Bucknell University Press

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Archives for March 2021

March 25, 2021 by Madison Weaver

Women’s History Month with Misty Krueger

Happy Women’s History Month! To celebrate, Bucknell University Press would like to share a few words from Misty Krueger, editor of Transatlantic Women Travelers, 1688-1843, followed by some of our own reading recommendations for learning about women’s lives throughout history. 

Transatlantic Women Travelers is an important new collection that brings fresh perspectives on representations of late seventeenth- through mid-nineteenth-century transatlantic women travelers across a range of historical and literary works. While at one time transatlantic studies concentrated predominantly on men’s travels, this volume highlights the resilience of women who ventured voluntarily and by force across the Atlantic—some seeking mobility, adventure, knowledge, wealth, and freedom, and others surviving subjugation, capture, and enslavement. 

Here’s more from our conversation with Misty Krueger: 

BUP: Where did the inspiration for Transatlantic Women Travelers, 1688-1843 come from? Why is the woman’s experience of transatlantic travels in particular an important area of study?

Krueger: Transatlantic Women Travelers, 1688-1843 was initially inspired by a course I designed in 2015 for the University of Maine at Farmington called “Transatlantic 18th-Century Women.” I focused on the lives and writings of and about (mostly) British and American women who traveled transatlantically during the “long” eighteenth century. After teaching the course two times and helping students find research for their essays, I realized that there was plenty of scholarship on transatlantic travel from this time period, but that almost all of it focused on male travelers. When female travelers were mentioned, they often appeared as characters written by male writers. The focus seemed to be placed on men, and women appeared to be on the fringes, or in the male gaze, even though my teaching was showing me that there were plenty of women writers who traveled transatlantically and wrote about either their own travels or fictionalized women’s transatlantic travels. On top of that, these women were amazing! The hardships most endured and the advantages some gained were impressive, to say the least, so why wasn’t there a monograph or collection of essays dedicated to transatlantic women’s travel, I asked. One day in class I said—half joking, half serious—maybe I should edit a collection on this topic.

I proposed a call for papers for a special Aphra Behn Society panel at the American Society for Eighteenth-Century Studies conference to see what kind of interest the call might generate, and I received more submissions than I could accommodate for the session. Not long afterwards I wrote a call for papers and contacted Bucknell University Press. I knew that this collection would be perfect for Bucknell because of its Transits series and its excellent reputation for publishing some of the best scholarly work in eighteenth-century studies.

BUP: Could you speak to intersectionality in the collection?

Krueger: One of the things I hoped to find when I received submissions from the call for papers was variety: variety of travelers, authors, texts, and nationalities. I hoped to be able to bring together eighteenth- and nineteenth-century authors from around the Atlantic Ocean, as well as to bring together scholars from different points on the Atlantic. In the end, this collection features women travelers from Africa, Europe, and all of the Americas, as well as the Caribbean. Scholars hail from Canada, England, and the U.S. 

I also hoped to put together a collection that would be intersectional in its broader representation of long eighteenth- and early nineteenth-century women’s lives. It was important to show the ways women’s lived experiences depended on not only their points of embarkation and arrival, but also the many facets of their identities. I was excited to receive essays addressing race, gender, sexuality, and class as composite factors that determine the advantages, disadvantages, privileges, and discrimination, Black, white, and multiracial women faced in this time period and why it is important to examine their narratives from an intersectional perspective. A number of essays demonstrate how these factors shape women’s lives, as well as the interconnected nature of women’s networks. 

In the end, this volume collects the writings of amazing women scholars, including the fantastic Eve Tavor Bannet, who wrote the afterword, and focuses on a variety of women’s lives and writings. 

BUP: From your own research or in editing the collection of essays, what is something new or surprising about these women and their narratives that sticks with you?

Krueger: I have been thinking about the women featured in this collection for so long now that this question is difficult to answer. I could say it’s their adaptability, but that’s not new or surprising to me. I could say it’s their mobility, but again not new or surprising. I could say it’s their sense of solidarity, even despite the social forces that pull them apart and tear them down, but that does not surprise me either. Instead, I want to focus on what sticks with me: their resilience. This is what amazes me most—just how resilient they were and still are. Transatlantic women travelers crossed the ocean for a range of reasons, some of which had to do with charting a new life and escaping the past, and many of which were decided by others, especially in the case of enslaved women and women forced to leave their homelands due to patriarchal directives. 

Simply put, crossing the Atlantic Ocean from the eighteenth through the early nineteenth century was dangerous. To survive this journey, for some more than once in a roundtrip and some in the cargo hold of a slave ship, was no small feat. To survive this journey as a woman is even more spectacular. I am in awe of how the historical women featured in this collection managed this travel by sea and then land, and how writers of this era found ways to fictionalize women’s transatlantic journeys in order to make compelling arguments about women’s lives and their functions in their respective societies. This collection is dear to my heart because it reflects women’s strength and ability to persevere through the toughest times.


For more work on women’s history and lives, check out these other books from Bucknell University Press.

Intelligent Souls?: Feminist Orientalism in Eighteenth-Century English Literature

by Samara Anne Cahill

Intelligent Souls? offers a new understanding of Islam in eighteenth-century Britain. Cahill explores two overlapping strands of thinking about women and Islam, which produce the phenomenon of “feminist orientalism.” One strand describes seventeenth-century ideas about the nature of the soul used to denigrate religio-political opponents. A second tracks the transference of these ideas to Islam during the Glorious Revolution and the Trinitarian controversy of the 1690s. Rowe, Carter, Lennox, More, and Wollstonecraft, Cahill argues, established common ground with men by leveraging the “otherness” identified with Islam to dispute British culture’s assumption that British women were lacking in intelligence, selfhood, or professional abilities.

Don’t Whisper Too Much and Portrait of a Young Artiste from Bona Mbella

by Frieda Ekotto

Don’t Whisper Too Much was the first work of fiction by an African writer to present love stories between African women in a positive light. Bona Mbella is the second. In presenting the emotional and romantic lives of gay, African women, Ekotto comments upon larger issues that affect these women, including Africa as a post-colonial space, the circulation of knowledge, and the question of who writes history. In recounting the beauty and complexity of relationships between women who love women, Ekotto inscribes these stories within African history, both past and present. 

Jane Austen and Comedy

Edited by Erin M. Goss

Jane Austen and Comedy takes for granted two related notions. First, Jane Austen’s books are funny; they induce laughter, and that laughter is worth attending to for a variety of reasons. Second, Jane Austen’s books are comedies, understandable both through the generic form that ends in marriage after the potential hilarity of romantic adversity and through a more general promise of wish fulfillment. In bringing together Austen and comedy, which are both often dismissed as superfluous or irrelevant to a contemporary world, this collection of essays directs attention to the ways we laugh, the ways that Austen may make us do so, and the ways that our laughter is conditioned by the form in which Austen writes: comedy. 

Writing Home: A Quaker Immigrant on the Ohio Frontier

by Emma Alderson, edited by Donald Ingram Ulin

Writing Home offers readers a firsthand account of the life of Emma Alderson, an otherwise unexceptional English immigrant on the Ohio frontier in mid-nineteenth-century America, who documented the five years preceding her death with astonishing detail and insight. Her convictions as a Quaker offer unique perspectives on racism, slavery, and abolition; the impending war with Mexico; presidential elections; various religious and utopian movements; and the practices of everyday life in a young country. Introductions and notes situate the letters in relation to their critical, biographical, literary, and historical contexts.

Modern Spanish Women as Agents of Change: Essays in Honor of Maryellen Bieder

Edited by Jennifer Smith

This volume brings together cutting-edge research on modern Spanish women as writers, activists, and embodiments of cultural change, and simultaneously honors Maryellen Bieder’s invaluable scholarly contribution to the field. The essays are innovative in their consideration of lesser-known women writers, focus on women as political activists, and use of post-colonialism, queer theory, and spatial theory to examine the period from the Enlightenment until World War II. Canonical authors such as Emilia Pardo Bazán, Leopoldo Alas “Clarín,” and Carmen de Burgos are considered alongside lesser known writers and activists such as María Rosa Gálvez, Sofía Tartilán, and Caterina Albert i Paradís. 

Filed Under: Uncategorized

March 18, 2021 by Madison Weaver

New Series Editor for Contemporary Irish Writers: Speaking with Anne Fogarty

Bucknell University Press is honored to announce the appointment of Anne Fogarty as the new general editor of our Contemporary Irish Writers series. Fogarty is Full Professor of James Joyce Studies in the School of English, Drama, and Film at University College Dublin.

The Contemporary Irish Writers series, with recent publications on Medbh McGuckian, Eavan Boland, John Banville, and Bernard MacLaverty, has long brought theoretically informed perspectives to the work and lives of major Irish writers

Under Fogarty’s leadership, the series will welcome projects that pay particular attention to feminist issues, the environmental humanities, the perspectives of migrants in Irish society, nationalism and transnationalism, Northern Ireland and its writers, the Irish language, and the lively and often genre-crossing fiction, poetry, drama, and film of contemporary Ireland.

The first planned volumes in development under Professor Fogarty’s editorship include a reconsideration of the later novels of Edna O’Brien, and a cultural study of Seamus Heaney’s American years. 

Here, we talk with Fogarty about her vision for the series and the changing landscape of Irish literary studies.

BUP: The Contemporary Irish Writers series considers how both larger frameworks and the major figures of Irish studies are being rethought. What does this reframing mean to you?

Fogarty: Like every other sector of literary studies, the aims and objectives of Irish Studies are currently being reconsidered in light of a host of contemporary concerns. Inclusivity and diversity have become bigger priorities than ever. Discrimination in other areas is mirrored in our reading agendas. Encompassing more work by writers of color, women, working class writers, LGBT authors and immigrant writers not alone allows more voices to be heard it also enriches our vision of the world and enables a more active understanding of difference and of a variety of experiences of the world.

BUP: Why is now the time to renew and expand the Contemporary Irish Writers series? In what ways can the series meet the contemporary moment in culture and scholarship? What recent trends, interests, or changes stand out?

Fogarty: Contemporary studies have only recently been recognized as a discrete area of inquiry. The contemporary, moreover, covers not just very recent publications but also work that stretches back over the past few decades.  In Ireland, as elsewhere there has been an explosion of new writing and readers now have many more genres by Irish authors from which to choose, including detective novels, non-fiction, science fiction, collections of essays,  and writing for young adults.   Established twentieth-century writers continue to produce apace, Anne Enright, Roddy Doyle, Colm Tóibín, Conor McPherson, Glenn Patterson, Deirdre Madden, Marina Carr, Edna O’Brien, Vona Groarke, Joseph O’Connor, and Paula Meehan. We need to continue to take stock of their work but also to explore how our current preoccupations are mirrored and reflected on in their texts. The most urgent issues besetting us all center on the building of a society that is more equitable and more welcoming of diversity and rescuing the planet from the effects of climate change before it becomes too late. Bringing perspectives from feminism, queer studies and race studies, and ecocriticism to bear on the reading of Irish texts is at once illuminating, involving, and politically and culturally vital.

BUP: Bucknell University Press’s original Irish Writers Series began in the 1970s as a way to promote writers whose works warrant monographic exposure, covering writers including Sean O’Casey, James Clarence Mangan, Standish O’Grady, W.R. Rogers, and Thomas Davis. This series was reinvigorated in 2009 as the Contemporary Irish Writers Series to consider the vigorous shifts in Irish studies. Considering this history, how does your vision perhaps differ from the existing publications in the series?

Fogarty: It’s clear that Irish Writers Series reflect the moment in which they are conceived. The original series pivots on the literary revival and is dismayingly but unsurprisingly male-centered. But it does range across a wide array of genres and is prepared to shine a spotlight on figures who are more marginal and would be overlooked today. My vision for the new series of Contemporary Irish Writers is that it will be inclusive, risk-taking, and open. It will also I hope be pre-emptive in being unafraid to give space to a current author before they have faded into hallowed memory or have to be rescued from oblivion. It will aim to provide approachable overviews of chosen writers but also to interrogate their work from a variety of perspectives.

BUP: Can you offer any thoughts on the format of the series? What do you hope will make this series unique in Irish studies?

Fogarty: There is still a paucity of monographs on leading Irish writers and none at all on certain writers who command a wide readership. This series will be unique in furnishing studies of well-known authors but also up-and-coming writers captured at a significant moment in their careers. In primarily sponsoring monographic investigations of writers, it will consolidate and widen the canon of Irish writers but also question whether fixed canons serve any purpose. The series will connect with the Irish works taught in university classrooms around the world such as Brooklyn, The Gathering, The Country Girls, Portia Coughlan, Translations, and North, but also consider a broad array of authors from Tana French to John Banville and Donal Ryan to Jan Carson.

BUP: Could you briefly describe some of your own scholarly work and interests? 

Fogarty: I trained as an early modern scholar and entered that field when it was being entirely rethought by new historicist, postcolonial, and feminist critics in the late 1980s. This has marked all my subsequent work, even though I am now a Joyce scholar and also have broad interests in Irish Studies.  My publications on Joyce have centered on historicist approaches to his work which draw out the revolutionary aspects and material embeddedness of his writing.  I have edited special issues of journals on Spenser in Ireland, Lady Gregory, Irish Women Novelists, Eiléan Ní Chuilleanáin, and Benedict Kiely.  I have written especially about women writers, including  Eavan Boland, Lady Gregory, Mary Lavin, Éilís Ní Dhuibhne, Mary O’Donnell, Kate O’Brien, Elizabeth Bowen, Eimear McBride, and Sara Baume, but have also published essays on Colum McCann and Frank McGuinness.  I am currently editing a collection of essays on Flann O’Brien, writing an essay on Joyce and the eighteenth-century epistolary novel, and have co-edited with Marisol Morales-Ladrón the first collection of essays on the Irish novelist Deirdre Madden which is forthcoming from Manchester University Press. 


Anne Fogarty is Professor of James Joyce Studies at University College Dublin and founder and co-editor with Luca Crispi of the Dublin James Joyce Journal. She has written widely on aspects of twentieth century and contemporary Irish writing, including on Eavan Boland, Colum McCann, Colm Tóibín, Mary Lavin, Roddy Doyle, Eimear McBride, Frank McGuinness, and Emma Donoghue.

Those interested in the origins of the Contemporary Irish Writers series and its predecessor, the Irish Writers Series, might enjoy this post.

Filed Under: Uncategorized

March 9, 2021 by Pamelia Dailey

Continued praise for Satire, Celebrity, and Politics in Jane Austen by Jocelyn Harris

Jocelyn Harris’s new book, Satire, Celebrity, and Politics in Jane Austen, continues to receive high accolades. Read on for praise of the recent Bucknell Press publication.

Please follow this link to a page where you can purchase Jocelyn Harris’s new book:
https://rowman.com/ISBN/9781611488395/Satire-Celebrity-and-Politics-in-Jane-Austen

In Satire, Celebrity, and Politics in Jane Austen, Jocelyn Harris argues that Jane Austen was a satirist, a celebrity-watcher, and a keen political observer. In Mansfield Park, she appears to base Fanny Price on Fanny Burney, criticize the royal heir as unfit to rule, and expose Susan Burney’s cruel husband through Mr. Price. In Northanger Abbey, she satirizes the young Prince of Wales as the vulgar John Thorpe; in Persuasion, she attacks both the regent’s failure to retrench, and his dangerous desire to become another Sun King. For Elizabeth Bennet in Pride and Prejudice, Austen may draw on the actress Dorothy Jordan, mistress of the pro-slavery Duke of Clarence, while her West Indian heiress in Sanditonmay allude to Sara Baartman, who was exhibited in Paris and London as “The Hottentot Venus,” and adopted as a test case by the abolitionists. Thoroughly researched and elegantly written, this new book by Jocelyn Harris contributes significantly to the growing literature about Austen’s worldiness by presenting a highly particularized web of facts, people, texts, and issues vital to her historical moment.

REVIEWS

“[Jocelyn Harris is a giant who looms] large in the landscape of Austen scholarship…. [Satire, Celebrity, and Politics in Jane Austen positions] Austen as a writer of political import…because she commented incisively on the corruption of national leaders in her own day…. [These] chapters raise the important question of whether women’s celebrity, including Austen’s own, is received differently from men’s by the public.”
—Tulsa Studies in Women’s Literature (Fall 2020)

“Harris’s monograph represents the crowning achievement of a career devoted to placing Austen’s novels in rich historical context…. In her newest book, Harris presents Austen as much more keenly aware of politics and celebrity figures—from bestselling novelists to the royal family—than has hitherto been recognized…. To re-encounter Austen’s works through the eyes of a scholar as knowledgeable as Harris is a bracing experience. She establishes with admirable thoroughness the degree of likelihood of every possible influence and parallel that she delineates. And she acknowledges scrupulously how her ideas intersect with and build on those of fellow scholars. The result is a master class in scholarly thinking and research.”
—European Romantic Review (2019)

“Ultimately, this book has much to teach Austen enthusiasts and scholars, as well as general readers interested in British literature, European history, and women’s studies…. Harris’s study provides a fascinating comparative narrative that illuminates Austen’s works in light of the events and lives of famous people from her time. Harris’ book fully captures the gamut of Austen’s life as well as her works, for it offers us an opportunity to expand our thinking on all of Austen’s writings —from her juvenilia up to her last piece of writing, her verses on Winchester. The result is a fresh way of seeing Austen as a flexible writer, editor, and reviser who taps into current events and furtively—and satirically—tucks them into her tales.”
—Early Modern Women: An Interdisciplinary Journal (Spring 2020)

“Jane Austen has changed a lot in the past couple of decades. Not many scholars (and hopefully fewer and fewer readers) attach much credence to the image of the retired spinster, marooned in villages and rectories in the backwaters of Hampshire, but equally not many have tried to alter our perception of Austen quite as dramatically as Jocelyn Harris does in this remarkable book…. In all of her arguments, Harris uses painstaking research to connect [then-current] events to Austen, her movements and her letters, to show why they might have worked their way into the fiction…. By the end, we are presented with two Austens: one removed from the world of contemporary events and aspiring to some higher, universal plane, and one embracing current affairs, satire, and celebrity. There is, as Harris admits, no way of knowing which is right, and the ‘truth’ will in all probability lie somewhere between the two, but no one who reads this scholarly, meticulous book will ever discount the possibility that a very different Austen lies beneath the official family portrait.”
—The Cambridge Quarterly (2019)

“Harris is well established as a guide to the wider thought-world of the author…. In her latest book her expertise and questing curiosity are brought to bear on a set of themes that have not generally been associated with Austen.”
—Emma Clery, University of Southampton; Times Literary Supplement (February 2018)

“New Zealand academic Jocelyn Harris’s excellent Satire, Celebrity and Politics in Jane Austen published early this year shows what a keen political observer Austen was, and how her interest in the celebrities of the day, such as actress Dorothea Jordan and Sara Baartman (an African woman with very large buttocks who was exhibited in English freak shows as “the Hottentot Venus”), influenced and inspired characters in Austen’s fiction.”
—Susannah Fullerton; The Australian (July 2017)

“[T]his is a wonderfully rich and convincing presentation of much new material. Summing Up: Highly recommended. Lower-division undergraduates and above.
—CHOICE

“This book is an enjoyable one for anyone who has read Austen’s novels or watched productions of them on television…. Jocelyn Harris is an excellent writer. For an academic study, the usual jargon and allusions to various post-modern theories are happily absent in this book. It is packed with detail and citations. It’s is valuable for Cook enthusiasts because of its chapter on Molesworth Phillips, and the broader considerations surrounding the death of Captain Cook.”
—Cook’s Log

“Satire, Celebrity, and Politics is unfailingly fascinating in its dissection of Jane Austen, the satirist, and the text is enhanced by a well-chosen selection of contemporary portraits and gloriously scurrilous cartoons. The ‘stories behind the stories’ always make for an interesting read and Harris has produced a book that will be read with great pleasure by academics and devoted readers alike.”
—Jane Austen’s Regency World

“Burney scholars will find Jocelyn Harris’s latest book Satire, Celebrity, and Politics in Jane Austen an enriching read.… [It] responds to, and expands upon, the work of critics who have demonstrated that Austen was so much more than the domestic, apolitical novelist her family portrayed her to be.… Harris reinforces the image of Austen as a well-informed and sharp-minded woman who was seriously engaged with the socio-political issues of the day…. With a keen eye for detail, Harris exposes the subtle connections between the unrestrained, public laughter surrounding such figures and the more restrained, oblique laughter in the novels, thereby deepening our understanding of Austen’s skill for sature in the process.”
—Elles Smallgoor, Burney Newsletter

“Jocelyn Harris’s book, which reflects on the ways in which Jane Austen’s work may have been influenced by what she knew about certain celebrities of her time, is a pleasant and accessible read…. On the whole…I would emphasise the thorough research into the socio-historical context that has gone into this book, and which makes it of interest to anyone who would like to know more of current events during Austen’s lifetime.”
—Rita J. Dashwood, The Jane Austen Society (Spring 2018)

“In Satire, Celebrity, and Politics in Jane Austen, University of Otago Emeritus Professor Jocelyn Harris approaches Austen in terms of the world in which she lived, using what is known of everything from her social networks to contemporary media portrayals of prominent figures, to argue that her novels are much more than mere domestic dramas…. Although primarily an academic text, Satire, Celebrity, and Politics has much of interest here for the lay reader too. The glimpses it offers into regency England and diversions into topics as diverse as the disputed accounts of Cook’s death and the misbehavior of the Prince Regent are as interesting as the primary analysis…. [Harris’s formidable thesis] is standing its ground in the fierce world of Austen scholarship.”
—Cushla McKinney, The Otago Daily Times (July 2018)

“Harris’s impressive new book, Satire, Celebrity, and Politics in Jane Austen (2017), builds on the work of her pioneering 1989 study, deepening our sense of what Austen may have been up to in crafting her novels…. Harris’s well-written, deeply researched, and timely book has a great deal to offer…. It is difficult to find any scholarship on these subjects that is simultaneously attentive to Austen’s fiction, to the history of theory and criticism, and to the minutiae of Austen family history and biography. Harris weaves all of these kinds of evidence and arguments together to great effect…. For years to come, readers and critics will be weighing the massive number of new insights in this book, troubling through their implications for our future readings of Austen, politics, history, and popular culture.”
—Devoney Looser, Arizona State University

“Last year’s bicentenary commemoration of the death of Jane Austen has given her readers many reasons for celebration. This book is one of them…. Jocelyn Harris in this careful, enthusiastic and learned book shows how Jane Austen achieves vision through observation and creates a new and distinctive world from a recognisable world.”
—Tony Voss, Jane Austen Society of Australia

“Jocelyn Harris has studied the influences on Jane Austen’s writing for a long time…. [Her] thoroughness and detailed and intriguing analysis are exceptional. The text is dense. Her sleuth work is incredible and includes compelling evidence…. The twenty-first century student of Jane Austen will never read her in the same way after reflecting on Jocelyn Harris’s latest book.”
—Sylvia Kasey Marks, NYU Tandon School of Engineering

“Like most members of JASNA, I think that I know Jane Austen, but after reading Jocelyn Harris’s latest book, I’m not so sure…. For many readers…Jane Austen is isolated, safely removed from controversies of personality or politics. Jocelyn Harris overturns that view of Jane Austen and demonstrates just how connected the author was to her contemporary scene. Harris’s work…will prompt scholars to penetrate deeper into her suggested connections.”
—David Wheeler, JASNA News

“Throughout Satire, Celebrity, and Politics, we are thoroughly persuaded of Harris’s main argument that Austen ‘was a politician, in the former sense of a person keenly interested in practical politics….’ [Harris conducted] capacious research.”
—Melissa Rampelli, Holy Family University

“Harris’s thoroughness and detailed and intriguing analysis are exceptional…. Her sleuth work is incredible…. The twenty-first century student of Jane Austen will never read her in the same way.”
—Sylvia Kasey Marks, NYU Tandon School of Engineering, The Eighteenth-Century Intelligencer (March 2019)

“Harris’ book offers a fascinating study of Austen’s engagement with the cult of celebrity of her time.”
—Jennifer Golightly, Colorado College, Restoration and Eighteenth-Century Theatre Research (Winter 2016)

Filed Under: Author profiles, Uncategorized

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