It is a manufacturing, rather than a creative age. It is an age of selections and collections, of abstracts and compilations, of anthologies and genealogies, indexes, catalogues, bibliographies, and local histories, books which Charles Lamb has put among the 'books which are no books' but nevertheless material of inestimable value to the future historian of our time.-Publisher's Weekly, 1893We have become increasingly aware of the ways in which eighteenth and nineteenth century miscellanies and anthologies shaped and were shaped by literary hierarchies, authorial reputations, and specific readerships. 1 It is perhaps unsurprising that the great majority of the volumes that have attracted critical attention were edited by men, for compiling an anthology or selection is an eminently public act calling upon what the Victorians often saw as masculine forms of expertise, namely wide-ranging erudition, evaluation, and discrimination. Yet as we shall see, the act of compilation could also be cast as decorous and feminine, which may help to explain why women edited so many of the collections of quotations from Ruskin, Eliot, Tennyson, Carlyle, and Browning published in the second half of the nineteenth century. Ranging from handsome gilt-embossed quartos, to decorated pocketsized editions with only one quotation per page, to passages bound in humble paper wrappers, such collections also took the form of birthday books, yearbooks, or audience-specific volumes that targeted readerships identified by gender, age, or topical interest.