It is easy to forget how deeply embedded in social hierarchy was the literature and learning that has come down to us from the early modern European world. From fiction to philosophy, from poetry to history, works of all kinds emerged from and through the social hierarchy that was afundamental fact of everyday life. Paying attention to it changes how we might understand and interpret the works themselves, whether canonical and familiar or largely forgotten. But a second, related fact is much overlooked too: works also often emanated from families, not just from individuals. Families were driving forces in the production - that is, in the composing, editing, translating, or publishing - of countless works. Relatives collaborated with each other, edited each other, or continued the unfinished works of deceased family members; some imitated or were inspired by the worksof long-dead relatives. The reason why this second fact (about families) is connected to the first (about social hierarchy) is that families were in the period a basic social medium through which social status was claimed, maintained, threatened, or lost. So producing literary works was one of themany ways in which families claimed their place in the social world. The process was however often fraught, difficult, or disappointing. If families created works as a form of socio-cultural legacy that might continue to benefit their future members, not all members benefited equally; womensometimes produced or claimed the legacy for themselves, but they were often sidelined from it. Relatives sometimes disagreed bitterly about family history, identity (not least religious), and so about the picture of themselves and their family that they wished to project more widely in societythrough their written works, whether printed or manuscript. So although family was a fundamental social medium out of which so many works emerged, that process could be conflictual as well as harmonious. The intertwined role of family and social hierarchy within literary production is explored inthis book through the case of France, from the late fifteenth to the mid-seventeenth century. Some families are studied here in detail, such as that of the most widely read French poet of the age, Clement Marot. But the extent of this phenomenon is quantified too: some two hundred families areidentified as each containing more than one literary producer, and in the case of one family an extraordinary twenty-seven. | Born To Write by Neil Kenny, Hardcover | Indigo Chapters