the sensibilities of two women who are destroyed by them reveals the feminist perspective missing so conspicuously from her first novel. The lastest addition to the acclaimed Women Writers in English series, this glittering novel from Romanticism's premier woman storyteller belongs on the shelves of all serious readers of English fiction.

After Aphra Behn, Eliza Haywood was the most important woman novelist of the early eighteenth century. In the 1740s and 50s Haywood also edited several serial newspapers, the most important being The Female Spectator which appeared every month from April 1744 to May 1746 and was written with a markedly female audience in mind. The first modern periodical both written by a woman and addressed to a female audience, The Female Spectator takes up exciting themes found in Haywood's short fiction.