Despite new historical study of her contexts, Christina Rossetti
continues to haunt the reader as a displaced subjectivity emptied
of history. Through an analysis of the posthumous in her work, the
construction of 'Christina Rossetti' by her brothers, and the
history of reception, this study asks how 'speaking with the dead'
can avoid critical ventriloquy. The figure of the mother is offered
as a paradigm for theorising a new reading that refuses to exorcise
the ghost of 'Christina Rossetti'.
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