British Women's Writing from Brontë to Bloomsbury, Volume 2

Chapter 1 Introduction

Chapter 2 A Decade of Experiment: George Eliot in the 1860s

Chapter 3 ‘Duck him!’: Private Feelings, Public Interests, and Ellen Wood’s East Lynne

Chapter 4 ‘[Tr]ain[s] of circumstantial evidence’: Railway ‘Monomania’ and Investigations of Gender in Lady Audley’s Secret

Chapter 5 ‘There is great need for forgiveness in this world’: The Call for Reconciliation in Elizabeth Gaskell’s Sylvia’s Lovers and A Dark Night’s Work

Chapter 6 ‘The plain duties which are set before me’: Charity, Agency, and Women’s Work in the 1860s

Chapter 7 ‘[S]mothered under rose-leaves’: Violent Sensation and the Location of the Feminine in Eliza Lynn Linton’s Sowing the Wind

Chapter 8 ‘[F]leshly inclinations’: The Nature of Female Desire in Rhoda Broughton’s Early Fiction

Chapter 9 Crumbs from the Table: Matilda Betham-Edwards’s Comic Writing in Punch

Chapter 10 Transcending Prudence: Charlotte Riddell’s ‘City Women’

Chapter 11 ‘[M]ute orations, mute rhapsodies, mute discussions’: Silence in George Eliot’s Last Decade

Chapter 12 ‘His eyes commanded me to come to him’: Desire and Mesmerism in Rhoda Broughton’s ‘The Man with the Nose’

Chapter 13 ‘[E]mphatically un-literary and middle-class’: Undressing Middle-Class Anxieties in Ellen Wood’s Johnny Ludlow Stories

Chapter 14 ‘Sinecures which could be held by girls’: Margaret Oliphant and Women’s Labour

Chapter 15 ‘More like a woman stuck into boy’s clothes’: Transcendent Femininity in Florence Marryat’s Her Father’s Name

Chapter 16 ‘I am writing the life of a horse’: Anna Sewell’s Black Beauty in the 1870s

Chapter 17 Forging a New Path: Fraud and White-Collar Crime in Mary Elizabeth Braddon’s 1870s Fiction