Titlebook: Biographical Misrepresentations of British Women Writers; A Hall of Mirrors an Brenda Ayres Book 2017 The Editor(s) (if applicable) and The

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,Introduction; or? ,,e conscientious decisions about what material to include and how to package it, often not only to ensure sales but also to promote a political agenda. This is all the more true when treating some of the most controversial women writers of the long nineteenth century. This introductory chapter to . d

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,A Vindication of the Woman Known as Mary Wollstonecraft (1759–1797),and critical articles have represented and misrepresented, labeled and mislabeled Wollstonecraft . to such a disparate extent, it is nearly impossible to know who she was and what she believed. This chapter synthesizes the biographies, critical studies, and Wollstonecraft’s own writing with the purp

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,“So Irish; So Modish, So ,, So Wild” Sydney Owenson (Lady Morgan; 1783–1859) & The Makings of a Lifse of her performativity, her mercurial nature, and her relentless physical displacement. Moreover, since Owenson self-generated a significant proportion of the material that entered biographies she anticipated would be published after her death, she held subsequent biographers in thrall.

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,“Stuck Through with a Pin, and Beautifully Preserved”: Curating the Life of Elizabeth Barrett Brownoming the subject of biography, of being “caught, stuck through with a pin, and beautifully preserved with other butterflies and beetles.” Over the 150?years since her death, Barrett Browning (EBB) has been repeatedly “stuck through with a pin” as biographers have reconstructed her and refashioned h