The houses of writers are often places of both creation and inspiration, studio as much as home. This wonderful book takes readers into the intimacy of the homes of 20 great international figures--from Hemingway's simple, tropical world on Key West to the Connecticut Yankee home of Mark Twain to William Faulkner's Oxford plantation--to reveal their private worlds. 220 photos, 200 in color.

Fifty essays by pre-eminent living authors on the literary masters of Great Britain and Ireland. The texts represent some fascinating match-ups: Margaret Drabble on John Keats; P.D. James on Jane Austen. All the residences featured can be visited by the public today. Includes visiting information. 200 photos. Maps.

There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.

This innovative new book examines the ways in which writers’ houses contribute to the making of memory. It shows that houses built or inhabited by poets and novelists both reflect and construct the author’s private and artistic persona; it also demonstrates how this materialized process of self-fashioning is subsequently appropriated within various strategies and policies of cultural memory.

Why did writers' private homes become so linked to their work that contemporaries began preserving them as museums? Photojournalism and the Origins of the French Writer House Museum addresses this and other questions by providing an overview of the social forces that brought writers' homes to the forefront of the French imagination at the end of the nineteenth century and the beginning of the twentieth. This study analyzes representations of the apartments and houses of Corneille, Hugo, Balzac, Dumas, Sand, Zola, Loti, Montesquiou, Mallarm?and Proust, among others, arguing that the writer's home became a contested space and an important part of the French patrimony at this time. This is the first book to emphasize the house museum as an essentially modern construct, and to trace the history of ideas leading to its institutionalization in twentieth-century France. The interdisciplinary study also brings new attention to the importance of photojournalism for fin-de-si?e France - and brings to light fascinating and forgotten examples of 'at home' photography by Dornac and Henri Mairet. Elizabeth Emery provides a fresh and compelling perspective on conjunctions between visual, literary, and material cultures.

The interwoven biographies of Virginia Woolf and Vanessa Bell and the houses they lived in. What can we learn from a commemorative house? What biographical narratives emerge as we travel through the spaces of another's home? This new study unveils the revelatory potential of the house museum to inform and enrich our understanding of the lived past of its former inhabitants. It focuses on the emotionally textured interiors of Charleston and Monk's House, the literary/artistic house museums of Virginia Woolf and Vanessa Bell, seeking out traces of their shared biography.Fresh perspectives unfold on Woolf's and Bell's' sisterhood and their continuous artistic exchange, as we shadow their daily lives through the richly painted rooms and atmospheric gardens of their former Sussex homes. Discover these celebrated artists in a different light - animated, moving, handling the tools of their related arts and brought vividly to life through the tangible fabric of their past living.

The Author's Effects: On the Writer's House Museum is the first book to describe how the writer's house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologised through the conventions of the writer's house museum, The Author's Effects anatomises the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer's bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer's house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns' skull, Keats' hair, Petrarch's cat, Poe's raven, Brontë's bonnet, Dickinson's dress, Shakespeare's chair, Austen's desk, Woolf's spectacles, Hawthorne's window, Freud's mirror, Johnson's coffee-pot and Bulgakov's stove, amongst many others. It investigates houses within which nineteenth-century writers mythologised themselves and their work—Thoreau's cabin and Dumas' tower, Scott's Abbotsford and Irving's Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch's Arquà, Rousseau's Ile St Pierre, and Shakespeare's Stratford to find out what they thought and felt and did, discovering deep continuities with the redevelopment of Shakespeare's New Place for 2016.