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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":92713,"link":"http://womensbios.lib.virginia.edu","name":"Collective Biographies of Women","link_domain":"womensbios.lib.virginia.edu","icon":"//www.google.com/s2/u/0/favicons?domain=womensbios.lib.virginia.edu"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://virginia.academia.edu/AlisonBooth","location":"/AlisonBooth","scheme":"https","host":"virginia.academia.edu","port":null,"pathname":"/AlisonBooth","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-7158e1dd-0ba4-4a25-9632-473e49f3c531"></div> <div id="ProfileCheckPaperUpdate-react-component-7158e1dd-0ba4-4a25-9632-473e49f3c531"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Alison Booth" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/420205/108444/34919548/s200_alison.booth.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Alison Booth</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://virginia.academia.edu/">University of Virginia</a>, <a class="u-tcGrayDarker" href="https://virginia.academia.edu/Departments/English/Documents">English</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Alison" data-follow-user-id="420205" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="420205"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">242</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">100</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">8</p></div></a><a href="/AlisonBooth/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data">341</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Alison Booth, Professor of English at the University of Virginia, is Academic Director of the Scholars’ Lab in the Library. In her ongoing work in transatlantic Victorian studies, women’s history, and digital humanities, she has developed “mid-range reading” (a method of digital textual studies) and concepts of prosopography. Her digital project, Collective Biographies of Women, is based on her book, How to Make It as a Woman: Collective Biographical History from Victoria to the Present (U. Chicago, 2004). Booth’s other books include Homes and Haunts: Touring Writers’ Shrines and Countries (Oxford, 2016), and Greatness Engendered: George Eliot and Virginia Woolf (Cornell, 1992). Along with co-editing a PMLA special issue, “Varieties of Digital Humanities,” she is the editor of Famous Last Words: Changes in Gender and Narrative Closure and the Longman Cultural Edition of Wuthering Heights, and a co-editor of the Norton Introduction to Literature.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="420205">View All (22)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="420205" href="https://www.academia.edu/Documents/in/Critical_Theory"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://virginia.academia.edu/AlisonBooth","location":"/AlisonBooth","scheme":"https","host":"virginia.academia.edu","port":null,"pathname":"/AlisonBooth","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Critical Theory"]}" data-trace="false" data-dom-id="Pill-react-component-d3e132bb-126d-42dc-adc1-0332d1f488cd"></div> <div id="Pill-react-component-d3e132bb-126d-42dc-adc1-0332d1f488cd"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="420205" href="https://www.academia.edu/Documents/in/Gender"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Gender"]}" data-trace="false" data-dom-id="Pill-react-component-40be2993-ec9a-4bc9-aedf-d67556a415f3"></div> <div id="Pill-react-component-40be2993-ec9a-4bc9-aedf-d67556a415f3"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="420205" href="https://www.academia.edu/Documents/in/Gender_Studies"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Gender Studies"]}" data-trace="false" data-dom-id="Pill-react-component-c918dae5-a785-44d5-b93a-e1f4933da35b"></div> <div id="Pill-react-component-c918dae5-a785-44d5-b93a-e1f4933da35b"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="420205" href="https://www.academia.edu/Documents/in/English"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["English"]}" data-trace="false" data-dom-id="Pill-react-component-509e344c-cd7b-40bd-9d52-d7bcee847bd0"></div> <div id="Pill-react-component-509e344c-cd7b-40bd-9d52-d7bcee847bd0"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="420205" href="https://www.academia.edu/Documents/in/Digital_Humanities"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Digital Humanities"]}" data-trace="false" data-dom-id="Pill-react-component-9abfdf65-48f2-42af-b167-75ab693f2e8f"></div> <div id="Pill-react-component-9abfdf65-48f2-42af-b167-75ab693f2e8f"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="BoothCV2020April.pdf" data-placement="top" data-toggle="tooltip" href="/AlisonBooth/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; letter-spacing: 0.8px"><span class="ds2-5-text-link__content">CV</span></button></li><li><a class="ds2-5-text-link ds2-5-text-link--small" href="https://abooth.academia.edu/"><span class="ds2-5-text-link__content"><i class="fa fa-laptop"></i></span></a></li><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>50</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Drafts" data-toggle="tab" href="#drafts" role="tab" title="Drafts"><span>6</span> <span class="ds2-5-body-sm-bold">Drafts</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>1</span> <span class="ds2-5-body-sm-bold">Books</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Alison Booth</h3></div><div class="js-work-strip profile--work_container" data-work-id="106228251"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106228251/Only_Connect_Intertextuality_Circulation_and_Networks_in_Digital_Resources_for_Womens_Writing"><img alt="Research paper thumbnail of Only Connect!: Intertextuality, Circulation, and Networks in Digital Resources for Women's Writing" class="work-thumbnail" src="https://attachments.academia-assets.com/105479698/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106228251/Only_Connect_Intertextuality_Circulation_and_Networks_in_Digital_Resources_for_Womens_Writing">Only Connect!: Intertextuality, Circulation, and Networks in Digital Resources for Women's Writing</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b0b80ac3bfa073c264fd8cefc2f2e84e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105479698,"asset_id":106228251,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105479698/download_file?st=MTczMjc5NTY4MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106228251"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106228251"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106228251; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106228251]").text(description); $(".js-view-count[data-work-id=106228251]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106228251; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106228251']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 106228251, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106228211"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106228211/Introduction_The_Great_Woman_Writer_the_Canon_and_Feminist_Tradition"><img alt="Research paper thumbnail of Introduction: The Great Woman Writer, the Canon, and Feminist Tradition" class="work-thumbnail" src="https://attachments.academia-assets.com/105479679/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106228211/Introduction_The_Great_Woman_Writer_the_Canon_and_Feminist_Tradition">Introduction: The Great Woman Writer, the Canon, and Feminist Tradition</a></div><div class="wp-workCard_item"><span>Greatness Engendered</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0c81df56584bfac4cb54cff62f160e88" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105479679,"asset_id":106228211,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105479679/download_file?st=MTczMjc5NTY4MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106228211"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106228211"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106228211; 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[Woolf would ask] or, 'can there be Grand Old Women of literature, or only Grand Old Men? I think I shall prepare to be the Grand Old Woman of English letters. Or would you like to be?' /1 (317). It is a brief moment in a short memoir, possibly invented as a novelist invents dialogue. But the gloss on Woolf's relation to literary tradition is telling: Woolf, with mock solemnity as well as genuine skepticism about the notion of unique literary greatness, seems to acknowledge her peculiar role as the leading woman writer of her age. She had succeeded to the title that only George Eliot had won before her, that of the Grand Old Woman of English Letters. The title, as Woolf's remark suggests, was deeply ironic, since the grandeur or greatness seemed calibrated with the writer's ability to suppress the disqualification of womanhood. The female laureate might as well have been male, she had become so representative of the age. 1 Yet Macaulay's memoir constructs the kind of female literary tradition that has become so dear to feminist 1Such is the logic implied in T. S. Eliot's contribution to the same tribute; Woolf appears to belong to the masculine category of \"great writer.\" T. S. Eliot affirms that Woolf became \"the centre ... of the literary life of London,\" \"the symbol\" of the \"Victorian upper middle-class\" cultural tradition. T. S. Eliot dwells more on his own views than on Woolf herself (the memoir begins, \"It has only been under peculiar conditions that I have ever been able to interest myself in criticizing. .. contemporary writers\" [313)). 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Clarke and Charlotte Endymion Porter: Literary Criticism in Author Country a Century Ago</a></div><div class="wp-workCard_item"><span>Transatlantic Literature and Author Love in the Nineteenth Century</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alison Booth enriches the volume’s exploration of literary geographies with an examination of ‘au...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alison Booth enriches the volume’s exploration of literary geographies with an examination of ‘author country’ publications by Helen Archibald Clarke and the example of her partnership with Charlotte Endymion Porter as co-editors of the longstanding journal Poet-Lore. 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The late nineteenth century in Britain witnessed an explosion of printed life narratives, short or full-length, accompanied by an interest in preserving any objects or locations associated with cultural heroes. In her lifetime, it became widely acknowledged that the truth about someone's life should include personal details and private moments rather than polite generalizations, and that many kinds of lives were worth noting, not just those of eminent public figures. These realizations about the value of ordinary experience inspired Woolf as a novelist, to be sure. Yet it is also worth noting how much of what Woolf wrote consisted of non-fiction life writing or commentary on documented lives of the past. Woolf was the daughter and friend of biographers, and many of her writings, including novels, touch on life narrative, with a strong attraction to the revealing intimate detail. Striving to express physical experience, Woolf also evoked objects and places that shape lives. I shall pursue Woolf's life as a biographical writer who was at the same time a haunter of houses, her own and those that seemed alive with biographical meaning. Woolf's father, Leslie Stephen (1832-1904), was the founding editor of the Dictionary of National Biography, which ran to 63 volumes by 1900. Much of Woolf's writing can be regarded as biographical. In addition to a biography of her friend the art critic Roger Fry (1940), she produced satiric fictions, Orlando (1928) and Flush (1933), and a novel, Jacob's Room (1922), that in various ways dramatize the effort to recreate a life in words from fragmentary documents, objects, houses, and environment. Both father and daughter have had a profound influence on the understanding of Englishlanguage biography. Although it is often assumed that the exposure of intimate details A Companion to Virginia Woolf, First Edition. 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Whitman and Montez coincided in New York in 1852 and 1858, and published similar self-help books; the character takes up some aspects of the real woman's career, but serves a minor role in the novella. 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[Woolf would ask] or, 'can there be Grand Old Women of literature, or only Grand Old Men? I think I shall prepare to be the Grand Old Woman of English letters. Or would you like to be?' /1 (317). It is a brief moment in a short memoir, possibly invented as a novelist invents dialogue. But the gloss on Woolf's relation to literary tradition is telling: Woolf, with mock solemnity as well as genuine skepticism about the notion of unique literary greatness, seems to acknowledge her peculiar role as the leading woman writer of her age. She had succeeded to the title that only George Eliot had won before her, that of the Grand Old Woman of English Letters. The title, as Woolf's remark suggests, was deeply ironic, since the grandeur or greatness seemed calibrated with the writer's ability to suppress the disqualification of womanhood. The female laureate might as well have been male, she had become so representative of the age. 1 Yet Macaulay's memoir constructs the kind of female literary tradition that has become so dear to feminist 1Such is the logic implied in T. S. Eliot's contribution to the same tribute; Woolf appears to belong to the masculine category of \"great writer.\" T. S. Eliot affirms that Woolf became \"the centre ... of the literary life of London,\" \"the symbol\" of the \"Victorian upper middle-class\" cultural tradition. T. S. Eliot dwells more on his own views than on Woolf herself (the memoir begins, \"It has only been under peculiar conditions that I have ever been able to interest myself in criticizing. .. contemporary writers\" [313)). 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and proposes measures: change drinking laws; avoid segregating any space by identity; offer responsible parties. 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Clarke and Charlotte Endymion Porter: Literary Criticism in Author Country a Century Ago</a></div><div class="wp-workCard_item"><span>Transatlantic Literature and Author Love in the Nineteenth Century</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alison Booth enriches the volume’s exploration of literary geographies with an examination of ‘au...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alison Booth enriches the volume’s exploration of literary geographies with an examination of ‘author country’ publications by Helen Archibald Clarke and the example of her partnership with Charlotte Endymion Porter as co-editors of the longstanding journal Poet-Lore. 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taught in the UVA Engl...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The syllabus for a graduate course on &quot;Digital Literary Studies&quot; taught in the UVA English department. 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The late nineteenth century in Britain witnessed an explosion of printed life narratives, short or full-length, accompanied by an interest in preserving any objects or locations associated with cultural heroes. In her lifetime, it became widely acknowledged that the truth about someone's life should include personal details and private moments rather than polite generalizations, and that many kinds of lives were worth noting, not just those of eminent public figures. These realizations about the value of ordinary experience inspired Woolf as a novelist, to be sure. Yet it is also worth noting how much of what Woolf wrote consisted of non-fiction life writing or commentary on documented lives of the past. Woolf was the daughter and friend of biographers, and many of her writings, including novels, touch on life narrative, with a strong attraction to the revealing intimate detail. Striving to express physical experience, Woolf also evoked objects and places that shape lives. I shall pursue Woolf's life as a biographical writer who was at the same time a haunter of houses, her own and those that seemed alive with biographical meaning. Woolf's father, Leslie Stephen (1832-1904), was the founding editor of the Dictionary of National Biography, which ran to 63 volumes by 1900. Much of Woolf's writing can be regarded as biographical. In addition to a biography of her friend the art critic Roger Fry (1940), she produced satiric fictions, Orlando (1928) and Flush (1933), and a novel, Jacob's Room (1922), that in various ways dramatize the effort to recreate a life in words from fragmentary documents, objects, houses, and environment. Both father and daughter have had a profound influence on the understanding of Englishlanguage biography. Although it is often assumed that the exposure of intimate details A Companion to Virginia Woolf, First Edition. 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Whitman and Montez coincided in New York in 1852 and 1858, and published similar self-help books; the character takes up some aspects of the real woman's career, but serves a minor role in the novella. 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The copyedited essay will appear in the double special issue of NLH 53.4/54.1 (2023). Immense thanks to Ted Underwood and other editors for insightful editorial guidance through what had become a knot of interrelated things urgently needing to be said.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5dfdfb30dff2b5bf100fd11fb92f07e9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99337824,"asset_id":97818338,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99337824/download_file?st=MTczMjc5NTY4MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97818338"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97818338"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97818338; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97818338]").text(description); $(".js-view-count[data-work-id=97818338]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97818338; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97818338']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 97818338, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5dfdfb30dff2b5bf100fd11fb92f07e9" } } $('.js-work-strip[data-work-id=97818338]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97818338,"title":"But Why Always the Novel?: Mid-Range Reading Samples of Persons and Texts","translated_title":"","metadata":{"abstract":"Note: this is the final version submitted (December 2022) of an essay based on shared draft and symposium talk for the New Literary History project then entitled \"Critical Theory and Computational Method,\" edited by Richard Jean so, Laura McGrath, Ted Underwood, and Chad Wellmon. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97817543"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97817543/Useless_Digital_Humanities"><img alt="Research paper thumbnail of Useless (Digital) Humanities" class="work-thumbnail" src="https://attachments.academia-assets.com/99337212/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97817543/Useless_Digital_Humanities">Useless (Digital) Humanities</a></div><div class="wp-workCard_item"><span>Digital Futures of Graduate Study in the Humanities</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Note: this is the final manuscript version after peer review of an essay that began as a conferen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Note: this is the final manuscript version after peer review of an essay that began as a conference paper in 2019. 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Westover</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/SHARONESTES">SHARON ESTES</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://southernct.academia.edu/CharlesBaraw">Charles Baraw</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://virginia.academia.edu/AlisonBooth">Alison Booth</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/CharlesJRzepka">Charles J. Rzepka</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This collection on c19 transatlantic literary culture features arguments for recovering readers’ ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This collection on c19 transatlantic literary culture features arguments for recovering readers’ emotional engagements with books and their authors, reception geographies driven by those engagements rather than by strictly national imperatives, and historical understandings of Anglophone literature that include its messy, dynamic involvements with material culture and social life.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32778087"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32778087"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32778087; 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