"The art of travelling is only a branch of the art of thinking," Mary Wollstonecraft wrote in 1790 in a review of a travel narrative set in Ireland. A Short Residence was her own travel memoir, and became the work that Wollstonecraft most admired in her own lifetime. The text narrates Wollstonecraft's journey through Scandinavia, accompanied by her young daughter; the letters are addressed to an unnamed lover. Passionate and personal, the letters also explore the comparative political and social systems of Europe. The result is a travel book that is both as much a work of political thought as Wollstonecraft's more well-known treatises, and an innovative and influential work in the genre. This Broadview Edition provides a helpful introduction and extensive appendices that contextualise this remarkable text in relation to a number of key political and aesthetic debates.

In the last days of the Scandinavian journey that would become the basis of her great post-Revolutionary travel book, Mary Wollstonecraft wrote, 'I am weary of travelling - yet seem to have no home - no resting place to look to - I am strangely cast off'. From this starting point, Ingrid Horrocks reveals the significance of representations of women wanderers in the late-eighteenth and early-nineteenth centuries, particularly in the work of women writers. She follows gendered, frequently reluctant wanderers beyond travel narratives into poetry, gothic romances, and sentimental novels, and places them within a long history of uses of the more traditional literary figure of the male wanderer. Drawing out the relationship between mobility and affect, and illuminating textual forms of wandering, Horrocks shows how paying attention to the figure of the woman wanderer sheds new light on women and travel, and alters assumptions about mobility's connection with freedom.

In the last days of the Scandinavian journey that would become the basis of her great post-Revolutionary travel book, Mary Wollstonecraft wrote, 'I am weary of travelling - yet seem to have no home - no resting place to look to - I am strangely cast off'. From this starting point, Ingrid Horrocks reveals the significance of representations of women wanderers in the late-eighteenth and early-nineteenth centuries, particularly in the work of women writers. She follows gendered, frequently reluctant wanderers beyond travel narratives into poetry, gothic romances, and sentimental novels, and places them within a long history of uses of the more traditional literary figure of the male wanderer. Drawing out the relationship between mobility and affect, and illuminating textual forms of wandering, Horrocks shows how paying attention to the figure of the woman wanderer sheds new light on women and travel, and alters assumptions about mobility's connection with freedom.