The book offers a study of Victorian and neo-Victorian women as portrayed on the pages of the selected nineteenth-century novels and modern, revisionary works. Immersed in the wide socio-cultural context of the Victorian era, the study binds Bakhtin's dialogical approach with Genette's intertextuality.

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 broadens the scope of inquiry of neo-Victorian studies by focusing primarily on screen adaptations and appropriations of Victorian literature and culture. More specifically, this monograph spotlights the overlapping yet often conflicting drives at work in representations of Victorian heroines in contemporary film and TV. Primorac’s close analyses of screen representations of Victorian women pay special attention to the use of costume and clothes, revealing the tensions between diverse theoretical interventions and generic (often market-oriented) demands. The author elucidates the push and pull between postcolonial critique and nostalgic, often Orientalist spectacle; between feminist textual interventions and postfeminist media images. Furthermore, this book examines neo-Victorianism’s relationship with postfeminist media culture and offers an analysis of the politics behind onscreen treatment of Victorian gender roles, family structures, sexuality, and colonial space.

Bunky and the Walms: The Christmas Story is a novel about the power of friendship, courage, loyalty, and nobility! What will happen if one slightly grumpy and complaining Bunky suddenly has to become a brave Christmas Hero, repair Santa Claus' sleigh, and deliver gifts all over the world? And what will happen if the literary world about which Bunky is dreaming while writing his novel enters his reality? Decidedly, this year's Christmas will be Bunky's greatest adventure, yet on this adventure he will not be alone: there will be his best friends, cousin Rodney and a little Wolf Plum, as well as the entire family of Walms, the Elves, the Reindeer, and even Santa Claus himself! From the magical Walmland, through the charming Faroe Islands, and to the very heart of the fantasy world of Bunkyland, Bunky's quest to save Christmas will take him on a memorable journey through different places, but also a journey into his own heart!

This book examines class and its representation in Victorian literature, focusing on the emergence of the lower middle class and middle-class responses to it. Arlene Young analyses portraits of white-collar workers, both men and women, who laboured under disparaging misperceptions of their values, abilities, and cultural significance, and shows how these misperceptions were both formulated and resisted. The analysis includes canonical texts like Dickens's Little Dorrit and Gissing's The Odd Women as well as less well-known works by Dinah Mulock Craik, Margaret Oliphant, Amy Levy, Grant Allen, H.G. Wells, Arnold Bennett, and May Sinclair.

Scholarly understanding of the Victorian literary field has changed dramatically in the past thirty years, due in large part to the extensive recovery of sensation fiction and a corresponding recognition of that genre’s importance in the literary debates, trends, and wider cultural practices of the period. Yet until very recently, work on sensationalism has focused on a narrow range of authors and works, with Wilkie Collins, Mary Elizabeth Braddon, and Ellen Wood retaining the preponderance of critical attention. This collection examines the fiction of ten women sensation writers who were immensely popular in the Victorian period but remain critically neglected today – writers such as Annie Edwardes, M.C. Houstoun, Annie French, Dora Russell and others. The Victorian sensation novel was categorically associated with women by Victorian reviewers and this collection extends our current understanding of this sub-genre by showing that female sensation writers were often sophisticated in their textual strategies, employing a range of metafictional techniques and narrative innovations. By moving beyond the novelists who have come to represent the genre, this book presents a fuller, more nuanced, understanding of the spectrum of writing that constructed the concept of ‘sensationalism’ for Victorian readers and critics. The book was originally published as a special issue of Women’s Writing.