Literary Manuscript Culture in Romantic Britain

This book is a major intervention in the revival of manuscript studies. Rather than treating manuscripts as a form of transmission that was abruptly superseded by the explosion in print, it reveals a culture of composition and circulation that was intrinsic to the media ecology well into the Romantic period. * Jon Mee, University of York *
Michelle Levy’s Literary Manuscript Culture in Romantic Britain offers a meticulous account of the complex and seldom linear relationship between sociable writing and print. [...] Her rich engaging methods open up avenues for scholars on either side of the period to explore the interaction between authors and literary technologies. -- Matthew Risling, University of Michigan-Shanghai Jiao Tong University Joint Institute * Modern Philology *
In her accomplished and engaging study, Michelle Levy offers a welcome re-evaluation of manuscript culture in the Romantic period, an era often characterised by the rapid expansion of print. ... This rich and engaging study represents an important contribution to the revival of Romantic manuscript studies. -- Anne-Claire Michoux, University of Zurich * The BARS Review *
In her accomplished and engaging study, Michelle Levy offers a welcome re-evaluation of manuscript culture in the Romantic period, an era often characterised by the rapid expansion of print. ... This rich and engaging study represents an important contribution to the revival of Romantic manuscript studies. -- Anne-Claire Michoux, University of Zurich * The BARS Review *
Literary Manuscript Culture in Romantic Britain is a fascinating read, both for what it contains and the further work it portends. Levy’s readings on Smith, Wordsworth, Barbauld, Byron, and Austen are indeed digestible individually, but the achievement of this project lies in its dedication to shifting the critical angle from which we approach Romantic texts. Her perspective ensures that works like Sanditon and Childe Harold are not just evaluated by or in comparison to their printed counterparts, but also within the context of Romantic print’s relationship with a very much alive handwritten medium. -- Joel William Vaughan, University of Toronto * The Review of English Studies *
Literary Manuscript Culture in Romantic Britain is a fascinating read, both for what it contains and the further work it portends. Levy’s readings on Smith, Wordsworth, Barbauld, Byron, and Austen are indeed digestible individually, but the achievement of this project lies in its dedication to shifting the critical angle from which we approach Romantic texts. Her perspective ensures that works like Sanditon and Childe Harold are not just evaluated by or in comparison to their printed counterparts, but also within the context of Romantic print’s relationship with a very much alive handwritten medium. -- Joel William Vaughan, University of Toronto * The Review of English Studies *
Michelle Levy concludes her ambitious study Literary Manuscript Culture in Romantic Britain with a qualification: print and script were only two parts of a wider media ecology that, in the early nineteenth century, included visual and oral modes of communication, such as cartoon and caricature; or recitation and reading aloud. [...] The implication is clear: the Romantic period has given us instances and models for esteeming, questioning, combining and distinguishing different media that remain vital and relevant today. -- Katthrryn Suttherrlland, St Anne’s College, Oxford * TLS *