Women Writing the Neo-Victorian Novel: Erotic "Victorians" focuses on the work of British, Irish, and Commonwealth women writers such as A.S. Byatt, Emma Donoghue, Sarah Waters, Helen Humphreys, Margaret Atwood, and Ahdaf Soueif, among others, and their attempts to re-envision the erotic. Kathleen Renk argues that women writers of the neo-Victorian novel are far more philosophical in their approach to representing the erotic than male writers and draw more heavily on Victorian conventions that would proscribe the graphic depiction of sexual acts, thus leaving more to the reader's imagination. This book addresses the following questions: Why are women writers drawn to the neo-Victorian genre and what does this reveal about the state of contemporary feminism? How do classical and contemporary forms of the erotic play into the ways in which women writers address the Victorian "woman question"? How exactly is the erotic used to underscore women's creative potential?

This book examines the ways in which contemporary British and British postcolonial writers in the after-empire era draw connections between magic (defined here as Renaissance Hermetic philosophy) and science. Writers such as Tom Stoppard, Zadie Smith, and Margaret Atwood critique both imperial science, or science used in service to empire, and what Renk calls "imperical science," a distortion of rational science which denies that reality is holistic and claims that nature can and should be conquered. In warning of the dangers of imperical science, these writers restore the connection between magic and science as they examine major shifts in scientific thinking across the centuries. They reflect on the Copernican Revolution and the historic split between magic and science, scrutinize Darwinism, consider the relationship between Victorian science and pseudo-science, analyze twentieth-century Uncertainty theories, reject bio/genetic engineering, call for a new approach to science that reconnects science and art, and ultimately endeavor to bring an end to the imperial age. Overall, these writers forge a new discourse that merges science with the arts and emphasizes a holistic philosophy, a view shared by both Hermetic philosophy and recent scientific theories, such as chaos or complexity theory. Along with recent books that focus on the relationship between contemporary literature and science, this work focuses on contemporary British literature's critique of science and the ways in which postcolonial literature addresses the relationship between magic, science, and empire.

This book examines the ways in which contemporary British and British postcolonial writers in the after-empire era draw connections between magic (defined here as Renaissance Hermetic philosophy) and science. Writers such as Tom Stoppard, Zadie Smith, and Margaret Atwood critique both imperial science, or science used in service to empire, and what Renk calls "imperical science," a distortion of rational science which denies that reality is holistic and claims that nature can and should be conquered. In warning of the dangers of imperical science, these writers restore the connection between magic and science as they examine major shifts in scientific thinking across the centuries. They reflect on the Copernican Revolution and the historic split between magic and science, scrutinize Darwinism, consider the relationship between Victorian science and pseudo-science, analyze twentieth-century Uncertainty theories, reject bio/genetic engineering, call for a new approach to science that reconnects science and art, and ultimately endeavor to bring an end to the imperial age. Overall, these writers forge a new discourse that merges science with the arts and emphasizes a holistic philosophy, a view shared by both Hermetic philosophy and recent scientific theories, such as chaos or complexity theory. Along with recent books that focus on the relationship between contemporary literature and science, this work focuses on contemporary British literature's critique of science and the ways in which postcolonial literature addresses the relationship between magic, science, and empire.

Women Writing the Neo-Victorian Novel: Erotic "Victorians" focuses on the work of British, Irish, and Commonwealth women writers such as A.S. Byatt, Emma Donoghue, Sarah Waters, Helen Humphreys, Margaret Atwood, and Ahdaf Soueif, among others, and their attempts to re-envision the erotic. Kathleen Renk argues that women writers of the neo-Victorian novel are far more philosophical in their approach to representing the erotic than male writers and draw more heavily on Victorian conventions that would proscribe the graphic depiction of sexual acts, thus leaving more to the reader's imagination. This book addresses the following questions: Why are women writers drawn to the neo-Victorian genre and what does this reveal about the state of contemporary feminism? How do classical and contemporary forms of the erotic play into the ways in which women writers address the Victorian "woman question"? How exactly is the erotic used to underscore women's creative potential?

IN AN ERA of social chaos, religious skepticism, and postrevolutionary fear, the idea of the stable middle-class family acquired a mythical status in nineteenth-century England. This image of the traditional family--based upon the supposed natural superiority of white elders--also served as a paradigm for the relationship of the British to their colonial subjects during the Victorian era. As this book shows, remnants of this myth live on and are played out in the contemporary Caribbean. In Caribbean Shadows and Victorian Ghosts, Kathleen Renk demonstrates how contemporary Anglophone Caribbean women's writing radically subverts the powerful myth of the family as it is constructed in nineteenth-century British and colonial texts. Reading the fiction of Jamaica Kincaid, Dionne Brand, Jean Rhys, Erna Brodber, and Michelle Cliff alongside British texts such as Dickens's Great Expectations and Bronte's Jane Eyre, she argues that Anglophone Caribbean women writers create new narratives that simultaneously "bury" Victorian ghosts--the discourse on the Victorian mother, the plantation family discourse, and the discourse on madness--and "catch" Caribbean shadows--the histories of forgotten or elided Caribbean ancestors and narratives of resistance. These women writers radically depart from both British and Caribbean literary precursors as they reconfigure Caribbean identity, family, and nation according to cross-cultural, transnational, and transtemporal paradigms. Because it is the first book to examine the vital textual connections between Victorian and Anglophone Caribbean literatures, and because it draws on the work of sociologists, anthropologists, historians, and feminist and postcolonial theorists, the book should have wide-ranging appeal.