During ten years of working on the Women’s Print History Project, we have thought seriously and often about “women’s book history.” What is it, and how do we define it in relation to the WPHP? As women working on the history of women’s book history, what does it feel like, and what do we have to offer? What ground has women’s book history trodden — and where is it going? And how can we contribute to a sustainable future for the field? As relatively new contributors to it, Kate and Kandice wer...
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During ten years of working on the Women’s Print History Project, we have thought seriously and often about “women’s book history.” What is it, and how do we define it in relation to the WPHP? As women working on the history of women’s book history, what does it feel like, and what do we have to offer? What ground has women’s book history trodden — and where is it going? And how can we contribute to a sustainable future for the field? As relatively new contributors to it, Kate and Kandice wer...
Our inaugural episodes of each season have thus far begun with beloved canonical authors: Jane Austen in Season One, Frances Burney in Season Two. This season, we’ve turned to an anonymous author—one whose identity is still a mystery. In 1808, The Woman of Colour was published, with its byline simply reading “By the author of "Light and Shade," "The Aunt and the Niece," "Ebersfield Abby", &c.” Those titles link to more titles, which link to more titles, which link to—! In this first episo...
The WPHP Monthly Mercury
During ten years of working on the Women’s Print History Project, we have thought seriously and often about “women’s book history.” What is it, and how do we define it in relation to the WPHP? As women working on the history of women’s book history, what does it feel like, and what do we have to offer? What ground has women’s book history trodden — and where is it going? And how can we contribute to a sustainable future for the field? As relatively new contributors to it, Kate and Kandice wer...
