Anna Stanisławska (1651 – 2 June 1701) was a Polish author and poet known for her sole work, Transakcja albo opisanie całego życia jednej sieroty przez żałosne treny od tejże samej pisane roku 1685 (Transaction, or a Description of the Whole Life of an Orphan Girl through Doleful Laments Written by the Same in 1685).

[1] The unpublished manuscript was discovered in a public library in St. Petersburg, Russia, nearly two centuries later, in 1890, by Slavic studies professor Aleksander Brückner, who declared Stanisławska the earliest known Polish woman poet.

Stanisławska was born in 1651 to Michal Stanisławski, a military commander and one-time governor of Kiev Province, and Krystyna Borkowa Szyszkowska (née Niszczycka).

[6] In Transaction Stanisławska refers to him almost exclusively as "Aesop" for his ugly appearance,[7][8] but ultimately she takes pity on him as the "slave" of his conniving and "tyrannical" father.

At some point in the 1690s, she was sued in court after leading a group of servants and villagers against the new owners of a neighboring estate, which had been seized due to unpaid debts.

[24] Ożarska notes that while describing Stanisławska's life and the death of her three husbands, the manuscript does not mention any of the principals by name; in fact, the title page credits the authorship of the book to "Jesus, Mary, and Joseph".

[19] For reasons unknown, Transaction was never published, and was not discovered until 1890, when the manuscript was found in a St. Petersburg public library by Slavic studies professor Aleksander Brückner.

[26] Even after Transaction was published in 1935, Stanisławska was surpassed in fame by her contemporaries Elżbieta Drużbacka and Antonina Niemiryczowa, both historically and in the Polish literary canon.

In her introduction to Transaction, Ida Kotowa heavily critiqued Stanisławska's clarity and imagination, writing that the marginal notes often had to be relied upon for the "true sense of a stanza" and that her rhymes were "usually … strained, and sometimes simply forced".

[27] Though later scholars were more forgiving, calling Transaction "a sincere and artistically valuable confession" as well as "detailed and lifelike", ultimately the work has been celebrated more for its social implications than for its style.