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Bleak Houses
Marital Violence in Victorian Fiction
Lisa Surridge
Ohio University Press, 2005

The Offenses Against the Person Act of 1828 opened magistrates' courts to abused working-class wives. Newspapers in turn reported on these proceedings, and in this way the Victorian scrutiny of domestic conduct began. But how did popular fiction treat “private” family violence? Bleak Houses: Marital Violence in Victorian Fiction traces novelists' engagement with the wife-assault debates in the public press between 1828 and the turn of the century.

Lisa Surridge examines the early works of Charles Dickens and reads Dombey and Son and Anne Brontë's The Tenant of Wildfell Hall in the context of the intense debates on wife assault and manliness in the late 1840s and early 1850s. Surridge explores George Eliot's Janet's Repentance in light of the parliamentary debates on the 1857 Divorce Act. Marital cruelty trials provide the structure for both Wilkie Collins's The Woman in White and Anthony Trollope's He Knew He Was Right.

Locating the New Woman fiction of Mona Caird and the reassuring detective investigations of Sherlock Holmes in the context of late-Victorian feminism and the great marriage debate in the Daily Telegraph, Surridge illustrates how fin-de-siècle fiction brought male sexual violence and the viability of marriage itself under public scrutiny. Bleak Houses thus demonstrates how Victorian fiction was concerned about the wife-assault debates of the nineteenth century, debates which both constructed and invaded the privacy of the middle-class home.

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CONTESTED CASTLE
GOTHIC NOVELS AND THE SUBVERSION OF DOME
Kate Ferguson Ellis
University of Illinois Press, 1989
The Gothic novel emerged out of the romantic mist alongside a new conception of the home as a separate sphere for women. Looking at novels from Horace Walpole's Castle of Otranto to Mary Shelley's Frankenstein, Kate Ferguson Ellis investigates the relationship between these two phenomena of middle-class culture--the idealization of the home and the popularity of the Gothic--and explores how both male and female authors used the Gothic novel to challenge the false claim of home as a safe, protected place. Linking terror -- the most important ingredient of the Gothic novel -- to acts of transgression, Ellis shows how houses in Gothic fiction imprison those inside them, while those locked outside wander the earth plotting their return and their revenge.
 
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The Daughter's Dilemma
Family Process and the Nineteenth-Century Domestic Novel
Paula Marantz Cohen
University of Michigan Press, 1993
The Daughter's Dilemma breaks new ground in literary studies through its application of family systems theory to the analysis of nineteenth-century domestic novels. Cohen argues for structural correspondences between families and novels: as systems seeking closure, they are governed by certain analogous laws. She argues further that the father-daughter dyad is the pivotal structure by which the nuclear family and the domestic novel were able to define themselves as closed systems. The study treats novels by Samuel Richardson, Jane Austen, Emily Brontë, George Eliot, and Henry James and places them in the context of the writers' individual family experiences. Drawing on recent work in literary and feminist criticism, anthropology, history, and psychoanalysis, as well as family systems theory, Cohen seeks to critique the limitations of these theoretical models even as she employs them to illuminate the texts under discussion. The study's approach leads to insights about the contemporary family and about the present state of literature and literary criticism. Cohen concludes by suggesting that the modern period marked the demise of an ideology favoring closed systems. The result has been both a nostalgia for those systems and a redefinition of experience and relationship as open and subject to endless interpretation. Such an ideological reformulation helps explain the present insistence by literary theorists on the inescapability of the text and the "reality" of representation.
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Domesticity, Imperialism, and Emigration in the Victorian Novel
Diana C. Archibald
University of Missouri Press, 2002
During the nineteenth century, as millions of British citizens left for the New Worlds, hearth and home were physically moved from the heart of the empire to its very outskirts. In Domesticity, Imperialism, and Emigration in the Victorian Novel, Diana Archibald explores how such demographic shifts affected the ways in which Victorians both promoted and undermined the ideal of the domestic woman. Drawing upon works by Elizabeth Gaskell, Anthony Trollope, Samuel Butler, Charles Dickens, Charles Reade, and William Makepeace Thackeray, the author shows how the ideals of womanhood and home promoted by domestic ideology in many ways conflict with the argument in favor of immigration to imperial destinations. 
According to Coventry Patmore and John Ruskin, and some of their contemporaries, woman’s natural domain is the home, and a woman’s fulfillment lies at the hearthside. But would any hearth do as long as it was hallowed by the presence of a domestic goddess, or was this Victorian definition of home more discriminating? Although the ideal of the domestic woman was certainly affected by these mass movements, in many texts the definition of her becomes narrow and unattainable, for she must not only be an “angel,” but she must also be English and remain at home.
A rather predictable pattern emerges in almost every Victorian novel that encounters the New Worlds: if an English hero is destined for a happy ending, he either marries an English angel-wife and brings her with him to the New World or, more often, abandons thoughts of settling abroad and returns to England to marry and establish a home. This pattern seems to support the supposedly complementary ideologies of domesticity and imperialism. England, according to imperialist dogma, was the righteous center of a powerful empire whose mission was to “civilize” the rest of the world. The purpose of the domestic “angel” was to provide the moral center of a sacred space, and what is more sacred to such a scheme than English soil? A true “angel” should be English. Despite the mass migrations of the nineteenth century, home remains fundamentally English.
 The literary texts, however, reveal much ambivalence toward this domestic ideal. Often the colonial and native women were seen as foils for the English “angels” because they were much more interesting and attractive. At times, domestic and imperialist ideologies themselves conflicted. Female emigrants were desperately needed in the colonies; thus, a woman’s imperial duty was to leave England. Yet her womanly duty
told her to remain an untainted idol beside an English hearthside. The domestic ideal, then, because of its firm alliance with nationalism, seems to have been more in conflict with imperialistic ideology than heretofore supposed.
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Educating Seeta
The Anglo-Indian Family Romance and the Poetics of Indirect Rule
Shuchi Kapila
The Ohio State University Press, 2010
Even though Edward Said’s Orientalism inspired several generations of scholars to study the English novel’s close involvement with colonialism, they have not considered how English novels themselves were radically altered by colonialism. In Educating Seeta, Shuchi Kapila argues that the paradoxes of indirect rule in British India were negotiated in “family romances” which encoded political struggle in the language of domestic and familial civility. A mixture of domestic ideology and liberal politics, these are Anglo-Indian romances, written by British colonials who lived in India during a period of indirect colonial rule. Instead of providing neat conclusions and smooth narratives, they become a record of the limits of liberal colonialism. They thus offer an important supplement to Victorian novels, extend the study of nineteenth-century domestic ideology, and offer a new perspective on colonial culture. Kapila demonstrates that popular writing about India and, by implication, other colonies is an important supplement to the high Victorian novel and indispensable to our understanding of nineteenth-century English literature and culture. Her nuanced study of British writing about indirect rule in India will reshape our understanding of Victorian domestic ideologies, class formation, and gender politics.
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The Empire Inside
Indian Commodities in Victorian Domestic Novels
Suzanne Daly
University of Michigan Press, 2011

"The Empire Inside is unique in its tight focus on the objects from one geographical location, and their deployment in one genre of fiction. This combination results in a powerful study with a wealth of fine formal analyses of literary texts and a similar trove of marvelous historical data."
---Elaine Freedgood, New York University

"In The Empire Inside, Suzanne Daly does a wonderful job integrating an array of primary materials, especially novels and journal essays, to show the extent to which these ‘foreign’ colonial products of India represented absolutely central aspects of domestic life, at once part of the unremarkable everyday experience of Victorians and rich with meanings."
---Timothy Carens, College of Charleston

By the early nineteenth century, imperial commodities had become commonplace in middle-class English homes. Such Indian goods as tea, textiles, and gemstones led double lives, functioning at once as exotic foreign artifacts and as markers of proper Englishness. The Empire Inside: Indian Commodities in Victorian Domestic Novels reveals how Indian imports encapsulated new ideas about both the home and the world in Victorian literature and culture. In novels by Charlotte Brontë, Charles Dickens, and Anthony Trollope, the regularity with which Indian commodities appear bespeaks their burgeoning importance both ideologically and commercially. Such domestic details as the drinking of tea and the giving of shawls as gifts point us toward suppressed connections between the feminized realm of private life and the militarized realm of foreign commerce.

Tracing the history of Indian imports yields a record of the struggles for territory and political power that marked the coming-into-being of British India; reading the novels of the period for the ways in which they infuse meaning into these imports demonstrates how imperialism was written into the fabric of everyday life in nineteenth-century England. Situated at the intersection of Victorian studies, material cultural studies, gender studies, and British Empire studies, The Empire Inside is written for academics, graduate students, and advanced undergraduates in all of these fields.

Suzanne Daly is Associate Professor of English, University of Massachusetts Amherst.

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Family Matters in the British and American Novel
Andrea O’Reilly Herrera
University of Wisconsin Press, 1997
Contributors examine the literature that challenges widely held assumptions about the form of the family, familial authority patterns, and the function of courtship, marriage, and family life from the late eighteenth century to the present day. Topics include: the family as a microcosm of the larger political sphere in Charlotte Smith, Jane West, Elizabeth Fenwick, Mrs. Opie, and Mary Shelley, and alternatives to the nuclear patriarchal family in Charlotte Brontë, Harriet Jacobs, Elizabeth Barrett Browning, and Mary Louisa Molesworth.
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The Gothic Family Romance
Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order
Margot Gayle Backus
Duke University Press, 1999
Tales of child sacrifice, demon lovers, incestual relations, and returns from the dead are part of English and Irish gothic literature. Such recurring tropes are examined in this pioneering study by Margot Gayle Backus to show how Anglo-Irish gothic works written from the eighteenth through the twentieth centuries reflect the destructive effects of imperialism on the children and later descendents of Protestant English settlers in Ireland.
Backus uses contemporary theory, including that of Michel Foucault and Eve Kosofsky Sedgwick, to analyze texts by authors ranging from Richardson, Swift, Burke, Edgeworth, Stoker, and Wilde to contemporary Irish novelists and playwrights.
By charting the changing relations between the family and the British state, she shows how these authors dramatized a legacy of violence within the family cell and discusses how disturbing themes of child sacrifice and colonial repression are portrayed through irony, satire, “paranoid” fantasy, and gothic romance. In a reconceptualization of the Freudian family romance, Backus argues that the figures of the Anglo-Irish gothic embody the particular residue of childhood experiences within a settler colonial society in which biological reproduction represented an economic and political imperative.
Backus’s bold positioning of the nuclear family at the center of post-Enlightenment class and colonial power relations in England and Ireland will challenge and provoke scholars in the fields of Irish literature and British and postcolonial studies. The book will also interest students and scholars of women’s studies, and it has important implications for understanding contemporary conflicts in Ireland.
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Raising the Dust
The Literary Housekeeping of Mary Ward, Sarah Grand, and Charlotte Perkins Gilman
Beth Sutton-Ramspeck
Ohio University Press, 2004

Raising the Dust identifies a heretofore-overlooked literary phenomenon that author Beth Sutton-Ramspeck calls “literary housekeeping.” The three writers she examines rejected turn-of-the-century aestheticism and modernism in favor of a literature that is practical, even ostensibly mundane, designed to “set the human household in order.”

To Mary Augusta Ward, Sarah Grand, and Charlotte Perkins Gilman, housekeeping represented public responsibilities: making the food supply safe, reforming politics, and improving the human race itself. Raising the Dust places their writing in the context of the late-Victorian era, in particular the eugenics movement, the proliferation of household conveniences, the home economics movement, and decreased reliance on servants. These changes affected relationships between the domestic sphere and the public sphere, and hence shaped the portrayal of domesticity in the era's fiction and nonfiction.

Moreover, Ward, Grand, and Gilman articulated a domestic aesthetic that swept away boundaries. Sutton-Ramspeck uncovers a new paradigm here: literature as engaging the public realm through the devices and perspectives of the domestic. Her innovative and ambitious book also connects fixations on cleaning with the discovery of germs (the first bacterium discovered was anthrax, and knowledge of its properties increased fears of dust); analyzes advertising cards for soap; and links the mental illness in Gilman's “The Yellow Wall-Paper” to fears during the period of arsenic poisoning from wallpaper.

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Writing Against the Family
Gender in Lawrence and Joyce
Cynthia Lewiecki-Wilson
Southern Illinois University Press, 1994

This first feminist book-length comparison of D. H. Lawrence and James Joyce offers striking new readings of a number of the novelists’ most important works, including Lawrence’s Man Who Died and Joyce’s Finnegans Wake.

Cynthia Lewiecki-Wilson argues that a feminist reader must necessarily read with and against theories of psychoanalysis to examine the assumptions about gender embedded within family relations and psychologies of gender found in the two authors’ works. She challenges the belief that Lawrence and Joyce are opposites, inhabiting contrary modernist camps; instead they are on a continuum, with both engaged in a reimagination of gender relations.

Lewiecki-Wilson demonstrates that both Lawrence and Joyce write against a background of family material using family plots and family settings. While previous discussions of family relations in literature have not questioned assumptions about the family and about sex roles within it, Lewiecki-Wilson submits the systems of meaning by which gender is construed to a feminist analysis. She reexamines Lawrence and Joyce from the point of view of feminist psychoanalysis, which, she argues, is not a set of beliefs or a single theory but a feminist practice that analyzes how systems of meaning construe gender and produce a psychology of gender.

Lewiecki-Wilson argues against a theory of representation based on gender, however, concluding that Lawrence’s and Joyce’s texts, in different ways, test the idea of a female aesthetic. She analyzes Lawrence’s portrait of family relations in Sonsand Lovers, The Rainbow, and Women in Love and compares Joyce’s Portrait of the Artist as a Young Man with Lawrence’s autobiographical text. She then shows that Portrait begins a deconstruction of systems of meaning that continues and increases in Joyce’s later work, including Ulysses.

Lewiecki-Wilson concludes by showing that Lawrence, Joyce, and Freud relate family material to Egyptian myth in their writings. She identifies Freud’s essay "Leonardo da Vinci and a Memory of Childhood" as an important source for Joyce’s Finnegans Wake, which portrays beneath the gendered individual a root androgyny and asserts an unfixed, evolutionary view of family relations.

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