In the wake of the French Revolution, Edmund Burke argued that civil order depended upon nurturing the sensibility of men—upon the masculine cultivation of traditionally feminine qualities such as sentiment, tenderness, veneration, awe, gratitude, and even prejudice. Writers as diverse as Sterne, Goldsmith, Burke, and Rousseau were politically motivated to represent authority figures as men of feeling, but denied women comparable authority by representing their feelings as inferior, pathological, or criminal. Focusing on Mary Wollstonecraft, Ann Radcliffe, Frances Burney, and Jane Austen, whose popular works culminate and assail this tradition, Claudia L. Johnson examines the legacy male sentimentality left for women of various political persuasions.

Demonstrating the interrelationships among politics, gender, and feeling in the fiction of this period, Johnson provides detailed readings of Wollstonecraft, Radcliffe, and Burney, and treats the qualities that were once thought to mar their work—grotesqueness, strain, and excess—as indices of ideological conflict and as strategies of representation during a period of profound political conflict. She maintains that the reactionary reassertion of male sentimentality as a political duty displaced customary gender roles, rendering women, in Wollstonecraft's words, "equivocal beings."

In 1791, Mary Wollstonecraft drew upon her experiences as a governess as well as her understanding of the philosophy of Jean-Jacques Rousseau to publish this popular collection of moral tales for children. Not surprisingly, the woman who would later write A Vindication of the Rights of Women had strong views on children's education. Wollstonecraft desired nothing less than liberating children, both girls and boys, from what she believed were irrational modes of education in late eighteenth-century European culture. Her hyper rational stories became influential models for expressing particular philosophies of education through children's literature.

This beautiful facsimile of the 1791 edition includes the original illustrations by William Blake. A commentary by Eileen Hunt Botting puts the text in context and hints at influences on Wollstonecraft's daughter Mary Shelley and the pedagogical philosophy behind Shelley's novel Frankenstein.
 
Like all volumes in the Women in Print series, Original Stories from Real Life is provided as an open access book and downloads to a wide variety of platforms and online e-readers.
 

"A brilliant, original, and powerful book. . . . This is the most skillful integration of feminism and Marxist literary criticism that I know of." So writes critic Stephen Greenblatt about The Proper Lady and the Woman Writer, Mary Poovey's study of the struggle of three prominent writers to accommodate the artist's genius to the late eighteenth- and early nineteenth-century ideal of the modest, self-effacing "proper lady." Interpreting novels, letters, journals, and political tracts in the context of cultural strictures, Poovey makes an important contribution to English social and literary history and to feminist theory.

"The proper lady was a handy concept for a developing bourgeois patriarchy, since it deprived women of worldly power, relegating them to a sanctified domestic sphere that, in complex ways, nourished and sustained the harsh 'real' world of men. With care and subtle intelligence, Poovey examines this 'guardian and nemesis of the female self' through the ways it is implicated in the style and strategies of three very different writers."—Rachel M. Brownstein, The Nation

"The Proper Lady and the Woman Writer is a model of . . . creative discovery, providing a well-researched, illuminating history of women writers at the turn of the nineteenth century. [Poovey] creates sociologically and psychologically persuasive accounts of the writers: Wollstonecraft, who could never fully transcend the ideology of propriety she attacked; Shelley, who gradually assumed a mask of feminine propriety in her social and literary styles; and Austen, who was neither as critical of propriety as Wollstonecraft nor as accepting as Shelley ultimately became."—Deborah Kaplan, Novel

Nearly two hundred years ago, Mary Wollstonecraft wrote what is considered to be the first major work of feminist political theory: A Vindication of the Rights of Women. Much has been written about this work, and about Wollstonecraft as the intellectual pioneer of feminism, but the actual substance and coherence of her political thought have been virtually ignored. Virginia Sapiro here provides the first full-length treatment of Wollstonecraft's political theory.

Drawing on all of Wollstonecraft's works and treating them thematically rather than sequentially, Sapiro shows that Wollstonecraft's ideas about women's rights, feminism, and gender are elements of a broad and fully developed philosophy, one with significant implications for contemporary democratic and liberal theory. The issues raised speak to many current debates in theory, including those surrounding interpretation of the history of feminism, the relationship between liberalism and republicanism in the development of political philosophy, and the debate over the canon. For political scientists, most of whom know little about Wollstonecraft's thought, Sapiro's book is an excellent, nuanced introduction which will cause a reconsideration of her work and her significance both for her time and for today's concerns. For feminist scholars, Sapiro's book offers a rounded and unconventional analysis of Wollstonecraft's thought.

Written with considerable charm and verve, this book will be the starting point for understanding this important writer for years to come.