The publication of Volumes III and IV of Shelley and His Circle under the editorial auspices of Kenneth Neill Cameron makes available a further portion of the Shelley manuscript materials in the Carl H. Pforzheimer Library. These two volumes continue in the format and style of Volumes I and II, which received the critical acclaim of, among others, John Ciardi, who lauded Cameron and his contributing editors for rescuing "the material from felonious footnotery primarily by enclosing it in a continuous narrative that contains detailed introductions to each of the characters of the circle, and a general background of their relationships and of the times." Volumes III and IV progress chronologically through Shelley's life, beginning with the early years of Shelley's marriage to Harriet Westbrook, where Volume II ended, and concluding with her suicide. Among the manuscripts are twelve letters and literary pieces by Byron including the first of his "separation" poem "Fare Thee Well," the expanded 1814 journal of Claire Clairmont, the curious triangular correspondence of Shelley, Mary Godwin, and Thomas Jefferson Hogg, Shelley's annotated copy of Queen Mab, and the suicide letter Harriet Shelley wrote a few hours before she drowned in the Serpentine. A number of maps especially prepared for this edition and other supplementary illustrations enhance the impeccable scholarship of these volumes which, with the projected publication of the remaining materials, will present a half century of interconnected biographies and will suggest the literary and intellectual tenor of the Romantic era. The Pforzheimer collection, exceeded only by that at the Bodleian in the number of Shelley and Shelleyana manuscripts, reflects the personal interests of Carl H. Pforzheimer, who put together one of the notable private libraries of modern times. Before his death in 1957, he planned the form of publication for his collection, designing it not only for the academic use of scholars but also as a stimulating and readable set for the enthusiastic layman.

Being an edition of the manuscripts of Percy Bysshe Shelley, Sir Timothy Shelley, William Godwin, Mary Wollstonecraft, Leigh Hunt, Thomas Love Peacock, Lord Byron, Harriet Grove, Edward John Trelawny, Harriet Shelley, Mary Wollstonecraft Shelley, Claire Clairmont, and others, between 1773 and 1822 in the Carl H. Pforzheimer Library.

An outstanding group of international Shelley scholars takes full advantage of new editions and the evidence of notebooks, paying particular attention to texts that have been neglected or underestimated. Revaluations of the verse letter, plays, satire, pamphlets, prose essays, political verse, romance, prefaces, translations, art representations, fragments and early writings show how Victorian taste and culture harmed Shelley's reputation. The collection is sure to inspire future reappraisals of Shelley's work.

This biography of “a vital player in Revolutionary circles . . . offers us an important role model . . . a fearless woman almost lost to the fog of history” (Charlotte Gordon, Ph.D., author of Romantic Outlaws, winner of the National Book Critics Circle award for biography). This first-ever biography of Harriet de Boinville explores her close relationships with Mary Shelley, Percy Bysshe Shelley, and other leading writers of the Romantic era, but also tells the gripping story of Harriet's early years as the wife of an aristocratic military officer during the French-English Wars, when she experienced a naval attack in the Caribbean, a shipwreck off the coast of France, and detention as a suspected spy in Dunkirk. Combining literary history and gender study with the engaging story of a courageous and caring woman, this ground-breaking book has generated extraordinary praise from renowned authors and experts. “. . . fascinating history, but it's also an adventure tale and a romance . . .” —Cory Flintoff, NPR former foreign correspondent. “. . . Harriet de Boinville most engages with her vibrant and resilient self. Her generous personality shines through the letters quoted in this fascinating biography . . .” —Janet Todd, Ph.D., author of Death and the Maidens, and former president of Cambridge University's Cavendish College. “Fascinating . . . Lives like Harriet de Boinville's fill out the story of those formative times as nothing else can . . .” —Fiona Sampson, Ph.D., author of Two-Way Mirror, a Washington Post Book of the Year. “. . . meticulously researched and fluidly written . . . At the Center of the Circle tells the compelling story of a remarkably influential woman . . .” —Kristin Samuelian, Ph.D., Associate Professor at George Mason University and author of Royal Romances.

The Artistry of Exile is a new study of one of the most important myths of nineteenth-century literature. Romantic poetry abounds with allusions to the loss of Eden and the isolation of figures who are 'sick for home'. This book explores the way such thematic preoccupations are modified by the material reality of enforced travel away from home.

Publishing, Editing, and Reception is a collection of twelve essays honoring Professor Donald H. Reiman, who moved to the University of Delaware in 1992. The essays, written by friends, students, and collaborators, reflect the scholarly interests that defined Reiman’s long career. Mirroring the focus of Reiman’s work during his years at Carl H. Pforzheimer Library in New York and as lead editor of Shelley and his Circle, 1773–1822 (Harvard University Press), the essays in this collection explore authors such as Mary Shelley, William Hazlitt, Lord Byron and Percy Bysshe Shelley; moreover, they confirm the continuing influence of Reiman’s writings in the fields of editing and British Romanticism. Ranging from topics such as Byron’s relationship with his publisher John Murray and the reading practices in the Shelley circle to Rudyard Kipling’s response to Shelley’s politics, these essays draw on a dazzling variety of published and manuscript sources while engaging directly with many of Reiman’s most influential theories and arguments.

The topic of incest began to emerge in the early 1990s, producing a spate of television specials and providing the material for a surging industry of talk shows as well as an anti-feminist campaign against incest survivors and their therapists. The validity, reality, and readability of recovered memories of incest has become a highly contested and difficult subject. This heightened interest has benefited incest survivors, according to Rosaria Champagne, by allowing them to speak up and make political their experiences. Victims, formerly entwined in their own abuse by remaining silent, have learned to voice their protest and to challenge the societal order that allows incest to occur. In The Politics of Survivorship Champagne explores a range of cultural representations of incest, from the writings of Mary Wollstonecraft Shelley to mother-daughter incest in contemporary true crime novels, to Oprah Winfrey's television special Scared Silent, in order to examine expressions of survivorship. In the process, Champagne attempts to level the disparity and the hierarchy of value among theory, literature, popular culture and social movements. Champagne makes a powerful argument that community and academic feminists should embrace survivorship as a potential site of feminist political intervention into patriarchy and heterosexism. She concludes with a critical look at the way in which the False Memory Syndrome Foundation has conducted an anti-feminist campaign against incest survivors and their therapists.