Smith 2012

Smith, Helen. 'Grossly Material Things': Women and Book Production in Early Modern England. Oxford: Oxford University Press, 2012.

"the varied and often invisible roles of women in textual production, the processes of making and consumption, the ways in which print and manuscript cultures overlap, and the idea that books are 'grossly material things' which have a physical as well as intellectual impact upon makers and readers" (3)

"Where the traces of men's input and interference can be discovered in much early modern women's writing, so too can the traces of women's labour be recovered within the pages of texts that have previously been assigned to a masculine realm of imaginative expression and publication. As a result, the early modern book and its texts can be reconceptualized not as male- or female-authored but as the interface at which numerous agents coincide, in complex and varied ways." (4)

"My excavation of women's productive encounters with the world of the early modern book contributes to an understanding of book creation as collaborative and contingent, and insists that all texts, not simply those attributed to women were marked and mediated by numerous agents, rendering books more mobile and more complexly sexed than has been allowed. This understanding is further enriched if we recognize that creative action was distributed not only wacross networks of men and women but across the material and institutional environments in which they dwlet and which, in part, constitute the work of production and consumption, as I discuss below." (6)

"First and foremost, my book restores early modern women to their place in the communications circuit. Yet the particularities of women's work also reveal that Darnton's closed circuit, emanating from and returning to the author, does not fully capture the dislocations and contingencies of early modern book production, or the lively paths of dissemination, circulation, and exchange." (6-7)

"I remain attentive to the overlapping economies of manuscript and print, investigating the materiality of writing as well as the materiality of printing, but insisting that women are more present than has been assumed, even in books securely attributed to male authors." (7-8)

"revealing the early modern male-authored book as a web of commercial, intellectual, technological, and corporeal encounters, and recovering the importance of women's work to the processes of book-making" (9)

"Books, their makers, and users exist as actors in mutually constitutive networks, in which 'meaning', 'the social', or 'culture' are not overlaid on a bedrock of 'gross' matter but are narrated in the movements of their participants, who are 'simultaneously real, discursive, and social'." (9)

"we can instead conceive of fictions, broadly defined, as the woven artefacts of objects, persons, and processes, whose traces remain present on and in the pages before us. In such a view, the strands of the web are not simply dependent upon, bu are made of, interlinked economic, social, and corporeal relationships." (10)

"Bodies, then, are a product of the books they handle, and both books and bodies are produced by their environment, even as they work upon it." (12)

"The variety of sources I examine is testament to the inherent capaciousness of both book history, memorably described by Cyndia Susan Clegg as an 'undisciplined discipline', and the study of 'stuff' which, for Daniel Miller, 'trhrives as a rather undisciplined substitute for a discipline: inclusive, embracing, original'. It is my contention that such undisciplined inclusiveness offers a more accurate picture of the textual lives of the men, women, and books who occupy these pages, and who lived in a world in which hefty devotional controversies were printed on the same presses as household miscellanies, mortality bills, or dramatic texts; genealogies and financial records might be drafted next to coterie verse; and 'Venus and Adonis' was raed between encounters with letters and the Bible." (12)

'Pen'd with double art': Women at the Scene of Writing

catalogues of learned women: Heywood's gunaikeion ); Brathwaite's Boulster lecture (1640); Elizabeth Weston's Parthenica (1608) (17)

Donne's 'A Velediction' "does serves as a reminder of the numerous endeavours of women as authors, competitors, helpmeets, participants in manuscript exchange, scribes, and editors. Women in the early modern period took on these and other roles in the preparation and composition of texts, each of which raises particular questions of expressive agency." (18)

"reconceptualizing women's work as co-creation may require us to recognize some of the ingrained heterosexist assumptions that situate certain textual interventions as secondary or derivative." (19)

"the tension between the desire to uncover the precise contributions of each agent and the possibility that co-authorship leads, in Masten's terms, to a 'dispersal of author/ity, rather than a simple doubling of i; to revise the old aphorism, two heads are different than one'." (21)

women as domestic amanuenses: Lady Margaret Hoby, 4 September 1601, mentions copying letters for Mr Hoby; Margaret Spitlehouse was a scrivener copyiing wills in Bury St Edmunds between 1582 and 1596 (24)

Esther Inglis (25)

Susanna Howard, Countess of Suffolk, wrote sermons from memory, as recounted in Edward Rainbowe's funeral sermon for her (26)

"The examples given thus far show women working within a Protestant tradition that emphasized the importance of the divine Word, transmitted through devout bodies and revealed in a variety of textual forms. On the other side of the confessional divide, the post-Reformation English convents established in France and the Low countries were important centres of scribal reproduction where women 'tried to maintain the devotional traditions of the medieval mystic writers'." (28)

"The texts produced in the convents form an important female literary tradition, geographically separate from, but imaginatively connected to, English religious and social life. copying was central to the maintenance and reproduction of Catholic devotional practice, and nuns engaged in contemplation in the process of copying out spiritual guides that then formed objects of meditation for others. where a Protestant copyist like Elizabeth Brooke sought to capture the transmitted voice of God, Catholic nuns saw textual reproduction as both a concrete contribution to besieged convents and their brother monasteries and an accretion of devotional practice." (28)

Convent of the Immaculate Conception in Ghent, the first Abbess, Lucy (Elizabeth) Knatchbull – “wrote spiritual meditations and exercises and copied out an inspirational tract by the Abbess of Elpidia in Saxony to be read by the sisters in her care”; commanded that her papers be burnt, but the remaining were compiled by Sir Tobie Matthew; emphasis on copying, patterns (29)

"Taken together, these women's scribal labours ask us to reconsider the secondary or mechanical nature of copying." (30)

"Even where it is presented as wholly faithful, copying is described as a physical and sometimes transformative activity. The copyist is a co-labourer with the author or the divine word, reproducing, but also experiencing, the formative force of the text. Women's scribal work testifies to the broader ramifications of female literacy and to urgent shared agendas, whilst relocating the practice of composition in the processes of inscription and mutual labour." (30)

translation not merely a mechanical exercise but "was understood as a skilled, and frequently a collaborative, venture, in which translator and author both worked to discover the full sense of the text" (32)

majority of women's translations were religious (32)

in women's translations, it was often "the male correspondent who chose to publish, and to publicly ackowledge, a woman's translation" (36)

Anne Locke, in preface says she compounded the "receipte" of Calvin, and presented it in an "Englishe box" (36)

"In accounts of women's translation we see a tension between two dynamics of publication: on ein which women's texts are ostensibly published without their permission in order to circumvent their modest refusals, another in which women's translation is crucial to texts' reproduction and circulation." (40)

wives involved in bringing husband's manuscript to print

• Mrs Clement Edmondes, printed her husband's book 'Observations upon Caesars Commentaries (1600)
• Anne Austin, Haec Homo (1637) -- published his text as a "memorialization" to him

"editorial work can be aligned with the processes of grieving" (42)

"I want to suggest taht women's role in the processes of mourning, and in the estate management and accounting of their deceased husbands' affairs, created a close link between the hands that tidies the corpse and the hands that tidied the corpus." (43)

Mary Sidney's 'To the Angel Spirit' -- "Her work is presented as secondary, part of the project of completion and apparelling thatm arks editorial endeavour, yet the language of coupling and doubleness insists upon the work's multivocality and mutuality." (47)

oral testimony of the monstrous birth pamphlet (49)

"women were more often rpesent at the scene of writing and recounting than previous scholarship has acknowledged, and that they made important and varied contributions to a range of texxts. Thhe textual relationships i describe in this chapter test the descriptive utility of the term collaboration, usually assumed to describe 'a co-laboring or working together'. Those involved in textual co-creation were sometimes temporally as well as geographically separate, engaged in activities traditionally assumed to be secondary or subsequent to the act of literary creation, or -- on occasion -- had little or no discernible impact upon the text." (52)

"these varied forms suggest the need to adopt a more flexible language to elaborate the dynamics of textual co-presence." (52(

2. 'A dame, an owner, a defendresse': Women, Patronage, and Print

Abraham Darcie, The Honour of ladies (1622), 6 copies at Lambeth Palace Library with blank spaces at the head of the epistles waiting for addition of dedicatees (56)

Walter Baley, A Short Discourse of the Three Kindes of Peppers in Common Vse (1588), withp rinted dedication with gaps for appropriate rank, title an name of dedicatee to be presented as individualized New Years' gifts

"dedications can be at once sites of rhetorical play, peritextual structures designed to constrain and direct the reader, and elements of the complex system of patronage that drew together social, political, and religious, as well asl iterary, life." (57)

"This variety attests to the difficulty of placing the patron within the circuit of communications around which this book is structured: s/he may be the ideal reader whose imagined response informs composition; the commissioner who sets the initial parameters of a given text; an agent in the process of publication; a guide to other readers; an unwitting advertising tool; or some complex combination of those functions." (60)

Wiliam Byrd, manuscript anthology titled "My Ladye Nevells Booke" for Elizabeth, wife of Sir Henry Neville, "a volume that today constitutes one of the most important collections of English Reniassance keyboard musi" (63)

requested texts as translations -- "suggests the ideological and practical link between elite women and vernacular literacy in early modern England. In part this connection was established because of the perceievd need to provide English language texts for women whose education did not extend to foreign languages." (67)

as commissioned translators, "women are precariously placed: their 'imperious' commands appear as the stimulus for male writing, calling the manuscript text into being. Such activity could take place within an extended relationship of mutual reading and textual exchange, but could, on other occasions, appear more opportunistic, with the woman's 'requests' providing a more convenient motive for textual production. Frequently, women's manuscript commissions appear as the first step in a longer process of publication and dissemination that ties together women's private reading, vernacular literacy, and the entry into print." (68)

poems written for cheese trenchers and plates; "a form of fashionable display: both cheese and versses are deployed to advertise status" (69)

move to commercial patronage "takes two forms: on the one hand, would-be courtiers puchase poems for particular occasions, while, on the other, writers offer unsolicited gifts designed to secure the rewards associated with an imagined past in which longer-term relationships of support and exchange were able to flourish." (70)

direct evidence of payment for a dedication or recipt of a book are rare; two sources: Richard robinson's Eupolemia (1603) and accounts of Baron harington for the Princess Elizabeth Stuart

"different understandings of patronage were in circulation and could be deployed in accordance with the particular hopes of author or benefactor." (74)

"This mode of mocking dedication, increasingingly in vogue from the 1590s onwards, has been read as evidence not of the commercialization of patronage but of a transition from a patronage to a market economy." (75)

"Recent criticism reduces the complex economies of dedications, patronage, and print to a straightforward binary. In reality, authors, patrons, and purchasers appear to have been adept at navigating the overlapping structures of proper address, recognition, and reward. Both dedications and anti-dedications, marked by nostalgia for an imagined past, operate as much as attempts to define and solidify flexible and unpredictable structures as reliable accounts of stable textual economies." (76)

stationer-authored dedications; e.g. bookseller William Barley offered Giovanni ciotti's a Booke of Curious and Strange Inventions Called the First Part of Needleworkes to Lady Isabel Manners" (80); "In this context, the dedication offers imaginative acces to gentry circles and a culture of elite needlework." (80)

presentation copy of Francis de Sales's Introduction to a Devoute Life (1616) (82)

"Though there is less evidence than some critics have claimed of women creating coherent literary programmes among favoured writers, there is more, and more diverse, evidence than has been acknowledged of women's commission of texts, and of their negotiation of the financial duties of a dedicatee. The patron-author dyad was only one of the possible forms [86] women's patronage could take in early modern England, and patronage was rooted in extended social, economic, religious, and political networks. Women's ongoing interest in, and association with, the trade in printed books challenges the narrative which sets a democratic, public, and (by implication) male, marketplace of print against an aristocratic, elite, manuscript-based and (by implication) female tradition of patronage." (86)