'Records of a Girlhood' is the riveting autobiography of Fanny Kemble, a British actress from a famous theater family who became a prominent writer and abolitionist in the 19th century. Her memoirs, poetry, and travel writing captivated readers, but it was her journal documenting the conditions of enslaved people on her husband's plantations in the Sea Islands that cemented her historical importance. Through her firsthand accounts and growing abolitionist sentiments, Kemble sheds light on the harsh realities of slavery and the moral imperative to end it.

This anthology brings together for the first time a collection of autobiographical accounts of their childhood by a range of prominent nineteenth-century literary women. These are strongly individualised descriptions by women who breached the cultural prohibitions against self writing, especially in the attention given to psychologically formative incidents and memories. Several offer detailed accounts of their inadequate schooling and their keen hunger for knowledge: others give new insights into the dynamics of Victorian family life, especially relationships with parents and siblings, the games they invented, and their sense of being misunderstood. Most contributors vividly describe their fears and fantasies, together with obsessive religious practices, and the development of an inner life as a survival strategy. This collection makes vital out-of-print material available to scholars working in the field of women’s autobiography, the history of childhood, and Victorian literature. The volume will also appeal to general readers interested in biography, autobiography, the history of family life, education, and women’s writing: read alongside Victorian women’s novels it offers an intriguing commentary on some of their key themes.

Through the innovative methodology of asking them to record their experiences on videotape, this book offers an evocative and fascinating cross-cultural exploration into the everyday lives of a number of teenage girls from their own broad social, cultural and ethnic perspectives. The use of the video camera by the girls themselves reveals their exploration and experimentation with possible identities, highlighting their awareness that the self is not ready made but rather constituted in the process of continuous performance. The result is an active self-conscious exploration of the continuous "art" of self-making. Through their play, the teenagers are shown to strategically test out various possibilities, while keeping such explorations within the bounds of what is acceptable and permissible in their own micro-cultural worlds. The resulting material challenges previous findings in those feminist and youth anthropological studies based on too narrow a concept of class, ethnicity or populist approaches to culture.