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"The short story remains a crucial if neglected - part of British
literary heritage. This accessible and up-to-date critical overview
maps out the main strands and figures that shaped the British short
story and novella from the 1850s to the present. It offers new
readings of both classic and forgotten texts in a clear,
jargon-free way"--Provided by publisher.
The First World War was a transformative experience for women,
facilitating their entry into new spaces and alternative spheres of
activity, both on the home front and on the edges of danger zones
in Europe and beyond. The centenary of the conflict is an
appropriate moment to reassess what we choose to remember about
women's roles and responsibilities in this period and how women
recorded their experiences. It is timely to (re)consider the
narratives of women's involvement not only as nurses, VADs and
mourning mothers, but as pacifist campaigners, poets, war
correspondents and contributors to developing genres of war
writing. This interdisciplinary volume examines women's
representations of wartime experience across a wide range of
genres, including modernist fiction, ghost stories, utopia, poetry,
life-writing and journalism. Contributors provide fresh
perspectives on women's written responses to the conflict,
exploring women's war work, constructions of femininity and the
maternal in wartime, and the relationship between feminism,
suffrage and pacifism. The volume reinforces the importance of the
retrieval of women's wartime experience, urging us to rethink what
we choose to commemorate and widening the presence of women in the
expanding canon of war writing. This book was originally published
as a special issue of Women's Writing.
George Gissing's work reflects his observations of fin-de-siecle
London life. Influenced by the French naturalist school, his
realist representations of urban culture testify to the
significance of the city for the development of new class and
gender identities, particularly for women. Liggins's study, which
considers standard texts such as The Odd Women, New Grub Street,
and The Nether World as well as lesser known short works, examines
Gissing's fiction in relation to the formation of these new
identities, focusing specifically on debates about the working
woman. From the 1880s onward, a new genre of urban fiction
increasingly focused on work as a key aspect of the modern woman's
identity, elements of which were developed in the New Woman fiction
of the 1890s. Showing his fascination with the working woman and
her narrative potential, Gissing portrays women from a wide variety
of occupations, ranging from factory girls, actresses, prostitutes,
and shop girls to writers, teachers, clerks, and musicians. Liggins
argues that by placing the working woman at the center of his
narratives, rather than at the margins, Gissing made an important
contribution to the development of urban fiction, which
increasingly reflected current debates about women's presence in
the city.
The First World War was a transformative experience for women,
facilitating their entry into new spaces and alternative spheres of
activity, both on the home front and on the edges of danger zones
in Europe and beyond. The centenary of the conflict is an
appropriate moment to reassess what we choose to remember about
women's roles and responsibilities in this period and how women
recorded their experiences. It is timely to (re)consider the
narratives of women's involvement not only as nurses, VADs and
mourning mothers, but as pacifist campaigners, poets, war
correspondents and contributors to developing genres of war
writing. This interdisciplinary volume examines women's
representations of wartime experience across a wide range of
genres, including modernist fiction, ghost stories, utopia, poetry,
life-writing and journalism. Contributors provide fresh
perspectives on women's written responses to the conflict,
exploring women's war work, constructions of femininity and the
maternal in wartime, and the relationship between feminism,
suffrage and pacifism. The volume reinforces the importance of the
retrieval of women's wartime experience, urging us to rethink what
we choose to commemorate and widening the presence of women in the
expanding canon of war writing. This book was originally published
as a special issue of Women's Writing.
This book explores Victorian and modernist haunted houses in
female-authored ghost stories as representations of the
architectural uncanny. It reconsiders the gendering of the
supernatural in terms of unease, denial, disorientation,
confinement and claustrophobia within domestic space. Drawing on
spatial theory by Gaston Bachelard, Henri Lefebvre and Elizabeth
Grosz, it analyses the reoccupation and appropriation of space by
ghosts, women and servants as a means of addressing the opposition
between the past and modernity. The chapters consider a range of
haunted spaces, including ancestral mansions, ghostly gardens,
suburban villas, Italian churches and houses subject to demolition
and ruin. The ghost stories are read in the light of women's
non-fictional writing on architecture, travel, interior design,
sacred space, technology, the ideal home and the servant problem.
Women writers discussed include Elizabeth Gaskell, Margaret
Oliphant, Vernon Lee, Edith Wharton, May Sinclair and Elizabeth
Bowen. This book will appeal to students and researchers in the
ghost story, Female Gothic and Victorian and modernist women's
writing, as well as general readers with an interest in the
supernatural.
This book explores Victorian and modernist haunted houses in
female-authored ghost stories as representations of the
architectural uncanny. It reconsiders the gendering of the
supernatural in terms of unease, denial, disorientation,
confinement and claustrophobia within domestic space. Drawing on
spatial theory by Gaston Bachelard, Henri Lefebvre and Elizabeth
Grosz, it analyses the reoccupation and appropriation of space by
ghosts, women and servants as a means of addressing the opposition
between the past and modernity. The chapters consider a range of
haunted spaces, including ancestral mansions, ghostly gardens,
suburban villas, Italian churches and houses subject to demolition
and ruin. The ghost stories are read in the light of women's
non-fictional writing on architecture, travel, interior design,
sacred space, technology, the ideal home and the servant problem.
Women writers discussed include Elizabeth Gaskell, Margaret
Oliphant, Vernon Lee, Edith Wharton, May Sinclair and Elizabeth
Bowen. This book will appeal to students and researchers in the
ghost story, Female Gothic and Victorian and modernist women's
writing, as well as general readers with an interest in the
supernatural.
A collection of short ghost stories by Victorian writer Charlotte
Riddell. Includes: Walnut-Tree House, The Open Door, Nut Bush Farm,
Sandy the Tinker, and Old Mrs Jones. With their monstrous women and
uncanny children, their tales of dissolution, greed and murder
behind the facade of splendid houses, these stories will appeal to
the modern aficionado of supernatural fiction.
A collection of short ghost stories by Victorian writer Rhoda
Broughton. Includes: 'The Truth, the Whole Truth, and Nothing But
the Truth', 'The Man with the Nose', 'Behold, it was a Dream ',
'Poor Pretty Bobby', and 'Under the Cloak'. Broughton uses the
tales to comment on taboo subjects such as female sexuality and
women's attitudes to money, as well as developing her interest in
psychology and otherness, whilst consolidating her reputation as a
sensational writer who never failed to tell a gripping tale.
This genealogy of the 'odd woman' compares representations of
spinsters, lesbians and widows in British women's fiction and
auto/biography from the 1850s to the 1930s. Women outside
heterosexual marriage in this period were seen as abnormal,
superfluous, incomplete and threatening, yet were also hailed as
'women of the future'. Before 1850 odd women were marginalised,
minor characters in British women's fiction, yet by the 1930s
spinsters, lesbians and widows had become heroines. This book
examines how women writers, including Charlotte Bronte, Elisabeth
Gaskell, Ella Hepworth Dixon, May Sinclair, E. H. Young, Radclyffe
Hall, Winifred Holtby and Virginia Woolf, challenged dominant
perceptions of singleness and lesbianism in their novels, stories
and autobiographies. Drawing on advice literature, medical texts
and feminist polemic, it demonstrates how these narratives
responded to contemporary political controversies around the vote,
women's work, sexual inversion and birth control, as well as
examining the impact of the First World War. -- .
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