In her letter on the Middlebrow collected in The Death of the Moth, Virginia Woolf wrote: “I dislike bound volumes of the classics behind plate glass.” Despite her proclaimed mistrust of the “middlebrow” sphere, Woolf was aware that cheap series of reprints could widen her readership and consolidate her literary reputation. In 1928, she wrote the introduction to Laurence Sterne’s Sentimental Journey for the Oxford World’s Classics edition (as explained in Chapter 1). And in 1929, the Hogarth Press started publishing Uniform Editions of her work. As J. H. Willis has argued, “to put a living novelist’s works into a standard edition is to make a claim for the permanence and importance of the writer’s work, to establish a canon, to suggest the classic.” This chapter, based on extensive research in the Hogarth Press archive, argues that the Uniform Editions published by the Hogarth Press achieved at least three things: (1) they reached a wide audience of common readers in Britain; (2) they encouraged Harcourt Brace to issue a similar edition in the United States; and (3) they presented Woolf as a canonical writer whose work deserved to be “collected.” In short, thanks to the Uniform Editions, Woolf’s texts became “classics behind plate glass.”
