“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, forthcoming.
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 content criticism that reads protagonist Monica Madden as a degraded “woman reader,” and contend that Gissing shows the liberatory potential of her reading. I trace how each generation of the Madden sisters fosters a distinct relationship to books, evidence 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.