“The Original Journals of ‘Kitty’ Wilmot”: manufacturing women’s travel writing in the salon of Helen Maria Williams

This article discusses the implications of a previously unknown Romantic-period manuscript by Anglo-Irish traveler Katherine Wilmot (1773–1824). A later version of Wilmot’s epistolary travelogue of 1801–03 has been valued as an artifact of British experience abroad during the Peace of Amiens for its descriptions of Napoleonic Paris. Yet the newly discovered draft reveals a deeper assimilation within and sympathy towards the radical political and literary networks Wilmot documented, as well as a budding relationship with author and salonnière Helen Maria Williams that is occluded from the later narrative. This article examines the complex choices surrounding authorship for British women abroad in the period by considering a refused invitation that Wilmot submit writing to The English Press, the publishing venture of Williams and her companion John Hurford Stone. The article details Wilmot’s evolving writing in terms of Williams’s influence, outlining how British women travel writers reshaped their experiences to meet the expectations of readers at home while also considering the impact of sedition, gendered agency, and political affinity on the production and reception of their writing

The Brink of All We Hate: English Satires on Women, 1660–1750

“Is it not monstrous, that our Seducers should be our Accusers? Will they not employ Fraud, nay often Force to gain us? What various Arts, what Stratagems, what Wiles will they use for our Destruction? But that once accomplished, every opprobrious Term with which our Language so plentifully abounds, shall be bestowed on us, even by the very Villains who have wronged us”—Laetitia Pilkington, Memoirs (1748). In her scandalous Memoirs, Laetitia Pilkington spoke out against the English satires of the Restoration and eighteenth century, which employed “every opprobrious term” to chastise women. In The Brink of All We Hate, Felicity Nussbaum documents and groups those opprobrious terms in order to identify the conventions of the satires, to demonstrate how those conventions create a myth, to provide critical readings of poetic texts in the antifeminist tradition, and to draw some conclusions about the basic nature of satire. Nussbaum finds that the English tradition of antifeminist satire draws on a background that includes Hesiod, Horace, Ovid, and Juvenal, as well as the more modern French tradition of La Bruyere and Boileau and the late seventeenth-century English pamphlets by Gould, Fige, and Ames. The tradition was employed by the major figures of the golden age of satire—Samuel Butler, Dryden, Swift, Addison, and Pope. Examining the elements of the tradition of antifeminist satire and exploring its uses, from the most routine to the most artful, by the various poets, Nussbaum reveals a clearer context in which many poems of the Restoration and eighteenth century will be read anew. Felicity Nussbaum is professor of English at Syracuse University and has edited Three Seventeenth-Century Satires, The Plays of David Mallet, and An Annotated Bibliography of Twentieth-Century Critical Studies of Women and Literature, 1660-1800. Will appeal to Restoration and eighteenth-century scholars and to women\u27s studies faculty. . . . It will be the book on the subject for some time to come. —Shirley Strum Kennyhttps://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1047/thumbnail.jp

Reflections. Are We Global Yet? Africa and the Future of Early Modern Studies

For the past twenty years, early modern scholars have called for more scholarly attention to people and places outside of Europe. An impressive increase in literary research on non-European texts has resulted, and I describe positive aspects of this trend, using the MLA International Bibliography database. However, research on African-language literatures has declined since 2003 or has continued to flatline at nothing. A radical antiracist solution is needed, for no field can succeed with Africa as a lacuna. I call on all early modern scholars, regardless of their language knowledge, to cite at least one early modern African-language text in their next publication. I describe five such in this article, a tiny sample of the thousands of written texts that Black Africans across the continent composed in African languages before 1830. Asking early modern scholars to embrace the uncomfortable practice of “token citation” will enable these texts to circulate in the realm of knowledge and further efforts to diversify and broaden the field