This volume examines the author's family, and their history as early settlers of New England (one ancestor, John Howland, was a deckhand aboard the Mayflower). Denny's photographs of the women in her family have a watchful quality, as if she is defining for herself what it means to be a woman.

This thesis insists upon the continued relevance - and urgency - of the conversation surrounding femininity as a construct, and asserts that women themselves have a responsibility to recognize those pernicious definitions of virtue that have long preoccupied us, and relinquish them for good.

In Ways of Wisdom, Jean Friedman traces how Jacob Mordecai and his family, German American Orthodox Jews, adopted the Anglo-Irish enlightened pedagogical system developed by Richard Lovell Edgeworth and his daughter Maria. In 1808 Mordecai founded the Warrenton Female Academy on the enlightened principles described in the Edgeworths’ guide, Practical Education, and he enlisted family members to teach and manage the school. Rachel Mordecai, inspired by her father’s progressive methods, initiated an Edgeworthian experiment in home education on her young stepsister, Eliza. Rachel’s diary, reproduced in full in Ways of Wisdom, chronicles the moral instruction of Eliza. While retaining the traditional didacticism of wisdom literature, the diary also describes Eliza’s resistance to enlightened discipline and method. Friedman’s case study bears particular importance for scholars as it qualifies and enriches our understanding of the American Enlightenment as an amalgam of religious and ethnic assumptions rather than a universal acceptance of Liberalism or Republicanism. Ways of Wisdom also offers an illuminating reinterpretation of “Republican Motherhood” as a culturally diverse and politically complicated domestic paradigm.

'A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.' EVENING STANDARD 'The great virtue of Lloyd Malcolm's speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.' GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.

In a famous passage in A Room of One's Own, Virginia Woolf asked 'why women did not write poetry in the Elizabethan age'. She went on to speculate about an imaginary Judith Shakespeare who might have been destined for a career as illustrious as that of her brother William, except that she had none of his chances. The truth is that many women wrote during the sixteenth and seventeenth centuries and this collection will serve to introduce modern readers to the full variety of women's writing in this period - from poems, prose and fiction to prophecies, letters, tracts and philosophy. Here are examples of the work of twelve women writers, from aristocrats such as Mary Wroth, Anne Clifford and Margaret Cavendish to women of obscure background caught up in the religious ferment of the mid seventeenth century like Hester Biddle, Pricscilla Cotton and Mary Cole. The collection includes three plays, and a generous selection of poetry, letters, diary, prose fiction, religious polemic, prophecy and science. - ;In a famous passage in A Room of One's Own, Virginia Woolf asked 'why women did not write poetry in the Elizabethan age'. She went on to speculate about an imaginary Judith Shakespeare who might have been destined for a career as illustrious as that of her brother William, except that she had none of his chances. The truth is that many women wrote during the sixteenth and seventeenth centuries and this collection will serve to introduce modern readers to the full variety of women's writing in this period from poems, prose and fiction to prophecies, letters, tracts and philosophy. The collection begins with the poetry of Isabella Whitney, who worked in a gentlewoman's household in London in the late 1560s, and ends with Aphra Behn who was employed as a spy in Amsterdam by Charles II. Here are examples of the work of twelve women writers, allowing the reader to sample the diverse and lively output of all classes and opinions, from artistcrats such as Mary Wroth, Anne Clifford and Margaret Cavendish to women of obscure background caught up in the religious ferment of the mid seventeenth century like Hester Biddle, Pricscilla Cotton and Mary Cole. The collection includes three plays, and a generous selection of poetry, letters, diary, prose fiction, religious polemic, prohecy and scienticficic speculation, offering the reader the possibilility of tracing patterns through the works collected and some sense of historical shifts and changes. All the extracts are edited afresh from original sources and the anthology includes comprehensive notes, both explanatory and textual. -