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.
Editorial Introduction to "The Harlot's House"
Editorial Introduction to "The Harlot's House"
The Harlot's House
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Sartor Resartus
Thomas Carlyle once described Sartor Resartus as “a Satirical Extravaganza on Things in General,” and the book has both inspired and confounded readers since its initial publication in 1833-34. Engaging with philosophy, theology, political economy, aesthetics, history, and science, Sartor Resartus in many ways defies classification.