A utilitarian binding with leather offcuts and scratch paper—her father’s signature and date appear among the markings on the inner wraps, Richard Cunningham Esq, May 1813. The cover has Griselda’s name with an 1823 date, but contents cite 1825 and likely later. The head of the first page has four lines energetically crossed out, then further obscured by four red wax seals pressed on top, one signet with tree and motto Without thy support I die. The first 8 leaves have been cut along the gutter, leaving the stubs—likely containing the original content before it turned to use by Ms. Griselda. (5) pages of history, (3) quotes, (2) on Swedenbourg, and (22) further pages of literary quotes in English, Latin, and French. True to the complex inner world of a teenage girl, they range in tone from “There is none in all this cold and hollow world no fount of deep, strong, deathless love save that within a mother's heart” (Mrs Heman’s Life of Valencia), to, “Defend me from my friends—it is easy to guard against my enemies.” (She’s attributed the quote “Red Gauntlett,” presumably meaning Sir Walter Scott’s Redgauntlett, but the quote is typically attributed to Voltaire.)

Griselda lived in Massachusetts and came from a line of remarkable women. Her grandmother, Sarah Wentworth Apthorp Morton (1759-1849), was a successful female poet of the late eighteenth century  known as the “American Sappho.” Sarah’s sister had an affair with her husband that resulted in a child; the sister then killed herself and John Adams defends the husband, Perez Morton, who is charged with responsibility for her death. Sarah’s portrait was painted by Gilbert Stuart (previously passed down to Griselda, now in the Winterthur Museum. See: Worcester Art Museum’s catalog).

A generation removed from her infamous grandmother—who was so proud she insisted her maiden name be added to her husband’s after marriage—the contents reflect a thoughtful and well-read young woman. It’s tempting to think of her grandmother’s influence on her reading habits and the selections in this book. Her highly gestural and aesthetically compelling redaction attempts on the first page are wonderfully original.