Abstract
On November 6, 1740, Samuel Richardson published his Pamela. Though he certainly realized that his text was in many ways different from any previous prose writing, Richardson probably had no idea of the cultural earthquake Pamela was going to cause. In the following ten years, the book inspired a number of spurious continuations, reams of critical commentary, a handful of dramas, operas, illustrations and paintings, waxworks, fans, and even large billboards at Vauxhall Gardens. With the exception of the last three items, which unfortunately are lost to posterity, all of this material is collected for the first time in the excellent The Pamela Controversy, edited and knowledgeably introduced volume by volume by Thomas Keymer and Peter Sabor.
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