Textual History and Contemporary Reception of Clemence Housman’s "The Were-Wolf"
Textual History and Contemporary Reception of Clemence Housman’s The Were-Wolf
Editorial Introduction to The Were-Wolf
Editorial Introduction to The Were-Wolf
“…the mode of existence of a literary work of art is fundamentally social.”
(McGann, A Critique of Modern Textual Criticism, 8)
Bibliography of Resources for Clemence Housman's The Were-Wolf
WORKS CITED in the Annotations and Essays for the COVE Were-Wolf Edition
“Atalanta.” Victorian Poetry, Poetics and Contexts. Edited by Alison Chapman, 2018.
Avis, Paul D. L. The Anglican Understanding of the Church: An Introduction. SPCK, 2013.
Barney, Stephen A, et.al. The Etymologies of Isidore of Seville. Cambridge UP, 2006, p. 225.
Teaching Time
Although I am a Victorianist, I started my graduate studies as a student of the Renaissance, working under A. C.
Editorial Introduction to the COVE Goblin Market Edition
Editorial Introduction to Goblin Market
Goblin Market
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The Were-Wolf
Clemence Housman invented her gothic story to entertain the women in her wood-engraving class in London in 1884. She first published "The Were-Wolf" in the 1890 Christmas number of Atalanta, where it was illustrated by Everard Hopkins. In 1896 she collaborated with her brother, Laurence Housman, to produce an illustrated edition of The Were-Wolf for John Lane at The Bodley Head. In addition to authoring the text, Clemence Housman wood-engraved the 6 illustrations, decorated title page, and illuminated initial designed by her brother, Laurence Housman.