Abstract
The critical conversation regarding the poetic achievement of Letitia Landon has been deformed by the influence of posthumous editions that remake and misrepresent her work. Emma Roberts’s edition of The Zenana and Minor Poems of L.E.L. (1839) and Leman Blanchard’s Life and Literary Remains of L.E.L. (1841) have too often been taken by Landon scholars as reliable sources, yet both occlude and alter her poems in serious ways. Landon herself creatively recycled earlier work: much of her originality depends on her manipulation of its changing media contexts. Thinking coherently about Landon’s poetry requires an extensive acquaintance with her textual history.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
