Submissions

Author Guidelines

JJS publishes one volume annually. This volume may contain up to two issues, published online independently and then gathered into one volume, also for online publication. (Volume 1 was published July 2018, online and in print; Volume 2, no. 1, was published online only in June 2019;  print volume 2, containing issue no. 1 and issue no. 2, was published in early 2020.) The editorial board welcomes submissions throughout the year, although individual issues will have submission deadlines advertised in "Announcements."

The editors are responsible for final decisions regarding publication and reserve the right to edit for brevity, clarity, and consistency of style. A final decision to publish or not is made by the appropriate editor after peer review. All submissions to JJS should follow MLA style as laid out in the 8th edition of the MLA Handbook, with minor differences as noted below. Queries may be sent to the Editor, Lesley Peterson, at peterson.lesley@gmail.com.

Authors will never be charged any fee to submit or publish a manuscript through the JJS.

Articles

JJS publish original scholarly essays on all aspects of juvenilia studies, with a particular focus on literary and visual works of art; we aim to provide a forum for a broad range of theoretical approaches and methodologies, in order to reflect and contribute to the international and interdisciplinary nature of the field of juvenilia studies. A typical submission will be 6,000 to 7,000 words in length (excluding the works-cited list). However, the editor welcomes queries about articles that fall outside this range. Make a new submission to the Peer-Reviewed Articles section.

Invited Contributions

JJS publishes thoughtful reviews of monographs, essay collections, scholarly editions, and other works of relevance to the field of juvenilia studies. A review will normally be 750-1000 words in length for a review of a single title. Please contact the Book Review Editor for exceptions or for reviews of more than one title. To avoid duplication, we encourage authors to send a query before submitting an unsolicited review. Our Book Review Editor, Donna Couto, may be reached at d.couto@unsw.edu.au. 

Presentation: JJS asks authors to follow the style guidelines of the Modern Languages Association as set out in the 8th edition of the MLA Handbook and to consult the journal's style guidelines provided below.

In place of a title, please identify all of the following:

• Full names, as per copyright page, of author(s) and, as appropriate, of editor(s), illustrator(s), and translator(s)
• Title of book (including subtitle), as per copyright page
• Year of publication
• Publisher
• Number of pages (roman numeral + arabic numeral)
• Price (please indicate paperback or hardcover and specify currency)
• ISBN
• Reviewed by [your name]

 Book Review Guidelines

The following guidelines are offered for those who find them useful; authors are not required to adhere to them. We do not prescribe a particular structure or methodology, and we welcome a wide variety of approaches.

Main purposes of the review:

1) Inform: introduce the reader to the book’s content without giving a chapter-by-chapter summary; instead, identify the author’s main purpose and argument, and describe how he or she develops this argument (approach, methodology).

• In identifying the author’s purpose, it is often useful to be explicit about the book’s intended audience.
• The context (e.g. author’s background, reason for writing the book) may be relevant.
• Be specific, and provide samples: give details, including brief quotations that are representative or revealing.

 2) Critique: analyze and evaluate how—and how effectively—this book adds to, challenges, or changes our knowledge of the subject. Readers want to know about the book’s merits: its usefulness, its scholarly value, the rigour of the research and scholarship on which it is based, its readability. Does the book offer new information? An innovative approach? A useful introduction? The most thorough and expert overview of the subject ever written? A valuable if controversial perspective?

• This assessment typically often involves making relevant comparisons to earlier or similar books in the field.
• If the book is an edited collection of essays, or chapters by different individuals, do address the work’s overall theme or purpose, but feel free to focus on specific chapters you consider particularly significant or worthwhile.
• Aspects of style, design, and editing may be mentioned if you consider them important.
• Your own expert knowledge will and should be evident.

Essential components of a review (not to be taken as prescriptive or restrictive):

1. A brief overview of the book’s main purpose, thesis, or organizing principle
2. The work set in context: identify which field of scholarship it belongs in and how it compares with other books in that field.
3. Analysis of the book’s strengths and weaknesses with examples of each.
4. Conclusion that brings together the main points of the review in a fresh and memorable style. Consider addressing explicitly the aspects of this work that may be of interest to scholars of juvenilia.

Presentation of the review: see above.

These guidelines are based on and owe a considerable debt to the following:

“Book Review Guidelines.” Armstrong State University, http://www.write.armstrong.edu/handouts/BookReview.pdf. Accessed 11 January 2018.

“Book Review Guidelines.” Harvard Review Online, Harvard University, http://hcl.harvard.edu/harvardreview/News/Reviewer_Guidelines.pdf. Accessed 11 January 2018.

“Guidelines for Book Reviews.” Children, Youth and Environments, CYE Center, University of Colorado Boulder, https://www.colorado.edu/journals/cye/CYE_BookReviewGuidelines.htm. Accessed 11 January 2018.

Format and Style, Overview

• In general, we follow the MLA Handbook, 8^th edition, with a few minor modifications. The following is not meant to be comprehensive. If in doubt, consult the MLA Handbook, 8^th edition; for matters not covered there, consult the Chicago Manual of Style or one of the Journal Editors (contact information below).
• Ensure that you have secured permission to publish any illustrations or other figures.
• Insert figures directly into the text, placing them where you want them to appear. They should be between paragraphs if possible. (We recognize that sometimes it is not possible.)
• Provide a caption for each figure (see below).
• We permit a variety of strategies for signalling subdivisions if desired: subheadings, extra space between paragraphs, or symbols can all be considered.
• We favour a clear, direct, formal style:
  • Use the active voice wherever possible.
  • Do not use contractions.
  • Do not hesitate to write about yourself in the first person, especially if the alternative requires the passive voice.
  • We prefer to attribute agency to the author rather than to the essay:
    • I argue that …. NOT
    • This essay argues that ….

 Spelling, Syntax

• Use British spelling (e.g., acknowledgement, centre, cheque, colour, emphasise, per cent, sympathise, towards, travelling). Consult the OED.
• Treat juvenilia as a plural noun; do not use as a singular noun or as an adjective.
• Note italics vs. roman: sic, BUT e.g., i.e.
• We prefer to use “that” to introduce a restrictive element and “which” to introduce a non-restrictive element.
  • • The venues that displayed and reproduced their drawings also were organised by adults.
    • This embryonic plot is not dissimilar to those featured in the heroic tragedies penned by Frances Burney at court, which often depict female “anguish” and “confinement” at the hands of men (Darby 58).

Capitalisation of Titles

• For original titles, capitalise the first word (including the first word after a colon, if applicable), the last word (including the last word before a colon, if applicable), and all principle words, including those that follow hyphens in compound terms.
  • “Principle words” include all words except coordinating conjunctions (and, but, or, nor, for, so, yet); articles (the, a, an); all prepositions, regardless of length; and to (when used as part of an infinitive verb)

N.B. Many very short words should nonetheless be capitalised (e.g., is, be, am). Many words can act as more than one part of speech (e.g., a preposition can also function adverbially or adjectivally and in the latter case should be capitalized).

• • • Look Up, Please                            Alone but Not Lonely
    • How to Be Happy                         The Vice-Consul
• For titles that contain quotations, capitalise the quotation as in the original text:
  • • Teaching “the young idea how to shoot”: The Juvenilia of the Burney Family
• When citing a title, whether in the body of the essay or in the works-cited entry, standardise the capitalisation. It does not matter what style was used in the original text.

Dates and Numbers

• Dates: day-month-year style, no comma, do not abbreviate:
  • • 8 February 2017
• Numbers: In discussions that require few numbers, spell out numbers that can be written in one or two words; otherwise, use numerals; use commas for numbers larger than 999:
  • • one                                     forty-seven
    • one hundred                    101
    • two thousand                   2,348
• Inclusive numbers:
  • Give the full number for all numbers of one or two digits; for larger numbers, give at least the last two digits of the second number, more if necessary:
    • 1–13                                 88–89
    • 100–101                           5,320–22
• Use en dash rather than hyphen in number ranges.
• Year ranges as shown:
  • • 1893–98                           1754–67
    • 1799–1804                       5–49
    • 170–152 BCE

            BUT always use all four digits for somebody’s lifespan.

Apostrophes

• To form the possessive of a singular proper noun, including names ending in s, x, or z, add an apostrophe and an s:
  • • Johnson’s irony                Dickens’s reputation
    • Marx’s precepts                Socrates’s wife.
• Do not use an apostrophe to form the plural of an abbreviation or a number:
  • • MAs                                 PhDs
    • the 1990s                         fours

Forward slash (slash, virgule, solidus)

• To separate lines of verse in run-in quotations of two or three lines, use the forward slash with a space on either side ( / ):
  • • One of W. H. Auden’s best-known poems advises the reader, “Look, stranger, on this island, now / The leaping light for your delight discovers” (1–2).

N.B. A verse quotation of more than three lines should begin on a new line and be set off from the text. See “Quotations” below.

• To separate stanzas in a run-in quotation that spans more than one stanza, use two forward slashes with a space before and after ( // ):
  • • The narrator recounts what he heard “a lover sing” and when: “‘You shall love your crooked neighbour / With your crooked heart.’ // It was late, late in the evening” (6, 55–57).

N.B. Wherever possible, present such passages as block quotations set off from the text. See “Quotations” below.

• To separate two terms paired as as opposites or alternatives and used together as a noun, use the forward slash with no space on either side:

• • • The scholar interrogates such binaries as East/West, female/male, and right/left.

N.B. Use a hyphen rather than a forward slash when such a compound precedes and modifies a noun: nature-nurture conflict, either-or situation, East-West relations.

Ellipses

• Use the closed ellipsis to indicate omitted text.
• Add a full point (period) where appropriate; otherwise leave a space on either side of the ellipsis:
  • Sentence fragment … sentence fragment.
  • Complete sentence. … second half of following sentence.
  • End of sentence omitted …. New sentence.
    • “When Anne came down she took one also …. Branwell chose ‘Bonaparte’” (EEW 1:5).
    • The hero fails to secure the “handsome, … fashionable, … [and] rich” woman to whom he aspires.

Captions

• Italicise captions; for titles of works that would normally be italicised, use roman.
• End with a period, even if the caption is a sentence fragment.
• Use sentence-style capitalisation except for titles of works.
• List elements in this order:
  • Fig. # [Note: use "Figure" in body of text, "Fig." in parenthetical citations].
  • Creator and Title or description of work (it is also acceptable to have title or descrption of work first, followed by name of creator),
  • Other publication information if known and relevant (e.g., date of creation, description),
  • Acknowledgement of permission/ownership (in parentheses).
    • Fig. 1. Archive, photograph by Eleanor Bowen.

N.B: “Archive” is here a descriptive term, not a title.

• • • Fig. 4. Still Life with a Poem, by Juan Gris, 1915 (courtesy Norton Simon Art Foundation).

Quotations

• Use double quotation marks; use single quotation marks (inverted commas) for quotations within quotations.
• Always place periods and commas within quotation marks; place other punctuation marks inside if they belong to the text quoted, outside if they do not.
  • • Upon arriving at his destination, “Mr. Gower rang-–the Door was soon opened. ‘Are Mr and Mrs Webb at home?’” (Evelyn 176).
• Do not use quotation marks as scare quotes:
  • • They were puzzled by such acts of so-called kindness. (NOT They were puzzled by such “acts of kindness.”)
• If possible, use italics rather than quotation marks to single out a word qua word:
  • • The noun reflection appears three times in the first chapter.
• Alterations of quotations:
  • Do not use square brackets to alter a quotation (see example below) with the possible exception of changing capitalization when quoting a primary text.
  • It is acceptable to silently change an upper-case letter to a lower-case letter or the reverse. However, we encourage authors to use brackets to indicate a change in capitalization when quoting a primary text, as (per Chicago) this practice is appropriate in close textual analysis. If you choose to do this, please do so consistently throughout your essay.
  • Otherwise, use square brackets only to insert information. Do not alter the quotation.
  • Use “[sic]” to assure readers that a quotation is accurate if there is the possibility that they might question it:
    • ORIGINAL: I was silent, fearfull lest I might any more unwillingly distress her.
    • QUOTATION: Laura “was silent, fearfull [sic] lest” she “might any more unwillingly distress her.” (NOT Laura “was silent, fearful lest [she] might any more unwillingly distress her.”)
  • It is acceptable to change the typeface; please note all such changes in the parenthetical citation.
    • • "You shall love your crooked neighbour" (55, italics added).

•  
• Block quotations: If a quotation is more than sixty words long (prose) or more than three lines long (verse), set it off from the text as a block indented half an inch from the left margin and half an inch from the right margin.
  • Although this is not a hard and fast rule, it often works well to introduce a block quotation with an independent clause followed by a colon.
  • A lengthy quotation is justified by close reading. Any block quotation should be followed by at least a short discussion of the quotation’s specific language. If such a close reading is not necessary to your argument, shorten the quotation and/or break it up into short quotations that can be run in.

Works Cited: Sample Entries

 The following sample entries are not meant to be comprehensive. For more information, refer to the MLA Handbook (8^th edition) or consult one of the Journal Editors. Please format with a hanging indent if possible (not shown in the examples here). Do not format the hanging indent using hard returns. A works-cited list entry in MLA 8 follows this basic style:

Creator. Title of work. Information about container, with elements separated by commas. Information about container of container, if relevant. Optional information.

 Abbreviations

• If a small number of works are frequently cited within the paper, it may be appropriate to use abbreviations. If so, please list these at the head of the works-cited list (consult the editors regarding style). 
• Because we cannot list abbreviations at the start of an article, it is important to weigh the value of brevity against the risk of confusing the reader.

Authors' Names: Chinese, Japanese, Korean, or Vietnamese

• For authors who generally uses the westernised form of their names, use the standard form of Surname, Given name.
• For authors who generally prefer the practice where surnames precede given names, do not use a comma.
  • • Bai, Qianshen. 1999. “Image as Word: A Study of Rebus Play in Song Painting (960–1279).”
      Metropolitan Museum Journal, vol. 34, 1999, pp. 57–72.
    • Ishida Masako. “Masako Does Not Give Up: The ‘Ishida Newspaper’ Version.” Translated by Brian Burke-Gaffney. Nagasaki, sono toki no hibaku shōjo: rokujūgonenme no "Masako taorezu." Tokyo: Jiji Tsūshin Shuppankyoku, 2010, pp. 213–50.

Manuscripts

• Treat manuscripts the same as published works in terms of using italics for full-length works and quotation marks for shorter works; indicate that the work is a ms. at the end of the entry.
  • • Fazan, Juliet. Hereward the Wake. c. 1948–52. Holograph manuscript.

Books, Chapters, Prefaces and the Like (Print)

• Shorten “University Press” to UP (Cambridge UP, U of Iowa P); omit business terms, like , Inc., Ltd. Otherwise provide full name.
• Do not include place of publication, unless that historical fact is significant.
• If an imprint, only provide name of publisher (Penguin Books, not Puffin Books).

 BOOK BY ONE AUTHOR (note spaces between initials in this example)

• • • Wilson, A. N. C. S. Lewis: A Biography. W. W. Norton, 1990.

BOOK WITH EDITOR OR WITH PREFACE AND INTRODUCTION BY AUTHOR OTHER THAN THE AUTHOR OF THE BOOK 

• • • Allen, Daphne. A Child’s Visions. Preface by Walter D. Ellis, introduction by C. Lewis Hind, George Allen, [1912].
    • Lowry, Malcolm. Satan in a Barrel and Other Early Stories. Edited by Sherrill Grace, Juvenilia Press, 1999.

EDITED COLLECTION, ENTIRE WORK, TWO EDITORS

• • • Alexander, Christine, and Juliet McMaster, editors. The Child Writer from Austen to Woolf. Cambridge UP, 2005.

SINGLE CHAPTER IN AN EDITED COLLECTION

• • • Arnheim, Rudolf. “Beginning with the Child.” When We Were Young: New Perspectives on the Art of the Child, edited by Jonathan Fineberg, U of California P, 2006, pp. 19–29.

CROSS-REFERENCES TO AN EDITED COLLECTION (provide short form of title if needed)

• • • Alexander, Christine, and Juliet McMaster, editors. The Child Writer from Austen to Woolf. Cambridge UP, 2005.
    • Doody, Margaret Anne. “Jane Austen, That Discerning ‘child.’” Alexander and McMaster, Child Writer, pp. 101–21.
    • Taylor, Beverly. “Childhood Writings of Elizabeth Barrett Browning: ‘At four I first mounted Pegasus.’” Alexander and McMaster, Child Writer, pp. 138–53.

INTRODUCTION BY ONE AUTHOR TO BOOK BY A DIFFERENT AUTHOR  (in this example, a translation)

• • • Sadler, M. T. H. “Translator’s Introduction.” The Art of Spiritual Harmony, by Wassily Kandinsky, translated by Sadler, Houghton Mifflin, 1914, pp. ix–xxv.

MULTI-VOLUME SET, WITH PLACE OF PUBLICATION (note alternative first name of author given in square brackets in this example)

• • • Burney, Frances [Fanny]. Memoirs of Doctor Burney, Arranged from His Own Manuscripts, from Family Papers, and from Personal Recollections, by His Daughter, Madame d’Arblay. London, Edward Moxon, 1832. 3 vols.

SINGLE VOLUME FROM A MULTI-VOLUME SET WITH ONE TITLE

• When you only quote from one volume in a multi-volume set, providing the total number of volumes in the set is optional.
  • • Lewis, C. S. The Collected Letters of C. S. Lewis. Edited by Walter Hooper, vol. 1, Collins, 2004. 3 vols.
    • Chambers, William, and Robert Chambers, editors. Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge. Vol. 6, London, William and Robert Chambers, 1890.

SINGLE VOLUME FROM A MULTI-VOLUME SET, EACH VOLUME HAVING A DIFFERENT TITLE 

• When you only quote from one volume in a multi-volume set, providing the total number of volumes in the set is optional.
• You may provide the title of the set first or the title of the individual volume first.
  • • Byron, Lord [George Gordon]. Between Two Worlds. Byron’s Letters and Journals, edited by Leslie Marchand, vol. 5, Belknap Press, 1977. 12 vols.
    • Byron, Lord [George Gordon]. Byron’s Letters and Journals. Edited by Leslie Marchand, vol. 5 Between Two Worlds, Belknap Press, 1977. 12 vols.
    • Saintsbury, George. “The Young England Movement.” The Collected Essays and Papers of George Saintsbury, 1875-1920, vol. 3 Miscellaneous Essays, J. M. Dent & Sons, 1923, pp. 254–69. Google Books.

MONOGRAPH, SECOND EDITION

• • • Clifford, James L. Hester Lynch Piozzi (Mrs Thrale). 2nd ed., Columbia UP, 1987.

BOOK IN A SERIES

• • • Simon, Brian. The Two Nations and the Educational Structure, 1780–1857. Lawrence and Wishart, 1960. Studies in the History of Education 1.

BOOK LISTED BY TITLE, NO AUTHOR OR EDITOR (note place of publication included this example; note that “The” is not omitted from title, but the entry is listed alphabetically under “J”)

• • • The Juvenile Magazine; or, an Instructive and Entertaining Miscellany for Youth of Both Sexes. London, John Marshall, 1788.

 THESIS OR DISSERTATION

• • • Baker, Julia K. The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film. 2007. U. of Cincinnati, PhD Dissertation. OhioLINK Electronic Theses and Dissertations Center. etd.ohiolink.edu/apexprod/rws_olink/r/1501/6.

 Periodicals

• MLA no longer distinguishes between scholarly journals and other types of periodicals—the same rules apply to all.
• Spell out months in full.
• For further examples, see below under “Texts Published Online.”

ARTICLE IN PERIODICALS, TWO AUTHORS

• • • Alexander, Christine, and Juliet McMaster. “Children Writing in Jane Austen’s Time.” Persuasions: The Jane Austen Journal, vol. 37, 2015, pp. 13–28.

ARTICLE IN SPECIAL ISSUE WITH VOLUME TITLE AND EDITOR

• • • Bowen, Eleanor. “Parergorn: Proposal for an Inverse Archive.” Ethos, edited by Mark Dean. Spec. issue of Bright Light, vol. 3, 2016, pp. 21–31.

TWO-PART ARTICLE IN JOURNAL (note vol. and no. but no date, descriptive information added in this example)

• • • Neufeldt, Victor A. “Branwell Brontë’s Alexander Rougue/Percy.” Brontë Studies, vol. 42, no. 3, July 2017, pp. 190–210 and vol. 42, no. 4, October 2017, pp. 321–40. Two-part essay.

Letter

• • • Zuckerman, Harold. Letter to Janet Jones. 18 March 1952, Harold Zuckerman Archive, University of Florida, Gainesville.

Texts Published Online (MLA 8 with some consultation of CMoS and house style)

• Always provide the name of the web site or database that publishes the item.

• If the work is easily located from the home page of the site, you may list just the name of the site and the URL of that site’s home page rather than a specific URL.
  • See examples 1, 2, 5.
• We do not provide a separate URL for Google Books. The name of the site is enough.
  • See examples 3, 4.
• Provide the name of the web site or database’s publisher or host, if known and if different from the name of the site (e.g., Proquest, CBC).
  • See examples 2, 5.
  • Do not provide a URL that takes the reader to a proxy server.
  • If citing an online version of a print text, provide all publication information for the print version as well as the online access information.
  • See examples 2, 3, 5
  • If available, provide the DOI (preceded by doi:) instead of the URL.
  • See examples 6, 8.
  • If a DOI is not available, then cite where possible a stable URL.
  • See example 7.
  • Do not use URLs produced by shortening services (such as bit.ly).
  • Do not include http or https.
  • Do include www if part of the URL.
  • Do not include access date.
  • Do include date of publication or of latest edit if given.
  • Check all URLs prior to submission.

BOOK

1) Ruskin, John. The Elements of Drawing; In Three Letters to Beginners. John Wiley and Sons, 1883. HathiTrust, www.hathitrust.org.

NEWSPAPER OR MAGAZINE ARTICLE

2) “Art: Exhibitions of Paintings.” New York Times, 20 March 1921, p. X8. Proquest Historical Newspapers, ProQuest, www.proquest.com/products-services/pq-hist-news.html.

3) Bruce, H. Addington. “Making the Most of Childhood.” Good Housekeeping, vol. 56, no. 1, January 1913, pp. 332–40. Google Books.

4) C. K. S. “A Literary Letter: An Inspired Child Artist—Collecting Autographs—The Anthology-Maker.” The Sphere, 27 July 1912, p. 98. “A Girl Artist Who Is Famous on Two Continents.” Current Opinion, vol. 70, no. 5, May 1921, pp. 671–75. Google Books.

JOURNAL ARTICLES

5) Cox, J. Charles. “The Sacred Visions of a Child.” The Antiquary, vol. 8, September 1912, pp. 336–38. British Periodicals, ProQuest, www.proquest.com/products-services/british_periodicals.html.

6) Esterhammer, Angela. “The Cosmopolitan Improvvisatore: Spontaneity and Performance in Romantic Poets.” European Romantic Review, vol. 16, no. 2, April 2005, pp. 153–65. Taylor and Francis Online, doi:10.1080/10509580500123332.

7) Garlitz, Barbara. “The Immortality Ode: Its Cultural Progeny.” Studies in English Literature, 1500–1900, vol. 6, no. 4, Autumn 1966, pp. 639–49. JSTOR, www.jstor.org/stable/449359.

8) Goodridge, John. “Identity, Authenticity, Class: John Clare and the Mask of Chatterton.” Angelaki, vol. 1, 1993–94, pp. 131–48. Taylor & Francis Online, doi:10.1080/09697259608571887.

Works That Are Cited in Endnotes

• Provide full bibliographical information in the works-cited list only, unless the source is not quoted from and is not central to the argument.
  • See example 1.
• Do not provide full bibliographical information in the endnote unless the source is not in the works-cited list. See examples 3, 4, 5
• Provide author’s full name on first use in endnote, if used, unless full name is provided in the body of the essay. See example 5.
• Use parenthetical citations, as in the body of the essay, except for “See” references.
  • See example 2.

SUBSTANTIVE NOTE (most will be like this)

1)   ⁴ Critics have seen Adonais as testament to an entire juvenile tradition (Alexander, “Defining” 77; Langbauer 7–12).

"SEE" REFERENCE (don’t use parenthetical citation, do include in works-cited list)

2)   ¹⁰ See Schoenfeld, “Byron” para 3 and 4.

ADDITIONAL PUBLICATION INFORMATION (does not need to go in the works-cited list—include full citation in note)

3)   ¹² For the original riddle, see Weekly Entertainer, vol. 45, June 3, 1805, p. 438.

4)   ⁶ This fragment was published in Charlotte Bronte: The Lost Manuscripts (The Bronte Society, 2018).

 REFERENCE TO SOURCE OFFERED FOR INTEREST'S SAKE (source is not quoted from and is not central to the argument): does not need to go in the works-cited list—include full citation in note. This can be a judgement call—consult with editor if unsure.

5) ¹Yet even so magisterial a study as Isobel Armstrong’s Victorian Poetry: Poetry, Poetics and Politics (Routledge, 1993), while it ranges beyond the traditional canon to include many women and working-class writers, scarcely mentions EBB.

N.B. See MLA Handbook (8^th ed.) or contact JJS Editor for guidance regarding other types of materials.

Journal Editors

• Lesley Peterson

Peterson.lesley@gmail.com

• David Owen

David.Owen@uab.cat

• Rob Breton

robbr@nipissingu.ca