Focusing on the ways in which female novelists have, in their creative work, challenged or scrutinised contemporary assumptions about their own sex, this book's critical interest in women's fiction shows how mid-nineteenth-century women writers confront the conflict between the pressures of matrimonial ideologies and the often more attractive alternative of single or professional life. In arguing that the tensions and dualities of their work represent the honest confrontation of their own ambivalence rather than attempted conformity to convention, it calls for a fresh look at patterns of imaginative representation in Victorian women's literature. Making extensive use of letters and non-fiction, this study relates the opinions expressed there to the themes and methods of the fictional narratives. The first chapter outlines the social and ideological framework within which the authors were writing; the subsequent five chapters deal with the individual novelists, Craik, Charlotte Bronte, Sewell, Gaskell, and Eliot, examining the works of each and also pointing to the similarities between them, thus suggesting a shared female 'voice'. Dealing with minor writers as well as better-known figures, it opens up new areas of critical investigation, claiming not only that many nineteenth-century female novelists have been undeservedly neglected but also that the major ones are further illuminated by being considered alongside their less familiar contemporaries.

Focusing on the ways in which female novelists have, in their creative work, challenged or scrutinised contemporary assumptions about their own sex, this book's critical interest in women s fiction shows how mid-nineteenth-century women writers confront the conflict between the pressures of matrimonial ideologies and the often more attractive alternative of single or professional life. In arguing that the tensions and dualities of their work represent the honest confrontation of their own ambivalence rather than attempted conformity to convention, it calls for a fresh look at patterns of imaginative representation in Victorian women s literature.

Making extensive use of letters and non-fiction, this study relates the opinions expressed there to the themes and methods of the fictional narratives. The first chapter outlines the social and ideological framework within which the authors were writing; the subsequent five chapters deal with the individual novelists, Craik, Charlotte Bronte, Sewell, Gaskell, and Eliot, examining the works of each and also pointing to the similarities between them, thus suggesting a shared female voice .

Dealing with minor writers as well as better-known figures, it opens up new areas of critical investigation, claiming not only that many nineteenth-century female novelists have been undeservedly neglected but also that the major ones are further illuminated by being considered alongside their less familiar contemporaries.

"What Katy Read" focuses on a much neglected area of literary criticism: literature for girls. Written by women for children, such texts have been doubly marginalized by the critical establishment. Shirley Foster and Judy Simons use twentieth-century feminist critical practice to open up fresh perspectives on popular fiction for girls written between 1850 and 1920. The study analyses both American and British novels for girls which have acquired 'classic' status, from the domestic myth to the school story, and considers their scope and influence in providing role models for girl readers.

Elizabeth Gaskell called Sylvia's Lovers (1863) 'the saddest story I ever wrote', and in it she deals profoundly with themes of unrequited love, jealousy and individual choice. In the 1790s the Yorkshire seaside town of Monkshaven is disturbed by the arrival of the press-gang who come to seize and ship their captives abroad to fight in the Napoleonic Wars. In this atmosphere of unease Sylvia's Lovers portrays the rivalries of two men, the sober tradesman Philip Hepburn, who has been devoted to his cousin Sylvia since her childhood, and the whale-ship harpooner Charley Kinraid who is gallant and charming with a reputation as a 'light-of-love' with women. Sylvia's tragedy, vividly and movingly dramatized, is to love one of these men, but to marry the other. Shirley Foster provides an introduction to this Penguin Classics edition, together with notes and appendices on the novel's historical sources and text.

This anthology aims to challenge stereotypes of women travellers. Rather than simply presenting writings by Victorian women who travelled bravely around the world disregarding social convention and danger, the editors present a range of writing and possible ways of being a woman traveller. As well as the 'eccentric' woman traveller, the editors have included writings by those who might be seen as failed travellers, cautious and conventional travellers and those who did not conform to the adventurous heroine stereotype. Because travelling as a woman and writing as a woman presents the author with a number of textual problems which must be negotiated, Foster and Mills have chosen to include writings which confronted these problems and which resolved them (or did not resolve them) in different ways. These textual problems include the depiction of other women, the representation of spatial relations, the negotiations undertaken in relation to the adventure heroine narrative and character and the position taken by the author in relation to the representation of knowledge. These issues are all crucial in relation to travel writing by women , and the women, whose writing has been collected together in this anthology have made bold decisions in relation to them. -- .

Set in Manchester in the 1840s, Mary Barton depicts the effects of economic and physical hardship upon the city's working-class community. Paralleling the novel's treatment of the relationship between masters and men, the suffering of the poor, and the workmen's angry response, is the story of Mary herself--a factory-worker's daughter who attracts the attentions of the mill-owner's son, who becomes caught up in the violence of class conflict when a brutal murder forces her to confront her true feelings and allegiances.
This new edition reproduces the last edition of the novel supervised by Gaskell. The introduction provides historical and biographical context to the novel, a survey of critical responses to Mary Barton, and argues that Gaskell was chiefly concerned with the importance of communication as a means of healing breaches between people. In addition, the book contains an up-to-date critical biography, revised notes and appendixes that include Gaskell's rough draft and outline of the novel's conclusion.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

A heartfelt and hearty collection of stories and poems about life, people, nature, and memories. Come, laugh and cry along with these writer-friends as they share their very souls with you! 72 poems and 76 other pieces (short stories, essays, tales, yarns, observations, etc.)