The WPHP Monthly Mercury

One of the fields we include in our records for publishing, printing, and bookselling businesses in the WPHP—our firm records—is for the addresses where they operated. Sometimes this is straightforward: one individual working at one location for the duration of their career. Other times, however, it is decidedly less so. There are booksellers running multiple shops at the same time, printers moving locations every year or two for fifteen years, publishers working with various combinations of partners and at various addresses over a number of months and years, and any number of other complex business and address relationships that our data struggles to capture.Last fall, Kate worked with the WPHP address data for Dublin printer-publisher Alice Reilly—and the address data of the other printers, publishers, and booksellers she appeared in imprints with—to try and trace further material evidence of her labour. In theory, the project was simple and data-driven; in practice, it involved Kandice walking around Dublin filming a video and talking into her phone for an hour so Kate could see the streets she was studying, trying to establish where particular streets may have been located when the cityscape has shifted since the 1750s when Reilly was working, and ultimately had Kate thinking less about addresses and more about the embodiment of labour—Alice Reilly’s, Kandice’s, and her own.In episode 3 of season 4 of The WPHP Monthly Mercury, “Address-ing Firms,” join Kate and Kandice as they reflect on the realities of trying to capture this address information, including the decisions that they made for this particular work in 2018 (or was it 2017?) before they really knew what they were doing, what working with the address data for a research project looks like, and a thrilling audio glimpse of Kandice’s Alice-Reilly Dublin walk. 

Do you believe in ghosts? In this spirited (ha ha) Halloween episode, Kandice and Kate encounter a ghost of their very own in circulating library owner and author Mary Tuck’s Durston Castle; or, The Ghost of Eleonora (1804). Every year, in anticipation of October, we scour the WPHP for suitably spooky titles—previous Halloween episodes have featured badly behaved monks, rogue banditti, haunted castles, lost (and found!) parents, and pages upon pages of moralizing in the mountains (we’re looking at you, Catherine Cuthbertson’s four-volume Romance in the Pyrenees). Often satirical and rarely scary, these “Gothic” novels we share every year play out many of the tropes of the genre that we expect as readers, including explaining away anything supernatural. So when Kandice realized we might have a real ghost on our hands, well, we couldn’t resist—and a real ghost story demands an audience. Join our intrepid ghost-hunting hosts as they do a reading of Mary Tuck’s tale together and harken back to a common eighteenth-century practice: reading aloud with friends and family. Filled with horrified gasps at the actions of “sanguinous villains,” delighted laughter at descriptions of “brawny thighs,” and inquisitions about how practical it is, really, to throw yourself onto a bed to sleep in full chain mail, this episode engages in a practice of print culture past and reflects on the act itself as much as the spirited tale being shared. 

In August 2022, Kate and Kandice traveled to Liverpool for “New Romanticisms”: the joint conference for the British Association for Romantic Studies and the North American Society for the Study of Romanticism—BARS and NASSR, respectively. Our conference episode involved interviews with conference plenaries, organizers, award winners, and award facilitators, becoming what we've affectionately termed a truly Frankensteinian attempt to answer the question: What do New Romanticisms sound like?One answer is that it sounds like even more than what you first heard in our "It's Alive! The WPHP Monthly Mercury at New Romanticisms" episode. Our conversations with the conference plenaries were delightful, brilliant, generous, and wide-ranging, and there was no way for us to include all of the recorded material in one podcast episode of reasonable length. And so we bring you this: a series of bonus episodes containing our full interviews with Jennie Batchelor, Manu Samriti Chander, Noah Heringman, Patricia Matthew and Andrew McInnes, and Kirsteen McCue.This fifth (and final) bonus episode features our conversation with Kirsteen McCue. We spoke to her the day she presented her Stephen Copley Memorial Lecture, '"Melodys of Earth and Sky": The National Air and Romantic Lyric.'  Kirsteen McCue is Professor of Scottish Literature and Song Culture and the co-director of the Centre for Robert Burns Studies at the University of Glasgow. Most recently, she has edited the fourth volume of the Oxford Edition of the Works of Robert Burns: Robert Burns’s Songs for George Thomson (2021) and a collection of essays titled An Orkney Tapestry (2021).

In August 2022, Kate and Kandice traveled to Liverpool for “New Romanticisms”: the joint conference for the British Association for Romantic Studies and the North American Society for the Study of Romanticism—BARS and NASSR, respectively. Our conference episode involved interviews with conference plenaries, organizers, award winners, and award facilitators, becoming what we've affectionately termed a truly Frankensteinian attempt to answer the question: What do New Romanticisms sound like?One answer is that it sounds like even more than what you first heard in our "It's Alive! The WPHP Monthly Mercury at New Romanticisms" episode. Our conversations with the conference plenaries were delightful, brilliant, generous, and wide-ranging, and there was no way for us to include all of the recorded material in one podcast episode of reasonable length. And so we bring you this: a series of bonus episodes containing our full interviews with Jennie Batchelor, Manu Samriti Chander, Noah Heringman, Patricia Matthew and Andrew McInnes, and Kirsteen McCue.This episode is our conversation with Dr. Patricia Matthew, who gave the keynote "Confected Sentimentalism: Motherhood, Poetry, and Abolition," and Dr. Andrew McInnes, organizer of BARS/NASSR 2022: New Romanticisms. Patricia Matthew is an Associate Professor of English at Montclair State University. A founder of the Bigger Six collective, she is the author of Written/Unwritten: Diversity and the Hidden Truths of Tenure (2016). Andrew McInnes is a Reader in English Literature at Edge Hill University, the co-director of the EHU Nineteen research group at Edge Hill University, and the author of Wollstonecraft's Ghost: The Fate of the Female Philosopher in the Romantic Period. 

In August 2022, Kate and Kandice traveled to Liverpool for “New Romanticisms”: the joint conference for the British Association for Romantic Studies and the North American Society for the Study of Romanticism—BARS and NASSR, respectively. Our conference episode involved interviews with conference plenaries, organizers, award winners, and award facilitators, becoming what we've affectionately termed a truly Frankensteinian attempt to answer the question: What do New Romanticisms sound like?One answer is that it sounds like even more than what you first heard in our "It's Alive! The WPHP Monthly Mercury at New Romanticisms" episode. Our conversations with the conference plenaries were delightful, brilliant, generous, and wide-ranging, and there was no way for us to include all of the recorded material in one podcast episode of reasonable length. And so we bring you this: a series of bonus episodes containing our full interviews with Jennie Batchelor, Manu Samriti Chander, Noah Heringman, Patricia Matthew and Andrew McInnes, and Kirsteen McCue.This episode features our interview with Dr. Noah Heringman, who gave the final keynote at BARS/NASSR 2022, titled "Who has priority in deep time?" Noah Heringman is Curator’s Professor of English at the University of Missouri. He is the author of Romantic Rocks, Aesthetic Geology, Sciences of Antiquity: Romantic Antiquarianism, Natural History, and Knowledge Work, and, most recently, A Literary History of Deep Time, which came out in January 2023.

In August 2022, Kate and Kandice traveled to Liverpool for “New Romanticisms”: the joint conference for the British Association for Romantic Studies and the North American Society for the Study of Romanticism—BARS and NASSR, respectively. Our conference episode involved interviews with conference plenaries, organizers, award winners, and award facilitators, becoming what we've affectionately termed a truly Frankensteinian attempt to answer the question: What do New Romanticisms sound like?One answer is that it sounds like even more than what you first heard in our "It's Alive! The WPHP Monthly Mercury at New Romanticisms" episode. Our conversations with the conference plenaries were delightful, brilliant, generous, and wide-ranging, and there was no way for us to include all of the recorded material in one podcast episode of reasonable length. And so we bring you this: a series of bonus episodes containing our full interviews with Jennie Batchelor, Manu Samriti Chander, Noah Heringman, Patricia Matthew and Andrew McInnes, and Kirsteen McCue.This episode is an interview with Dr. Jennie Batchelor, whose keynote was the BARS Marilyn Butler Memorial Lecture titled “To Rescue from Oblivion what Might Have Been Forgotten: The Lady’s Magazine and the Remaking of Romantic Literary History.” Jennie Batchelor is Head of the Department of English and Related Literature and Professor of English at the University of York.Dr. Batchelor's most recent book, The Lady's Magazine (1770-1832) and the Making of Literary History, is available open access through the Edinburgh University Press website. 

In August 2022, Kate and Kandice traveled to Liverpool for “New Romanticisms”: the joint conference for the British Association for Romantic Studies and the North American Society for the Study of Romanticism—BARS and NASSR, respectively. Organized by Dr. Andrew McInnes and his incredible team of research assistants, “New Romanticisms” was a four-day Romanticist extravaganza with five plenaries, more than one hundred panels, the stunning environs of Edge Hill University, an ingenious coffee cart, and the occasional visit from Buster, the campus cat. The call for papers “invite[d] explorations of both the concept of newness in and about the Romantic period and new approaches to Romantic Studies today,” and the conference expressed an openness to ‘alternative’ and ‘innovative’ formats. This led us to wonder: could we create a live episode about the conference? After nine interviews, twelve months of editing, and thirty-five audio tracks (insert Kate sobbing here), the answer is yes—sort of. Stitching together interviews with conference plenaries, organizers, award winners, and award facilitators, this episode is a truly Frankensteinian attempt to answer the question: What do New Romanticisms sound like?FEATURING Jennie Batchelor, Roy Bayfield, Manu Samriti Chander, Chloe Dilworth, Noah Heringman, Diana Little, Carmen Faye Mathes, Patricia Matthew, Kirsteen McCue, Andrew McInnes, and Dana Moss.

What do the medieval period and the Romantic period have in common? Well, at the very least, badly behaved monks. In Episode 4 of Season 3 of The WPHP Monthly Mercury, hosts Kate Moffatt and Kandice Sharren team up with David Coley and Matt Hussey and their podcast, The Canterbury Fails, for our first-ever crossover episode. This is, in the words of our friends at The Canterbury Fails, "A late medieval music theory complaint and literally the best most bonkers depraved monk freak show mock-gothic novel paired with a gin-soaked tea (do re mi!) and repugnant Jolly Rancher retro-cocktail."The Canterbury Fails podcast is hosted by David Coley and Matt Hussey. If you'd like to hear more about little-read Old and Middle English poetry, you can find them on any reputable podcasting platform, including Apple Podcasts, Audible, and  Spotify.As always, links to relevant entries in the WPHP, information about our sources, and suggestions for further reading  can be found here : https://womensprinthistoryproject.com/blog/post/118

This August, the WPHP has been sharing the Spotlights that make up our newest Spotlight Series, “Down the Rabbit Hole: Researching Women in the Book Trades.” Over the course of the month, posts from Research Assistants Sara Penn, Julianna Wagar, Amanda Law, and, as of this coming Friday with the last post of the Series, Belle Eist, have focused on women who worked in the eighteenth- and nineteenth-century book trades. In this month’s episode, “Working for the (Wo)man”, you’ll hear from our Research Assistants themselves about their Spotlights and the women they researched: the feuding men and women of the Farley family of Bristol printers, the King’s and Queen’s Printer Agnes Campbell who began her career with her husband’s debt and by the time she died was the wealthy Lady Roseburn, the printer Jane Aitken, whose imprints tell a very different story than the life she lived, and Ann Vernor, the woman behind an imprint we’ve had in the WPHP for the last seven years while completely unaware that she was at its helm. We also feature a Spotlight about Anne Dodd, trade publisher, by WPHP Contributing Scholar Kate Ozment, which allows us to delve into our data model and its — you guessed it — limits. As always, links to relevant entries in the WPHP, information about our sources, and suggestions for further reading  can be found here: https://womensprinthistoryproject.com/blog/post/116

If you’ve ever taken an undergraduate English class on the Romantic period, you have probably encountered Mary Wollstonecraft, author of Vindication of the Rights of Woman. A widely read and controversial writer of political treatises, fiction, travel writing, and other works during her lifetime, she has been variously vilified and mythologized since her death in 1797, and has long been a staple in the literary canon. But can we ever really know Wollstonecraft?In the newest episode of The WPHP Monthly Mercury, hosts Kate Moffatt and Kandice Sharren are joined by Professor E.J. Clery, General Editor of a new edition of The Works of Mary Wollstonecraft, forthcoming from Oxford University Press. We consider not only her canonical works and her reputation as a philosophical “powerhouse,” as she is so often thought of, but also how myth can write historical figures larger than life—and as a result, sometimes obscure their lived reality. We delve into her life, both the highs and the lows, and how thinking about the ways in which many of the issues that afflicted Wollstonecraft, like precarious employment, labour, and challenges to women’s rights, are present in her writing. We think about how considering these challenges both for their own sake, and within the framework of her philosophy, can serve to humanize this massively influential Romantic figure.Guest:E.J. Clery is Chair Professor of English Literature at Uppsala University. Recent publications include Jane Austen: The Banker’s Sister, (Biteback Press, 2017), and Eighteen Hundred and Eleven: Poetry, Protest and Economic Crisis (Cambridge University Press, 2017), winner of the British Academy’s Rose Mary Crawshay Prize. Research for these publications was supported by a Leverhulme Trust major fellowship. She is currently working on A Very Short Introduction to Mary Wollstonecraft, a new paperback edition of Wollstonecraft’s fictions, and, as General Editor, the new Collected Works of Mary Wollstonecraft, forthcoming with Oxford University Press.If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/110  

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 episode of Season 3, Kandice dives into this tangled attribution chain, asking, which titles are attached to which? How many times? Who published them? What layers of influence do they reveal? Featuring audio from a podcast brainstorming session, this episode invites listeners behind-the-scenes and into the delightfully messy reality of research (and podcasting!) to kick off Season 3 of the WPHP Monthly Mercury.  If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/108

As we prepare to launch Season 3 of the The WPHP Monthly Mercury later this week, project director Michelle Levy takes a look back at Season 2. Putting it into conversation with Catherine D'Ignazio and Lauren F. Klein's Data Feminism (2020) and Katherine Bode's A World of Fiction: Digital Collections and the Future of Literary History (2018), Michelle thinks about the work our podcast has engaged in over the last year. 

Throughout the month of March, the WPHP  has been posting Spotlights about women philosophers in print in the WPHP as part of our Women & Philosophy Spotlight Series to celebrate Women’s History Month. Contributors to the series include research assistants Angela Wachowich, Belle Eist, Isabelle Burrows, Tammy T., and project director Michelle Levy, who wrote about the anonymous ‘Sophia, a Person of Quality,’ Margaret Cavendish, Harriet Martineau, Anna Letitia Barbauld, and Ann Williams.Finding women philosophers in the WPHP is not necessarily a straightforward task: we don’t include philosophy as a genre, as research assistant Angela Wachowich, organizer of the Series, discovered during some of her work on early feminist writing last year. Turning to Lisa Shapiro’s New Narratives Bibliography of Works by Women Philosophers of the Past, Angela identified a number of women philosophers who we do, indeed, have in the WPHP—but that she had to use the New Narratives Bibliography to find them illustrates how the WPHP data model does not (and cannot) render visible every genre. It also, however, demonstrates how digital humanities projects from different disciplines can speak to each other. And that is precisely what we did for this month’s episode: we invited Lisa Shapiro, director of the Extending New Narratives Partnership Project, to chat with us about women philosophers, the difficulty of genre, the narratives in entrenched canons (and the cross-disciplinary urge to name a canon), and the importance of discipline-specific recovery efforts.Lisa Shapiro is Professor of Philosophy at Simon Fraser University. Her research is focused on accounts of human nature in the 17th century, along two general tracks. She has been interested in the place of the passions in accounts of the relations of human beings to the world around them, and their understanding of that world. She is currently the Principal Investigator of the SSHRC-funded Extending New Narratives Partnership Project, which aims to retrieve philosophical works of women and individuals from other marginalized groups and sustain the presence of these figures in the history of philosophy, and part of that project includes the New Narratives Bibliography of Works by Women Philosophers of the Past. If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/105 

In July 2020, project lead Michelle Levy and lead editor Kandice Sharren attended a virtual workshop hosted by Amy Tims at the American Antiquarian Society titled “Searching the AAS Catalog: Keyword & Browse.” This workshop introduced them to the many specific and useful headings of the American Antiquarian Society catalog, including some that we were particularly excited for given that we see them in resources so rarely: “women as authors” and “women as publishers and printers.” In November 2021, the WPHP used these headings to import more than 6000 title records from the American Antiquarian Society. Our thrilling plunge into titles printed in the United States is something we’ve been anticipating, and started preparing for over the last two years: we added a ‘copyright statement’ field, for example, so that we could capture the copyright information located on the verso of the title page of many American titles. While our team of research assistants works diligently to clean up these imported records and make them available to the public, we have been starting to think about what having this data in the WPHP might tell us about the transatlantic reprinting of women’s writing during the eighteenth and nineteenth centuries. In the process, we have had to grapple with new questions about how to best represent American titles within our data model. Thankfully, WPHP contributing scholar Dr. Melissa J. Homestead came to our rescue!In Episode 9, “Transatlantic Trajectories,” hosts Kate Moffatt and Kandice Sharren introduce listeners to some of the joys and hiccups of the recent American import by way of a lively chat with Dr. Melissa J. Homestead about women’s American and transatlantic publishing. In it, we discuss transatlantic authors Susanna Rowson and Catharine Maria Sedgwick, as well as American copyright and its intricacies during the period, how studying book history in the eighteenth and nineteenth centuries can inform similar research in the twentieth, and the altar of chronology (with a special focus on Willa Cather and Edith Lewis, too!). Melissa J. Homestead is Professor of English and Program Faculty in Women’s & Gender Studies at the University of Nebraska-Lincoln. Having worked on authors from Susanna Rowson to Willa Cather, she considers her field to be American women’s writing, authorship, and publishing history of the very long nineteenth century. She is the author of American Women Authors and Literary Property, 1822-1869 (Cambridge University Press 2005) and The Only Wonderful Things: The Creative Partnership of Willa Cather and Edith Lewis (Oxford University Press 2021). She is Associate Editor of The Complete Letters of Willa Cather: A Digital Edition (ongoing), has collaborated on bibliographies of the works of Catharine Maria Sedgwick and E. D. E. N. Southworth, serves as President of the Catharine Maria Sedgwick Society, and is a member of the Board of Governors of the National Willa Cather Center. Cather expressed less than complimentary opinions in print about Southworth but, alas, she evidently never heard of Sedgwick. If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/96 

In 1803, Mary Hays published the six-volume work Female Biography, a substantial work of scholarship that relied on more than one hundred sources to write biographies about more than 300 hundred women. But how did Hays, a Dissenting writer of moderate means, access all of those books? To find out, we invited Dr. Timothy Whelan to talk all things Mary Hays, but especially her literary environs, which included relationships with Dissenting booksellers, connections with the Godwin circle, a number of the biggest and most successful circulating libraries of the time, including the Minerva Press and Hookham’s, and residences across London that were never more than a five-minute walk from a library or a bookshop. And we meander through London itself, where Dr. Whelan tracked more than just where Hays’ likely found her sources for her History: he mapped Hays’ residences, the residences of her large extended family, the booksellers and circulating libraries around her locations, Dissenting booksellers, and the chapels of Dissenters in London—a variety of networks that, as it turns out, are far more interwoven than one could have anticipated without the help of Dr. Whelan’s seven-by-seven foot map.Dr. Timothy Whelan is a Professor of English at Georgia Southern University. He works in the area of women’s studies and at the intersection of religion and literature in the lives of British and American Nonconformist women writers between 1650 and 1850, with a particular focus on various Romantic writers, both men and women, and their interaction with religious Dissent. He was the general editor for Pickering and Chatto’s eight-volume collection of Nonconformist Women Writers, 1720–1840, and some of his recent publications include an article in Publishing History called, “Mary Lewis and her Family of Printers and Booksellers, 1 Paternoster Row, 1749-1812” and an article in Women’s Writing called “Room[s] of her Own”: Libraries and Residences in the Later Career of Mary Hays, 1814–1828.” To learn more about his work on Mary Hays, you can visit his website https://www.maryhayslifewritingscorrespondence.com, and to learn more about his work on Non-Conformist women, including booksellers, visit his website https://www.nonconformistwomenwriters1650-1850.com/.If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/95

In Episode 7 of Season 2 of The WPHP Monthly Mercury, “The Business of Gossip,” hosts Kate and Kandice follow the highly successful Henry Colburn, leading publisher of fiction in the early nineteenth century, across his three main business addresses in London—and in so doing, explore how the publisher prompted, encouraged, and engaged with gossip. The subject of much gossip himself, Colburn’s origins are unknown (although rumoured to be noble), his less-savoury business practices are disparaged by his partners (with good reason), and his reputation, even into scholarship until very recently, is extremely poor. Drawing on research from John Sutherland and Veronica Melnyk, this episode explores the timeline of Colburn’s 47-year career and how, exactly, certain narratives about him were established, and have since been corrected. Featuring such authors as Sydney, Lady Morgan, Lady Caroline Lamb, and Letitia Elizabeth Landon, and such publishers and book trades members as Saunders and Otley, and Richard Bentley, we traipse through the landscape of Colburn’s publishing practice as it moved through London (and, briefly, Windsor), sharing what each new address wrought or signified for the publisher and what such considerations of business and gossip might tell us about the role of gossip in the book trades more generally. If you're interested in learning more about this topic, we've posted a blog post with links, resources, and suggestions for further reading on the WPHP site: https://womensprinthistoryproject.com/blog/post/93

In last October's episode, “Of Monks and Mountains!!!” Kate and Kandice each read a gothic novel found in the WPHP, and it was so much fun that we simply had to do it again. For Season 2, Episode 5, “The Witching Hour”, we read books about witches — almost every book that mentions witches in the title in the WPHP, in fact! (There are only five.)But within that small sample, we found a full spectrum of representations of witches and witchcraft, from the fantastical (and silly) woodland witches in Alethea Lewis’s The Nuns of the Desert (1805), to Joanna Baillie’s spine-tingling play, Witchcraft (1836), which is set against the backdrop of the Scottish witch hunt—and everything in between.Join us for the fifth episode of Season 2, “The Witching Hour,” to learn more about why we only found five titles, what those titles told us about the role of witchcraft in the eighteenth- and nineteenth-century cultural imagination, and (most importantly) which title we awarded the coveted label of “bonkers.” But be warned—recording this episode gave Kate nightmares.If you're interested in learning more about what we discussed in this episode, you can find resources and suggestions for further reading here: https://womensprinthistoryproject.com/blog/post/89 

In 1794, Ann Lemoine’s husband, Henry, who was an author and publisher, went to debtor’s prison—this led to their separation, and the following year, Ann Lemoine began her own publishing business in White Rose Court in London. Between 1795 and the early 1820s, it is estimated that Ann Lemoine published, printed, and sold more than 400 titles, and explored new and inventive ways of packaging and reselling the cheap print she was known for publishing: chapbooks. In this episode, hosts Kate and Kandice are joined by WPHP Research Assistant Sara Penn, who undertook entering the many titles Lemoine produced into the database and has become our resident Lemoine expert. We share some of Sara’s conversation with Dr. Roy Bearden-White, explore the history of the chapbook — including the difficulties of defining the term itself — and the significance of cheap print, the challenges of including it in the database, and chat about the labour involved in working with female publishers, printers, or booksellers, or forms of print that are lacking in bibliographical sources. You can find more resources and information about this episode, including a bibliography and suggestions for further reading, on the WPHP site: https://womensprinthistoryproject.com/blog/post/88 

Throughout the month of August, we’ve been sharing Spotlights on the WPHP site as part of the “Around the World with Six Women” Spotlight Series on travel writing. In this month’s episode, hosts Kate Moffatt and Kandice Sharren are joined by the authors of the Spotlight Series, who share what they have learned during their vicarious journeys through France, Italy, Germany, India, Chile, Rome, China, the Red Sea, and the Scottish Highlands. Along the route we touch on the stakes of travel writing in the eighteenth and nineteenth centuries, particularly in terms of British imperialism and colonial forces, and how considering these stakes can help us contextualize the genre. Our conversation also prompted us to consider the stakes of our own travel, now that the world is opening up and travel is once again becoming a possibility.You can find more resources and information about this episode, including a bibliography and suggestions for further reading, on the WPHP site: https://womensprinthistoryproject.com/blog/post/84 

In 2016, Dr. Kirstyn Leuner shared data from her project, The Stainforth Library of Women’s Writing, with the WPHP — in particular, the Virtual International Authority Files she and her team had attached to their person records. This month, she joins us to chat all things Stainforth, databases, and cataloguing, including the kinds of data her team has been working with and collecting, the project decisions that have had to be made along the way, the hidden and not-so-hidden gems the Stainforth catalogue contains, and the many commonalities our projects share in their efforts to recover women writers of the eighteenth and nineteenth centuries. Stainforth on!You can find more resources and information about this episode, including a bibliography and suggestions for further reading, on the WPHP site: https://womensprinthistoryproject.com/blog/post/80