Reviewed by: Before Crusoe: Defoe, Voice, and the Ministry by Penny Pritchard Patricia Rodrigues Patricia Rodrigues. Penny Pritchard, Before Crusoe: Defoe, Voice, and the Ministry. New York: Routledge, 2019. 177 pp. ISBN 9780367664381. Penny Pritchard's compelling picture of Daniel Defoe's complex authorial personae and the rhetorical strategies common in his earlier works will be of relevance not only to eighteenth-century scholars, but all those who are interested in literary history and Defoe's pivotal place in it. Through close examination of Defoe's nonconformity in his works before 1719, prior to the publication of Robinson Crusoe, Pritchard argues that Defoe forges an innovative form of moral authority through an array of voices reflecting these earlier works' religious perspective. Her vast knowledge of primary and secondary literature on Defoe's extensive oeuvre, its genre, and thematic diversity may justify Pritchard's choice of a conservative canon. Her refusal to engage in "the vexed question of attribution" (53) supports her adherence to Defoe's canon established by Furbank and Owens to avoid including works subject to such debate. Pritchard's analysis of Defoe's early writings provides insight into how his first fiction experiments during the Restoration matured in the early eighteenth century, particularly from a religious perspective. Pritchard explores Defoe's Protestant frame which she considers a "non-specific" Protestantism, drawing on biographical information on Defoe's education, and how his authorial personae in later fiction reflect these religious features. The chapter organization allows for a seamless flow that depicts the evolution of Defoe's authorial personae. The limited chronological range of Defoe's corpus Pritchard analyses is nonetheless extensive, and thus attention devoted to each text is necessarily limited in depth. A more detailed analysis of some of the presumably more significant works is offered to overcome such constraint, but one wonders about the criterion for choosing those particular texts. The introduction briefly discusses each chapter and lays the groundwork for Pritchard's arguments. Pritchard contends that one must consider Defoe's early authorial personae, and how they "reflect their inception within a burgeoning printing culture sensitive to the tastes of a diverse reading public" (1) to fully understand the beginnings of the early English novel and recognize the importance of Robinson Crusoe's role in its genesis. While these early works point to dissenting authorial personae, Pritchard claims that the virtual dismissal of the subject of nonconformity from his writings after 1719 cannot be coincidental, a claim she repeatedly makes throughout her book. The first chapter, "The Nonconformist Catch-22," encapsulates the paradoxes within the culture of English dissent. It addresses the "Happy Unions and Bitter Divisions in Popular Religious Writing," compares Defoe's writings to other non-conformists', and highlights his lack of empathy for his dissenting contemporaries. Pritchard argues that the extent to which Defoe is immersed in an intellectual, ambiguous dissident environment [End Page 181] justifies her investigation of his response to London nonconformity. Her comprehensive knowledge of English Protestant dissent can be rather overwhelming for those who are not extensively acquainted, as she is, with its "myriad of sects" (23). The biblical allusion (Mark 5:9) of the second chapter's title, '"Our name is Legion," unveils how Defoe's authorial personae echoes his address to the British House of Commons, "Legion's Memorial" (May 14, 1701), advocating the right to petition. The chapter highlights the notions of "author" and "authorship," and the voices Defoe uses in different genres. Pritchard argues that there has not yet been enough critical exploration on Defoe's Protestant roots in the variety of voices he invents, focusing on Defoe's religious convictions and moral concerns to persuasively establish just how important a role this plays in his fashioning of different voices. The third chapter, "'You must go Home, and ask my Father': Providence, Empiricism, and Print Culture," discusses the great Storm of 1701, borrowing Defoe's line from his account of the phenomenon. Pritchard contends that in both The Storm and An Essay Upon Projects, Defoe plays the authorial role of a religious and moral mentor. She adds that his early literary works were "sermons in purpose if not in form" (74), which she justifies by...