Titlebook: British Women‘s Writing from Brontë to Bloomsbury, Volume 1; 1840s and 1850s Adrienne E. Gavin,Carolyn W. de la L. Oulton Book 2018 Springe

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The Age of the Female Novelist: Single Women as Authors of Fictionut the role and ‘problem’ of ‘excess’ single women. Showing that the contemporary interpretation of Census statistics, which revealed a surplus of single women, was inaccurate, Connor discusses male critics’ views of women’s writing, particularly fiction by unmarried women. Margaret Oliphant declare

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‘Excluded from a woman’s natural destiny’: Disability and Femininity in Dinah Mulock’s , and Charlotock (later Craik)’s . (1850) and Charlotte M. Yonge’s . (1856), Walker Gore shows that the novels’ use of disabled heroines enabled both writers to explore from a conservative standpoint what an unmarried woman could or should achieve. Craik and Yonge depict disability as heightening and perfecting

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Cultivating King Arthur: Women Writers and Arthurian Romance in the 1850sre popular and influential at a time when juvenile access to medieval Arthurian literature was limited: Dinah Mulock (later Craik)’s ‘Avillion; or the Happy Isles’ (1853) and Charlotte Mary Yonge’s Arthurian fairy tale . (1855). Revealing considerable knowledge of Arthurian romance, these texts help

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‘[T]he work of a she-devil’: Sensation Fiction, Crime Writing, and Caroline Clive’s and ‘masculine’ style, the novel was equally notorious for its absence of moral judgement upon its gentleman protagonist, who escapes legal and poetic justice for the murders he commits and shows no remorse for his crimes. Judged extra shocking because of its female authorship, the book’s amorality

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‘[Your novel] quite gives me a pain in the stomach’: How Paternal Disapproval Ended Julia Wedgwood’s58) and . (1858) in light of the emotional and familial constraints that a young upper-middle-class Victorian woman faced in trying to be a novelist. Brown argues that both novels depict feminized central male characters, something to which Wedgwood’s father objected. His disapproval led her to give

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and ‘the green trash of the railway stall’: George Eliot and the Lady Novelists of 1859Lady Novelists’ (1856). Exploring the energizing symbiosis between popular 1859 fiction by women writers and Eliot’s ‘higher’ aspirations for . (1859), Marshall shows that Eliot’s novel enacts a dialogue with ‘silly novels’ and shares in, whilst trying to combat, some of popular fiction’s key assump