This collection of essays opens with an excellent introduction by Andrea Tarnowski, which fully orients the reader within the field of Christine de Pizan studies. Teachers of Christine’s work from a variety of backgrounds will benefit from the ‘Instructor’s Library’, which serves as a guide with which to navigate the overwhelming Christine bibliography. Mark Aussem’s preliminary essay also offers some valuable advice on online resources teachers may wish to use (although it is worth noting that, across the volume, several of the URLs are no longer valid). Following these preliminaries, the essays are presented in three categories. The first eight pieces form a section entitled ‘Gender and Self-Representations: Cultural Contexts’, and address the teaching of some of the topics within which Christine more traditionally features, including gender (David F. Hult, Tarnowski) and autobiography (Jeff Rider), but also patronage (Deborah McGrady) and her treatment of sources (Julia Simms Holderness). The contributions by Mary Gibbons Landor and Tarnowski offer something refreshingly different, approaching Christine from the perspective of visual material — still very much an emergent field. Daisy Delogu’s chapter is of particular of note: it convincingly makes the case for Le Livre des fais et bonnes meurs du sage roy Charles V, which rarely features on syllabi, as an excellent starting point for Christine studies, as it is pertinent to so many of the topics usually broached through her works. Overall, this section offers a good spread of articles on traditional and more novel approaches to teaching Christine. The six essays in the second section, ‘Christine across the Disciplines’, continue along this line, showing how Christine can be integrated into courses on art history (Benjamin M. Semple), political theory (Cary J. Nederman), and music (Patricia E. Black). The contributions by Susan J. Dudash and Barbara K. Altmann form an engaging pair of essays on textual analysis of Christine’s lyric poems; the former shows how one of the ballades can be used as a lens through which to examine a number of topics, whilst the latter uses another poem as a means of exploring medieval intertextuality. Finally, David Joseph Wrisley’s essay shows how digital mapping tools can be used to investigate notions of geography and space in Christine’s works. The essays in the third section, ‘Classroom Contexts’, largely discuss some of the challenges of teaching Christine’s works in different settings, and the opportunities these might present. Roberta L. Krueger’s essay on Le Livre des trois vertus is particularly notable for its suggestions on how to bring to life what might at first appear a rather dry instruction book. Meanwhile, Nadia Margolis shows how the Ditié Jehanne d’Arc can be used to explicate various aspects of the historical background of late medieval France and England. Aussem’s essay concludes by suggesting that the 350,000 results generated by searching online for ‘Christine de Pizan’ (that figure has since increased to over 481,000) need to be organized so as to make them more navigable. Until someone takes up that baton, this book will go some way towards helping teachers (and, I am tempted to say, students) of Christine navigate this vast field of research.