Essays exploring the relationship between museums and biographies, with worldwide examples and from the early nineteenth century to the present day. Museums and biographies both tell the stories of lives. This innovative collection examines for the first time biography - of individuals, objects and institutions - in relationship to the museum, casting new light on the many facets of museum history and theory, from the lives of prominent curators, to the context of museums of biography and autobiography. Separate sections cover individual biography and museum history, problematising individual biographies, institutional biographies, object biographies, and museums as biographies/autobiographies. These articles offer new ways of thinking about museums and museum history, exploring how biography in and of the museum enrichesmuseum stories by stressing the inter-related nature of lives of people, objects and institutions as part of a dense web of relationships. Through their widely ranging research, the contributors demonstrate the value of thinkingabout the stories told in and by museums, and the relationships which make up museums; and suggest new ways of undertaking and understanding museum biographies. Dr Kate Hill is Principal Lecturer in History at the University of Lincoln. Contributors: Jeffrey Abt, Felicity Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana Francozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller, Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino, Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead, Anne Whitelaw

This is the first full-length study of literary tourism in North America as well as Britain, and a unique exploration of popular response to writers, literary house museums, and the landscapes or "countries " associated with their lives and works. An interdisciplinary study ranging from 1820-1940, Homes and Haunts: Touring Writers' Shrines and Countries unites museum and tourism studies, book history, narrative theory, theories of gender, space, and things, and other approaches to depict and interpret the haunting experiences of exhibited houses and the curious history of topo-biographical writing about famous authors. In illustrated chapters that blend Victorian and recent first-person encounters that range from literary shrines and plaques to guidebooks, memoirs, portraits, and monuments, Alison Booth discusses pilgrims such as William and Mary Howitt, Anna Maria and Samuel Hall, and Elbert Hubbard, and magnetic hosts and guests as Washington Irving, Wordsworth, Martineau, Longfellow, Hawthorne, James, and Dickens. Virginia Woolf's feminist response to homes and haunts shapes a chapter on Mary Russell Mitford, Gaskell, and the Brontes, and another on the Carlyles' house and Monk's House. Booth rediscovers collections of personalities, haunted shrines, and imaginative re-enactments that have been submerged by a century of academic literary criticism.

A tale of two very different sisters whose 1890s voyage from London into remote outback Australia becomes a journey of self-discovery, set against a landscape of wild beauty and savage dispossession. London in 1891: Harriet Cameron is a talented young artist whose mother died when she was barely five. She and her beloved sister Sarah were brought up by their father, radical thinker James Cameron. After adventurer Henry Vincent arrives on the scene, the sisters' lives are changed forever. Sarah, the beauty of the family, marries Henry and embarks on a voyage to Australia. Harriet, intensely missing Sarah, must decide whether to help her father with his life's work or to devote herself to painting. When James Cameron dies unexpectedly, Harriet is overwhelmed by grief. Seeking distraction, she follows Sarah to Australia, and afterwards into the outback, where she is alienated by the casual violence and great injustices of outback life. Her rejuvenation begins with her friendship with an Aboriginal stockman and her growing love for the landscape. But this fragile happiness is soon threatened by murders at a nearby cattle station and by a menacing station hand who is seeking revenge.

Essays exploring the relationship between museums and biographies, with worldwide examples and from the early nineteenth century to the present day. Museums and biographies both tell the stories of lives. This innovative collection examines for the first time biography - of individuals, objects and institutions - in relationship to the museum, casting new light on the many facets of museum history and theory, from the lives of prominent curators, to the context of museums of biography and autobiography. Separate sections cover individual biography and museum history, problematising individual biographies, institutional biographies, object biographies, and museums as biographies/autobiographies. These articles offer new ways of thinking about museums and museum history, exploring how biography in and of the museum enrichesmuseum stories by stressing the inter-related nature of lives of people, objects and institutions as part of a dense web of relationships. Through their widely ranging research, the contributors demonstrate the value of thinkingabout the stories told in and by museums, and the relationships which make up museums; and suggest new ways of undertaking and understanding museum biographies. Dr Kate Hill is Principal Lecturer in History at the University of Lincoln. Contributors: Jeffrey Abt, Felicity Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana Francozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller, Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino, Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead, Anne Whitelaw

A young Hungarian woman confronts her family's past in an engrossing quest for a stolen painting When Anika Molnar flees her home country of Hungary not long before the break-up of the Soviet Union, she carries only a small suitcase - and a beautiful and much-loved painting of an auburn-haired woman in a cobalt blue dress from her family's hidden collection. Arriving in Australia, Anika moves in with her aunt in Sydney, and the painting hangs in pride of place in her bedroom. But one day it is stolen in what seems to be a carefully planned theft, and Anika's carefree life takes a more ominous turn. Sinister secrets from her family's past and Hungary's fraught history cast suspicion over the painting's provenance, and she embarks on a gripping quest to uncover the truth. Hungary's war-torn past contrasts sharply with Australia's bright new world of opportunity in this moving and compelling mystery.

'Booth is superb at the small detail that creates a life, and the large one that gives it meaning' Marion Halligan 'A captivating slice of Australian History, rich in character and colour, Bellevue is sparkling with acuity and authenticity' Kim Kelly New South Wales, 1972. Following the death of her beloved Aunt Hilda, widow Clare Barclay inherits Bellevue, an historic property in the Blue Mountains township of Numbulla, Australia. Giving up her teaching job to move to the mountains, Clare plans to restore the house to its original glory. She also hopes to track down a box of missing documents that may shed light on why husband Jack secretly second-mortgaged their former home. Clare makes friends with the locals, including a young boy, Joe, and soon hears of plans to redevelop Numbulla and to exploit the land bordering the protected wilderness area. As she joins the protest against the rezoning, it's clear someone doesn't want her there and they'll do anything to stop her... Written from Clare's and Joe's perspectives, Bellevue highlights cross-generational bonds that grow between them as they struggle, individually and together, towards an acceptance of the losses each has sustained.

The egotism that fuels the desire for greatness has been associated exclusively with men, according to one feminist view; yet many women cannot suppress the need to strive for greatness. In this forceful and compelling book, Alison Booth traces through the novels, essays, and other writings of George Eliot and Virginia Woolf radically conflicting attitudes on the part of each toward the possibility of feminine greatness. Examining the achievements of Eliot and Woolf in their social contexts, she provides a challenging model of feminist historical criticism.

This collection of original essays on women's relations to novelistic endings demonstrates the versatility and range of feminist criticism today. The authors, widely known in their fields, offer insights into the study of narrative, the changes in gender roles and cultural traditions since the Victorians, and the interaction of fictional forms and ideology from the mid-19th century to the present. ""Famous Last Words"" traces a broad historical transition - from the 1840s to the 1980s - from the more rigid dichotomy of the Victorian novel, in which good women must marry and fallen women die, to the more open alternatives of 20th-century fiction, which sometimes permit the independent female protagonist to survive and occasionally allow alternative constructions of gender as well as plot. Each essay treats a narrative - novel, novella or novel poem - by a single author in light of conventions of closure and of gender in historical context. The collection discusses obscure, best-selling, canonical or recently resurrected texts by men as well as women of English, American, or Caribbean origin. Because of this broad range, it also offers a representative literary history of novelistic endings, including those endings that begin to write new stories for women. Some of the essays recover forgotten texts by women: Ann Ardis revives Netta Syrett and Carla Peterson advances interest in Pauline Hopkins. Several essays revise our understanding of women writers once successful, but now somewhat marginalized: Christine Krueger writes on Elizabeth Gaskell, Herbert Tucker on Elizabeth Barrett Browning, Suzanne Jones on Katherine Anne Porter, Peter J. Rabinowitz on Sue Grafton and Shari Benstock on Edith Wharton. Others give voice to cultural ""others"": Sharon Davie examines Harriet Jacobs's ""Incidents in the Life of a Slave Girl"" and Caroline Rody offers fresh insight into Jean Rhys's ""Wide Sargasso Sea"". Alison Booth and Bonnie Zimmerman reassess works by the already canonized George Eliot, and Lisa Jadwin and Stephen Arata look at the representation of women in the canonical novels of the male writers William Thackeray and Henry James. In his afterword U.C. Knoepflmacher, by interweaving many famous last words, revives the changing contexts of literary recognition and revision in the English-speaking world from Victorian to modern. ""Famous Last Words"" should be of interest to anyone interested in feminist approaches to the 19th-century novel, in the ongoing rethinking of the modern period, in narrative study, or in the relation between gender and genre.

"How to Make It as a Woman" outlines the history of prosopography or group biography, focusing on the all-female collections that took hold in nineteenth-century Britain and America. The queens, nurses, writers, reformers, adventurers, even assassins in these collective female biographies served as models to guide the moral development of young women. But often these famous historical women presented untrustworthy examples.
Beginning in the fifteenth century with Christine de Pizan, Alison Booth traces the long tradition of this genre, investigating the varied types and stories most often grouped together in illustrated books designed for entertainment and instruction. She claims that these group biographies have been instrumental in constructing modern subjectivities as well as relations among classes, races, and nations.
From Joan of Arc to Virginia Woolf, Booth examines a host of models of womanhood--both bad and good. Incorporating a bibliography that includes more than 900 all-female collections published in English between 1830 and 1940, Booth uses collective biographies to decode the varied advice on how to make it as a woman.