Cover -- Table of Contents -- Acknowledgments -- 1. Introduction: Biography, Biofiction, and Gender in the Modern Age -- James Fitzmaurice, Naomi J. Miller, and Sara Jayne Steen -- Section I: Fictionalizing Biography -- 2. Sister Teresa: Fictionalizing a Saint -- Bárbara Mujica -- 3. Portrait of an Unknown Woman: Fictional Representations of Levina Teerlinc, Tudor Paintrix -- Catherine Padmore -- 4. An Interview with Dominic Smith, Author of The Last Painting of Sara de Vos: Capturing the Seventeenth Century -- Frima Fox Hofrichter -- 5. Lanyer: The Dark Lady and the Shades of Fiction -- Susanne Woods -- 6. Archival Bodies, Novel Interpretations, and the Burden of Margaret Cavendish -- Marina Leslie -- Section II: Materializing Authorship -- 7. Bess of Hardwick: Materializing Autobiography -- Susan Frye -- 8. The Queen as Artist: Elizabeth Tudor and Mary Stuart -- Sarah Gristwood -- 9. "Very Secret Kept": Facts and Re-Creation in Margaret Hannay's Biographies of Mary Sidney and Mary Wroth -- Marion Wynne-Davies -- 10. Imagining Shakespeare's Sisters: Fictionalizing Mary Sidney Herbert and Mary Sidney Wroth -- Naomi J. Miller -- 11. Anne Boleyn, Musician: A Romance Across Centuries and Media -- Linda Phyllis Austern -- Section III: Performing Gender -- 12. Reclaiming Her Time: Artemisia Gentileschi Speaks to the Twenty-First Century -- Sheila T. Cavanagh -- 13. Beyond the Record: Emilia and Feminist Historical Recovery -- Hailey Bachrach -- 14. Writing, Acting, and the Notion of Truth in Biofiction About Early Modern Women Authors -- James Fitzmaurice -- 15. Jesusa Rodríguez's Sor Juana Inés de la Cruz: Reflections on an Opaque Body -- Emilie L. Bergmann -- Section IV: Authoring Identity -- 16. From Hollywood Film to Musical Theater: Veronica Franco in American Popular Culture -- Margaret F. Rosenthal.

17. The Role of Art in Recent Biofiction on Sofonisba Anguissola -- Julia Dabbs -- 18. "I am Artemisia": Art and Trauma in Joy McCullough's Blood Water Paint -- Stephanie Russo -- 19. The Lady Arbella Stuart, a "Rare Phoenix": Her Re-Creation in Biography and Biofiction -- Sara Jayne Steen -- 20. The Gossips' Choice: Extending the Possibilities for Biofiction with Creative Uses of Sources -- Sara Read -- 21. Afterword -- Michael Lackey -- Index -- List of Figures -- Figure 3.1. Portrait Miniature of an Unknown Woman, c. 1560, watercolor on vellum, attributed to Levina Teerlinc (c. 1510/20-1576). © Victoria and Albert Museum, London. -- Figure 4.1. Judith Leyster, Self-Portrait, c. 1633. National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. Robert Woods Bliss. -- Figure 8.1. The image on the left is from the portrait attributed to William Scrots (Royal Collection) -- the central one from the "Ermine" portrait variously attributed to William Segar and Nicholas Hilliard (Hatfield House) -- the image on the right, by an -- Figure 8.2. Flora Robson as Elizabeth I and Vivien Leigh as Cynthia in Fire Over England (1937), United Artists. Masheter Movie Archive / Alamy Stock Photo. -- Figure 10.1. Cover image for Imperfect Alchemist. Photograph courtesy of Allison & -- Busby. -- Figure 11.1. Waxwork Minstrel with Anne Boleyn, Hever Castle & -- Gardens, Kent, UK. Photograph courtesy of Hever Castle & -- Gardens. -- Figure 11.2. Emanuel Gottlieb Leutze, "Anne Boleyn Advising Henry VIII to Dismiss Cardinal Wolsey." Photograph courtesy of VAN HAM Fine Art Auctioneers / Saša Fuis. -- Figure 14.1. Karen Eterovich as Aphra Behn in Love Arm'd (2002). Photo by Rob Ferguson. By kind permission of Karen Eterovich.

Figure 14.2. Emilie Philpott Jumping the Shark at the dress rehearsal of Cavendish, Woolf, and the Cypriot Goddess Natura. Nicosia, Cyprus, 7 April 2017. Photo Credit / Permission: James Fitzmaurice. -- Figure 17.1. Attributed to Sofonisba Anguissola, Lady in A Fur Wrap (Glasgow, Pollok House). Photo credit: Album / Alamy Stock Photo. -- Figure 17.2. Sofonisba Anguissola, The Chess Game (Poznan, National Museum). Photo credit: The Picture Art Collection / Alamy Stock Photo. -- Figure 17.3. Sofonisba Anguissola, Family Portrait (Niva, Nivaagaards Art Gallery). Photo credit: Heritage Image Partnership Ltd / Alamy Stock Photo.] -- Figure 18.1. Artemisia Gentileschi, Susanna and the Elders, signed and dated 1610, oil on canvas. Collection Graf von Schönborn, Pommersfelden, Germany. -- Figure 18.2. Artemisia Gentileschi, Judith Slaying Holofernes, c. 1612-1613, oil on canvas. Museo Capidimonte, Naples, Italy. -- Figure 20.1. The frontispiece of Jane Sharp's The Compleat Midwife's Companion, 1724. Credit: Wellcome Library, London.