Titlebook: Neo-Victorian Young Adult Narratives; Sarah E. Maier Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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1963a, pp. 83–88) or by the overheard assuming that the overhearers will not use what they hear to cause harm (Goffman, 1971a). As this illustrates (and as was discussed in more detail in Chapter 3) the nature of interactions is not influenced directly by the nature of the communicative space but in

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Neo-Victorian Young Adult Narratives,racters. The discussions that follow are based on the premise that proof of the oft-demonstrated misjudgement of the savviness of readers in the tween to young adult age groups is found in the range of narratives focused on authors and their books from the long nineteenth century.

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Sarah E. Maiers such as links and spectrum. Both of these resources are somewhat atypical -- a link is most accurately modeled as a queue in our context, but this leads to th978-3-031-79265-6978-3-031-79266-3Series ISSN 2690-4306 Series E-ISSN 2690-4314

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Sarah E. Maiers such as links and spectrum. Both of these resources are somewhat atypical -- a link is most accurately modeled as a queue in our context, but this leads to th978-3-031-79265-6978-3-031-79266-3Series ISSN 2690-4306 Series E-ISSN 2690-4314

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Neo-Victorian Young Adult Narratives,s a means to access the past to see how it relates to the readers’ present. This introduction to . focuses on the conflation between young adult and neo-Victorian narratives, how they elucidate the past for the present, and how the similarly aged characters are embodied in those narratives. This int

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Mash(ed) Up: Maidens, Monsters, and Mad Scientists,ence, women as objects of experimentation, and ethical concerns over transgressive scientific practices. In Megan Shepherd’s trilogy—. (2013), . (2014), and . (2016)—and Theodora Goss’ Extraordinary Adventures of the Athena Club—. (.), . (.), and . (.)—the texts focus on the narratives of young wome

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,Illustrative Genii: The Brontës’ Genius,n that collapses the space between their actual lives in Howarth and their imaginative lives in their juvenilia worlds. Two recent graphic novels—. (2009) by Glynnis Fawkes and . by Isabel Greenberg (2020)—further explore the conflation of juvenilian narratives with biographical suppositions. These

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,The Odd(est) Brontë: Portrait(s) of Emily as a Young Author,te of the myriad biographies, legends, and myths about her life or the crushing number of critical responses to her fictions. Into this gap, neo-Victorian (re)visionings of and a (re)voicing of personal history allow for a reconsideration of Emily Brontë’s interests. To that end, Chap. ., “The Odd(e

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