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"Liggins, Emma"
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The British short story
\"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.
Book
The Woman Reader and What She Wanted
2 The potential subversiveness of the periodical text can be linked to its “radical heterogeneity,” its empowering diversity.3 The focus on interviews with women writers and activists, advice columns, and readers’ letters helped to invigorate debates about the woman reader, women’s uses of magazines for political purposes, and the complex identity of the female editor, all strands which have been taken up in the endeavours of the next generation of researchers. In “Meeting Mrs Beeton: The Personal Is Political in the Recipe Book” (2017), Margaret’s further investigations of the now famous cookbook author and editor Isabella Beeton show how periodical research intersects with food studies, as well as the gender politics of the archive. In this semi-autobiographical piece, memories of the giving and receiving of cookbooks within the family are interspersed with reflections on archival work in the 1970s and 1980s, when male librarians were reluctant to bring out inappropriate texts for an “uppity woman” who did not appear to be a serious researcher.6 By challenging patriarchal restraints, the woman reader/researcher becomes a potentially dangerous and disruptive figure, threatening authority by requesting texts lost in the archives. Since the 1990s a new generation of scholars has been making effective use of data from both physical and digital archives to develop knowledge of readerships, periodical communities, and the complexities of the relationship between women’s history and print culture.
Journal Article
Visualising the Unseen
The opening illustration appears opposite the final photograph from \"The Romance of the Museums,\" a series on cultural artefacts. [...]an image of Lady Ducayne with a vampire bat's wings outstretched behind her is juxtaposed with some \"long-lost chessmen\" from \"remote antiquity. See PDF ] would have been too threatening to \"middle-class complacency\" to be included.28 Pictorial journalism was often institutionally censored to appear more comforting than confrontational. [...]the illustrations for the Holmes stories reiterate crime fiction's reassuring messages of scientific investigation, revealing the criminal and resolving the case. According to Minna Vuohelainen, the settings of short ghost fiction of the fin de siécle featured not only cemeteries but colonies, gardens, cinemas, prisons, museums, suburbs, ships, trains, and hotels, all heterotopias \"seemingly removed from ordinary life. \"82 In theorising \"the problem of the uncanny,\" Freud particularly noted the differences between experiencing the uncanny and picturing or reading about it.83 Picturing the uncanny becomes a way of mediating fictional and non-fictional experiences of the unknowable. [...]the final double-page illustration in \"The Inexplicable\" sensationalises the supernatural encounter by showing the terrified husband and wife in their home's entrance hall on the left with a sinister crocodile halfway down the stairs on the right.
Journal Article
Not an Ordinary \Ladies' Paper\: Work, Motherhood, and Temperance Rhetoric in the \Woman's Signal\, 1894-1899
The Woman’s Signal is a particularly interesting case study for examining feminist discourse in the 1890s due to the differing policies of its editors (Lady Henry Somerset and Florence Fenwick Miller), its mixture of domestic and political content, and its temperance and suffrage agendas. This article examines the marketing strategies and editorial policies deployed by the Woman’s Signal to secure a wide circulation, focusing particularly on the paper’s diverse accounts of professional work and motherhood. The divide between readers as housewives, temperance supporters, and ladies becomes apparent in advertisements, which often contradict the paper’s endorsement of new womanhood and political activism.
Journal Article
Gendering the Spectral Encounter at the Fin de Siècle: Unspeakability in Vernon Lee's Supernatural Stories
Vernon Lee's supernatural fiction provides an interesting test case for speculations about the function of spectrality for women writers on the cusp of the modern era. This article argues that spectrality, in line with Julian Wolfreys' theories about the 'hauntological disturbance' in Victorian Gothic (2002), is both disruptive and desirable, informing the narratives we construct of modernity. It traces the links between the 'unspeakable' spectral encounter and contemporary attitudes to gender and sexuality in stories in Vernon Lee's collection Hauntings (1890), as well as her Yellow Book story 'Prince Alberic and the Snake Lady' (1897). The ghostly encounter is erotic and welcomed as well as fearful, used to comment on the shortcomings of heterosexual marriage and bourgeois life, though this often results in the troubling spectacle of the ravished, mutilated or bloody female corpse. Lee's negotiation of unspeakability and the desire for the ghostly is compared to the more graphic depictions of the dead female in stories from E. Nesbit's Grim Tales (1893). Representations of the female revenant are considered in relation to the psychoanalytic readings of the otherness of the female corpse put forward by Elisabeth Bronfen (1992).
Journal Article
Gendering the Spectral Encounter at the Fin de Siècle: Unspeakability in Vernon Lee‘s Supernatural Stories
Vernon Lees supernatural fiction provides an interesting test case for speculations about the function of spectrality for women writers on the cusp of the modern era. This article argues that spectrality, in line with Julian Wolfreys’ theories about the ‘hauntological disturbance’ in Victorian Gothic (2002), is both disruptive and desirable, informing the narratives we construct of modernity. It traces the links between the ‘unspeakable’ spectral encounter and contemporary attitudes to gender and sexuality in stories in Vernon Lees collection Hauntings (1890), as well as her Yellow Book story ‘Prince Alberic and the Snake Lady’ (1897). The ghostly encounter is erotic and welcomed as well as fearful, used to comment on the shortcomings of heterosexual marriage and bourgeois life, though this often results in the troubling spectacle of the ravished, mutilated or bloody female corpse. Lees negotiation of unspeakability and the desire for the ghostly is compared to the more graphic depictions of the dead female in stories from E. Nesbits Grim Tales (1893). Representations of the female revenant are considered in relation to the psychoanalytic readings of the otherness of the female corpse put forward by Elisabeth Bronfen (1992).
Journal Article
Margaret Beetham’s A Magazine of Her Own? Domesticity and Desire in the Woman’s Magazine, 1800–1914
Four generations of scholars discuss the legacy of Margaret Beetham’s 1996 monograph, A Magazine of Her Own? Beetham’s response highlights early influences, the blind spots in her project, and the work that lies ahead for Victorian periodical studies.
Journal Article
Beyond the Haunted House?
Modernist women writers refashioned the haunted house setting of the Victorian ghost story in order to address the unsettling allure of the past and fears around an increasingly mechanised future. ‘The past in the Gothic never quite stays dead’, Diana Wallace claims, ‘and is therefore never fully knowable. This is why Gothic fiction so often seems to demand psychoanalytic interpretations as a way of disinterring the repressed secrets of the past’ (2013: 4). In the Victorian ghost story, the angry or jealous revenant prompts the revelation of the secrets of the past, putting what was unspeakable into discourse in
Book Chapter
British Women Short Story Writers
Essays tracing the evolving relationship between British women writers and the short story genre from the late Nineteenth Century to the present day.
What is the relationship between the British woman writer and the short story? Considering the effect of literary inheritances, societal and cultural change, and shifting publishing demands, this collection traces the evolution of the genre through to its continued appeal to women writing today; from the New Woman to contemporary feminisms, women's anthologies to micro fiction, and modernist writers to the contemporary works.
Key FeaturesA foreword by Ali Smith and 12 chapters discuss a range of gender and genre issues since the fin-de-siècle to the present day.A comprehensive account of the genre's development provides a unique insight into a largely neglected aspect of women's writing.Sets out a clear trajectory to map both the historical and literary connections and divergences between British women short story writers.Offers a comprehensive account of the genre's development to provide scholars with a unique insight into a largely neglected aspect of women's writing.Includes new readings of canonical authors alongside more recent theoretical approaches, innovations and lesser-discussed writers.
eBook