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Destination as Destiny: Amelia B. Edwards’s Travel Writing

Destination as Destiny: Amelia B. Edwards’s Travel Writing Destination as Destiny Amelia B. Edwards's Travel Writing patricia o'neill Amelia Blandford Edwards (1831­1892) was a distinguished intellectual and public figure of the Victorian period. As an unmarried woman without independent means or immediate family, the middle-class Edwards had to rely on her personal abilities and enterprise to earn a living. Fortunately, her individual gifts were both varied and of a high order. From the time that George Cruikshank, the most celebrated of Charles Dickens's illustrators, discovered to his astonishment that the drawings attached to a short story submitted to Cruikshank's Omnibus were the work of a precocious twelve-year-old girl, Edwards's literary and artistic abilities earned her much admiration and, eventually, a good income.1 Although she settled on writing--principally journal articles, two volumes of short stories, and eight novels--for her livelihood, her youthful accomplishments as artist, singer, pianist, composer, and poet were also brought to bear when in midlife she directed her talents to promote scientific excavation and preservation of the artifacts and sites of ancient Egypt. According to her own account, an accident of weather and a consequent shift in destination brought Edwards and her friend Lucy Renshaw to Cairo to begin a three-month journey up the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Frontiers: A Journal of Women Studies University of Nebraska Press

Destination as Destiny: Amelia B. Edwards’s Travel Writing

Frontiers: A Journal of Women Studies , Volume 30 (2) – Aug 28, 2009

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Publisher
University of Nebraska Press
Copyright
Copyright © University of Nebraska Press
ISSN
1536-0334
Publisher site
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Abstract

Destination as Destiny Amelia B. Edwards's Travel Writing patricia o'neill Amelia Blandford Edwards (1831­1892) was a distinguished intellectual and public figure of the Victorian period. As an unmarried woman without independent means or immediate family, the middle-class Edwards had to rely on her personal abilities and enterprise to earn a living. Fortunately, her individual gifts were both varied and of a high order. From the time that George Cruikshank, the most celebrated of Charles Dickens's illustrators, discovered to his astonishment that the drawings attached to a short story submitted to Cruikshank's Omnibus were the work of a precocious twelve-year-old girl, Edwards's literary and artistic abilities earned her much admiration and, eventually, a good income.1 Although she settled on writing--principally journal articles, two volumes of short stories, and eight novels--for her livelihood, her youthful accomplishments as artist, singer, pianist, composer, and poet were also brought to bear when in midlife she directed her talents to promote scientific excavation and preservation of the artifacts and sites of ancient Egypt. According to her own account, an accident of weather and a consequent shift in destination brought Edwards and her friend Lucy Renshaw to Cairo to begin a three-month journey up the

Journal

Frontiers: A Journal of Women StudiesUniversity of Nebraska Press

Published: Aug 28, 2009

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