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• W1992502096 abstract "Trasgressive Youth: Lady Mary, Jane Austen, and the Juvenilia PressLois A. Chaber Juvenilia may be the last refuge of a cultural historian, according to a commentator on early British radio performances of the Beatles,' but for Juliet McMaster's students at the University of Alberta, they have become the first step in learning basic editorial skills for a career in English literature. In a revolutionary pedagogical experiment designed to demystify scholarly research and publication, to destabilize the assumption that the scholarly apparatus of a text is pure fact, and to balance a student curriculum weighted towards critical interpretation, McMaster has in the past few years deployed graduate and undergraduate classes to produce slim volumes of assorted juvenilia by famous authors on both sides of the Atlantic.2 The use of juvenilia in particular encourages student confidence by teaming up beginning scholar with beginning writer who has made it, and matches the diminutive size and scope of a juvenile work—witìi its limited body of criticism—to the constraints and time limits of a particular class in literature, so that each student can walk away with a self-generated volume at the end of the term. The project originated in 1992, when the results of undergraduate class assignments in editing and annotating were so good as to warrant the leap 1 Richard Corliss, Becoming the Beatles, review of Live at the BBC, 2-disc CD, Time, 19 December 1994, p. 74. 2 The volumes under review here are Lady Mary Pierrepont, Indamora to Lindamira, ed. Isobel Grundy (University of Alberta: Juvenilia Press, 1994); Jane Austen, Jack and Alice: A Novel, ed., annotated, and illustrated under the general editorship of Juliet McMaster (Edmonton: Juvenilia Press, 1992); and Jane Austen, Amelia Webster and The Three Sisters, ed., annotated, and illustrated under the general editorship of Juliet McMaster (Edmonton: Juvenilia Press, 1993). EIGHTEENTH-CENTURY FICTION, Volume 8, Number 1, October 1995 82 EIGHTEENTH-CENTURY FICTION into publishing the first, unpretentious, saddle-stitched and stiff-covered pamphlet, Jack and Alice, a rumbustious burlesque of sentimental plots and characters by the teenaged Jane Austen that begins with a masquerade and ends witfi a murder. In 1993 two more modest volumes were produced: The Twelve Adventurers, a Romantic—and somewhat imperialistic—Tale by the twelve-year-old Charlotte Bronte, which celebrates her victory over Branwell, English colonists' over African natives , and the Duke of Wellington's over Napoleon, and Amelia Webster and The Three Sisters, two more selections from the adolescent Austen's corpus, the first a mini-epistolary novel mat is a reductio ad absurdum of courtship and marriage, and the second, a more realistic narrative fragment exposing the mercenary and competitive motives underlying these same conventions. However, it was the offer in that same year by Isobel Grundy, currently working on a new biography of Lady Mary Wortley Montagu, to edit the unpublished manuscript of an amatory romance by the teenaged Lady Mary (then Pierrepont) that instigated the formal creation of the Juvenilia Press with its own editorial board. Hence, in 1994 emerged the said epistolary romance, Indamora to Lindamira (1702), as well as Noma Or, the Witch 's Curse, a juvenile drama by Louisa May Alcott, with what I may call the feminist theme of an initially impotent good witch who eventually proves her potency in collaboraton with the lovelorn heroine and the ghost of the villain's murdered wife—both volumes now in glossy commercial paperback format.3 Female empowerment is also at issue in the edition of Lady Mary's novelette under review. For Lady Mary, writing as a young woman almost ninety years before the adolescent Austen, there were no precedents like Burney for respectable female success in novel-writing, nor did she have the personal family environment of warmth, encouragement, and shared interest in literature that Austen (and Alcott) had—even the Brontes at least had a sibling support system. That writing was truly transgress ée for Lady Mary is suggested by the new information, unrecorded in Robert Halsband's biography, offered by Grundy in her introduction: noting that in the 1704 manuscript oí Indamora twenty leaves have been torn out and that just before the narrative there are..." @default.
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• W1992502096 title "Transgressive Youth: Lady Mary, Jane Austen, and the Juvenilia Press" @default.
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