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T he creation of this critical edition of Flora Lyndsay (1854) owes much to many hands. It has been a long time in the making. I must therefore begin with my former editorial colleagues, Carl Ballstadt and Elizabeth Hopkins, with whom I worked so closely over more than two decades on the letters of Susanna Moodie and her sister, Catharine Parr Traill. As a group, we three knew that it would soon be time to bring forth a new edition of Moodie’s highly personal novel and to link it closely to her classic autobiographical work, Roughing It in the Bush (1852). Others who have shown interest in this project and provided both encouragement and help over the years include Sandra Campbell, Janet Friskney, Charlotte Gray, Carole Gerson, Gwen Davies, Len Early, Gillian Whitlock, Mary Jane Edwards, Margaret Steffler, and Molly Blyth. The idea for a new edition of Flora Lyndsay came from Dean Irvine, the editor of The Canadian Literature Collection at the University of Ottawa Press. Didier Pilon, Suzanne Cloutier, and Ruth Bradley-St-Cyr were the final editors of the project for the UOP, but in earlier stages of the preparation I worked with Rebecca Ross and Marie Clausén. At Trent University where the project took shape during my final years of teaching, I am deeply indebted to Shaunacy King, who, as a PhD candidate in the Frost Centre, helped me to transcribe the text and compile the list of emendations from the American edition (published by DeWitt and Davenport in 1855). I appreciate her steady and thoughtful work. Funding from Trent University and the T.H.B. Symons Research Fund helped in the process, though the work began with and was in part fostered by earlier SSHRCC grants of which I was a recipient . And, as always, my thanks to Cara who makes sure that I have the time I need to get such work done. Acknowledgements ...

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