I was honored to deliver the Wing Foundation Lecture on the History of the Book at the Newberry Library on March 3, 2022. The event took place in person after two years of virtual events. I’m grateful to Jill Gage, Custodian of the John M. Wing Foundation on the History of Printing, for the invitation to speak about some new ideas around my next book project, “Accidental Shakespeare,” and to the staff at the Newberry for supporting this program.
Read moreCALL FOR PROPOSALS: Cambridge Elements in Shakespeare and Text
Along with my co-editor Rory Loughnane (University of Kent), I am delighted to invite proposals for Cambridge Elements in Shakespeare and Text, a brand new series of short books about the textual histories, present, and futures of the Shakespearean text.
We are interested in work that thinks in new ways about textual matters around Shakespeare and stretches the boundaries of what might be considered “a Shakespearean text.” We especially welcome proposals from early career scholars and those with something to say about textual matters around Shakespeare from the vantage of fields outside book history.
Read moreVIDEO: Re-Reading Milton Re-Reading Shakespeare (SRS • June 30, 2020)
Yesterday, Jason Scott-Warren (Cambridge University) and I presented some updated findings about and readings of the marked up copy of Mr William Shakespeares Comedies, Histories, and Tragedies (1623) housed in the Rare Book Department at the Free Library of Philadelphia. The talk was graciously hosted by the Society for Renaissance Studies and moderated by Daniel Starza Smith of King’s College London.
This particular copy of the first edition of Shakespeare’s plays was almost certainly owned and annotated by the poet John Milton, as Jason first proposed last September after reading an essay I had written about the reader’s marks. (See a digest of media coverage here.) Our talk moves beyond an effort to validate the attribution, as we consider possible timelines for Milton’s engagement with the playtexts based on palaeographic and other kinds of material evidence. How did Milton read and re-read Shakespeare? We also offer a new theory about the book’s provenance prior to its entering the historical record in an 1899 auction catalogue. If you were unable to tune in, a full playback of the talk and Q&A (with cat cameos) is available below.
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Last year, I started reserving a day in each of my Shakespeare courses for students to "make" quartos. I wrote at some length (almost exactly a year ago) about the experience of making Q1 Hamlet with my students at VCU and posted instructions, information about supplies for the activity, and a link to the sheets (which I made from EEBO printouts).
This semester, I'm teaching a senior seminar called "Early Modern Drama: Manuscript, Print, Performance" that focuses on the material-textual processes that facilitated the making of theatrical performance and printed texts of the plays. So far, my students have reverse-engineered scribal backstage plots of Doctor Faustus, performed a scene from the same play using cue scripts, and "made" quartos.