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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.

In Reading the East India Company, Betty Joseph offers an innovative account of how archives—and the practice of archiving—shaped colonial ideologies in Britain and British-controlled India during the eighteenth and nineteenth centuries.

Drawing on the British East India Company's records as well as novels, memoirs, portraiture and guidebooks, Joseph shows how the company's economic and archival practices intersected to produce colonial "fictions" or "truth-effects" that strictly governed class and gender roles—in effect creating a "grammar of power" that kept the far-flung empire intact. And while women were often excluded from this archive, Joseph finds that we can still hear their voices at certain key historical junctures. Attending to these voices, Joseph illustrates how the writing of history belongs not only to the colonial project set forth by British men, but also to the agendas and mechanisms of agency—of colonized Indian, as well as European women. In the process, she makes a valuable and lasting contribution to gender studies, postcolonial theory, and the history of South Asia.

This anthology explores the provocative intersection between feminist, literary, and legal theories. Written by feminist thinkers from law and literature, discourses that each produce culturally powerful representations of women, these essays contest the boundaries that usually separate these disciplines and thereby alter the possibilities of those representations that have traditionally disempowered women.
Beginning with an exploration of the ways in which women are represented—how they either tell or have their stories told in literature, in the law, in a courtroom—this collection demonstrates the interrelatedness of the legal and the literary. Whether considering the status of medieval women readers or assessing the effectiveness and extent of contemporary rape law reform, the essays show that power first comes with telling one’s own story, and that the degree and effect of that power are determined by the cultural significance of the forum in which the story is presented. But telling the story is not enough. One must also be aware of how the story is contained within traditional constructs or boundaries and is thus limited in its effects, as Carol Sanger’s essay on mothers and legal/sexual identity makes clear. One must also recognize how a story might perpetuate an ideological agenda that is not in the best interests of the storyteller, as Elizabeth Butler Cullingford shows in her reading of Yeats’s "Leda and the Swan" and one must know the historical context of a story and of its telling, as Anne B. Goldstein’s essay on lesbian narratives discloses.
Breaking down the boundaries between law and literature, this anthology makes evident the ways in which the effect of women’s stories has been constrained and expands the range of possibilities for those who represent women, tell women’s stories, or present women’s issues. Representing Women makes the retelling of old stories about women compelling and the telling of new ones both necessary and possible.

Contributors. Kathryn Abrams, Linda Brodkey, Rita Copeland, Elizabeth Butler Cullingford, Margaret Anne Doody, Susan B. Estrich, Michelle Fine, Anne B. Goldstein, Angela P. Harris, Susan Sage Heinzelman, Christine L. Krueger, Martha Minow, Carol Sanger, Judy Scales-Trent

The first major study in English of nineteenth-century German women writers, this book examines their social and cultural milieu along with the layers of interpretation and representation that inform their writing.

Studying a period of German literary history that has been largely ignored by modern readers, Ruth-Ellen Boetcher Joeres demonstrates that these writings offer intriguing opportunities to examine such critical topics as canon formation; the relationship between gender, class, and popular culture; and women, professionalism, and technology. The writers she explores range from Annette von Droste-Hülshoff, who managed to work her way into the German canon, to the popular serial novelist E. Marlitt, from liberal writers such as Louise Otto and Fanny Lewald, to the virtually unknown novelist and journalist Claire von Glümer. Through this investigation, Boetcher Joeres finds ambiguities, compromises, and subversions in these texts that offer an extensive and informative look at the exciting and transformative epoch that so much shaped our own.