Notes
introduction 1 Robert Darnton, “What Is the History of Books?” in The Kiss of Lamourette: Reflections in Cultural History (New York: Norton, 1990), 107–35; Thomas R. Adams and Nicolas Barker, “A New Model for the Study of the Book,” in The Potencie of Life: Books in Society: The Clark Lectures, 1986–1987, ed. Nicolas Barker (London : British Library, 1993), 5–43. 2 Leslie Howsam, “In My View: Women and Book History,” SHARP News 7, no. 4 (Autumn 1998): 1–2; Simone Murray, “Introduction,” in Mixed Media: Feminist Presses and Publishing Politics (London: Pluto Press, 2004), 1–28; Howsam is cited by Trysh Travis, “The Women in Print Movement,” Book History 11 (2008): 275. 3 Pierre Bourdieu, The Field of Cultural Production (New York: Columbia University Press, 1993). 4 See Carole Gerson, “Writers without Borders: The Global Framework of Canada’s Early Literary History,” Canadian Literature 201 (Summer 2009): 15–33. 5 Linda Hutcheon, “Rethinking the National Model,” in Rethinking Literary History , ed. Linda Hutcheon and Mario J. Valdés (New York: Oxford University Press, 2002), 3–49. 6 Carrie MacMillan, Lorraine McMullen, and Elizabeth Waterston, Silenced Sextet : Six Nineteenth-Century Canadian Women Novelists (Montreal/Kingston: McGillQueen ’s University Press, 1992); Janice Fiamengo, The Woman’s Page: Journalism and Rhetoric in Early Canada (Toronto: University of Toronto Press, 2008). 7 Separate studies of individual authors also prevail in edited collections of essays about early Canadian women writers, such as Lorraine McMullen’s Re(dis)covering Our Foremothers (Ottawa: University of Ottawa Press, 1990) and Jennifer Chambers’ Diversity and Change in Early Canadian Women’s Writing (Newcastle upon Tyne: Cambridge Scholars Publishing, 2008). 8 Edward Hartley Dewart, “Introduction,” in Selections from Canadian Poets (Montreal : Lovell, 1864), viii. 9 Howsam, “In My View,” 1. 199 notes 200 notes to chapter one chapter 1 1 See Leslie Howsam, “Women in Publishing and the Book Trades in Britain, 1830–1914,” Leipziger Jahrbuch zur Buchgeschichte 6 (1996): 67–79. 2 Leona M. Hudak, Early American Women Printers and Publishers, 1639–1820 (Metuchen/London: Scarecrow Press, 1978), 210–19. 3 C. Galarneau, “Mesplet, Fleury,” Dictionary of Canadian Biography (hereafter DCB) 4, online; H. Pearson Gundy, Early Printers and Printing in the Canadas (Toronto: Bibliographical Society of Canada, 1957), 17; Aegidius Fauteux, The Introduction of Printing into Canada (Montreal: Rolland Paper Co., 1957), Chapter 4, 16. 4 Margaret Lane Ford, “Types and Gender: Ann Franklin, Colonial Printer,” in A Living of Words: American Women in Print Culture, ed. Susan Albertine (Knoxville: University of Tennessee Press, 1995), 1. 5 I.R. Dalton, “Simms, Sophia (Dalton),” DCB 8, online; for Ann Mott and Elizabeth Gay, see Patricia Fleming, Atlantic Canadian Imprints, 1801–1820: A Bibliography (Toronto: University of Toronto Press, 1991), 25, 75; for Anne Lovell, see Elizabeth Hulse, A Dictionary of Toronto Printers, Publishers, etc. (Toronto: Anson-Cartright, 1982), 150–51. 6 Jean-Marie Lebel, “Lefrançois, Charles,” DCB 6, online. 7 Éric Leroux, “Printers: From Shop to Industry,” History of the Book in Canada (hereafter HBC) 2: 77. 8 Christina Burr, “Defending ‘The Art Preservative’: Class and Gender Relations in the Printing Trades Unions, 1850–1914,” Labour/Le Travail 31 (Spring 1993): 73. 9 Leroux, “Printers,” 83. 10 Patricia Fleming, “The Binding Trades,” HBC 2: 104. 11 Christina Burr and Éric Leroux, “Working in the Printing Trades,” HBC 3: 364–65. 12 Burr, “Defending,” 67–69. 13 Leroux, “Printers,” 83, 104. 14 Burr, “Defending,” 70. 15 Fleming, “The Binding Trades, 104. 16 “Some Women Workers in Victoria,” Victoria Daily Times, 27 May 1895, 6. 17 Marian Tidcombe, Women Bookbinders, 1880–1920 (New Castle/London: Oak Knoll Press/British Library, 1996), 18. 18 Ibid., 26. 19 Gwendolyn Davies, “The Elephant and the Primrose: The Prat Sisters in New York,” Journal of Pre-Raphaelite Studies 6/7 (1998): 129–44. 20 Tidcombe, Women Bookbinders, 219, cites an exhibition in Vancouver in 1912 by Anna Macy, about whom nothing further has been found. 21 “A Chapter on Lady Editors,” Canadian Son of Temperance 4, no. 1 (7 January 1854): 2. Edinburgh was one of the few cities where women achieved an effective presence, following a strike in 1873; by 1910 they numbered 850 compositors , as opposed to about a thousand men. See Sian Reynolds, “Women Compositors,” Edinburgh History of the Book in Scotland 4: 133–35. 22 Chris Raible, The Power of the Press: The Story of Early Canadian Printers and Publishers (Toronto: Lorimer, 2007), 60 In the US, there was similar resistance to [3.129.45.92] Project MUSE...
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