“‘If you wish to write about your children, may we suggest Ladies’ Home Journal? We are a literary magazine’” (156). The above statement, received by American Pulitzer Prize winner Sharon Olds and recorded by Tessa Jordan in Feminist Acts, situates the need feminists felt to create their own magazines in Canada in the 1970s. At the time, women had scant few spaces in which to display their creative output and political opinions, and many women suffered from the assumptions of editors and art critics that their works were simply not as good as those by men. If that was true for women in the dominant print culture of the United States, what were feminists in the Canadian Prairies meant to do? It is against this backdrop that the Canadian feminist periodical Branching Out appeared.
While we may sometimes remember particular “beach reads” and other vacation reading we bring with us, most of the light reading that dominates the myriad summer reading lists isn’t meant to last. Donna Harrington-Lueker has traced the origins of the phenomenon of summer reading in the late-nineteenth-century United States, highlighting the role of ephemerality and entertainment as publishers and reviewers developed the concept of “summer reading,” as well as how tenacious many of the practices of summer reading are, from reading in public spaces to stockpiling books in convenient corners of a hotel room or guest house.
The 2,700-plus books at the Mount, Edith Wharton’s historic Berkshire estate, represent only a portion of the novelist’s remarkable collection. Another 2,500 volumes, which one of Wharton’s heirs stored in a London warehouse after her death, were destroyed in the Blitz. And the volumes now in the Mount’s collection themselves survived storage in an English castle (some have the wormholes to show for it) and in a bookseller’s attic before a high-profile (and contentious) negotiation brought them to the Mount in 2006.
If you are tired of taking acquisition adventures from librarian and bookseller memoirs as proof of the larger trends at play within the literary archives market, this is the book for you. Chen’s pithy study takes us through the views of each stakeholder connected to a typical American literary archival collection, from creator to end user, mainly through both quantitative and qualitative examples using her meticulous dataset of those authors included in the seventh edition of The Norton Anthology of American Literature (hereafter NAAL).
Heather G. Cole is the Head of Special Collections Instruction and Curator of Literary and Popular Culture Collections at Brown University’s John Hay Library; from 2012 to 2017 she was the Curator of the Theodore Roosevelt Collection at Harvard University. She has continued the work done by R.W.G. (Robert William Glenroie) Vail. He was the Librarian at the museum created by the Roosevelt Memorial Association, after Roosevelt’s death, on the site of his childhood home on 20th Street Manhattan (today the Theodore Roosevelt Birthplace National Historic Site). Vail had first started putting together as many documents on Roosevelt as possible. Later, he decided to begin writing a bibliography of all of Roosevelt’s works. During the 1920s, he wrote to publishers, collaborators and booksellers to find out as much as he could on these works. He could not complete and publish the bibliography, he started working for the New York Public Library in 1937. His work was “recovered” by Heather Cole and brought back to life; what she managed to do was to make all the work previously done, plus new information and research, available to readers and researchers.