In Sexual Politics and the Romantic Author, Sonia Hofkosh argued that accounts of the Keswick incident by a host of male critics and biographers suppressed the female perspective. One textbook anthology includes only two brief extracts from the twenty-one volumes of William Hazlitt's collected writings under the glum rubric, ‘Historical and Cultural Context’. By way of apology, the editors refer in passing to Hazlitt's ‘campaign of sexual harassment’. Marginalization of a principal writer of the period as retrospective punishment is hinted at when Hofkosh remarks: ‘at stake in current readings of the Keswick episode are questions about the place of a writer such as Hazlitt in a romantic tradition described primarily in terms of a Wordsworthian paradigm’. The implication is that ‘a writer such as Hazlitt’ has no place, as if it were the privilege of a wiser and more knowing future to suppress the literary achievement of rapists.