This chapter examines the dominance of the single-author volume over the editing of Katherine Philips, exploring its implications for our understanding both of Philips’s seventeenth-century reception and of early modern editorial practices. It begins with a survey of modern editorial approaches to anthologizing Philips’s work, then considering the prominence of the posthumous 1667 edition in the context of the allegedly pirate Poems (1664) and manuscript witnesses to Philips during her lifetime. It is argued that these contemporary manuscripts follow Philips’s own self-construction as a singular female poet by presenting her work in a single-author context. Poems (1664) is not the outlier that is often thought; rather it is wholly consistent with modes of circulation while Philips was alive and with the practice of contemporaries (Cavendish, King, Waller) whose single-author volumes of poetry were also printed that same year. But it does mark the moment where circulation is sundered from authorial intentionality and social proximity. Philips’s penetration of miscellany culture occurred posthumously. We have inherited multiple single-author versions of Philips the living poet, and multiple posthumous appropriations of Philips in manuscript culture. This suggests two models of early modern editorial practice and an intentionality that dispersed beyond the author to her earliest editors.