How did the Victorian woman cope with the image of herself as a writer? What were the constraints on female friendships in a world centred on the pre-eminence of the husband? How significant for an ambitious woman were her politics about men? At the heart of this book, originally published in 1990, is a friendship between two women: Jane Carlyle and the novelist Geraldine Jewsbury. But it was a difficult friendship, and in its difficulty lies much that is illuminating: about nineteenth-century domestic ideology; about writing for a market, and female fame; and about the complex ambivalences between women. Examining aspects of their lives, writing, and relationships, alongside those of two other writers - Felicia Hemans and Geraldine's sister, Maria Jane - Norma Clarke provides a subtle and illuminating discussion of the possibilities that were open to women in the Victorian age.

Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street-already a synonym for impoverished hack writers-before he became one of literary London's most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers' livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson's "Club" and those far less fortunate "brothers of the quill" trapped in Grub Street. Clarke emphasizes Goldsmith's sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish emigres: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface. To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.

Tom and his little brother are to be page boys. As if that weren't enough, they have to wear purple frilly shirts, shoes with silver buckles and white tights. A on top of that, they get burgled on the morning of the wedding. Surely nothing else could go wrong?

""I dined yesterday at Mrs Garrick's with Mrs Carter, Miss Hannah More and Miss Fanny Burney. Three such women are not to found; I know not where I could find a fourth, except Mrs Lennox, who is superiour to them all."" --Samuel Johnson
Dr. Johnson enjoyed the company of clever women. "Dr. Johnson's Women" explores his relationship with six remarkable and successful female authors, all of whom he knew well: Elizabeth Carter, Hannah More, Charlotte Lennox, Hester Thrale, Fanny Burney and Elizabeth Montagu. It is also an account of the characters and achievements of these women. It is often assumed that women writers in the eighteenth century suffered the same restrictions and obstacles that confronted their Victorian successors. Norma Clarke shows that this was by no means the case. Highlighting the opportunities available to women with talent in the eighteenth century, "Dr. Johnson's Women" makes clear just how impressive and varied their achievements were.