Helen Southworth is Professor of Literature in the Clark Honors College at the University of Oregon. She is author most recently of Fresca: A Life in the Making. A Biographer’s Quest for a Forgotten Bloomsbury Polymath (Sussex Academic Press, 2017) and co-author of Scholarly Adventures in Digital Humanities: Making the Modernist Archives Publishing Project (Palgrave, 2017). Earlier books include the edited collection Leonard and Virginia Woolf, the Hogarth Press and the Networks of Modernism (Edinburgh University Press, 2010) and The Intersecting Realities and Fictions of Virginia Woolf and Colette (Ohio State University Press, 2004). She has published broadly in the fields of Woolf studies, modernism and print culture. She is a founding team member with her co-authors on this article (plus Nicola Wilson and Mike Widner) of the “critical digital archive” “The Modernist Archives Publishing Project” (MAPP, www.modernistarchives.com). MAPP tweets from @MAPP_Project.
Nancy Cunard began printing alone in 1927—in a heat wave no less, as she notes in her posthumously published memoir, These Were the Hours (1969)—and struggled her way through the difficult early stages of learning how to make serviceable prints on an Albion press. She quickly realized, however, that she would need help if the Hours Press were ever to become a successful small publishing house. In 1928, she therefore initiated her well-known collaboration with her lover, the jazz musician Henry Crowder, turning the printing room into a space where, as Jeremy Braddock has recently argued, “Cunard’s advocacy of radical race politics” was often perceived by others as working “in concert with the open publicizing of her own romantic relationships with black men.”