A guide to British women authors, their works, and the writing about them.

This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.

A wide-ranging, thematic survey of women's history in Britain in the 18th and early 19th centuries, with chapters written by both well-established writers and new and dynamic scholars in a thorough and well-balanced selection.

This collection discusses British and Irish life writings by women in the period 1700-1850. It argues for the importance of women's life writing as part of the culture and practice of eighteenth-century and Romantic auto/biography, exploring the complex relationships between constructions of femininity, life writing forms and models of authorship.

Until recently, history writing has been understood as a male enclave from which women were restricted, particularly prior to the 19th century. This work takes a look at British women writers and their contributions to historiography during the long 18th century. It asks why, rather than writing history that included their own sex, some women of this period chose to write the same kind of history as men -one that marginalized or excluded women altogether. But as Devoney Looser demonstrates, although British women's historically informed writings were not necessarily feminist or even female-focused, they were intimately involved in debates over and conversations about the genre of history.

This book contributes to the literary history of eighteenth-century women’s life writings, particularly those labeled “scandalous memoirs.” It examines how the evolution of this subgenre was shaped partially by several innovative memoirs that have received only modest critical attention. Breashears argues that Madame de La Touche’s Apologie and her friend Lady Vane’s Memoirs contributed to the crystallization of this sub-genre at mid-century, and that Lady Vane’s collaboration with Tobias Smollett in The Adventures of Peregrine Pickle resulted in a brilliant experiment in the relationship between gender and genre. It demonstrates that the Memoirs of Catherine Jemmat incorporated influential new strategies for self-justification in response to changing kinship priorities, and that Margaret Coghlan’s Memoirs introduced revolutionary themes that created a hybrid: the political scandalous memoir. This book will therefore appeal to scholars interested in life writing, women’s history, genre theory, and eighteenth-century British literature.

Patricia Comitini's study compels serious rethinking of how literature by women in the late-eighteenth and early-nineteenth centuries should be read. Beginning with a description of the ways in which evolving conceptions of philanthropy were foundational to constructions of class and gender roles, Comitini argues that these changes enabled a particular kind of feminine benevolence that was linked to women's work as writers. The term 'vocational philanthropy' is suggestive of the ways that women used their status as professional writers to instruct men and women in changing gender relations, and to educate the middling and laboring classes in their new roles during a socially and economically turbulent era. Examining works by Hannah More, Mary Wollstonecraft, Maria Edgeworth, and Dorothy Wordsworth, whose writing crosses generic, political, and social boundaries, Comitini shows how women from diverse backgrounds shared a commitment to philanthropy - fostering the love of mankind - and an interest in the social nature of literacy. Their writing fosters sentiments that they hoped would be shared between the sexes and among the classes in English society, forging new reading audiences among women and the lower classes. These writers and their writing exemplify the paradigm of vocational philanthropy, which gives people not money, but texts to read, in order to imagine societal improvement. The effect was to permit the emergence of middle-class values linking private notions of morality, family, and love to the public needs for good citizens, industrious laborers, and class consolidation.