“Sara Coleridge’s Annotated Phantasmion: ‘Is it not the work of a poet’s daughter if not of a poet?’” The Coleridge Bulletin, New Series 59 (2022): 11–28.
In this article, I introduce a copy of Sara Coleridge’s only novel, Phantasmion, copiously annotated by the author nine years after its initial publication. I transcribe a selection of representative annotations that showcase her blending of expression: confessional and intimate; reflective and mournful; and sharply critical. The entries amount to a complete re-assessment of Phantasmion and claim her Romantic lineage.
“The Critical Insurgency of Austen’s Suffrage Afterlife: ‘I hope I shall not be accused of pride and prejudice,’” Tulsa Studies in Women’s Literature, vol. 41, no. 1 (2022): 91–112.
I propose an alternate timeline for the roots of Jane Austen’s feminist criticism that begins with suffrage periodicals from the 1910s. While the article offers an unprecedented look into the rich suffrage reception of Jane Austen, it also questions why this history has remained largely unknown within Austen criticism. Ultimately, I call for academic criticisms’ deeper engagement with public voices, dialogues, and outlets.
“Enfolded narrative in The Tenant of Wildfell Hall: Refusing ‘a perfect work of art,’” Brontë Studies, vol. 44, no. 3 (2019): 292-305.
Building on the scholarly debate over The Tenant of Wildfell Hall‘s (1848) complex narrative structure, this article argues that the structure is a purposeful experiment with the potential of narrative art. I compare visual language within the narrative—including but not limited to the Künstlerroman plot—with the narrative interactivity to engage with Anne Brontë’s theory of the novel.
“Women’s Reading as Protest in Gissing’s The Odd Women: ‘I’ll see how I like this first,’” English Literature in Transition, 1880-1920, vol. 62, no. 1 (2019): 53-71.
I refute criticism that reads protagonist Monica Madden as a degraded “woman reader,” and contend instead that Gissing shows the liberatory potential of her reading. I trace how each generation of the Madden sisters foster a distinct relationship with books, evidenced by their divergent responses to John Keble’s The Christian Year (1827). I ultimately re-read Monica’s turn to yellowback fiction as a declaration of independence, in which the yellow cover claims her break from traditional femininity.